Prof. Dr. Kathleen Christian
Profil
Forschungsthemen1
Orientierungsmuster: Laterale Deixis und Betrachterpositionierung in der frühneuzeitlichen Kunstliteratur
Quelle ↗Förderer: DFG Eigene Stelle (Sachbeihilfe) Zeitraum: 03/2026 - 02/2029 Projektleitung: Prof. Dr. Kathleen Christian, Dr. Stefano De Bosio
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Stand: 26.4.2026, 19:48:44 (Top-K=20, Min-Cosine=0.4)
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- 2 Treffer54.3%
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- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 8 Treffer53.7%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP53.7%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 8 Treffer53.7%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP53.7%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 8 Treffer53.7%
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Publikationen25
Top 25 nach Zitationen — Quelle: OpenAlex (BAAI/bge-m3 embedded für Matching).
53 Zitationen
This interdisciplinary collection of essays, presented at the Warburg Institute in 2009, considers the identity of the Muses in Antiquity and through centuries of their afterlife, tracing their religious, educational and philosophical meaning in classical Greece and their subsequent transformation and re-interpretation in a range of post-classical contexts. Individual contributors consider the invocation of the Muses in different places and at different times by those in search of inspiration, immortality and fame. The volume addresses the concept of the Muses from the perspective of philology, philosophy, art history, antiquarianism and musicology, from Antiquity to the Middle Ages and Early Modern period. It concludes with a discussion of the place of the Muses in Aby Warburg’s cultural theory.
16 Zitationen · DOI
This collection investigates the wide array of local antiquarian practices that developed across Europe in the early modern era. Breaking new ground, it explores local concepts of antiquity in a period that has been defined as a uniform 'Renaissance'. Contributors take a novel approach to the revival of the antique in different parts of Italy, as well as examining other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They consider how real or fictive ruins, inscriptions and literary works were used to demonstrate a particular idea of local origins, to rewrite history or to vaunt civic pride. In doing so, they tackle such varied subjects as municipal antiquities collections in Southern Italy and France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, and Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants.
Manchester University Press eBooks · 12 Zitationen · DOI
It will consider different antiquarian strategies in Rome adopted during a window of time (from the second half of the fifteenth century into the early sixteenth) when antiquity was open and available, to Romans and non Romans, to the lay nobility, to new men, to Cardinals and <italic>literati</italic>. A glimpse into the patronage of art, literature, architecture and festival décor by Cardinal Pietro Riario, Cardinal Raffaele Riario, Lorenzo Manlio, and as will be discussed in most detail, the Maffei family from Verona, will emphasize the variety and diversity of approaches to the antique, each re-using the past to establish a new beginning or a moment of the re-foundation of antique glory. Diverse strategies heralded the refoundation of Rome, in a way which vaunted the rise to prominence of a particular patron or family. This is seen by comparing the antiquarian strategies of foreigners and locals, of men of different ranks and with different social roles: those of Cardinals (the Riario), a native Roman (Manlio), and a family of non-native Veronese (the Maffei).
Renaissance and Reformation · 11 Zitationen · DOI
Christian, Kathleen Wren. Empire without End: Antiquities Collections in Renaissance Rome, c. 1350–1527. An article from journal Renaissance and Reformation / Renaissance et Réforme (Volume 35, Number 2, Spring 2012, pp. 5-187), on Érudit.
Open Research Online (The Open University) · 6 Zitationen
Discusses the history of the Della Valle collection of antique sculpture in fifteenth and sixteenth century Rome, with particular attention to the rhetoric behind the 'hanging garden' of antique sculpture formed by Cardinal Andrea della Valle in the aftermath of the Sack of Rome.
Companion to the History of Architecture · 4 Zitationen · DOI
Abstract By the early sixteenth century in Rome, the display of antiquities in palace and villa architecture was widespread. Moving antiquities onto center stage, patrons appropriated for themselves the prestige of coordinated sculpture displays that had long been a part of civic and ecclesiastical architecture, as well as the symbolic values associated with “the antique.” Sculpture became an increasingly prominent element in the design of loggias, courtyards, and façades oriented toward the display of antique and pseudo‐antique objects. A variety of new solutions emerged, from sculpture courts, to arrangement of spolia in architect‐driven, ordered and planned schemes, to the full integration of sculpture and architecture in bold, inventive designs, such as the Villa Madama or the Palazzo Farnese. Experiments took place in elite commissions like these, as well as in painted versions of integrated sculpture displays, or evocations of literary descriptions of ornamented architecture. New approaches clarified sculpture's role in architectural design as a means of unifying and embellishing walls, adding new meanings and contexts to architectural space. The integration of antique sculpture and architecture in early modern Rome can be explored from multiple perspectives, taking account of its significant impact on architectural theory and practice.
