Journal articles on the topic 'Architecture, Renaissance – Italy'
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1
Mukhin, A. S. "Transformation of Renaissance world view on dome architecture of Italy in 15–16st centuries." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 30–37. http://dx.doi.org/10.30725/2619-0303-2017-2-30-37.
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Monuments of the Italian Renaissance are considered as the symbols of cosmological ideas. The space of the temple is likened the universe in categories developed by the intellectuals of the Renaissance, given the astronomical model of AristotlePtolemy. Discoveries in science, the struggle of ideas and worldviews reflected in the church architecture and construction of country houses. The article was proven that the crisis of anthropocentrism caused by the consequences derived from the theory of Copernicus, reflected in the architectural practice of the 16st century.
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Čehovský, Petr. "Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii." Kultúrne dejiny 14, no. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.
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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural culpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models.
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Merrill, Elizabeth. "The Professione di Architetto in Renaissance Italy." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 13–35. http://dx.doi.org/10.1525/jsah.2017.76.1.13.
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The Professione di Architetto in Renaissance Italy shows how Renaissance Italian architects used the concept of the professione di architetto as a way to affirm and delineate the character of their occupation. Drawing inspiration from antiquarian models and taking advantage of the humanist ethos, these architects equated “profession” with manual and theoretical expertise, social authority, and the fulfillment of artistic, civic, and moral ideals. Elizabeth Merrill places the origins of architectural professionalism in early modern Italy—rather than in the nineteenth-century movements frequently cited by social historians—and describes the theoretical context for the architect's professional rise. Positioning themselves alongside university-educated professors, architects of Renaissance Italy crafted didactic treatises about their work and created academies for its instruction, foreshadowing a long history of architectural discourse that continues to this day.
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Weddle, Saundra. "Street Life in Renaissance Italy." Journal of the Society of Architectural Historians 81, no. 1 (March 1, 2022): 105–6. http://dx.doi.org/10.1525/jsah.2022.81.1.105.
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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.
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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
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Betts, Richard J. "Structural Innovation and Structural Design in Renaissance Architecture." Journal of the Society of Architectural Historians 52, no. 1 (March 1, 1993): 5–25. http://dx.doi.org/10.2307/990755.
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The characteristic structural forms of large Renaissance churches-domes, drums, pendentives, and barrel vaults-were the products of innovation in theory and practice during the later fifteenth century in Italy that culminated in Bramante's projects for the new Saint Peter's. Significant ideas were contributed by Leon Battista Alberti, Francesco di Giorgio, and Leonardo da Vinci. Francesco di Giorgio's geometrical methods of design for churches as described in his second treatise incorporate a procedure for calculating the thickness of walls bearing vaults. Francesco di Giorgio tested the procedure in his own churches, and it was later used by Bramante.
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Kusenko, Olga I. "Preface to translation." History of Philosophy 27, no. 2 (November 10, 2022): 117–30. http://dx.doi.org/10.21146/2074-5869-2022-27-2-117-130.
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In this article, we provide the first commented edition and translation of an important fragment from Vladimir Zabugin’s posthumous work “The History of the Christian Renaissance in Italy” (Milan, 1924). Zabugin was a Russian historian, philologist and thinker, who lived and worked in Italy in the first quarter of the 20th century. He made an important contribution to the history of ideas with his concept of “Christian Renaissance”, abolishing the postulated antithesis of the Middle Ages and Renaissance as well as the idea of the Renaissance as the revival of antiquity. A sudden death in a mountaineering accident in the Italian Alps prevented Zabugin from completing his outstanding monography: editing the text, compiling notes, bibliography, name index, the absence of which made it very difficult for specialists to refer to the text. That is because a special focus of the present article lies in commenting the fragment and guiding the reader through Zabugin’s key conceptional points. The presented fragment of the first chapter of the book sought to emphasize the continuity of classical and christian culture in Italian proto-Renaissance literature, philosophy, architecture, fine arts. Refering to the eve of the Renaissance (13th century), Zabugin clearly demonstrates how the Christian culture “imperat” here, and the pagan one “ministrat”.
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Wagner, Aleksandra, and Neil Spiller. "Magical Transubstantiations: A Voyage to Italy." Architectural Design 94, no. 2 (March 2024): 68–73. http://dx.doi.org/10.1002/ad.3036.
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AbstractVisiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth.
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Hobson, Marlena. ":The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy." Sixteenth Century Journal 37, no. 1 (March 1, 2006): 251–52. http://dx.doi.org/10.1086/scj20477792.
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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.
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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Pearson, Caspar. "Paul Mellon Centre Rome Fellowship: The renaissance of the Renaissance? Architecture and urbanism between Italy and England." Papers of the British School at Rome 84 (September 20, 2016): 344–45. http://dx.doi.org/10.1017/s0068246216000301.
