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A Medieval Grain Market and Confraternity
Orsanmichele had a vibrant life in the centuries before the majestic fourteenth-century loggia was built. This work provides a new narrative for Orsanmichele in the era before the Renaissance. Volume One explores Orsanmichele from the twelfth century as the locus of prominent Florentine families who worked to develop a communal government, commercial enterprises, and a strong judiciary. It traces the history of the piazza and its church, which became a center for governmental actions. It examines the emergence of a court system that eventually served the larger city, and a monastery that fought for its existence as the commune grew. This Volume Two examines Orsanmichele from the mid-thirteenth century, as the piazza transformed into the city’s grain market, which fed the entire population daily. It considers the market’s tandem confraternity, with its stunning Madonnas over three successive loggias, which became among the most successful of Florentine institutions. This work examines the grain market and confraternity from a social, economic, political, and artistic perspective. It provides extensive data on the Florentine grain trade, daily sales at the market, and the nexus between traders, political leaders, and the confraternity. In all, the two volumes suggest that the developments at Orsanmichele during the medieval period formed the basis for the Renaissance structure so well known today.
A Medieval Grain Market and Confraternity
Orsanmichele had a vibrant life in the centuries before the majestic fourteenth-century loggia was built. This work provides a new narrative for Orsanmichele in the era before the Renaissance. Volume One explores Orsanmichele from the twelfth century as the locus of prominent Florentine families who worked to develop a communal government, commercial enterprises, and a strong judiciary. It traces the history of the piazza and its church, which became a center for governmental actions. It examines the emergence of a court system that eventually served the larger city, and a monastery that fought for its existence as the commune grew. This Volume Two examines Orsanmichele from the mid-thirteenth century, as the piazza transformed into the city’s grain market, which fed the entire population daily. It considers the market’s tandem confraternity, with its stunning Madonnas over three successive loggias, which became among the most successful of Florentine institutions. This work examines the grain market and confraternity from a social, economic, political, and artistic perspective. It provides extensive data on the Florentine grain trade, daily sales at the market, and the nexus between traders, political leaders, and the confraternity. In all, the two volumes suggest that the developments at Orsanmichele during the medieval period formed the basis for the Renaissance structure so well known today.
Colours make the map: they affect the map’s materiality, content, and handling. With a wide range of approaches, 14 case studies from various disciplines deal with the colouring of maps from different geographical regions and periods. Connected by their focus on the (hand)colouring of the examined maps, the authors demonstrate the potential of the study of colour to enhance our understanding of the material nature and production of maps and the historical, social, geographical and political context in which they were made.
Contributors are: Diana Lange, Benjamin van der Linde, Jörn Seemann, Tomasz Panecki, Chet van Duzer, Marian Coman, Anne Christine Lien, Juliette Dumasy-Rabineau, Nadja Danilenko, Sang-hoon Jang, Anna Boroffka, Stephanie Zehnle, Haida Liang, Sotiria Kogou, Luke Butler, Elke Papelitzky, Richard Pegg, Lucia Pereira Pardo, Neil Johnston, Rose Mitchell, and Annaleigh Margey.
Contributors are: Diana Lange, Benjamin van der Linde, Jörn Seemann, Tomasz Panecki, Chet van Duzer, Marian Coman, Anne Christine Lien, Juliette Dumasy-Rabineau, Nadja Danilenko, Sang-hoon Jang, Anna Boroffka, Stephanie Zehnle, Haida Liang, Sotiria Kogou, Luke Butler, Elke Papelitzky, Richard Pegg, Lucia Pereira Pardo, Neil Johnston, Rose Mitchell, and Annaleigh Margey.
A Complex Relationship
Series:
Mapping the Past, Volume: 3
Colours make the map: they affect the map’s materiality, content, and handling. With a wide range of approaches, 14 case studies from various disciplines deal with the colouring of maps from different geographical regions and periods. Connected by their focus on the (hand)colouring of the examined maps, the authors demonstrate the potential of the study of colour to enhance our understanding of the material nature and production of maps and the historical, social, geographical and political context in which they were made.