The multiplicity of the Muses: the reception of antique images of the Muses in Italy, 1400-1600.
20143 Zitationen
[About the book] \n \nThis interdisciplinary collection of essays, presented at the Warburg Institute in 2009, considers the identity of the Muses in Antiquity and through centuries of their afterlife, tracing their religious, educational and philosophical meaning in classical Greece and their subsequent transformation and re-interpretation in a range of post-classical contexts. Individual contributors consider the invocation of the Muses in different places and at different times by those in search of inspiration, immortality and fame. The volume addresses the concept of the Muses from the perspective of philology, philosophy, art history, antiquarianism and musicology, from Antiquity to the Middle Ages and Early Modern period. It concludes with a discussion of the place of the Muses in Aby Warburg’s cultural theory.
Open Research Online (The Open University) · 3 Zitationen
Describes the visible remains of the Della Valle 'hanging garden' of antique sculpture in Rome (built in the 1520s-30), which were previously unknown.
Open Research Online (The Open University) · 2 Zitationen
This article reconsiders the drawings of antiquities made by the Netherlandish artist Maarten van Heemskerck in Rome in the 1530s. It discusses the purpose of the drawings in the context of Van Heemskerck's Roman experience, paying particular attention to the artist's possible encounters with collectors, antiquarians and patrons.
CAA Reviews · 2 Zitationen · DOI
Open Research Online (The Open University) · 2 Zitationen
Considers the antiquities collection of the Santacroce family in Renaissance Rome, in particular the family's shift of focus from objects related to the their presumed ancient ancestor (Publius Valerius Publicola) towards antiquities which were perceived of and valued as 'works of art'.
Journal of the Warburg and Courtauld Institutes · 2 Zitationen · DOI
Traces the history of the collection of antique sculptures owned by the De' Rossi family in Renaissance Rome, with reference to newly-published archival documents. A full inventory of the collection made in 1517, transcribed here, makes this the first well-documented collection of antique marbles in Italy. A conflict that arose between the de' Rossi family, Raphael, and Pope Leo X over who could claim ownership of the antiquities is analyzed.
1 Zitationen · DOI
Bulletin of the John Rylands Library · 1 Zitationen · DOI
Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius.
Antiquities
2014Cambridge University Press eBooks · 1 Zitationen · DOI
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Open Research Online (The Open University) · 1 Zitationen
Analyzes the collection of antique sculpture owned by the artist Raphael and displayed in his workshop/palazzo in Rome. Raphael's statue of the Greek poet and playwright Philemon is discussed in detail.
Journal of the History of Collections · DOI
Renaissance Studies · DOI
In his biography of the Northern Netherlandish artist Maarten Van Heemskerck published in 1604, Karl van Mander wrote that when Van Heemskerck was in Rome, ‘he neither slept away his time nor neglected it in the company of Netherlanders with boozing or whatever, but instead he copied many things, as much after antiquities as after the works of Michelangelo – also many ruins, ornaments and all kinds of subtleties of the ancients […] When the weather was good he usually went out sketching.’1 It is likely that Van Mander knew first-hand the extraordinary drawings Van Heemskerck made in Rome between 1532 and 1536 or 1537 since they were treasured and used by artists long after Van Heemskerck's death. Passed down through the generations, nearly all of Van Heemskerck's Roman drawings that are known to have survived (c. 170, counting rectos and versos) eventually reached the Kupferstichkabinett of the Staatliche Museen in Berlin. These captivating works took centre stage at the Kupferstichkabinett's exhibition Faszination Rom. Maarten van Heemskerck zeichnet die Stadt, curated by Tatjana Bartsch, Hans-Ulrich Kessler and Christien Melzer, which ran between 26 April and 4 August 2024. The exhibition, held in the Ausstellungshalle of the Kulturforum, told a three-part story, focusing on Van Heemkerck's motivations for undertaking the trip to Rome, his Roman period itself and its aftereffects on his long and productive career as a painter and print designer. In the first section, a small but well-chosen group of objects contextualised Van Heemskerck's decision to travel to Rome, including a painting by Van Heemskerck's teacher-collaborator Jan van Scorel, a famous drawing of the Colosseum made c. 1508–1509 by Jan Gossaert and prints of Roman antiquities that were studied in Netherlandish workshops. Essays in the catalogue (by Eising, Miedema and Büttner) consider Van Heemskerck's relationship with the Netherlandish tradition, his interest in antique and contemporary Italian art before he ventured on to Italy himself, and even the type of maps he might have used to navigate his journey. The second section was focused on Van Heemskerck's Roman period, combining the Roman drawings with a number of key paintings from the 1530s. Most of the drawings that survive from Van Heemskerck's Roman period were