Preface General introductions The festivals for Henri III in Cracow, Venice, Orleans and Rouen, R... more Preface General introductions The festivals for Henri III in Cracow, Venice, Orleans and Rouen, R.J. Knecht Festivals in Genoa in the 16th and 17th centuries, Maria Ines Aliverti Festivals in Poland-Lithuania in the 16th and 17th centuries, Karin Friedrich Festivals in the Netherlands, Peter Davidson Festivals of the Protestant Union, Helen Watanabe-O'Kelly and Sara Smart Festivals commemorating the defeat of Protestantism in La Rochelle, Marie-Claude Canova-Green Festivals in Scandinavia, Mara R. Wade The New World: 17th-century festivals in the viceroyalties of Mexico and Peru, Peter Davidson Index.
This chapter explains how the curia changed over the period 1492 to 1692, paying particular atten... more This chapter explains how the curia changed over the period 1492 to 1692, paying particular attention to shifts in its structures, procedures, and personnel. The medieval curia, through which popes had provided a limited range of arbitrational and spiritual services to the faithful across Christendom, gradually evolved into a more complex and multivalent organism, which fulfilled different roles simultaneously. On the one hand, the early modern curia housed standing committees called Congregazioni (Congregations) that directed Tridentine Catholicism, including its programs of spiritual renewal and extra- European evangelization; on the other, it served as the basis for the temporal governance of the Papal States. This unusual duality of purpose and the tensions it engendered were important drivers of the curia’s history in the 16th and 17th centuries. By extension they also had a significant impact on the papacy’s wider history and on the history of the city and citizens of Rome itself
During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardin... more During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardinal Alessandro Farnese, the wealthy and powerful grandson of Pope Paul III, was the city's most important individual patron of the visual arts. For over fifty years Farnese commissioned buildings and paintings of the highest quality from the major artists active in the city. Using a wealth of hitherto unpublished material, Clare Robertson provides the first thorough reconstruction of Farnese's development and influence as a patron, at the same time, raising important questions about the attitudes and motives of Renaissance patrons and challenging a number of current art-historical assumptions about patronage. She shows how Farnese began his patronage with costly works of decorative art and thus embarked on an extensive campaign of secular commissions from artists such as Titian, Vasari, and Taddeo Zuccaro. His secular patronage culminated with his magnificent villa at Caprarola, designed by Vignola. Only in the 1560s, after some thirty years as a Cardinal, did he turn to commissions for religious works, mainly in response to Counter Reformation pressures and because of his fervent desire to become Pope. The emphasis of his patronage then changed dramatically as he embarked on building an impressive number of new churches, including the Gesu, the most influential church of the late sixteenth century. This handsomely illustrated study of a major artistic figure will be indispensable to students and scholars of sixteenth-century Italy and its art.
... 302337 in Christianity and the Renaissance. Image and Religious Imagi-nation in the Quattroc... more ... 302337 in Christianity and the Renaissance. Image and Religious Imagi-nation in the Quattrocento. Eds. ... Athens, Ga: University of Georgia Press, 1988. Brown, Patricia Fortini. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1988. ...
... At least 230 Spanish marranos, as they were called (which translates as "swine"), c... more ... At least 230 Spanish marranos, as they were called (which translates as "swine"), confessed to the charges of still being Jews despite their conversion and were reconciled by the pope in this "act of faith." The penitents were dressed in conical caps and red and blue sambenitos ...
... In this church, diverse guilds — among them grocers, fruiterers, vintners, and merchant-broke... more ... In this church, diverse guilds — among them grocers, fruiterers, vintners, and merchant-brokers of the port — met under the aegis of a single confraternity that shared the ... Furio Fasolo (1944) and Liliana Barroero (1976) published the documents naming the eminent architects. ...
“All the world’s a stage…” Art and Pageantry in the Renaissance and Baroque, eds. Barbara Wisch and Susan Scott Munshower, Papers in Art History from The Pennsylvania State University 6, 2 vols., University Park, 1990, 1: 82–117. , 1990
Preface General introductions The festivals for Henri III in Cracow, Venice, Orleans and Rouen, R... more Preface General introductions The festivals for Henri III in Cracow, Venice, Orleans and Rouen, R.J. Knecht Festivals in Genoa in the 16th and 17th centuries, Maria Ines Aliverti Festivals in Poland-Lithuania in the 16th and 17th centuries, Karin Friedrich Festivals in the Netherlands, Peter Davidson Festivals of the Protestant Union, Helen Watanabe-O'Kelly and Sara Smart Festivals commemorating the defeat of Protestantism in La Rochelle, Marie-Claude Canova-Green Festivals in Scandinavia, Mara R. Wade The New World: 17th-century festivals in the viceroyalties of Mexico and Peru, Peter Davidson Index.