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Ji, Chunuo. "A Study on Raphael: One of the Three Masters of the Renaissance." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1141–46. http://dx.doi.org/10.54254/2753-7064/3/2022966.
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In the 14th century, the Renaissance first emerged in various city-states in Italy, and then expanded to Western European countries, reaching its peak in the 16th century. The influence of the Renaissance has been reflected in art, architecture, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry. Renaissance scholars took a humanist approach to their research and looked for realism and human emotion in art. As one of the three masters of the Renaissance, Raphael represents the pinnacle that Renaissance artists can achieve in the career of ideal beauty. Raphael was an unmistakable, unfettered, eloquent poet, painter, and extremely agile and superhuman. Raphael visualized the artistic ideals of Renaissance Neoplatonism as if they were easy to visualize. He embraced the artistic ideal of Neoplatonism, and with his refined painting skills, he brought the humanism of the Renaissance to the extreme. Although there are not many works left by Raphael, the talent displayed in his works has a far-reaching influence on future generations. This article will analyze Raphael's influence on the artistic creation style of the Renaissance and the artistic creation of later artists from the perspective of humanism and classicism by appreciating Raphael's six works.
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Mileto, Camilla, and Fernando Vegas. "Fragments for the History of an Architecture: A Villa between Humanism and the Renaissance." Architecture 3, no. 3 (June 28, 2023): 358–92. http://dx.doi.org/10.3390/architecture3030020.
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This article presents a detailed study of the stately palace of the Villa Giusti-Puttini, a building that, over the centuries, has undergone repeated transformations since its construction in the first half of the 15th century. For the study of this palace, owned between the 15th and 17th centuries by one of the most important families in the city of Verona (Italy), the authors have followed a methodology covering indirect sources (documentary and bibliographical) as well as direct ones (the building and constructive techniques, architectural and decorative elements, murals, etc.). This study expands the information available on the building as well as expanding knowledge on the history of architecture of the Veneto villa as a defining architectural phenomenon in 16th- and 17th-century architecture whose extensive influence was still felt in the 19th century. The history compiled through this research also contributes to a renewed interpretation of the phenomenon, which is viewed as a process for the transformation and adaptation of a pre-existing building to fit the needs of any given period. This methodology, which could potentially facilitate the interpretation of similar buildings, and its combination of documentary, material, constructive, decorative, and cultural elements could constitute an example for the historical and architectural reading of buildings and are not merely limited to Renaissance buildings.
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Banek, Tadeusz, Patryk Krupiński, and Margot Dudkiewicz. "Optimization in landscape architecture." E3S Web of Conferences 49 (2018): 00002. http://dx.doi.org/10.1051/e3sconf/20184900002.
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Contemporary architectural proposals usually have to meet many different criteria. The most important are functionality and aesthetics, as well as rationality understood as a reference to costs. In this approach, the architectural proposal appears as a solution to the typical task considered in the Multi-criteria Decision Theory in the discipline generally referred to as Optimization. The paper presents examples of sixteenthcentury garden compositions, to try to answer the question of what the then residents (aristocrats) and the creators who fulfilled their wishes, were guided by. The homeland of the Renaissance is Italy, and the characteristics of this style were: geometry of space in the form of axial arrangement of rooms, symmetry, sheared forms of evergreen plants, and motifs referring to mythology. The basis of the Renaissance garden composition is a simple network of roads and squares, strongly connected to the main building and the remaining garden architecture. Mathematical principles, such as golden division of the segment and the Fibonacci sequence, were used as a way to bring beauty and balance to a design. This style is characterized by clipped garden ground floors with boxwood and molded vegetation. Roses, tulips, peonies and lavender were planted between shaped hedges. The terrace arrangement of some gardens has forced the creation of additional structures, such as retaining walls, ramps, balustrades and stairs. The paper discusses the subject of the golden division and its share in individual garden compositions. The authors showed many mathematical relationships that architects used when designing the described garden assumptions.
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Nevola, Fabrizio. "Home Shopping." Journal of the Society of Architectural Historians 70, no. 2 (June 1, 2011): 153–73. http://dx.doi.org/10.1525/jsah.2011.70.2.153.
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Fabrizio Nevola considers the form, function, and significance of shops and the other commercial spaces contained in the ground floors of the Renaissance palaces of Siena, Florence, and Rome. Home Shopping: Urbanism, Commerce, and Palace Design in Renaissance Italy also investigates the social interaction between the private environment of the home and the public space of the street. Contrary to much that has been written about the palaces of the fifteenth century, their designers did not abandon botteghe (shops), nor more broadly construed commercial functions. The resulting buildings are hybrid structures in which the proud individual façades of private patrons' palaces were configured to serve the needs of trade. Today, urban space is largely experienced as a succession of shop fronts, and commercial activities overwhelm all other functions. Early modern Italy was not much different.
