Here are 100 books that The Civilization of the Renaissance in Italy fans have personally recommended if you like
The Civilization of the Renaissance in Italy.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
Decades ago, I fell madly, gladly, and giddily in love with Italian. This passion inspired La Bella Lingua: My Love Affair with the World’s Most Enchanting Language, which became a New York Times best-seller and won an Italian knighthood for my contributions to promoting Italy’s language. Intrigued by the world’s most famous portrait, I wrote Mona Lisa: A Life Discovered, an Amazon Best Book of the Year, translated into seven languages. My most recent journeys through Italian culture are La Passione: How Italy Seduced the World and ‘A’ Is for Amore, an e-book written during the pandemic and available free on my website.
During a plague that killed a quarter of Florence’s citizens, Boccaccio crafted an exuberant, entertaining, death-defying work of literature. In this book, seven young women and three young men taking refuge in a country villa swap 100 tales of love, lust, mischief, and treachery.
I read a translation of The Decameron during a sabbatical in Italy and was swept back in time. In every village, I’d look around a piazza and see characters straight from its pages: wily merchants, corrupt politicians, clever wives, henpecked husbands, bumbling fools. This book still resonates in the 21st century—a tribute to Boccaccio’s skill as a spell-weaver. Some of his stories are shamelessly, laughably bawdy. But all remind us that, even as everything changes, our shared humanity remains the same.
In the summer of 1348, as the Black Death ravages their city, ten young Florentines take refuge in the countryside...
Taken from the Greek, meaning 'ten-day event', Boccaccio's Decameron sees his characters amuse themselves by each telling a story a day, for the ten days of their confinement - a hundred stories of love and adventure, life and death, and surprising twists of fate. Less preoccupied with abstract concepts of morality or religion than earthly values, the tales range from the bawdy Peronella, hiding her lover in a tub, to Ser Cepperallo, who, despite his unholy effrontery, becomes a Saint.…
Folk-singing was my first vocation, but I made a sudden left turn into comedy, becoming one-half of The Times Square Two. After a few years touring the world, I settled in Hollywood and became an actor, writer, and director. I was inspired to write The Food Taster by the maître d’ of a famous restaurant in Los Angeles. When I complained that my meal had made me ill, he smiled and said I should get myself a food taster.
I appreciate people who don’t shrink from celebrating their own genius, and Benvenuto Cellini was indeed a genius at it. Still, I didn’t mind his boasting, whether it was about his intricate works as a goldsmith or his killing of a rival, for his sense of humor about himself more than made up for his monstrous ego. And even if he had left us nothing else but his autobiography, he bequeathed to us a brilliant record of the Renaissance.
Benvenuto Cellini was a celebrated Renaissance sculptor and goldsmith - a passionate craftsman who was admired and resented by the most powerful political and artistic personalities in sixteenth-century Florence, Rome and Paris. He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme…
Folk-singing was my first vocation, but I made a sudden left turn into comedy, becoming one-half of The Times Square Two. After a few years touring the world, I settled in Hollywood and became an actor, writer, and director. I was inspired to write The Food Taster by the maître d’ of a famous restaurant in Los Angeles. When I complained that my meal had made me ill, he smiled and said I should get myself a food taster.
Researching the trials and tribulations of a Renaissance food taster meant that I had to become familiar with the court cuisine of the period, the ingredients used in their preparation, and most vitally, the politics of the kitchen. I was delighted to find that many of Platina’s recipes can still be enjoyed today; I have made cabbage stuffed with walnuts, chicken fried with diced lemon, and my personal favorite, cherry cheesecake.
Folk-singing was my first vocation, but I made a sudden left turn into comedy, becoming one-half of The Times Square Two. After a few years touring the world, I settled in Hollywood and became an actor, writer, and director. I was inspired to write The Food Taster by the maître d’ of a famous restaurant in Los Angeles. When I complained that my meal had made me ill, he smiled and said I should get myself a food taster.
I highly recommend the works of Pietro Aretino. I love satire, and Aretino was a satirist for the ages. I admired his raw courage, for he spared no one—including kings and popes—on his way to earning the title “Scourge of Princes.” He died in his early sixties, reportedly from “laughing too much.” I cannot imagine an epitaph I would rather have engraved on my headstone.
I teach medieval and early modern European history at Dublin City University, with a particular interest in 16th-18th century Italian history. My own research focuses on the religious, legal, and popular culture of northern Italy, particularly Venice and the Veneto region. I became fascinated with Renaissance Italian history as an undergraduate at the College of William and Mary, and then went on to do a masters and a PhD at Northwestern University. I have taught at Northwestern, the College of William and Mary, the University of Warwick/Warwick in Venice, and the State University of New York at Cortland.
