Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
In medieval Europe baptism did not merely represent a solemn and public recognition of the 'natural' birth of a child, but was regarded as a second, 'spiritual birth', within a social group often different from the child's blood relations: a spiritual family, composed of godfathers and godmothers. By analyzing the changing theological and social nature of spiritual kinship and godparenthood between 1450 and 1650, this book explores how these medieval concepts were developed and utilised by the Catholic Church in an era of reform and challenge. It demonstrates how such ties continued to be of major social importance throughout the sixteenth and seventeenth centuries, but were often used in ways not always coherent with their original religious meaning, and which could have unexpected social consequences. In particular, the book analyzes in detail the phase of transition from the traditional model of godparenthood which allowed for multiple godparents, to the new couple model (one godfather and one godmother) imposed by Tridentine law. Drawing upon a large database of archival data taken from parish books of baptisms and marriages, pastoral visitations, diocesan statutes, synods and provincial councils, it is shown how attempts were made to resist or to compromise with the Church, thus providing a better understanding of the often contested meaning given to godparenthood by early modern society. Whilst the Church was ultimately successful in imposing its will, the book concludes that this was to have unexpected results that were to eventually weaken the role of godparents. Rather than persuading parents to choose real 'spiritual tutors' to act as godparents, the choice of godparents became increasingly influenced with social status, so that godparenthood began to resemble a pure clientele system, something it had never been before. Through this long-term exploration of Catholic spiritual kinship, much is revealed, not only about godparenthood, but about the wider social and religious networks. Comparison with Protestant reactions to the same issues provides further insight into the importance of this subject to early modern European society.
All human societies, from prehistory through to today, have been characterized by some degree of economic inequality. Arguably, complex societies would not have thrived if they had been unable to concentrate and redistribute resources effectively. We frequently talk about the top 5% or 1% today but, as Guido Alfani explains in this book, concerns about the rich and super-rich and their potential to influence contemporary politics and society are nothing new - just take the Medici family and Renaissance Tuscany as one example. The medieval theologian Nicole Oresme's fear of the super-rich individual acting "as God among men" resonates with much of what present-day economist Thomas Piketty cautioned against in his landmark Capital in the Twentieth Century. As Gods Among Men represents the first scholarly attempt to provide a general overview of role and significance of the rich and the super-rich in the long run of history. With a focus on the West, particularly Europe and North America, Alfani's research spans a thousand years of history. He draws from a wealth of comparative data, as well as insights gleaned from the latest research in economic history, sociology, and anthropology, to show how society's problematic relationship with the super-rich cannot be fully understood without a careful analysis of the ways in which they have built their enormous wealth, and how they have used that wealth to gain influence. Alfani highlights important aspects of their behavior, such as their attitudes toward saving and consumption, or their propensity to act as patrons of the arts and of the sciences or as benefactors of the weakest part of society, to build up a profile of the richest members of our society and to trace patterns throughout history, underlining elements of both continuity and change over the period"--
Case studies of private art collections recorded during the sixteenth and early seventeenth centuries in Mantua. This work seeks to show how the collectors' taste changed during this period and how these changes are reflected in the collections' display, and also seeks to contribute to the understanding of the original context of works of art in sixteenth and early seventeenth century private houses in a courtly city.
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