Citare in Italian means both to cite and to quote. Citazione means both citation and quotation. This volume, with many discussions of annotations or marginal notes (postils), aims to tease out one of the principal threads of the over-arching theme of what might be termed 'Lost and Found in Translation' with regard to Early Modern Architecture. Citation of texts in relation to Early Modern architectural design, treatise writing and theory, has long been studied, but mostly in ways which have never clearly distinguished between three important but different terms: mindset, citation and quotation. This volume charts citation from Filarete and ancient descriptions of Near Eastern Architecture, to difficulties in understanding Vitruvius, and Lost and found in Fra Giocondo's Vitruvius. The investigation then broadens to Tracing Renaissance Italian Architectural Books in colonial Mexico and an examination of reverse ekphrasis and Early Modern Architecture. It then turns to twisted words and borrowed wisdom: misleading citation in Scamozzi's Idea dell'architettura universale (1615), before heading East to discuss formats and functions of large-scale calligraphy in late-Ming and Qing-period China and the reconstruction of architectural spaces. Turning to Quotation, the investigation begins with Pirro Ligorio, the 'Megala' ship and the Cortile del Belvedere, and invention, imitation and reiteration: the case of Bramante's Palazzo Caprini and its progeny. Then follows Quoting from memory: centralized models and basilica systems in early counter-reformation Venice, followed by 'Borrominismo' in eighteenth century Lisbon, and old form with new function: Villa Emo-Amtshaus Wörlitz, and concludes with found and reshaped in translation: architectural models between centre and periphery. An important reading for anybody interested in Early Modern Architecture.

The Poetics of Melancholy in Early Modern England explores how attitudes toward, and explanations of, human emotions change in England during the late sixteenth and early seventeenth century. Typically categorized as 'literary' writers Edmund Spenser, John Donne, Robert Burton and John Milton were all active in the period's reappraisal of the single emotion that, due to their efforts, would become the passion most associated with the writing life: melancholy. By emphasising the shared concerns of the 'non-literary' and 'literary' texts produced by these figures, Douglas Trevor asserts that quintessentially 'scholarly' practices such as glossing texts and appending sidenotes shape the methods by which these same writers come to analyse their own moods. He also examines early modern medical texts, dramaturgical representations of learned depressives such as Shakespeare's Hamlet, and the opposition to materialistic accounts of the passions voiced by Neoplatonists such as Edmund Spenser.

Bringing together contributions from art history, architectural history, historiography and history of law, this volume is the first comprehensive exploration of the manifold meanings of foundation, dedication and consecration rituals and narratives in early modern culture.

Sir Kenneth Clark wrote in the Architectural Review, that the first result of this book was "to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture, ' and this defines Wittkower's intention in a nutshell.

Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text offers a collection of strategic and practical approaches to understanding, analyzing, and embodying a range of heightened text styles, including Greek tragedy, Shakespeare, and Restoration/comedy of manners. These essays offer insights from celebrated teachers across the disciplines of acting, voice, and movement and are designed to help actors and instructors find deeper vocal and physical connections to poetic text. Although each dramatic genre offers a unique set of challenges, Building Embodiment highlights instances where techniques can be integrated, revealing how the synthesis of body, brain, and word results in a fuller sense of character experiencing for both the actor and the audience. This book bridges the gap between academic and professional application and invites the student and professional actor into a richer experience of character and story.

Decorated by Giovanni Buonconsiglio, Jacopo Tintoretto, Palma il Giovane, Sebastiano Ricci and Giambattista Tiepolo, the church of the former Benedictine female monastery Santi Cosma e Damiano occupies an outstanding position in Venice. The author of this study argues that from its foundation in 1481 to its dissolution in 1805, Santi Cosma e Damiano was a reform convent, and that its nuns employed art and architecture as a means to actively express their specific religious concerns. While on the one hand focusing, on the basis of extensive archival research, on the reconstruction of the history and construction of the convent, this study's larger concern is with the religious reform movement, its ideas concerning art and architecture, and with the convent as a space for female self-realization in early modern Venice.