Starting from an inventory and other documents, Ann Roberts has identified some 30 works of art that originated from the convent of San Domenico of Pisa. She here examines those objects commissioned for and made by the nuns during the fifteenth century; some of the objects included have never before been published. One of her goals in this study is to bring into the discussion of Renaissance art a body of images that have been previously overlooked, because they come from a non-Florentine context and because they do not fit modern notions of the "development" of Renaissance style. She also analyzes the function of the images - social as well as religious - within the context of a female Dominican convent. Finally, she offers descriptions of and documentation for the process of patronage as it was practiced by cloistered women, and the making of art in such enclosures. The author presents a catalogue of works, which gives basic data and bibliography for the objects described in the text. Roberts offers other valuable resources in the appendices, including unpublished C19th inventories of the objects in the convent at various moments, documents regarding the commission of works of art for the convent, letters written by the nuns, a list of the Prioresses of San Domenico, lists of nuns at different points in the fifteenth and early sixteenth century, and a list of the relics owned by the convent in the sixteenth century. Roberts firmly grounds her interpretation in the values of the Order to which the nuns belonged, and in the political and social concerns of their city.

"A little-known painter in sixteenth-century Florence, Plautilla Nelli is one of the first known female Renaissance artists. The Lamentation, Last Supper, and Pentecost make her one of the first European women we can identify with large-scale religious works. Most remarkably, perhaps, this Dominican nun became the primary "image maker" of the Order of Preachers in Florence, a role previously played by Fra Bartolommeo. Through her art, she "preached" primarily, but not exclusively, to the nuns in her convent of Santa Caterina da Siena. Nelli also conveyed her artistic and moral message to all those who could see her works, many of which were praised by two contemporaries, Giorgio Vasari and Serafino Razzi." "In this collection of essays, internationally recognized scholars examine the life and works of Nelli, the prioress of a Dominican convent, with special attention to the artistic, social, and religious contexts. The book reproduces all Nelli's paintings and drawings in color, many for the first time, and significantly increases the small corpus of works attributed to her. It also presents the restoration results of her celebrated Lamentation."--BOOK JACKET.

This book is a study of convent theatre in Italy, an all-female tradition. Widespread in the early modern period, but virtually forgotten today, this activity produced a number of talented dramatists and works worthy of remembrance. Convent authors, actresses and audiences, especially in Tuscan houses, the plays written and produced, and what these reveal about the lives of convent women, are the focus of this book. Beginning with the earliest known performances of miracle and mystery plays (sacre rappresentazioni) in the late fifteenth century, the book follows the development in the convents at the turn of the sixteenth century of spiritual comedy and of a variety of dramatic forms in the seventeenth century. Convent theatre both reflected the high level of literacy among convent women and contributed to it, and it attested to the continuing close contact between the secular world and the convents - even in the Post Tridentine period.

Printed book cultures in Scandinavia before 1525 were formed by their vicinity to expanding European book markets. Collections of prints were founded, decisions on printing books in Scandinavia were based upon thorough knowledge of what printers on the continent achieved in question of volume, quality and price. Building on a large database of contemporary provenances and statistical analyses of every possible aspect of peripheral book markets, as well as on new readings of many old and new sources, this book recalibrates scholarly looks on Scandinavian book history before the Reformation. The result is a fresh portrait of a dynamic period in cultural history which places Scandinavia, though in the geographical periphery of Europe, in the middle of European printing.

"An impressive collection of 29 essays by British, American and Italian scholars on important historical, artistic, cultural, social, legal, literary and theatrical aspects of women's contributions to the Italian Renaissance, in its broadest sense. Many contributions are the result of first-hand archival research and are illustrated with numerous unpublished or little-known reproductions or original material. The subjects include: women and the court ( Dilwyn Knox, Evelyn S Welch, Francine Daenens and Diego Zancani ); women and the church ( Gabriella Zarri, Victoria Primhak, Kate Lowe, Francesca Medioli and Ruth Chavasse ); legal constraints and ethical precepts ( Marina Graziosi, Christine Meek, Brian Richardson, Jane Bridgeman and Daniela De Bellis ); female models of comportment ( Marta Ajmarm Paola Tinagli and Sara F Matthews Grieco ); women and the stage ( Richard Andrews, Maggie Guensbergberg, Rosemary E Bancroft-Marcus ); women and letters ( Diana Robin, Virginia Cox, Pamela J Benson, Judy Rawson, Conor Fahy, Giovanni Aquilecchia, Adriana Chemello, Giovanna Rabitti and Nadia Cannata Salamone )."