once part of a single, small drawing book of oblong format. By the eighteenth century, this drawing book had been taken apart and, by the nineteenth century, many of its folios had been collected into an album owned by the French architect Hippolyte Destailleur. In 1879, the Berlin museums acquired the Destailleur album (the so-called Album I, inv. 79 D 2), and in 1892 purchased from a dealer in London another album (Album II, inv. 79 D 2 a), which combines several sheets by Van Heemskerck with drawings by other artists. In the 1980s, curators in Berlin remounted the Destailleur Album I. The preservation of so many of Van Heemskerck's drawings in Albums I and II has obscured the original composition of his drawing book; it has also over time exposed these drawings to the damage caused by viewers leafing through the albums, page by page. Thus in 2021, in preparation for the exhibition, curators of the Kupferstichkabinett decided to take apart the 1980s-era Album I, freeing up 70 sheets by Van Heemskerck, most of them folios from the dismantled drawing book. Album II, which holds 21 sheets with autograph drawings by Van Heemskerck, was left intact. Breaking up Album I enabled conservators to carry out extensive technical analysis on its contents. Crucially for the Berlin exhibition, this examination was able to shed new light on Van Heemskerck's drawing book which, even if its binding is lost and many of its folios have gone missing, is an utterly exceptional survival, and indeed one of the greatest treasures of Early Modern graphic arts. In the exhibition, the Kupferstichkabinett's collection of Van Heemskerck's Roman drawings was displayed to the public in its totality for the first time: the drawings from Album I were put on view as individual sheets, while those still bound in Album II were shown by opening the album up to different pages on different days. Most of the folios from the small drawing book were displayed in a purpose-built scaffold of metal and glass that allowed visitors to see both sides of each sheet at eye level, suspended in air and without any frame (Fig. 1). The display allowed viewers to share in Van Heemskerck's ‘Faszination Rom’ and become fully absorbed in each sheet. Many reached instinctively for their cell phones to view the drawings through their cameras and zoom in on mysterious figures emerging from doorways, torsos pulsing with life, or panoramas of overgrown Roman ruins. This captivating display brought out the potential of Early Modern drawings to appeal to an audience far beyond the rather small academic community that researches them, as has been demonstrated in other recent shows focussed on the drawings of Dürer, Raphael and Michelangelo. Van Heemskerck's Roman sketches, however, have a unique allure, since they not only preserve his impressions of a place he regarded as an artistic Nirvana, but also open a door onto the lost world of Rome in the 1530s, soon before Pope Paul III and his successors began to organise and regularise the city. They vividly convey the wild beauty of the Forum when it was still half-buried (Fig. 2), or the enchantment of ancient statues when they were still lying in the shadows of collectors' courtyards. Given that so much has been discovered recently about Van Heemskerck's drawing book, it was at first surprising to see that the display was not consistently focused on the goal of reconstructing its original appearance. Folios from the drawing book were arranged in the glass installation largely according to themes chosen by curators – antiquities collections, portraits, landscapes and other topics. While panoramas that once ran across two pages of the book were gratifyingly reunited, the display thus prioritised the subject matter of Van Heemskerck's book over its internal logic. In the end, however, the curatorial decision was a wise one, since it made the drawings accessible while reserving more detailed discussion for the essays in the catalogue. To visualise Van Heemskerck's original drawing book, a media stand designed by the Fototeca of the Bibliotheca Hertziana (a collaborating partner in the exhibition) provided a reconstruction on a computer screen. A facsimile edition of the book was, moreover, published on the scale of the original, which will offer a useful tool for teaching and research.2 Now, after many decades of discussion, starting with publications by Leon Preibisz and by Christian Hülsen and Hermann Egger in the early twentieth century,3 a corpus of Van Heemskerck's autograph Roman drawings has been established. His work has been distinguished from the sheets of other artists represented in the Berlin albums, the Anonymous A (discussed in Maffei's essay in the catalogue) and the Anonymous B (who was first identified by Ilja Veldman).4 The art-historical discussion of Van Heemskeck's Roman drawings has also been greatly advanced by Tatjana Bartsch's monograph of 2019. Bartsch made much progress in the reconstruction of the original drawing book, while illuminating Van Heemskerck's techniques and choice of subjects, contextualising the Roman drawings within Van Heemskerck's artistic aims and tracing the reception of his drawings after his death.5 These issues are discussed in the catalogue in essays by Bartsch and by Bartsch and Melzer, and are supplemented by an essay on Van