Contributors are: Diana Lange, Benjamin van der Linde, Jörn Seemann, Tomasz Panecki, Chet van Duzer, Marian Coman, Anne Christine Lien, Juliette Dumasy-Rabineau, Nadja Danilenko, Sang-hoon Jang, Anna Boroffka, Stephanie Zehnle, Haida Liang, Sotiria Kogou, Luke Butler, Elke Papelitzky, Richard Pegg, Lucia Pereira Pardo, Neil Johnston, Rose Mitchell, and Annaleigh Margey.
Contributors are: Diana Lange, Benjamin van der Linde, Jörn Seemann, Tomasz Panecki, Chet van Duzer, Marian Coman, Anne Christine Lien, Juliette Dumasy-Rabineau, Nadja Danilenko, Sang-hoon Jang, Anna Boroffka, Stephanie Zehnle, Haida Liang, Sotiria Kogou, Luke Butler, Elke Papelitzky, Richard Pegg, Lucia Pereira Pardo, Neil Johnston, Rose Mitchell, and Annaleigh Margey.
Moritz Retzsch's Prints in Circulation
In a new approach to Goethe's “Faust I”, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
Moritz Retzsch's Prints in Circulation
In a new approach to Goethe's “Faust I”, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
Eastern and Western Sociocultural Perspectives
Series:
FOKUS, Volume: 10
Volume Editor:
The essays cover a broad scope of issues relating to individual identity strategies and art collecting in the late modern era, encompassing the history of museums, exhibition policy, art market history, history of taste shaping and provenance research. They create a comparative pan-European perspective of the collecting phenomenon in its various facets. The detailed analysis of the individual cases shows how collecting mirrored the social problems of the late modern era. The book adresses issues such as the socio-cultural role of ethnic minorities, the question of women's emancipation, social exclusion versus inclusion, colonialism or the politicisation of museums. When analysed in the context of private collections, these issues gain clarity and simultaneously demonstrate the complexity of cultural processes, which are still not sufficiently recognised.
Eastern and Western Sociocultural Perspectives
Series:
FOKUS, Volume: 10
Volume Editor:
The essays cover a broad scope of issues relating to individual identity strategies and art collecting in the late modern era, encompassing the history of museums, exhibition policy, art market history, history of taste shaping and provenance research. They create a comparative pan-European perspective of the collecting phenomenon in its various facets. The detailed analysis of the individual cases shows how collecting mirrored the social problems of the late modern era. The book adresses issues such as the socio-cultural role of ethnic minorities, the question of women's emancipation, social exclusion versus inclusion, colonialism or the politicisation of museums. When analysed in the context of private collections, these issues gain clarity and simultaneously demonstrate the complexity of cultural processes, which are still not sufficiently recognised.
Visualising the Middle Ages is dedicated to innovative scholarship on art history and material cultures from the end of antiquity to c. 1500. The editors welcome contributions that focus on medieval Europe, as well as those that expand beyond traditional geographic and spiritual boundaries. We welcome contributions across geographies and spiritual traditions. We encourage a wide range of approaches.
The series aims to bridge the history of art and architecture and other fields in medieval studies and beyond. It seeks work with an impact beyond disciplinary confines and established methodological paths.
Formats may include monographs, essay collections, documentary sources and translations. Volumes may contain a substantial number of high-quality black-and-white and full-colour illustrations. Additional material can be included online, such as further illustrations, audio, video, or websites.
Authors are cordially invited to submit proposals and/or full manuscripts to either the series editors, Professor Catherine Harding and Professor Diane Wolfthal , or the Publisher at Brill, Dr Kate Hammond.
Brill is in full support of Open Access publishing and offers the option to publish your monograph, edited volume, or chapter in Open Access. Our Open Access services are fully compliant with funder requirements. We support Creative Commons licenses. For more information, please visit Brill Open or contact us at openacess@brill.com.
Cover image generic cover: Fragment of an Animal Relief, ca. 1150. The Met Collection API, Rogers Fund, 1909, Accession Number: 09.152.8.
The series aims to bridge the history of art and architecture and other fields in medieval studies and beyond. It seeks work with an impact beyond disciplinary confines and established methodological paths.
