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Porphyry
This monograph looks at the stone material par excellence of the Roman Empire, the most expensive in the Edict of Diocletian - Red Egyptian Porphyry. Starting from the study of this marble, the author traces the history, art, architecture and historiography that over the course of two millennia have recounted the political, artistic, religious and symbolic values of Porphyry. The colour of porphyry represented royalty in the time of the Lagids, the authority of the Roman Empire and the power of the Catholic Church - it was a fundamental colour in the Cosmati middles ages, highly sought after by the grand dukes of Tuscany and the richest element of Baroque opulence and the neoclassical renaissance. The strength of this study, in addition to its historical and photographic components, lies in the corpus of almost 1,000 profiles on porphyry objects, more than half of which are previously unpublished.
Murrina Vasa
It was Pliny who provided the longest and most detailed description of MURRINA VASA: Their size never exceeds that of a small table, and, in thickness, they rarely are so thick as the drinking cups mentioned above. Their brightness has no intensity, they are shiny rather than brilliant. But what is really valuable is the variety of colours, since their veins repeatedly turn purple, to snow-white and a third shade between the two, just as when the purple gets inflamed in a change of colour or the milk-white goes red. Some people appreciate above all their outlines and certain reflections in the colours, like those observed in the rainbow. Other people, on the other hand, like thicker veins - any transparency or lack of colour is considered an imperfection - as well as grains and warts that, just as in the human body, are not prominent, but are mostly flat. A certain worth can also ascribed to their smell. -(Naturalis Historia 37.21-2)
Florentine Patricians and Their Networks
A comprehensive overview of the cultural world and diplomatic strategies of Florentine patricians by revealing their contribution to the court culture of the Medici and the mechanisms behind their brokerage activities.
Painting in Stone
A sweeping history of premodern architecture told through the material of stone Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.
Verrocchio
A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC
Altomani & Sons
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Practice and Theory in the Italian Renaissance Workshop
Verrocchio worked in an extraordinarily wide array of media and used unusual practices of making to express ideas.
Italian Forgers
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era. Carol Helstosky examines foreign accounts of transactions and Italian writin...