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Neher, Gabriele. "Review: Medina Lasansky, The Renaissance Perfected. Architecture, Spectacle, and Tourism in Fascist Italy." Art Book 12, no. 1 (January 26, 2005): 29–31. http://dx.doi.org/10.1111/j.1467-8357.2005.00496.x.
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Zhang, Haoyun. "Beauty of Water Movement in Leonardo's Paintings in Renaissance." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 213–19. http://dx.doi.org/10.54097/ehss.v11i.7628.
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Tracing back to the period between the 14th century and to the 17th century, the Renaissance was started in Italy, with the essence of humanism, which means the reverence for the Greek and Roman culture. Leonardo Da Vinci tends to be the originator of the theory of waves. This article focuses on Leonardo Da Vinci's fluid flow-related work and thought, as well as the beauty of the spiral, as exhibited in his notebooks, letters, and artwork. From the standpoint of water whirlpools, pigtail patterns, and Leonardo Da Vinci's cardiovascular research, using analogies, case analysis, and literature analysis, the beauty of the Renaissance's blending of science and art could be demonstrated. In addition, from the perspective of the values or contributions that Leonardo Da Vinci left behind, the emphasis may be placed on the reverence and awe that Leonardo bestowed upon life, and from the case studies of Golden Horn in Istanbul and The Chateau de Chambord that Leonardo proposed, the cultural heritage's aesthetic value as well as architecture value could be recognized and fully protected.
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Muehlbauer, Mikael. "An Italian Renaissance Face on a “New Eritrea”:." Journal of the Society of Architectural Historians 78, no. 3 (September 1, 2019): 312–26. http://dx.doi.org/10.1525/jsah.2019.78.3.312.
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A whitewashed neo-Renaissance façade set into a high rock escarpment above the village of Abreha wa-Atsbeha, in East Tigray, Ethiopia, stands in stark contrast to its sunbaked highland surroundings. Behind this façade is a relatively large rock-cut structure, one of the oldest medieval church buildings in Ethiopia. An Italian Renaissance Face on a “New Eritrea”: The 1939 Restoration of the Church of Abreha wa-Atsbeha addresses how the restoration of this church conducted by Italian Fascist authorities represents the appropriation of local history by both Fascist Italy and Ethiopia's own imperial rulers. As Mikael Muehlbauer describes, while the façade classicizes the building, evoking both the Italianita of the Renaissance and the Romanitas of imperial Rome, earlier murals inside claimed it for Yohannes IV, the nineteenth-century Tigrayan emperor of Ethiopia.
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Mocerino, Carmine. "Gli scavi di Ocriculum nella cultura neoclassica e antiquaria." Frankfurter elektronische Rundschau zur Altertumskunde, no. 51 (January 16, 2024): 26–37. http://dx.doi.org/10.21248/fera.51.348.
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The remains of the ancient Roman town, crossed by the Flaminia road and lapped by a bend of the Tiber, are located in a natural landscape of significant beauty, perfect synthesis of archaeology and nature that remained unchanged throughout centuries. Excavations were conducted here from a very early period, especially from 1776 to 1784, when a great quantity of material was removed. The archaeological excavations carried out in Otricoli in the second half of the Seventeenth century together with discoveries in Herculaneum, Pompeii, Stabiae and other cities of ancient Italy, contributed during the Neoclassical period to the rediscovery of classical ideals in art and architecture, partly already rediscovered during Humanism and the Renaissance in Italy.
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Ronnes, Hanneke, and Arnold Witte. "The Dutch Renaissance in a Straightjacket." Explorations in Renaissance Culture 41, no. 1 (March 16, 2015): 94–115. http://dx.doi.org/10.1163/23526963-04101005.
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During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloemaert, and architects such as De Keyser. Still, this field is overshadowed by the public attention paid to the Dutch Golden Age, and its essentialist interpretation continues to have an impact on the way the preceding period is studied. As a result, there still exists a rather fragmented idea of what ‘Renaissance’ means with respect to the arts in the Netherlands.
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Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (June 10, 2014): 145–54. http://dx.doi.org/10.12737/4519.
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The Baroque style is the result of the further evolution of the style of the Renaissance. It began to take its forms from the end of XVI century. Baroque developed in European countries during the first half of the XVII and XVIII century. Germany, Austria and England, which had only some features of this style in the middle of XVII century, occupy a special place. The architecture of Italy Baroque began to take shape in the second half of the XVI century, and the formation of its features was largely due to the work of Michelangelo. Baroque style left its mark not only on the architecture of buildings, but also on the interior of the rooms, furniture design.