Formats may include monographs, essay collections, documentary sources and translations. Volumes may contain a substantial number of high-quality black-and-white and full-colour illustrations. Additional material can be included online, such as further illustrations, audio, video, or websites.
Authors are cordially invited to submit proposals and/or full manuscripts to either the series editors, Professor Catherine Harding and Professor Diane Wolfthal , or the Publisher at Brill, Dr Kate Hammond.
Brill is in full support of Open Access publishing and offers the option to publish your monograph, edited volume, or chapter in Open Access. Our Open Access services are fully compliant with funder requirements. We support Creative Commons licenses. For more information, please visit Brill Open or contact us at openacess@brill.com.
Cover image generic cover: Fragment of an Animal Relief, ca. 1150. The Met Collection API, Rogers Fund, 1909, Accession Number: 09.152.8.
Brill Research Perspectives in Religion and the Arts presents extended reference articles on topics within the comprehensive field of world religions and the arts, from the traditional fine arts to newer fields of visual culture and material culture. References will be hyperlinked to original source materials when possible, offering both scholars and students the opportunity to stay current with the literature or to begin their research. Written as a single-author monograph with accompanying critical bibliography, each 50 to 100 page article provides an overview of the specific topic, its history within the larger discipline of religion and the arts, recent innovations in scholarship, critical commentary, and the unique analysis of the author's perspectives.
Editor:
Published under auspices of the Dutch University Institute for Art History (NIKI) in Florence, the NIKI series publishes collections of essays and monographs on Italian art, Dutch and Flemish art, and artists in Italy. It has a particular emphasis on the rich tradition of artistic exchange and mutual influence between Italy and the North.
Until 2015 this series was published by Centro Di (Florence). Volumes 1-11 can be obtained from Centro Di.
Series Editor: Michael W. Kwakkelstein, NIKI, Florence
Until 2015 this series was published by Centro Di (Florence). Volumes 1-11 can be obtained from Centro Di.
Series Editor: Michael W. Kwakkelstein, NIKI, Florence
This series offers art-historical and interdisciplinary approaches to how art was conceived, produced, and received across Europe, from the early medieval to the early modern. It pays particular attention to the social, cultural, religious, and political history of the period as seen through contemporary visual and material culture.
The series is interested in all areas of European artistic life in the Middle Ages and Renaissance. Work in the series explores art forms such as painting, sculpture, architecture, textiles, glass, metalwork, ceramics, ephemera, spatial strategies, and more. Themes of study may include emotions, the senses, devotional practices, the environment, animals, bodies, otherness, religious and social changes, literacy (written and visual), protest, and issues of class, race, and gender, to name only a few. Interdisciplinary, multidisciplinary, and comparative work is also warmly welcomed. The series publishes monographs, edited thematic collections, and reference works.
Authors are cordially invited to submit proposals and/or full manuscripts to either the series editors, Professor Sarah Blick and Professor Laura D. Gelfand or the Publisher at Brill, Dr Kate Hammond.
Brill is in full support of Open Access publishing and offers the option to publish your monograph, edited volume, or chapter in Open Access. Our Open Access services are fully compliant with funder requirements. We support Creative Commons licenses. For more information, please visit Brill Open or contact us at openacess@brill.com.
The series is interested in all areas of European artistic life in the Middle Ages and Renaissance. Work in the series explores art forms such as painting, sculpture, architecture, textiles, glass, metalwork, ceramics, ephemera, spatial strategies, and more. Themes of study may include emotions, the senses, devotional practices, the environment, animals, bodies, otherness, religious and social changes, literacy (written and visual), protest, and issues of class, race, and gender, to name only a few. Interdisciplinary, multidisciplinary, and comparative work is also warmly welcomed. The series publishes monographs, edited thematic collections, and reference works.
Authors are cordially invited to submit proposals and/or full manuscripts to either the series editors, Professor Sarah Blick and Professor Laura D. Gelfand or the Publisher at Brill, Dr Kate Hammond.
Brill is in full support of Open Access publishing and offers the option to publish your monograph, edited volume, or chapter in Open Access. Our Open Access services are fully compliant with funder requirements. We support Creative Commons licenses. For more information, please visit Brill Open or contact us at openacess@brill.com.