"This book is divided into two parts, the first comprises two chapters dealing with Karol Lanchkoronski and the fate of his collection, as well as wedding rituals in Renaissance Italy and the history of domestic painting. The second part, consisting of eight chapters, discusses the cassone panels and paintings derving from day beds--lettucci--and panelling of the walls--spalliere."--Back cover.

Provides a directory of online resources on Medieval and Renaissance weddings. Offers access to a FAQ section, bibliographies, vows, costuming resources, and descriptions of food, music, and dance of the 15th century.

Cassoni is the Italian word for the chests, painted with scenes from myth and literature, central to upper-class weddings of the 15th century. This book includes essays, which shed light on the meaning of cassoni through informative discussions of Renaissance wedding rituals, male-female relations and daily domestic life.

This publication is the first English translation from the Italian of the fascinating contemporary account of the spectacular four-day celebrations that took place in Pesaro in May 1475 to mark the marriage of Costanzo Sforza Lord of Pesaro and Camilla d'Aragona of Naples. The event was commemorated both in manuscript and early print in an anonymous narration that describes in great detail the arrival of the bride and her welcome procession into Pesaro; the actual marriage ceremony and the celebratory banquet that followed; the pageants, presentation of gifts and fireworks that filled the third day; and the final day's excitement of jousts and yet more theatrical entertainment. The translation has been made from the early printed text (the incunable in the British Library, I.A.31753 Sforza, Costantio Signore di Pesaro, 1475) and also directly from the unique illustrated presentation manuscript in the Vatican Library (MS Vat. Urb. Lat. 899) which, though previously thought to have been produced in 1480, may in fact have been made at the same time as the incunable edition. It is not known for whom the printed books were intended (7 copies only survive), but it is likely that the prominent dignitaries among the 108 guests - who included Federico da Montefeltro, the groom's brother-in-law - would have been the recipients of the account when it was printed in November 1475.This present edition of the text includes all the images that illustrate the original manuscript - 32 full-page miniatures that depict the floats that welcomed the bride at the city gates of Pesaro; the costumed figures at the wedding banquet who represented the presiding Sun and Moon or the male and female messengers of the classical gods and goddesses who announcedthe exotic dishes of the 12-course banquet; and further colourful, unusually interesting illustrations of the ballets, fireworks and triumphs of the final two days of the celebrations. In addition to the Introduction that provides the reader with the historical background and biographical details of the protagonists and personalities of this special occasion, Dr. Bridgeman also adds helpful and highly informative annotations to the narration itself. In addition she provides full descriptions and explanations of the illustrations - all reproduced here in colour - and devotes a separate appendix to listing and explaining all the dishes served at the wedding banquet, together with their ingredients and recipes.

Presents a collection of Internet resources on Medieval and Renaissance weddings, compiled by Kirsti Thomas. Offers access to bibliographies and FAQs. Includes information on Viking weddings, vows, and more.

"This book introduces, for the first time in English, a fascinating yet strangely neglected aspect of Italian Renaissance art. During the quattrocento painting became more popular and probably more beautiful than at any time before or since. House interiors and furniture were painted with exotic stories and symbols, one of the most fashionable possessions in the grandest room in the palazzo being the painted cassone or marriage chest." /

The Renaissance studiolo was a space devoted in theory to private reading. The most famous studiolo of all was that of Isabella d'Este, marchioness of Mantua. This work explores the function of the mythological image within a Renaissance culture of collectors.