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Radice, Mark A. "Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy. By Eugene J. Johnson." Music and Letters 100, no. 1 (February 1, 2019): 141–43. http://dx.doi.org/10.1093/ml/gcz008.
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Jarošová, Markéta. "Hearstův hrad. Kalifornský sen v záři evropské umělecké tradice." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 25–37. http://dx.doi.org/10.37520/mmvp.2019.004.
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Hearst Castle is one of the world‘s most famous public museums. Its architect Julia Morgan built the magnificent building near San Simeon on the Pacific Coast in Central California for William Randolph Hearst between 1919–1947. Its architectural form is mostly based on the examples of the Mediterranean architecture of Spain and southern Italy. The private residence where Hearst had hosted the famous Hollywood Society became a public cultural heritage in 1957. Since then, visitors have been allowed to admire Casa Grande and other suites, furnished with an unusually rich collection of European works of art, mostly of Medieval and Renaissance origins. The interiors are preserved in the original state in order for the visitors to enjoy the atmosphere of the 1930s. The installation of the artworks is one of the prime examples of the living history approach in a museum.
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De Raedt, Nele. "Belonging to the Individual or the Collective? The Urban Residence as a Public/Private Building in Renaissance Italy (1300-1500)." Privacy Studies Journal 2 (May 31, 2023): 35–50. http://dx.doi.org/10.7146/psj.v2i.132278.
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This article explores the public/private character of the urban residences of the social and political elite in Renaissance Italy. The public-private dichotomy is not understood here in terms of accessibility or openness, but in terms of ownership and belonging. Although the residence was owned by the private family, it also belonged to the urban and civic community, as well as the communal authorities. Praise for urban residences in written sources are both an expression and an active contribution to this phenomenon. Such praise presented urban residences as ornaments of the city that made a fundamental contribution to its splendour and beauty. Urban residences also assumed an increasingly prominent position in the urban fabric, along those roads that the political authorities developed into the representational face of the city. Finally, financing mechanisms led to a more ambiguous status of the urban residence as a public/private building. In several cities, communal authorities financed, in part or in full, the construction of such buildings. By exploring the public/private character of urban residential architecture in Renaissance Italy in terms of ownership and belonging, this article contributes to the many studies that have already explored this topic, but mainly in terms of design and use.
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Fratini, Fabio, Emma Cantisani, Elena Pecchioni, Enrico Pandeli, and Silvia Vettori. "Pietra Alberese: Building Material and Stone for Lime in the Florentine Territory (Tuscany, Italy)." Heritage 3, no. 4 (December 15, 2020): 1520–38. http://dx.doi.org/10.3390/heritage3040084.
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The PietraAlberese is a marly limestone belonging to the Ligurian series (Monte Morello Formation of Eocene age). It is a material rarely mentioned in the historical Florentine architecture because the Pietraforte, the stone of the Medieval Florence and the Pietra Serena, the stone of the Renaissance, were the main lithotypes commonly used in those periods. Nevertheless, the Pietra Alberese has been widely utilized to build the town, because it is the only limestone cropping out in this part of Tuscany allowing the production of lime. In Prato and Pistoia, the Pietra Alberese was also used as stone (e.g., ashlars) in the structures and façades of many public and religious buildings. In this work, the geological setting and a mineralogical, petrographic and physical characterization of Pietra Alberese used as building stone are proposed together with a discussion about its durability. Moreover, the different compositional and macroscopic characteristics of two lithotypes (namely the sasso alberese and sasso porcino) utilized to produce the two types of lime used in the local traditional architecture (calcina dolce and calcina forte) are highlighted.
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Forsyth, Michael. "Review: Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy, by Eugene J. Johnson." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 482–84. http://dx.doi.org/10.1525/jsah.2020.79.4.482.
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Tognetti, Sergio. "Review: The Architecture of Banking in Renaissance Italy: Constructing the Spaces of Money, by Lauren Jacobi." Journal of the Society of Architectural Historians 79, no. 3 (September 1, 2020): 332–34. http://dx.doi.org/10.1525/jsah.2020.79.3.332.
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Forsyth, Michael. "Review: Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy, by Eugene J. Johnson." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 482–84. http://dx.doi.org/10.1525/jsah.2020.79.4.482.
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Russo, V. "CONSTRUCTION HISTORY AND DIGITAL HERITAGE. EXPERIMENTATIONS ON RENAISSANCE DOMES IN CAMPANIA (ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 295–302. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-295-2020.
