Renaissance jewels are among the most alluring manifestations of an age that experienced the widening of horizons, from the Old World to the New. This volume overflows with luxurious imagery expressing the boundless creativity and spirit of the Age of the Renaissance. Yvonne Hackenbroch relates the tales of the jewels, the artists, and the patrons who commissioned them.

The dawn of print was a major turning point in the early modern world. It rescued ancient learning from obscurity, transformed knowledge of the natural and physical world, and brought the thrill of book ownership to the masses. But, as Andrew Pettegree reveals in this work of great historical merit, the story of the post-Gutenberg world was rather more complicated than we have often come to believe. The Book in the Renaissance reconstructs the first 150 years of the world of print, exploring the complex web of religious, economic, and cultural concerns surrounding the printed word. From its very beginnings, the printed book had to straddle financial and religious imperatives, as well as the very different requirements and constraints of the many countries who embraced it, and, as Pettegree argues, the process was far from a runaway success. More than ideas, the success or failure of books depended upon patrons and markets, precarious strategies and the thwarting of piracy, and the ebb and flow of popular demand. Owing to his state-of-the-art and highly detailed research, Pettegree crafts an authoritative, lucid, and truly pioneering work of cultural history about a major development in the evolution of European society.

After its rediscovery in 1417, Lucretius’s Epicurean didactic poem De Rerum Natura threatened to supply radicals and atheists with the one weapon unbelief had lacked in the Middle Ages: good answers. Scholars could now challenge Christian patterns of thought by employing the theory of atomistic physics, a sophisticated system that explained natural phenomena without appeal to divine participation, and argued powerfully against the immortality of the soul, the afterlife, and a creator God. Ada Palmer explores how Renaissance readers, such as Machiavelli, Pomponio Leto, and Montaigne, actually ingested and disseminated Lucretius, and the ways in which this process of reading transformed modern thought. She uncovers humanist methods for reconciling Christian and pagan philosophy, and shows how ideas of emergent order and natural selection, so critical to our current thinking, became embedded in Europe’s intellectual landscape before the seventeenth century. This heterodoxy circulated in the premodern world, not on the conspicuous stage of heresy trials and public debates, but in the classrooms, libraries, studies, and bookshops where quiet scholars met the ideas that would soon transform the world. Renaissance readers—poets and philologists rather than scientists—were moved by their love of classical literature to rescue Lucretius and his atomism, thereby injecting his theories back into scientific discourse. Palmer employs a new quantitative method for analyzing marginalia in manuscripts and printed books, exposing how changes in scholarly reading practices over the course of the sixteenth century gradually expanded Europe’s receptivity to radical science, setting the stage for the scientific revolution.

Memling, Van Eyck, Antonello da Messina, Raphael, Holbein, Titian, Leonardo . . . these are the greatest names of the Renaissance which symbolize the ultimate in artistic achievement. Now their work is reproduced in this spectacular, luxury volume printed on cotton paper and exquisitely presented in a brown and turquoise linen case. Whether Italian, Flemish, or German, all were masters of the portrait, a style that was popular and much appreciated during the fifteenth and sixteenth centuries. The genius of these artists allowed them to overcome the limits of the genre and inscribe the art of portraiture into the universal history of mankind. Sharply focused and featuring meticulously researched illustrations, this beautiful book is the first of its kind to shed light on some of the most familiar images in art history. 70 illustrations

European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy. Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself.

A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts. In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists—a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or “image made without hands”), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories.

An exploration of the role of the book, the map, and the European concept of literacy in the conquest of the New World