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Art of the Royal Court
"In the royal and princely courts of Europe, artworks made of multicolored semiprecious stones were passionately coveted objects. Known as pietre dure, or hardstones, this type of artistic expression includes?paintings in stone,? which were composed of intricately cut separate pieces that were made into magnificent tabetops, cabinets, and wall decorations. Other works included vessels and ornaments carved with virtuosic skill from a single piece of rare and brilliant lapis lazuli, chalcedony, jasper, or similarly prized substance; exquisite objects such as boxes, clocks, and jewelry; and portraits of nobles sculpted in variously colored stones. Derived from ancient Roman decorative stonework...
The Pitti Palace
The Pitti Palace with its immense garden, the Boboli, dominates the left bank of the river Arno across from the main part of the ancient city of Florence. The original palace was begun in 1458 on the orders of Luca Pitti, an ambitious and corrupt merchant friend of the Medici's. Successive enlargements transformed the building into the grand edifice we see today. Within the Palatine Gallery, originally consisting of about 500 paintings from the Grand-Duke Ferdinand II's private collection, today's visitor can admire one of the world's greatest art collections. Among the many masterpieces on display are magnificent works by Raphael, Andrea del Sarto, Titian and Rubens.
Meraviglie
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Exotic Animals in the Art and Culture of the Medici Court in Florence
An examination of the diverse roles exotic animals, both living species and depicted as motifs in art, played in the fashioning of the Medici’s courtly identity.
Apostolic Iconography and Florentine Confraternities in the Age of Reform
Focusing on artists and architectural complexes which until now have eluded scholarly attention in English-language publications, Apostolic Iconography and Florentine Confraternities in the Age of Reform examines through their art programs three different confraternal organizations in Florence at a crucial moment in their histories. Each of the organizations that forms the basis for this study oversaw renovations that included decorative programs centered on the apostles. At the complex of Ges? Pellegrino a fresco cycle represents the apostles in their roles as Christ?s disciples and proselytizers. At the oratory of the company of Santissima Annunziata a series of frescoes shows their martyr...
The Throne of the Great Mogul in Dresden
A masterful deciphering of an extraordinary art object, illuminating some of the biggest questions of the eighteenth century The Throne of the Great Mogul (1701–8) is a unique work of European decorative art: an intricate miniature of the court of the Mughal emperor Aurangzeb depicted during the emperor’s birthday celebrations. It was created by the jeweler Johann Melchior Dinglinger in Dresden and purchased by the Saxon prince Augustus the Strong for an enormous sum. Constructed like a theatrical set made of gold, silver, thousands of gemstones, and amazing enamel work, it consists of 164 pieces that together tell a detailed story. Why did Dinglinger invest so much time and effort in ma...
Amber
Spanning centuries and continents, a beautifully illustrated history of humanity’s enduring enthrallment with a seemingly banal substance: petrified tree sap, or amber. Amber: From Antiquity to Eternity is a history of human engagement with amber across three millennia. The book vividly describes our conceptions, stories, and political and scholarly disputes about amber, as well as issues of national and personal identity, religion, art, literature, music, and science. Rachel King rewrites amber’s history for the twenty-first century, tackling thorny ethical and moral questions regarding humanity’s relationship with amber in the past, as well our connection with it today. With the Earth facing unprecedented challenges, amber—the natural time capsule, and preserver of key information about the planet’s evolutional history—promises to offer invaluable insights into what comes next.
Medici Gardens
Medici Gardens challenges the common assumption that such gardens as Trebbio, Cafaggiolo, Careggi, and Fiesole were the products of an established design practice whereby one client commissioned one architect or artist. The book suggests that in the case of the gardens in Florence garden making preceded its theoretical articulation.