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Abstract. The paper describes an ongoing research project granted by the University of Naples Federico II (2017–2020) concerning masonry domes considered as visual poles in the historic urban landscape and as a constructively vulnerable built heritage. Studies focus on Renaissance domes in Campania region (Naples included) and combine established strategies with innovative ones for the knowledge of visible/invisible parts. Verticals and curved structures are investigated with a unitary approach, together with the pre-reinforcements placed during the construction phases or for later strengthening. These topics deal with issues crucial for the domes’ study: firstly, the overlapping of inner and outer surfaces that hide structural elements and do not enable their comprehension. In addition, we must consider the recurring difficult inspection or inaccessibility due to the big dimensions and heights from the ground. All these factors, together with the fact that decorated surfaces are a limit for the traditional diagnosis, require new investigation strategies – remote and by non-destructive methods – so as to document the invisible both for emerging and for underground parts. A model for knowledge characterized by the interlacement of ‘humanistic’ interpretation and bottom-up/bottom-down surveys is discussed. The understanding of what is invisible to direct inspection is considered a stimulating frontier for proposing innovative dissemination tools for the comprehension of cultural heritage, able to reach new communicative horizons related to the construction of complex forms of architecture. The transposition of the research outcomes into digital “accessible” data aims at having impacts for sharing a broader cultural awareness of the built heritage historical constructive significance.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (December 28, 2018): 81–104. http://dx.doi.org/10.15291/ars.2756.
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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Elet, Yvonne. "Seats of Power: The Outdoor Benches of Early Modern Florence." Journal of the Society of Architectural Historians 61, no. 4 (December 1, 2002): 444–69. http://dx.doi.org/10.2307/991868.
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Outdoor public seating is an intriguing and virtually unstudied element in the history of western architecture and urbanism. This article focuses on Florence in the fourteenth and fifteenth centuries, tracing the numerous stone benches that once existed on piazzas, streets, loggias, and palace façades throughout the city. More than simply utilitarian appendages, the benches were carefully integrated into the design of iconic urban spaces and building fronts, both civic and private. The study draws on abundant and varied primary source material: contemporary chronicles, histories, letters, poetry, statutes, etiquette books, and architectural treatises, which provide a wealth of information on the use and form of the benches. Together with Renaissance images recording Florentine daily life, the documents reveal a rich culture and vocabulary of alfresco bench-sitting by people of all ranks, from government officials to vagrants. I examine the design, sociopolitical functions, and urban context of the benches. I propose that benches were part of the Tuscan urbanistic model for a civic piazza, and show how in Florence, the civic piazza was configured with tiered seats, exploring formal and semiotic resonances with the tribunal, theater, and council hall. I explore the appearance of stone façade benches on private palaces in fifteenth-century Florence. This was in part a monumentalization of a vernacular element, but I also suggest that for the Medici and other patrician builders, the bench was a direct reference to the civic center. The palaces valorized the stone façade bench for domestic architecture and codified it as a common element of Renaissance palace typology. References to contemporary seating provisions of other Italian towns and to precedents in Roman antiquity and late-medieval Italy provide context for the Florentine innovations. The bench emerges as a versatile element, both functionally and semiotically, which provides new insight into representations of power through the social control of outdoor space, and expressions of political ideology in urbanistic and architectural forms.
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Beyer, Andreas. "Review: Roman House: Renaissance Palaces: Inventing Antiquity in Fifteenth Century Italy by Georgia Clarke." Journal of the Society of Architectural Historians 65, no. 2 (June 1, 2006): 298–99. http://dx.doi.org/10.2307/25068275.
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Yi, Xinyue. "Science and Art in The Creation of Adam." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 149–54. http://dx.doi.org/10.54097/ehss.v11i.7541.
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The Renaissance was an intellectual and cultural movement that took place in Europe from the mid-14th century to the 16th century, and profoundly influenced European intellectual life in the early modern period. Beginning in Italy and spreading to the rest of Europe in the 16th century, its influence is reflected in art, architecture, philosophy, literature, music, anatomy, etc. The Creation of Adam is one of the important works of this period. Michelangelo's rigorous judgment of the body on the basis of anatomy, coupled with the use of clairvoyance skills, paints a unique human beauty with a sense of power. Renaissance scholars adopted a humanistic approach in their studies and looked for realism and human emotions in art. Based on The Creation of Adam, this article provides a case study and literature analysis of the connection between art and science, especially the embodiment of anatomy in The Creation of Adam. This article offers contemporary historians and artists some thoughts on the visual language of science, including how to understand science as a craft or even as an art, understand which works are both scientific and artistic, and how to develop a new visual language for science.
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Chechik, Liya A. "ROBERT FALK AND ITALY." Scientific and analytical journal Burganov House. The space of culture 19, no. 2 (April 10, 2023): 43–52. http://dx.doi.org/10.36340/2071-6818-2023-19-2-43-52.