This book is a fantastic, broad overview of the Italian Renaissance (or rinascimento, the term Ruggiero prefers and which his subjects would have recognized). The Italian Rinascimento was a period, according to Ruggiero, of vibrant cities, social change, and cultural expression, in which intellectuals, politicians, and artists both looked back to an idealized classical past and forward to uncharted territory.
I love the way this book focuses on issues that preoccupied the people he studies and incorporates topics often absent from works on the Renaissance, including women, sexuality, economics, disease and death, and religion, among others. Even more important, perhaps, is that it is clear, accessible, and engaging, and demonstrates a wealth of knowledge developed over an illustrious career as a historian of early modern Italy.
This book offers a rich and exciting new way of thinking about the Italian Renaissance as both a historical period and a historical movement. Guido Ruggiero's work is based on archival research and new insights of social and cultural history and literary criticism, with a special emphasis on everyday culture, gender, violence and sexuality. The book offers a vibrant and relevant critical study of a period too long burdened by anachronistic and outdated ways of thinking about the past. Familiar, yet alien; pre-modern, but suggestively post-modern; attractive and troubling, this book returns the Italian Renaissance to center stage in our…
I started my career as a historian of historiography and now hold a chair in the history of the humanities at Leiden University. What I like about this field is its comparative agenda. How does art history relate to media studies, and what do Arabists have in common with musicologists? Even more intriguing, as far as I’m concerned, is the question of what holds the humanities together. I think that history can help us understand how the humanities have developed as they have, differently in different parts of the world. As the field called history of the humanities has only recently emerged, there is plenty of work to do!
Whether or not one wants to make a case for the modern humanities deriving from the studia humanitatisin Renaissance Italy, it is undeniable that Renaissance humanism has been a source of endless fascination for humanities scholars.I enjoyed this book partly because it shows how this fascination led seventeenth- and eighteenth-century scholars to “recapitulate practices and mentalities that Italian Renaissance humanists pioneered.” It is such borrowing and reapplying that explains how a “humanistic tradition” could take shape. Another intriguing point is Celenza’s argument that this tradition has historically revolved as much around wisdom as about knowledge. While we modern academics know very well how to produce knowledge, what has happened to the wisdom part? Can the humanities survive, Celenza asks, without “reflection on the self and on life”?
Christopher Celenza is one of the foremost contemporary scholars of the Renaissance. His ambitious new book focuses on the body of knowledge which we now call the humanities, charting its roots in the Italian Renaissance and exploring its development up to the Enlightenment. Beginning in the fifteenth century, the author shows how thinkers like Lorenzo Valla and Angelo Poliziano developed innovative ways to read texts closely, paying attention to historical context, developing methods to determine a text's authenticity, and taking the humanities seriously as a means of bettering human life. Alongside such novel reading practices, technology - the invention of…
I teach the histories of early modern Europe and European worlds at Macquarie University in Sydney, Australia. I developed a fascination for the period and, especially, for the Italian Renaissance as an undergraduate before going on to complete a PhD at Northwestern University in the United States. I love the contradictions and tensions of the period: a society and culture in transition from what we call medieval understandings and worldviews to what we see as more modern ones. These are some of the books that helped to fuel my passion for Renaissance Italian history and to answer some of my questions about what life was really like in Renaissance Italy.
This book presents six vignettes of sex and violence plucked by Thomas Cohen from the archives of the papal governor of sixteenth-century Rome.
I love Cohen’s passion for telling a good story without losing sight of its broader historical significance. Examining the everyday lives of people in the streets, Cohen reveals how a clash between the contradictory currents of Italian Renaissance society fueled much of its conflicts and discontents.
On the one hand, Christian religion preached mercy, forgiveness, and community, on the other the compelling codes of honor, familial loyalty, and unwritten social rules promoted violence and vengeance.
The book also reveals how women and other socially marginalized figures could navigate and manipulate these codes to find space and freedom in a world dominated by powerful men.
Gratuitous sex. Graphic violence. Lies, revenge, and murder. Before there was digital cable or reality television, there was Renaissance Italy and the courts in which Italian magistrates meted out justice to the vicious and the villainous, the scabrous and the scandalous. As dramatic and as moving as the television show The Borgias, and a lot more true to life, Love and Death in Renaissance Italy retells six piquant episodes from the Italian court just after 1550, as the Renaissance gave way to an era of Catholic reformation. Each of the chapters in this history chronicles a domestic drama around which…
When I started researching the history of early modern public execution, I read a few eyewitness accounts in which people behaved so strangely that I realised I understood nothing about the realities of this once-common historical practice. By reading the books on this list, I quickly discovered that the ceremony of capital punishment was a performance in which the entire community participated, filled with rituals and behaviours that had enormous emotional and spiritual significance for everyone involved, not just the ‘poor sinner’ on the scaffold. I also discovered that music and singing were crucial parts of the performance, with ballads being sung about the event for years afterwards.
