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Book Description
This lucid and coherent account provides a new overview of the collecting of
antiquities in early renaissance Rome, from the time of Petrarch to the Sack of
Rome in 1527.
In the early 15th century, when Romans discovered ancient marble sculptures and inscriptions in the ruins, they often melted them into mortar.
A hundred years later, however, antique marbles had assumed their familiar role as works of art displayed in private collections.
In this important book, the author steps back to examine the “long” 15th century, a critical period in the history of antiquities collecting that has received scant attention.
She examines shifts in the response of artists and writers to spectacular archaeological discoveries and the new role of collecting antiquities in the public life of Roman elites.
The book culminates in a detailed catalogue of the thirty-six most important antiquities collections formed before the Sack and brings these vanished sites back to life by using archival documents, drawings, and descriptions by visitors to clarify the history and appearance of little-studied collections.
In the early 15th century, when Romans discovered ancient marble sculptures and inscriptions in the ruins, they often melted them into mortar.
A hundred years later, however, antique marbles had assumed their familiar role as works of art displayed in private collections.
In this important book, the author steps back to examine the “long” 15th century, a critical period in the history of antiquities collecting that has received scant attention.
She examines shifts in the response of artists and writers to spectacular archaeological discoveries and the new role of collecting antiquities in the public life of Roman elites.
The book culminates in a detailed catalogue of the thirty-six most important antiquities collections formed before the Sack and brings these vanished sites back to life by using archival documents, drawings, and descriptions by visitors to clarify the history and appearance of little-studied collections.
Frequently Bought Together
Editorial Reviews
Review
"On every page,
Christian displays a stunningly sophisticated level of erudition,
sharp critical judgment, and an unerring eye for the telling
detail."
--Brian Curran, Renaissance Quarterly 2011
"marks a substantial advance in the study of antiquities collecting for the breadth of its scope, the subtle interpretation or reinterpretation of individual episodes... and the quantity of information it provides" Guido Rebecchini, Renaissance Studies
"Christian succeeds in her quest to 'reanimate antiquity' through her careful calibration of the collecting practices, cultural rituals, and somatic encounters inspired by antique objects," Erin Campbell, Oxford Art Journal
(Elisabeth
Blair MacDougall Award Society of Architectural Historians )
--Brian Curran, Renaissance Quarterly 2011
"marks a substantial advance in the study of antiquities collecting for the breadth of its scope, the subtle interpretation or reinterpretation of individual episodes... and the quantity of information it provides" Guido Rebecchini, Renaissance Studies
"Christian succeeds in her quest to 'reanimate antiquity' through her careful calibration of the collecting practices, cultural rituals, and somatic encounters inspired by antique objects," Erin Campbell, Oxford Art Journal
"An excellent book. . . . The book is well documented, lucidly written, and
well illustrated. This study will appeal not only to scholars and more advanced
students in Renaissance art, literature, and history, but also to those involved
with classical antiquity who are interested in the afterlife of classical
sculpture, and anyone interested in the history of collecting and display."—J.
Pollini, Choice
(J. Pollini Choice )
Winner of the Society of Architectural Historians 2012 Elisabeth Blair
MacDougall Award.
The award recognizes annually the most distinguished work of scholarship in
the history of landscape architecture or garden design.
About the Author
Kathleen Wren Christian is assistant professor, Department of
History of Art and Architecture, University of Pittsburgh.
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