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In the personal fate of the “quiet jack of diamonds”, Robert Falk, his ten-year stay in France played an important role; the innovations of French art influenced his creative passions. Meanwhile, Falk was interested in broad cultural strata. In the proposed article, for the first time, a seemingly marginal topic of his reflection on Italy and understanding of Italian art are highlighted. The journey of 1911, when the young artist, mostly on foot, visited dozens of cities and memorable places in northern Italy, made an unforgettable impression on him, the echoes of which (for example, the Ravenna mosaics) were reflected in his painting. However, we are not talking about direct natural images. The Italian “look” appears only on one canvas by Falk, Sienna. Memories of Italy, painted from memory after this eventful visit. Throughout his life, Falk carefully and analytically observed the masterpieces of the Italian Renaissance classics, sometimes changing his views and assessments, as happened with the great Venetians and Raphael. The first impression of the city was so strong that at the early time of acquaintance with Venice, with architecture, with the special light of the lagoon, the works of its art were out of Falk’s attention, who later appreciated them. The Ravenna mosaics especially attracted the artist’s attention, primarily the individuality of each mini-fragment of the colourful surface, textured complexity. Thus, in Falk’s dense painting, the influences of the foundations of Cezanne and early Byzantine masterpieces were simultaneously present. In addition, the texture attracted him in Titian’s painting, which he appreciated in the Hermitage and Louvre collections. In the Louvre, the interpretation of white in Raphael’s masterpiece Donna Velata attracted the artist’s attention. In the perception of early Falk, “dull” Sistine Madonna at the Moscow exhibition in 1956 struck him with “greatness and beauty”. The “Italian experience” was constantly used by the artist in his analytical and pedagogical work. As a “feedback”, the article gives examples of writer Carlo Levi and film director Michelangelo Antonioni’s high attitude towards painting of one of the greatest masters of Russian art of the 20th century.
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Jagiełło, Marzanna. "Sgraffito as a Method of Wall Decoration in the Renaissance and Mannerist Silesia." Arts 11, no. 1 (February 3, 2022): 25. http://dx.doi.org/10.3390/arts11010025.
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During the Renaissance and Mannerist periods, in most European countries the fashion for decorating walls with sgraffiti covered a large part of continent, from Portugal to Romania, and from Central Italy to the German countries and Poland. Its popularity in the middle part of Europe peaked in the 16th and 17th centuries. In many regions, sgraffito was the dominant method of decorating buildings. Sgraffito styles were differentiated by design, artistic level, local conditions and investor preferences. In many regions north of the Alps, sgraffito decorations were, on the one hand, a frequently used method of modernizing medieval buildings, and, on the other, a form of expressing views, often religious ones. Everywhere, however, they expressed supranational belonging to the world of a post-medieval, revival community. It was no different in Silesia, where the sgraffiti madness arrived, thanks to artists who came from the northern regions of Italy around 1540 and settled down until the middle of the next century. The research carried out by the author has proven that, for Silesia, sgraffito was an iconic sign of the architecture of that period. In this region, then belonging to the Habsburg Monarchy, sgraffito decorations covered a wide variety of architectural objects, from barns, walls, and gates to tenement houses, manors, castles, and churches. In the case of the latter, research has shown that temples in Gothic style are heavily decorated with sgraffiti, which should be considered a distinctive feature when compared to other regions. At the same time, it was found that the vast majority of them appeared in forms and themes known to us from other countries covered by the sgraffito fashion. The frame composition made in this technique and, most probably modeled directly on the template by S. Serlia (Tutte L’opere d’Architettura et Prospettiva) from 1619, should be considered as the Silesian contribution to the sgraffito heritage as well as oval bossages. While studying Silesian sgraffito, some local technological differences were also noticed. With the advent of the Baroque period, a large part of the sgraffito decoration was covered (and thus preserved) with a new, baroque decorative costume. We still discover them in the present while carrying out conservation works (sometimes multiple) on historic buildings. Many others, those constantly on display, have been restored to preserve their original shape, or have been reconstructed. Various and simultaneously modernized methods are used to implement these works. Their correct selection depends on in-depth knowledge of sgraffito (historical, artistic, technological and technical) and their regional specificity. It also depends on the constant exchange of experiences between all those dealing with sgraffito heritage.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.
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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Merrill, Elizabeth. "Review: Becoming an Architect in Renaissance Italy: Art, Science, and the Career of Baldassarre Peruzzi, by Ann C. Huppert." Journal of the Society of Architectural Historians 77, no. 3 (September 1, 2018): 350–52. http://dx.doi.org/10.1525/jsah.2018.77.3.350.
