Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
The long and intricate history of the beautifully carved Hellenistic style Egyptian bowl, from the days of Cleopatra to Constantinople, the French Revolution, and to near destruction by a deranged museum guard in 1925.
How Cyriacus of Ancona—merchant, spy, and amateur classicist—traveled the world, fighting to save ancient monuments for posterity. At the beginning of the fifteenth century, a young Italian bookkeeper fell under the spell of the classical past. Despite his limited education, the Greeks and Romans seemed to speak directly to him—not from books but from the physical ruins and inscriptions that lay neglected around the shores of the Mediterranean.As an international merchant, Cyriacus of Ancona was accustomed to the perils of travel in foreign lands—unlike his more scholarly peers with their handsome libraries and wealthy patrons, who benefited greatly from the discoveries communicated in his widely distributed letters and drawings. Having seen firsthand the destruction of the world’s cultural heritage, Cyriacus resolved to preserve it for future generations. To do so he would spy on the Ottomans, court popes and emperors, and even organize a crusade.Some images in the ebook are not displayed owing to permissions issues.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
A fascinating exploration, spanning two thousand years, of the central role exotic animals have played in war, diplomacy, and the pomp of rulers and luminaries.
How Cyriacus of Ancona—merchant, spy, and amateur classicist—traveled the world, fighting to save ancient monuments for posterity. At the beginning of the fifteenth century, a young Italian bookkeeper fell under the spell of the classical past. Despite his limited education, the Greeks and Romans seemed to speak directly to him—not from books but from the physical ruins and inscriptions that lay neglected around the shores of the Mediterranean.As an international merchant, Cyriacus of Ancona was accustomed to the perils of travel in foreign lands—unlike his more scholarly peers with their handsome libraries and wealthy patrons, who benefited greatly from the discoveries communicated in his widely distributed letters and drawings. Having seen firsthand the destruction of the world’s cultural heritage, Cyriacus resolved to preserve it for future generations. To do so he would spy on the Ottomans, court popes and emperors, and even organize a crusade.Some images in the ebook are not displayed owing to permissions issues.
The long and intricate history of the beautifully carved Hellenistic style Egyptian bowl, from the days of Cleopatra to Constantinople, the French Revolution, and to near destruction by a deranged museum guard in 1925.
A fascinating exploration, spanning two thousand years, of the central role exotic animals have played in war, diplomacy, and the pomp of rulers and luminaries.
They reflected - and projected - essential cultural values, whether they were intended for religious sanctuaries for aristocratic drinking parties, civic squares or tombs."--BOOK JACKET.
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