Myth of Venice - Myth and ritual - Government by ritual - Social relationships - Scuole - Cittadini - The golden book - Festivals in Renaissance Venice - Festival of the twelve Marys - Procession of Redentore - Feast of Saint Justina.

This volume brings together a group of prominent contributors to consider the topics of government and warfare in Tuscany and Venice in the Renaissance. The essays cover a remarkably broad geographical and topical range as they analyse the economic, military, political, and diplomatic history of Florence, Rome, Venice, and the Italian peninsula in general through the Renaissance and early modern period.

In late sixteenth-century Venice, nearly 60 percent of all patrician women joined convents, and only a minority of these women did so voluntarily. In trying to explain why unprecedented numbers of patrician women did not marry, historians have claimed that dowries became too expensive. However, Jutta Gisela Sperling debunks this myth and argues that the rise of forced vocations happened within the context of aristocratic culture and society. Sperling explains how women were not allowed to marry beneath their social status while men could, especially if their brides were wealthy. Faced with a shortage of suitable partners, patrician women were forced to offer themselves as "a gift not only to God, but to their fatherland," as Patriarch Giovanni Tiepolo told the Senate of Venice in 1619. Noting the declining birth rate among patrician women, Sperling explores the paradox of a marriage system that preserved the nobility at the price of its physical extinction. And on a more individual level, she tells the fascinating stories of these women. Some became scholars or advocates of women's rights, some took lovers, and others escaped only to survive as servants, prostitutes, or thieves.

Popular Politics in an Aristocratic Republic explores the different aspects of political actions and experiences in late medieval and early modern Venice. The book challenges the idea that the city of Venice knew no political conflict and social contestation during the medieval and early modern periods. By examining popular politics in Venice as a range of acts of contestation and of constructive popular political participation, it contributes to the broader debate about premodern politics. The volume begins in the late fourteenth century, when the demographical and social changes resulting from the Black Death facilitated popular challenges to the ruling class’s power, and finishes in the late eighteenth century, when the French invasion brought an end to the Venetian Republic. It innovates Venetian studies by considering how ordinary Venetians were involved in politics, and how popular politics and contestation manifested themselves in this densely populated and diverse city. Together the chapters propose a more nuanced notion of political interactions and highlight the role that ordinary people played in shaping the city’s political configuration, as well as how the authorities monitored and punished contestation. Popular Politics in an Aristocratic Republic combines recent historiographical approaches to classic themes from political, social, economic, and religious Venetian history with contributions on gender, migration, and urban space. The volume will be essential reading for students of Venetian history, medieval and early modern Italy and Europe, political and social history.

The Renaissance was a golden age in the long history of Venetian painting, and the art that came from Venice during that era includes some of the most visually exciting works in the whole of western art. This attractive book - a comprehensive account of painting in Venice from Bellini to Titian to Tintoretto - is an accessible introduction to the paintings of this period. Peter Humfrey surveys the development of a distinctly Venetian artistic tradition from the middle years of the fifteenth century to the end of the sixteenth century. He discusses the work of Jacopo and Giovanni Bellini, Giorgione, Titian, Veronese and Tintoretto as well as the paintings of those less well known - such as the three Vivarini, Cima, Carpaccio, Palma Vecchio, Lorenzo Lotto and Jacopo Bassano. Humfrey analyses these painters' works in terms of their pictorial style, technique, subject matter, patronage and function. He also sets the art against the background of the political, social and religious conditions of Renaissance Venice, as outlined in his Introduction. The book includes an appendix that provides brief biographies of thirty-six of the most important painters active in Renaissance Venice.

Pursuing the intersections of Venetian culture from the beginning of the sixteenth century through the first decades of the seventeenth, Manfredo Tafuri develops a story crowded with characters and full of surprises. He engages the doges Andrea Gritti and Leonardo Dona; architects and artists Sansovino, Serlio, Palladio, and Scamozzi; and scientists Francesco Barozzi and Galileo. He records the battle that was fought for architecture as metaphor for absolute truth and good government, and contrasts these with the myths that inspired them.