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Jarrard, Alice. "An Architectural Progress in the Renaissance and Baroque: Sojourns in and out of Italy Henry A. Millon Susan Scott Munshower." Journal of the Society of Architectural Historians 53, no. 3 (September 1994): 365–66. http://dx.doi.org/10.2307/990952.
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Medeiros, L., and J. Garcia-Fernandez. "MAKING SITES AND OBJECTS TALK: EXPERIENCES IN ACADEMIC RESEARCH, NEW TECHNOLOGIES AND COMMUNITY ENGAGEMENT." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 263–70. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-263-2020.
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Abstract. The identity and experience of past human societies has crystallized in the buildings that survive up to the present day, as architectural and archaeological heritage. The challenges of their study, management and communication are now in constant reshaping, as new technologies consistently bring new tools, opportunities and trials. Today, the values and meanings attached to this heritage by their communities are to be promoted by the strategies towards cultural heritage research, protection, enhancement, reuse or dissemination, as defined by the Faro Convention (CoE, 2005), but community involvement and interdisciplinarity are still goals often difficult to attain. In this contribution we aim to present two different case studies where strategies of state-of-the-art documentation and historical-archaeological assessment were brought together to address communities’ requests for heritage valorization while providing opportunities for interdisciplinary work, specialized education, and content creation. One is in the Finnish town of Hamina, a star-like fortress system which echoes the Renaissance urban ideals, achieved only in another place in Europe (Palma Nova, Italy), where an International Summer School took place to address the community’s requests for study and documentation. Another is in the Portuguese village of Muge, Salvaterra de Magos, where the need for scientific study and documentation addressed the owner’s goals for site musealization while providing interdisciplinary work and education to several undergrad and masters students in archaeology and architecture, while building contents for community engagement and outreach.
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Tourneur, Francis. "Global Heritage Stone: Belgian black ‘marbles’." Geological Society, London, Special Publications 486, no. 1 (October 15, 2018): 129–47. http://dx.doi.org/10.1144/sp486.5.
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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.
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Leader, Anne. "The Architecture of Banking in Renaissance Italy: Constructing the Spaces of Money. Lauren Jacobi. Cambridge: Cambridge University Press, 2019. xiv + 242 pp. $99.99." Renaissance Quarterly 74, no. 2 (2021): 591–92. http://dx.doi.org/10.1017/rqx.2021.19.
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Glixon, Jonathan. "Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy. Eugene J. Johnson. Cambridge: Cambridge University Press, 2018. xviii + 330 pp. $54.99." Renaissance Quarterly 73, no. 1 (2020): 250–51. http://dx.doi.org/10.1017/rqx.2019.520.
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Pietrogrande, Enrico, and Alessandro Dalla Caneva. "Hypotheses of urban regeneration. Small towns in the Veneto region, Italy." IOP Conference Series: Materials Science and Engineering 1203, no. 3 (November 1, 2021): 032064. http://dx.doi.org/10.1088/1757-899x/1203/3/032064.
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Abstract This work considers the small towns of the Veneto region, Italy, as a case study, concentrating analysis and proposals for a new urban design on areas that has been affected by a rapid post 2nd world war reconstruction and by following building speculation, thus losing their organic unity with the surrounding parts. The violence that often characterizes the insertion in the twentieth century of disproportionate volumes into the urban fabric inherited from the medieval culture and enriched by Renaissance masterpieces is easily recognizable. This is the reason why a lower standard of living is now perceived, if we accept the idea that standard of living is proportionated to the level of culture expressed by the context. The methodology looks at the town as a result of its spatial structure. More than political, social, and economic systems, reasons for its special nature can be found because of its constancy. Planning new buildings starts from understanding the context, that is, its physical structure. The method adopted is based on studying the history of the place to understand the urban morphology of it. The physical specificity of the urban form is explored with the aim of elaborating a design process to reinforce the public space as a reference point for the community. The spatial aspects and formal image of the transformations have been studied as a premise for the design of the new architecture that has developed because of necessity and the events that have occurred in the territory. Intervening through a process of urban redevelopment inside the city involves measuring according to the values that have become rooted in the areas with the passage of time. Good regeneration practice must not leave recovering the old together with its values out of consideration. This point of view leads us to consider that urbanism as a group of skills and bureaucratic apparatuses must occupy itself with the city and above all with its formal structure rather than be occupied so much with the contents of the legal, financial-economic, and administrative order.
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Sanvito, Paolo. "THE HOSPITAL OF SAN MATTEO IN PAVIA IN THE LOMBARD HEALTH CARE NETWORK. A UNIQUE CASE IN RENAISSANCE ITALY IN ARCHITECTURE AND DECORATIVE CYCLES." ARTis ON, no. 10 (December 29, 2020): 6–15. http://dx.doi.org/10.37935/aion.v0i10.261.