Heemskerck's methods of architectural drawing by Zanchettin. Further findings have resulted from the recent technical examination, as is discussed in the catalogue by Dietz, Penz and Wintermann. Their work has confirmed that Van Heemskerck drew on Italian paper and that he used lead stylus in his drawings, an Italian technique that – like red chalk, like painting on canvas – he adopted during his years in Rome. Experimentation with local materials and techniques, and learning from Italian artists, were clearly important goals of his Roman stay; Van Heemskerck's red chalk drawings of muscular antique torsos (Fig. 3), for example, lay bare his admiration for Michelangelo's drawings. Another important discovery was that Van Heemskerck did not use the black inks that were standard in his day, but brown inks made using a vinegar solution. The current warm, reddish-brown colours of the inks are thus close to those chosen by the artist. After Van Heemskerck's drawings were freed from Album I, technical analysis could also investigate further the original order of the folios in the small drawing book. From a reconstruction of the gatherings, conservators could confirm that there are now at least 20 sheets missing from it. Other findings include the surprising discovery that Van Heemskerck's drawing of the upper court of the Galli collection and a statue of Mars Ultor (Fig. 4) did not originally belong to the small drawing book. Although this sheet is the right size, given the direction of its chain lines, it cannot have been bound with the rest of the sketchbook. Possibly, the authors conclude, the artist inserted it as a loose sheet, perhaps to supplement his famous drawing of Michelangelo's Bacchus in the Galli antiquities collection (inv. 79 D 2, fol. 72r). Fortuitous loans offered visitors the opportunity to examine the Roman drawings in proximity to two of the three surviving paintings that the artist is known to have made in Rome: The Venus and Cupid at the Forge of Vulcan now in Prague and another long, horizontal panel of a related subject, the Venus and Mars at Vulcan's Forge borrowed from a private collection in Milan. The third is the enormous Abduction of Helen in Baltimore that Van Heemskerck painted for Cardinal Rodolfo Pio da Carpi in 1535–1536 (discussed in the catalogue by Bartsch and in an essay on Van Heemskerck's Roman network by Mazzetti di Pietralata). It is the most important of Van Heemskerck's Roman paintings, but could not have travelled to Berlin due to its size, not to mention the budgetary restraints and sustainability ethics of German state museums. Nonetheless, the Abduction's brand of fantasy landscape was represented by other gems present in the show, in particular Hermanus Posthumus's enthralling Tempus edax Rerum, painted in Rome in 1536, and the little-known Extensive Landscape acquired for the Liechtenstein collections only in 2018 (Fig. 5). An attribution to Posthumus for the Extensive Landscape has been suggested based on its similarity to the Tempus edax rerum. Like the Tempus edax rerum, it prominently features a pseudo-antique inscription, this one reading ‘NON OMNIBUS CONTINGIT ADIRE CHORINTUM’ (‘it is not everyone's fate to go to Corinth’, following a quotation from Horace). In the catalogue, Bartsch argues for an attribution of this painting to Van Heemskerck himself, and there will certainly be further debate about this intriguing work. The final section of the exhibition, treating the afterlife of Van Heemskerck's Roman experience after his return to the Netherlands, engaged viewers with the artist's endless powers of invention. While Van Heemskerck's Roman drawings render antiquities reverently, with respect for the artistic authority of his models, in his paintings and prints he freely reworked the antique in novel ways, using his drawings as a source of inspiration for new visual ideas. As is discussed in the catalogue essays by Bartsch, Melzer and Kessler, Van Heemskerck borrowed at will from antique costumes, ruins, or the poses of antique statuary. A selection of examples from his massive oeuvre represented this approach in his post-Roman career, including the exquisite Landscape with St. Jerome (1547), the fever-dream of his Bullfight in an Antique Arena (1552) and the enigmatic allegorical painting, Momus Criticizing the Gods' Creations (1561), which belongs to the Berlin museums. Although an exhibition on Van Heemskerck's Roman drawings was long a desideratum of the Kupferstichkabinett, waiting until this particular moment had its distinct advantages. The year 2024, the 450th anniversary of the artist's death, is also being marked by a triad of exhibitions on Van Heemskerck running between 28 September 2024 and 19 January 2025 in the Netherlands (at the Frans Hals Museum, Stedelijk Museum Alkmaar and Teylers Museum). The artist's extraordinary St. Luke Painting the Virgin made in 1532, just before his journey to Rome, has been restored, and the exhibitions are being accompanied by a much-anticipated catalogue by Ilja Veldman, with contributions by museum conservators. This Van Heemskerck ‘moment’ follows a wave of important research and will no doubt secure the artist's central position in the field of Early Modern art history. Indeed, Van Heemskerck is emerging as a Michelangelo of the North, a master talent