David is one of the most celebrated characters in the Bible. We know him as the brave young man who defeated Goliath, the first king of a united Israel, the composer of the beloved Psalms, and, for Christians, the messianic forerunner to Jesus. And yet for all the glory we attribute to David's legend, the historical reality is both fascinating and disturbing. In The Historical David, Joel Baden reveals that, in David's case, the Bible is political spin, "the goal of which is to absolve David of any potential guilt and to show him in a positive light." Through deep textual analysis, Baden reveals how the historical David has been painstakingly and successfully diminished, replaced by the portrait of a glorious king we are now familiar with. To question David's legend opens up a debate about what it means to be a descendant of David—be it nationally, ethnically, or religiously. In The Historical David, Baden confronts this challenge, bringing the historical David vibrantly to life, and ultimately revealing that the flesh-and-blood man was far more complex and interesting than the mythical king.

"Rich and engaging. This account of Florentine art tells the story of who commissioned these works, who made them, where they were seen, and how they were experienced and understood by their viewers. Includes a useful timeline, glossary, and series of artists' biographies."--Patricia L. Reilly, Swarthmore College "An extraordinarily useful book, not only for teachers, but also for historically minded travelers interested in an illustrated guide to the art of Renaissance Florence."--Evelyn Lincoln, Brown University "Clear and compelling. The well-chosen illustrations include ground plans and diagrams of key architectural monuments and sculpture. The updated, judicious bibliography is a resource for anyone tackling the vast scholarship on the art of Renaissance Florence."--Cristelle Baskins, editor of The Triumph of Marriage: Painted Cassoni of the Renaissance

"A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice's cultural circumstances--political, economic, intellectual, and religious--and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist's innovations, rivalries, and social status. The text has been divided into two parts--the fifteenth century and the sixteenth century--each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city's founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art--governmental, ecclesiastic, and domestic--and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources"--Provided by publisher.

Continuing the tradition of the Everyman Art Series, combining learned yet accessible text with high-quality illustrations, detailing Rome's rich cultural history in the Renaissance, dominated bt Papal authority.

Rome as we know it is largely a creation of the Renaissance, restructured and risen anew from a neglected medieval town. This book traces the extraordinary works of painting, sculpture, and architecture commissioned by Rome's church and civic nobility as part of their rival bids for power and prestige. With the aid of 118 illustrations, most of them in color, Loren Partridge charts the course of Rome's transformation into the most magnificent showpiece of the Catholic world.

John Marciari tells the story of the monuments, artists, and patrons of Renaissance Rome in this compelling book. In no other city is the ancient world so palpably present, and nowhere else is the mission of the church so evident. At the same time as the humanists sought to preserve and recreate the ancient city, giving it a new lease on life, the popes dispensed patronage much as any other contemporary Italian ruler. Rome was also the most international of the Renaissance cities with artists and architects generally training elsewhere before arriving in the city and introducing new trends. By adopting a chronological structure, covering the period c.1300–1600, Marciari is able to explore the nature of Roman patronage as it differed from papacy to papacy. He examines the city's extraordinary works of art in the context of the working practices, competition, and rivalries that made Renaissance Rome so magnificent.