Art, Memory and Family in Renaissance Florence examines the relationship between the production of objects and the production of memory and history in fifteenth-century Florence. Recent studies of Florence by cultural, social, political and economic historians have resulted in a considerable knowledge of family life in this period and the significance of family, kin and neighborhood in the social and political life of the city. Investigating the means and modes of formulating and recording those relationships, the essays gathered in this study consider the interconnections among society, art and memory.

"I libri della famiglia has long been viewed by Italians as a classic of Italian literature. It displays a variety of styles--high rhetoric, systematic moral exposition, novelistic portrayal of character--in the typical Renaissance framework of the dialogue. The chief merit of the work lies in its scope: it directly assays the personal value system of the Florentine bourgeois class, which did so much to foster the development of art, literature, and science. This translation is based upon the critical edition by Cecil Grayson, Serena Professor of Italian Studies, Oxford."--Jacket.

A classic of Italian literature! The chief merit of this work lies in its scope: it directly assays the personal value system of the Florentine bourgeois class, which did so much to foster the development of art, literature, and science. It displays a variety of high styleshigh rhetoric, systematic moral exposition, novelistic portrayal of characterin the typical Renaissance framework of the dialogue. The treatise, in its entirety, shows a Florentine paterfamilias and two uncles instructing some submissive nephews in the ethics of private life. Money and reputation are its primary themes. Book III, the most dramatic, far-ranging, and down-to-earth of the four books, does not present a single bourgeois outlook but, as a dialogue, expresses conflicting points of view, enabling students to relive social and moral conflicts that troubled early capitalist society.

This book examines a Renaissance Florentine family's art patronage, even for women, inspired by literature, music, love, loss, and religion.

An exploration of ways of looking in Renaissance Florence, where works of art were part of a complex process of social exchange Renaissance Florence, of endless fascination for the beauty of its art and architecture, is no less intriguing for its dynamic political, economic, and social life. In this book Patricia Lee Rubin crosses the boundaries of all these areas to arrive at an original and comprehensive view of the place of images in Florentine society. The author asks an array of questions: Why were works of art made? Who were the artists who made them, and who commissioned them? How did they look, and how were they looked at? She demonstrates that the answers to such questions illuminate the contexts in which works of art were created, and how they were valued and viewed. Rubin seeks out the meeting places of meaning in churches, in palaces, in piazzas--places of exchange where identities were taken on and transformed, often with the mediation of images. She concentrates on questions of vision and visuality, on "seeing and being seen." With a blend of exceptional illustrations; close analyses of sacred and secular paintings by artists including Fra Angelico, Fra Filippo Lippi, Filippino Lippi, and Botticelli; and wide-ranging bibliographic essays, the book shines new light on fifteenth-century Florence, a special place that made beauty one of its defining features.

The chief merit of this translation lies in its scope: It directly assays the personal value system of the Florentine bourgeois class, which did so much to foster the development of art, literature, & science.

Essays illustrate the ways Renaissance Florentines expressed or shaped their identities as they interacted with their society.