Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Out of a lifetime of study of the ancient Near East, Professor Olmstead has gathered previously unknown material into the story of the life, times, and thought of the Persians, told for the first time from the Persian rather than the traditional Greek point of view. "The fullest and most reliable presentation of the history of the Persian Empire in existence."—M. Rostovtzeff

The growth of serious interest during the last fifty years in the scholastic contribution to the development of economic thought has been very marked, and no-where more so than in the history of economic thought in Spain. First published in 1978, this book begins in the Middle Ages and traces the effect on business practice and on thought of the presence of the Christian, Islamic and Jewish communities who lived side by side in the Peninsula. It shows how the economics of Plato and Aristotle were transmitted by way of Toledo to the Latin West. In the second half of the book the author considers e~Salamancane(tm) ideas and the views of the political economists and e~projectorse(tm) who preceded the Enlightenment. At the same time she surveys the present state of the subject and offers bibliographical guidance for the reader.

The treatise De mundo offers a cosmology in the Peripatetic tradition which subordinates what happens in the cosmos to the might of an omnipotent god. Thus the work is paradigmatic for the philosophical and religious concepts of the early imperial age, which offer points of contact with nascent Christianity.

Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.

Gibbon offers an explanation for why the Roman Empire fell, a task made difficult by a lack of comprehensive written sources, though he was not the only historian to tackle the subject. Most of his ideas are directly taken from what few relevant records were available: those of the Roman moralists of the 4th and 5th centuries.