Introduction: the tales madness tells -- Incapacity, guardianship, and the Tuscan family -- "Madness is punishment enough": the insanity defense -- Spending without measure: madness, money, and the marketplace -- From madness to sickness -- The curious case of forensic medicine: the dog that didn't bark in the night -- Conclusion.
Scholasticism, appropriation, and censure -- Humanists' invectives and Aristotle's impiety -- Renaissance Aristotle, Renaissance Averroes -- Italian Aristotelianism after Pomponazzi -- Religious reform and the reassessment of Aristotelianism -- Learned anti-Aristoteliansim -- History, erudition, and Aristotle's past -- Pious novelty.
"The core of this book is the catalogue of the Italian sources of Dürer's artwork; the chronological organization of the entries helps to trace a new image of Dürer as both a theorist of art and science, and a master engraver and painter, with results that substantially change our vision of his relationship with Italy. The volume also offers a first analytical index of Dürer's treatises kept in the Italian libraries"--Provided by publisher.
Medieval Christian image cults and Florentine relic cults -- The chronological development of Florentine image cults -- The topography of the sacred in the city -- The Florentine contado and subject territories -- Image and efficacy -- The physiognomy, metaphors, and style of sacred embodiment -- Enshrinement: framing and veiling -- Image cults and the Florentine Renaissance.
Mannerism and imitation -- Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga -- Daniele da Volterra's contested subject -- Pellegrino Tibaldi's Apologus Alcinoi -- Painting and counter-reformation in the Poggi Chapel."Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
Nicholas IV: a Franciscan pope -- Power and patronage at Assisi -- The Upper Church in 1288 -- Planning the nave programme -- 'Franciscus alter Christus' -- Rebuilding the church -- Ascending to God, descending to neighbour."For a brief moment at the close of the 13th century, the town of Assisi was the focus for the two greatest powers in the Latin Church: the Roman papacy and the Franciscan Order. The election in 1288 of Nicholas IV, the first Franciscan pope, was the catalyst for the creation of frescoes of unprecedented intellectual ambition in the Basilica of San Francesco. At the heart of the new decorative scheme were twenty-eight scenes depicting the life of Saint Francis. Putting to one side the long debate about whether the Saint Francis cycle was or was not painted by Giotto, The Making of Assisi takes a fresh approach and treats the cycle as part of a larger, integrated, and far-reaching program of renewal at the Basilica. ... Donal Cooper and Janet Robson investigate the particular historical moment in which the frescoes were made, casting new light on their patronage and iconography."--Publisher's website.
Introduction -- The development of an urban monastery -- Benedictine decadence and the path to reform -- Badia patronage and the paradox of autonomy -- Architectural design as monastic reform -- Icon, symbol, and narrative at the Florentine Badia -- The Badia painters -- Epilogue. The Badia from the Renaissance to today.
Introduction -- Apprenticeship and early independence (to 1481) -- Rome and the first fruits of success (1482-86) -- Florence, Siena and the Medici (1487-90) -- Volterra (1490-92) -- Citta di Castello and Cortona (1493-98) -- Monteoliveto and the origins of the Orvieto Commission (1498-99) -- The Cappella Nova at Orvieto (1499-1504) -- Work in and from Cortona (1502-06) -- Siena, Rome and Rocca Contrada (1506-09) -- High hopes and local fame (1510-18) -- Last works and legacy (1519-23) -- Table -- Abbreviations -- Chronology.
Le Tebaidi sono pitture murali e dipinti su tavola che conobbero una singolare fortuna nel Tre e nel Quattrocento. Si tratta di raffigurazioni in cui monaci, santi e asceti si muovono in un paesaggio dalle caratteristiche ricorrenti - un fiume cho lo attraversa e una variopinta e rigogliosa vegetazione. La nascita di tale iconografia e le ragioni della sua fortuna e diffusione sono materia di questo saggio, molto dettagliato e ricco di informazioni e riferimenti, corredato da numerose illustrazioni e da un'esauriente bibliografia.