It’s not often I’m moved to tears by an academic book, but this book did it for me by putting me in the shoes of a Florentine patrician trying to comfort his friend the night before his execution. The main historical source of the book is an extraordinary ‘how-to’ manual: the one used by the ‘comforting confraternities’ of 16th-century Bologna, men who volunteered to spiritually prepare condemned criminals for their final moments on earth and, in so doing, hopefully increase their chances of salvation. The book explains the various methods and tools that the comforter could use, including prayers, songs, and pictures, and reveals the complex rituals of execution that began long before the prisoner’s arrival at the scaffold. A moving account of the realities of historical capital punishment.
In Renaissance Italy a good execution was both public and peaceful―at least in the eyes of authorities. In a feature unique to Italy, the people who prepared a condemned man or woman spiritually and psychologically for execution were not priests or friars, but laymen. This volume includes some of the songs, stories, poems, and images that they used, together with first-person accounts and ballads describing particular executions. Leading scholars expand on these accounts explaining aspects of the theater, psychology, and politics of execution.
The main text is a manual, translated in English for the first time, on how to comfort…
I am an art historian from Rome and a professor at the University of Virginia, where I also served as associate dean for the arts and humanities and chair of the art department. Ever since as an undergraduate I heard a lecture from a professor on how important science was for Renaissance artists, I have been fascinated with this topic. I look at scientific images, such as maps and diagrams, as works of art, and interpret famous paintings, such as Leonardo da Vinci’s Mona Lisa, as scientific experiments. Among my books are The Marvel of Maps: Art, Cartography and Politics in the Renaissance, The Shadow Drawing. How Science Taught Leonardo How to Paint, and the digital publication Leonardo da Vinci and His Treatise on Painting.
Most art in the Renaissance was commissioned by specific patrons and this book superbly illustrates the complex interaction among patron, artist, and society by focusing on the greatest patron of art and architecture in fifteenth-century Florence. Cosimo de’ Medici was the most powerful figure in the city’s political and economic life, a fabulously wealthy banker, a devout Christian, but he had also an impeccable nose for great art. With the help of about 200 images, the book examines the religious, personal, and dynastic motivations behind Cosimo’s artistic patronage, both his direct commissions for the Medici palaces, villas, and chapels as well as his active involvement in the works officially commissioned by the republic. What you’ll get out of this book is a profound understanding of how art was commissioned, created, and viewed in Renaissance Florence.
Cosimo de' Medici (1389-1464), the fabulously wealthy banker who became the leading citizen of Florence in the fifteenth century, spent lavishly as the city's most important patron of art and literature. This remarkable book is the first comprehensive examination of the whole body of works of art and architecture commissioned by Cosimo and his sons. By looking closely at this spectacular group of commissions, we gain an entirely new picture of their patron and of the patron's point of view. Recurrent themes in the commissions-from Fra Angelico's San Marco altarpiece to the Medici Palace-indicate the main interests to which Cosimo's…
I teach the histories of early modern Europe and European worlds at Macquarie University in Sydney, Australia. I developed a fascination for the period and, especially, for the Italian Renaissance as an undergraduate before going on to complete a PhD at Northwestern University in the United States. I love the contradictions and tensions of the period: a society and culture in transition from what we call medieval understandings and worldviews to what we see as more modern ones. These are some of the books that helped to fuel my passion for Renaissance Italian history and to answer some of my questions about what life was really like in Renaissance Italy.
This book, more than any other, inspired me to become a historian of Renaissance Italy.
Richard Trexler reveals that, far from being secular minded, the inhabitants of Florence relied on religion, ritual behavior, and charisma to create and maintain urban life, social values, and civic order.
By turns anthropological as well as historical, Trexler uncovers the ritual behaviors and practices that tied the city together from the level of the cosmos to the everyday relations between friends, neighbors, and family members. The central purpose of all public ritual in Florence served to overcome the inherent weakness of a republican government in a world of gods and kings.
Covering the history of Renaissance Florence from the fourteenth century to the beginnings of the Medici duchy, Richard C. Trexler traces collective ritual behavior in all its forms, from a simple greeting to the most elaborate community festival. He examines three kinds of social relationships: those between individual Florentines, those between Florentines and foreigners, and those between Florentines and God and His saints. He maintains that ritual brought life to the public world and, when necessary, reformed public life.
