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19 Ephemeral Ceremonial Architecture in Prague, Vienna and Cracow in the Sixteenth and Early Seventeenth Centuries -- Index of Names
A landmark in the study of early modern Europe, this two-volume collection makes available for the first time a selection of the most important texts from court and civic festival books. Festival entertainments were presented to mark such occasions as royal and ducal entries to capital cities, dynastic marriages, the birth and christening of heirs, religious feasts and royal and ducal funerals. Europa Triumphans represents the chronological and trans-European range of the court and civic festival. These festivals are considered not simply as texts, but as events, and are introduced by groups of scholars, each with a specialist knowledge of the political, social and cultural significance of the festival and of the iconography, spectacle, music, dance, voice and gesture in which they were expressed. To demonstrate the geographic spread and political significance of festivals, and to illustrate the range of aesthetic languages they deploy, the festivals included in these two volumes are grouped in the following sections: Henri III; Genoa; Poland-Lithuania; The Netherlands; The Protestant Union; La Rochelle; Scandinavia; and The New World. These texts provide many valuable insights into the variety of political systems and historical circumstances that formed them. Beautifully produced with 148 black-and-white and 23 colour illustrations, Europa Triumphans represents an invaluable reference source for the study of early modern Europe. It presents texts both in transcription and translated into English, and is supplemented with introductory essays and commentaries. Europa Triumphans is co-published by Ashgate and the Modern Humanities Research Association, in conjunction with the AHRB Centre for the Study of the Renaissance at the University of Warwick, UK.
Essays from a specialist seminar held at University of Warwick, April 1990, under the auspices of the Graduate school of Renaissance Studies. The essays examine festival occasions taking place between 1560 and 1660, and draw attention to some of the more vigorous developments of the form of political theatre, not only in Italy but also Denmark, France, England, and the German-speaking states.
This fourth volume in the European Festival Studies, 1450–1700 series breaks with precedent in stemming from a joint conference (Venice, 2013) between the Society for European Festivals Research and the PALATIUM project supported by the European Science Foundation. The volume draws on up-to-date research by a Europe-wide group of academic scholars and museum and gallery curators to provide a unique, intellectually-stimulating and beautifully-illustrated account of temporary architecture created for festivals of the sixteenth and seventeenth centuries, together with permanent architecture pressed into service for festival occasions across major European locations including Italian, French, Austrian, Scottish and German. Appealing and vigorous in style, the essays look towards classical sources while evoking political and practical circumstances and intellectual concerns – from re-shaping and re-conceptualizing early sixteenth-century Rome, through providing for the well-being and political allegiance of Medici-era Florentines and exploring the teasing aesthetics of performance at Versailles to accommodating players and spectators in seventeenth-century Paris and at royal and ducal events for the Habsburg, French and English crowns. The volume is unique in its field in the diversity of its topics and the range of its scholarship and fascinating in its account of the intellectual and political life of Early Modern Europe.
European Renaissance Festivals are noted for their extravagance, for their inherited classical culture, and as evidence of how court and civic spectacles could express political, religious, social and economic aspirations. In this new monograph, the accent is firmly on the violent context of Magnificence: it examines how war affected the minds and practice of both artists and princes, and shows how victims and their suffering were as prominent in festival as were conquerors and their projections of victory. What emerges here is the dark side represented in princely entries where imperial ambitions are built upon civic devastation and where myths elaborate and expose their ambiguous nature and message. Artists and poets collaborated in bringing victory and violence together: Mantegna and Durer in triumphal processions; Frans Floris and Rubens on the canvases they created for triumphal arches where mythology was put to work to arouse excitement for deeds of heroism and death, while engravers depicted scenes of war and destruction to accommodate contemporary taste.
As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage-and personnel-management and urban planning as evinced in spectacles staged on water. Bodies of water in all their variety are explored here: seas, rivers, fountains, lakes and canals and flooded improvised locations within or adjacent to great buildings all provided stages for elaborate and costly performances, utilising the particular qualities of water to reflect light and distort sound. The volume encompasses festivals marking a wide range of occasions from the election of civic officials, the welcome of a monarch, an investiture or coronation, to ambassadorial visits or the arrival of a royal or ducal bride or bridegroom. Often taking the form of re-enactments of naval battles or legendary seaborne quests, these festivals seek to buttress civic and national pride, make claims to mastery over the sea and landscape, and explore the imaginative as well as practical life of performance space which has been a hallmark of the research and publication of this volume's honorand, J.R. (Ronnie) Mulryne.
Histories you can trust. The Renaissance is one of the most celebrated periods in European history. But when did it begin? When did it end? And what did it include? Traditionally regarded as a revival of classical art and learning, centred upon fifteenth-century Italy, views of the Renaissance have changed considerably in recent decades. The glories of Florence and the art of Raphael and Michelangelo remain an important element of the Renaissance story, but they are now only a part of a much wider story which looks beyond an exclusive focus on high culture, beyond the Italian peninsula, and beyond the fifteenth century. The Oxford History of the Renaissance tells the cultural history of this broader and longer Renaissance: from seminal figures such as Dante and Giotto in thirteenth-century Italy, to the waning of Spain's 'golden age' in the 1630s, and the closure of the English theatres in 1642, the date generally taken to mark the end of the English literary Renaissance. Geographically, the story ranges from Spanish America to Renaissance Europe's encounter with the Ottomans—and far beyond, to the more distant cultures of China and Japan. And thematically, under Gordon Campbell's expert editorial guidance, the volume covers the whole gamut of Renaissance civilization, with chapters on humanism and the classical tradition; war and the state; religion; art and architecture; the performing arts; literature; craft and technology; science and medicine; and travel and cultural exchange.
The Renaissance is one of the most celebrated periods in European history. But when did it begin? When did it end? And what did it include? Traditionally regarded as a revival of classical art and learning, centred upon fifteenth-century Italy, views of the Renaissance have changed considerably in recent decades. The glories of Florence and the art of Raphael and Michelangelo remain an important element of the Renaissance story, but they are now only a part of a much wider story which looks beyond an exclusive focus on high culture, beyond the Italian peninsula, and beyond the fifteenth century. The Oxford Illustrated History of the Renaissance tells the cultural history of this broader and longer Renaissance: from seminal figures such as Dante and Giotto in thirteenth-century Italy, to the waning of Spain's 'golden age' in the 1630s, and the closure of the English theatres in 1642, the date generally taken to mark the end of the English literary Renaissance. Geographically, the story ranges from Spanish America to Renaissance Europe's encounter with the Ottomans—and far beyond, to the more distant cultures of China and Japan. And thematically, under Gordon Campbell's expert editorial guidance, the volume covers the whole gamut of Renaissance civilization, with chapters on humanism and the classical tradition; war and the state; religion; art and architecture; the performing arts; literature; craft and technology; science and medicine; and travel and cultural exchange.