with great ambition and limitless powers of invention who also managed to produce an impressive quantity of work, even if many of his paintings were lost to iconoclasm. In Berlin, the homage paid to Van Heemskerck by the curators' sensitive approach to his drawings, and by the spectacular method used to display them, was both visually gratifying and historiographically significant. The exhibition succeeded in fully reversing the view expressed in 1884 by Jaro Springer, in an article announcing the arrival of Album I in Berlin: since Van Heemskerck's work was so unpleasant and over-Italianised, his drawings would primarily be of interest for their evidentiary value. Archaeologists, he correctly predicted, would plunder them for knowledge about the survival of ancient sculpture and architecture, while art historians would do the same to investigate the construction history of New St. Peters, or other topics deemed more worthwhile than the art of Van Heemskerck himself.6 While a few evocative casts of antiquities taken from the stocks of the Berlin Gipsformerei reminded viewers of the ancient sculptures Van Heemskerck drew, and indeed of the unique significance of Van Heemskerck's drawings for archaeological research, the exhibition embraced a new era. In the last twenty years, thanks primarily to the publications of Bartsch and Arthur J. Di Furia, Van Heemskerck's drawings have invited new interpretations from multiple art-historical perspectives – as visual and technical experiments, as agents of memory, or as traces of Van Heemskerck's relationships with patrons and artists in Rome.7 The Berlin exhibition brought out the richness of these approaches, emphasising Van Heemskerck's abilities as a draughtsman while also keeping the discussion centred on his creative processes. By so doing it underscored, to an extent rarely achieved in previous exhibitions, the significance of drawing for sixteenth-century artists. The before-during-and-after format of the exhibition told a story of an ambitious artist who, already in his thirties, undertook a risky journey across the Alps, not only to train or to build up a repertoire of visual ideas. He also sought a type of glory and self-transformation he believed he could only find in Rome, and he could only achieve through drawing.
The first establishment of an antiquities collection in the Belvedere might be traced not to the discovery of the Laocoön, or the transfer of the Apollo Belvedere and other famous statues to the Vatican, but to the movement in 1504 of an enormous granite basin (fig.1).Today, this vasca is rather unceremoniously displayed in the middle of the parking lot familiar to those who cross it to visit the Vatican library and archives.It stands on the nowabraded marble base that Pope Paul V provided for it in the 17th century.In the time of Pope Julius II, when the basin was the centerpiece of Bramante' s lower Belvedere court, its display was commemorated by an inscription, which has since been lost: "Pope Julius II brought to the Vatican gardens this basin, twenty-three feet wide, from the Baths of Titus and Vespasian, broken by the injustices of time, adorning and restoring it to its original condition, in the first year of his papacy, 1504." 1 Julius' s engineers had dragged this massive object, one of the largest basins to survive from antiquity, across four kilometers of difficult terrain, through the narrow streets of Rome, across the Tiber until it reached its final destination at the Belvedere.A drawing by Giovannantonio Dosio shows it installed in the lower garden (fig.2).It comes as no surprise that the dedicatory inscription gives Julius credit for moving such an enormous basin from a vigna near the Colosseum.More difficult to explain, however, is the emphasis the inscription places on the basin' s repair: not only did the pope have this vessel transported across Rome, but he also had it restored to its original condition, having found it "broken by the injustices of time."While the basin' s translatio is obviously praiseworthy, its history of restauratio remains uncertain.Today, the vessel reveals rather modest signs of restoration, and descriptions of the object in its Quattrocento state suggest that before its move to the Belvedere it was not extensively broken, but intact. 2 1 The inscription was recorded by Giacomo Grimaldi in 1616, then reproduced in
In Renaissance Rome, each pope marked the beginning of his reign with a ceremo-nial possesso, a procession in which the new pontiff and his retinue traversed the city, marching in triumph from the Vatican to St John Lateran and back again. Considered from the perspective of the possesso, collections can be understood as lasting traces of ephemeral celebrations and a type of display similar triumphal spolia and triumphal arches. Examining these relationships in more detail loosens an overly strict understanding of Rome’s early collections as private ‘muse-ums’ and focuses attention on the movement of antique sculptures between private and public space. Enshrined in museums, ancient sculptures seem far removed from the history of processions and temporary decor. The Venus pudica set up by a goldsmith serves as a reminder of the ripe potential for satire and inversion when antique statues on the street were juxtaposed with the papal cortege.
