Here are 100 books that The Renaissance in Italy fans have personally recommended if you like
The Renaissance in Italy.
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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 was another book that really inspired my choice of profession. Located in the northeast corner of the Italian peninsula, Friuli emerges as something like the wild west of Renaissance Italy in this engrossing study.
Far removed from the urbane cities and courts and the worlds of art and literature commonly associated with the Renaissance, Edward Muir reveals the continuing binds of feudal obligation, family, vengeance, and honor, and the violence they provoked in the early sixteenth century. Incidentally, the history he tells also encounters the real-life origins of the story that would become Romeo and Juliet.
Like Trexler, Muir explores the power of ritual in Renaissance Italian life, but rather than rituals of community and government, he focuses in this book on the rituals of aversion and violence.
Nobles were slaughtered and their castles looted or destroyed, bodies were dismembered and corpses fed to animals-the Udine carnival massacre of 1511 was the most extensive and damaging popular revolt in Renaissance Italy (and the basis for the story of Romeo and Juliet). Mad Blood Stirring is a gripping account and analysis of this event, as well as the social structures and historical conflicts preceding it and the subtle shifts in the mentality of revenge it introduced. This new reader's edition offers students and general readers an abridged version of this classic work which shifts the focus from specialized scholarly…
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 is an excellent and fascinating book on the scientific culture of Renaissance Italy, where intellectuals and the wealthy elite began collecting and cataloging curiosities long before their northern European counterparts. Findlen demonstrates a key way in which Renaissance intellectuals could look back to an idealized ancient past while also creating new knowledge and institutions – namely the museum. This book is beautifully written, full of engaging stories, and shows a side of early modern science often ignored.
In 1500 few Europeans regarded nature as a subject worthy of inquiry. Yet fifty years later the first museums of natural history had appeared in Italy, dedicated to the marvels of nature. Italian patricians, their curiosity fueled by new voyages of exploration and the humanist rediscovery of nature, created vast collections as a means of knowing the world and used this knowledge to their greater glory. Drawing on extensive archives of visitors' books, letters, travel journals, memoirs, and pleas for patronage, Paula Findlen reconstructs the lost social world of Renaissance and Baroque museums. She follows the new study of natural…
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.
In spite of the impressive intellectual and scientific achievements of the Renaissance era, doctors and anatomists still had a very limited understanding of “women’s secrets,” that is, how the female body functioned. This era saw an increasing number of human dissections for medical study, but the vast majority of medical specimens were male, leading to an imbalance of knowledge.
In this captivating book, Park focuses on dissections of female bodies and the development of knowledge about the titular “secrets of women.” By expanding her study beyond university dissections to include those done in religious and domestic settings, she finds not only dissections of women’s bodies, but also dissections performed by women. The argument and analysis are sharp and incisive, it expands our understanding of early modern medicine, and the case studies of individual dissections are fascinating.
Toward the end of the Middle Ages, medical writers and philosophers began to devote increasing attention to what they called “women’s secrets,” by which they meant female sexuality and generation. At the same time, Italian physicians and surgeons began to open human bodies in order to study their functions and the illnesses that afflicted them, culminating in the great illustrated anatomical treatise of Andreas Vesalius, in 1543.
Katharine Park traces these two closely related developments through a series of case studies of women whose bodies were dissected after their deaths: an abbess, a lactating virgin, several patrician wives and mothers,…
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, now more than twenty years old, is still a key work in the history of sexuality. Rocke explores masculine culture in Renaissance Florence, focusing on seemingly rampant homoeroticism. He explores the topic from both proscriptive sources (sermons, laws, etc.) and through criminal trials against men accused of sodomy (as the practice was called). Contrary to what we might expect, he finds that sodomy was a relatively tolerated aspect of male culture, so long as it followed acceptable patterns. As with so much else in Renaissance Italy, here too the Florentines looked to the ancients, essentially recreating the ancient Greek form of pederasty, in which older elite men formed sexual relationships with adolescents, taking the “active” role with their younger partners. None of this challenged their masculinity or precluded heterosexual marriage; this was something different. Rocke’s study thus challenges us to rethink early modern sexuality as a spectrum, rather…
In 1432, the Office of the Night was created specifically to police sodomy in Florence. Seventy years of denunciations, accusations, interrogations, and sentencings left an extraordinarily detailed record, which Rocke uses to its fullest in this richly documented portrait. He uncovers a culture in which sexual roles were strictly defined by age, with boys under eighteen the 'passive' participants in sodomy, youths in their twenties the 'active' participant, and men in their thirties marrying women, their days of sexual frivolity over. This richly documented book paints a fascinating picture of a vibrant time and place and calls into question our…
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.
Burckhardt’s encyclopedia became my bible. Whatever I needed to know about the clothing, or the buildings, or the politics—or anything else about that period, I only had to open Burckhardt’s book, and it was all there for me. The information was easy to find and eminently readable; and while I am hardly a scholar of the Renaissance, after devouring his book a thousand times I believe I can now call myself an honorable student.
For nineteenth-century Swiss historian Jacob Burckhardt, the Italian Renaissance was nothing less than the beginning of the modern world - a world in which flourishing individualism and the competition for fame radically transformed science, the arts, and politics. In this landmark work he depicts the Italian city-states of Florence, Venice and Rome as providing the seeds of a new form of society, and traces the rise of the creative individual, from Dante to Michelangelo. A fascinating description of an era of cultural transition, this nineteenth-century masterpiece was to become the most influential interpretation of the Italian Renaissance, and anticipated ideas…
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…
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…