This chapter explains how the curia changed over the period 1492 to 1692, paying particular atten... more This chapter explains how the curia changed over the period 1492 to 1692, paying particular attention to shifts in its structures, procedures, and personnel. The medieval curia, through which popes had provided a limited range of arbitrational and spiritual services to the faithful across Christendom, gradually evolved into a more complex and multivalent organism, which fulfilled different roles simultaneously. On the one hand, the early modern curia housed standing committees called Congregazioni (Congregations) that directed Tridentine Catholicism, including its programs of spiritual renewal and extra- European evangelization; on the other, it served as the basis for the temporal governance of the Papal States. This unusual duality of purpose and the tensions it engendered were important drivers of the curia’s history in the 16th and 17th centuries. By extension they also had a significant impact on the papacy’s wider history and on the history of the city and citizens of Rome itself
During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardin... more During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardinal Alessandro Farnese, the wealthy and powerful grandson of Pope Paul III, was the city's most important individual patron of the visual arts. For over fifty years Farnese commissioned buildings and paintings of the highest quality from the major artists active in the city. Using a wealth of hitherto unpublished material, Clare Robertson provides the first thorough reconstruction of Farnese's development and influence as a patron, at the same time, raising important questions about the attitudes and motives of Renaissance patrons and challenging a number of current art-historical assumptions about patronage. She shows how Farnese began his patronage with costly works of decorative art and thus embarked on an extensive campaign of secular commissions from artists such as Titian, Vasari, and Taddeo Zuccaro. His secular patronage culminated with his magnificent villa at Caprarola, designed by Vignola. Only in the 1560s, after some thirty years as a Cardinal, did he turn to commissions for religious works, mainly in response to Counter Reformation pressures and because of his fervent desire to become Pope. The emphasis of his patronage then changed dramatically as he embarked on building an impressive number of new churches, including the Gesu, the most influential church of the late sixteenth century. This handsomely illustrated study of a major artistic figure will be indispensable to students and scholars of sixteenth-century Italy and its art.
... 302337 in Christianity and the Renaissance. Image and Religious Imagi-nation in the Quattroc... more ... 302337 in Christianity and the Renaissance. Image and Religious Imagi-nation in the Quattrocento. Eds. ... Athens, Ga: University of Georgia Press, 1988. Brown, Patricia Fortini. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1988. ...
... At least 230 Spanish marranos, as they were called (which translates as "swine"), c... more ... At least 230 Spanish marranos, as they were called (which translates as "swine"), confessed to the charges of still being Jews despite their conversion and were reconciled by the pope in this "act of faith." The penitents were dressed in conical caps and red and blue sambenitos ...
... In this church, diverse guilds — among them grocers, fruiterers, vintners, and merchant-broke... more ... In this church, diverse guilds — among them grocers, fruiterers, vintners, and merchant-brokers of the port — met under the aegis of a single confraternity that shared the ... Furio Fasolo (1944) and Liliana Barroero (1976) published the documents naming the eminent architects. ...
“All the world’s a stage…” Art and Pageantry in the Renaissance and Baroque, eds. Barbara Wisch and Susan Scott Munshower, Papers in Art History from The Pennsylvania State University 6, 2 vols., University Park, 1990, 1: 82–117. , 1990
This volume, edited Pamela M. Jones, Barbara Wisch, and Simon Ditchfield, focuses on Rome from 14... more This volume, edited Pamela M. Jones, Barbara Wisch, and Simon Ditchfield, focuses on Rome from 1492 to 1692, an era of striking renewal: religious, demographic, economic, artistic, intellectual, and urban. Rome’s most distinctive aspects—including its twin governments (civic and papal), unique role as the seat of global Catholicism, disproportionately male population, and status as artistic capital of Europe—are examined from numerous perspectives. This book of 30 chapters, intended for scholars and students across the academy, fills a noteworthy gap in the literature. It is the only multidisciplinary study of 16th- and 17th-century Rome that synthesizes and critiques past and recent scholarship while offering innovative analyses of a wide range of topics and identifying new avenues for research.
The Companion to Early Modern Rome, edited by Pamela M. Jones, Barbara Wisch and Simon Ditchfield... more The Companion to Early Modern Rome, edited by Pamela M. Jones, Barbara Wisch and Simon Ditchfield, focuses on Rome during an era of striking renewal: demographic, architectural, intellectual, and artistic. Rome’s most distinctive aspects--including its twin governments (civic and papal), unique role as the seat of global Catholicism, disproportionately male population, and status as artistic capital of Europe--are examined from numerous perspectives. It is the only multidisciplinary study of 16th- and 17th-century Rome that synthesizes and critiques past and recent scholarship while offering innovative analyses of a wide range of topics and identifying new avenues for research for university students and young academics embarking on this field.
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