CAA Reviews · DOI
Introduction
2018Manchester University Press eBooks · DOI
This book brings together essays on the burgeoning array of local antiquarian practices that developed across Europe in the early modern era (c. 1400–1700). Adopting an interdisciplinary and comparative method it investigates how individuals, communities and regions invented their own ancient pasts according to the concerns they faced in the present. A wide range of ‘antiquities’ – real or fictive, Roman or pre-Roman, unintentionally confused or deliberately forged – emerged through archaeological investigations, new works of art and architecture, collections, history-writing and literature. This book is the first to explore the concept of local concepts of antiquity across Europe in a period that has been defined as a uniform ‘Renaissance’. Contributions take a new novel approach to the revival of the antique in different parts of Italy and also extend to other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They examine how ruins, inscriptions and literary works were used to provide evidence of a particular idea of local origins, rewrite history or vaunt civic pride. They consider municipal antiquities collections in southern Italy and southern France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian peninsula, and Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of giants. This interdisciplinary book is of interest for students and scholars of early modern art history, architectural history, literary studies and history, as well as classics and the reception of antiquity.
Introduction
2018Manchester University Press eBooks · DOI
The essays brought together in this volume consider the reuse of antiquities and conceptions of the classical past in local communities across early modern Europe. Arising from a conference held at the Warburg Institute in November 2014, the volume brings together essays by speakers, as well as new additions by invited contributors. It unites work by historians of art and architecture, historians and literary scholars that complicates the notion of a unitary, Greco-Roman past revived in a single European ‘Renaissance’, broadening the scope of research in the light of recent interest in regional histories and local antiquarianisms. Adopting an interdisciplinary and comparative method, these essays investigate how communities and individuals from the fifteenth century, guided by local concerns, were engaged with the invention of the past through the strategic, creative use of texts and images. Contributions consider the revival of the antique not only in the so-called centres of Italy that have long been the focus of study, but also in cities and regions regarded as peripheral, examining diverse political contexts in both Protestant and Catholic Europe – Milan, Ancona, southern Italy, France, Spain, Portugal, Poland, Britain, the Low Countries and elsewhere. As interdisciplinary studies, the essays explore a range of related cultural phenomena: antiquarianism, civic histories, excavations, artistic and architectural projects, collections of antiquities, or the reuse of classical literary models in vernacular poetry....
Roma caput mundi
2018Manchester University Press eBooks · DOI
This chapter considers different antiquarian strategies in Rome adopted during a window, from the second half of the fifteenth century into the early sixteenth, when antiquity was open and available to Romans and non-Romans, to the lay nobility, to new men, to cardinals and literati. A glimpse into the patronage of art, literature, architecture and festival decor by Cardinal Pietro Riario, Cardinal Raffaele Riario, Lorenzo Manlio and, as will be discussed in most detail, the Maffei family from Verona, emphasises the variety and diversity of approaches to the antique, each reusing the past to establish a new beginning or a moment of re-foundation of antique glory. Diverse strategies heralded the re-foundation of Rome, in a way that vaunted the rise to prominence of a particular patron or family. This can be seen by comparing the antiquarian strategies of foreigners and locals, of men of different ranks and with different social roles: the cardinals (the Riario), a native Roman (Manlio), and a family of non-native Veronese (the Maffei).
List of figures
2018Manchester University Press eBooks · DOI
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- Name
- Prof. Dr. Kathleen Christian
- Titel
- Prof. Dr.
- Fakultät
- Kultur-, Sozial- und Bildungswissenschaftliche Fakultät
- Institut
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- 26.4.2026, 01:03:39