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The example of the Hospital of San Matteo in Lombard Pavia, founded right at the turn from the Visconti to the Sforza Dukes dominion in 1448, in one of the most learned cities of Lombardy, presents a very experimental assistential building for the historical period in which it was conceived. Its foundation has also been related to the Dominicans of the region, since it was the local monk Domenico de Catalogna, who took initiative to plan it and obtain the necessary permissions. On one hand, San Matteo was influenced by the exemplary hospital of Santa Maria Nova in Florence, whose foundation went back as early as 1288 and which had obviously enjoyed a strong impact already in the Late Middle Ages from the Islamic skills in building this kind of structures. In fact, Tuscany continuously developed intense trades via Pisa with the Mediterranean neighbors, the Iberian states, Syria and Egypt in the first place. But there were more influences in Pavia: the transfer from Padua of the entire scientific library to Pavia in 1388 had surely enriched the latter’s university with a wealth of information from the Orient. For these numerous reasons San Matteo can obviously not be considered separately from a high number of parallel experiences, not only in Upper Italy, but also in the rest of the Mediterranean area and especially it can not be seen as independent from the innovations of the Arab scholars. It becomes therefore inevitable to consider the addressed topics in a global and highly learned perspective.
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MacDougall, Elisabeth Blair. "Review: The Italian Renaissance Garden: From the Conventions of Planting, Design, and Ornament to the Grand Gardens of Sixteenth-Century Italy by Claudia Lazzaro, Ralph Lieberman." Journal of the Society of Architectural Historians 52, no. 1 (March 1, 1993): 97–99. http://dx.doi.org/10.2307/990763.
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Mont Muñoz, Ismael. "La formación de Vasco de la Zarza y el foco toledano." Artigrama, no. 38 (June 27, 2024): 211–28. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2023389918.
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Resumen Vasco de la Zarza fue uno de los maestros que más tempranamente incorporó las formas del Renacimiento en la arquitectura y la escultura castellanas del primer cuarto del siglo XVI. Esto ha llevado a diferentes autores a proponer que realizó un viaje a Italia, donde habría adquirido un rico bagaje artístico que le permitió crear algunos proyectos artísticos que destacan por la prematura utilización de las formas all’antica en la Castilla de los primeros años del quinientos, como el monumento fúnebre de El Tostado. Se han formulado diferentes teorías sobre su hipotético aprendizaje en Italia, pero su formación inicial castellana ha recibido menor atención, a pesar de que se trata de una base fundamental para comprender su figura y su producción artística. En este artículo presentamos algunas reflexiones sobre esta cuestión que vinculan los primeros pasos del aprendizaje artístico de Zarza al foco toledano y, concretamente, a Juan Guas y Sebastián de Toledo. AbstractVasco de la Zarza was one of the masters who most early incorporated Renaissance forms into Castilian architecture and sculpture in the first quarter of the 16th century. This has led various authors to propose that he made a trip to Italy, where he would have acquired a rich artistic background that enabled him to create some artistic projects that stand out for their premature use of all’antica forms in Castile in the first years of the 16th century, such as the funeral monument of El Tostado. Various theories have been put forward about his hypothetical apprenticeship in Italy, but his initial Castilian training has received less attention, despite the fact that it is a fundamental basis for understanding his figure and his artistic production. In this article we present some reflections on this question that link the first steps of Zarza’s artistic apprenticeship to the Toledo focus and, specifically, to Juan Guas and Sebastián de Toledo. KeywordsVasco de la Zarza, Juan Guas, Sebastián de Toledo, Toledo focus, Ávila.
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Howard, Deborah. "Fabrizio Nevola, Street Life in Renaissance Italy (New Haven and London: Yale University Press, 2020), 320 pp. incl. 160 colour and b&w ills, ISBN 9780300175431, £45." Architectural History 64 (2021): 405–7. http://dx.doi.org/10.1017/arh.2021.17.
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Huzain, Muh. "Pengaruh Peradaban Islam Terhadap Dunia Barat." TASAMUH: Jurnal Studi Islam 10, no. 2 (September 3, 2018): 355–77. http://dx.doi.org/10.47945/tasamuh.v10i2.77.
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The emergence of Islam influenced the revolution and made a wave of culture toward a new world when experiencing an era of darkness. The progress of Greek civilization in the Westcould not be continued by the Roman empire and Roman domination in the classical era until the middle ages; which was then therise of the West in the era of renaissance in the 14-16th century.This paper will reveal the influence of Islam on the development of the Western world, since the emergence of contact between Islam with the West in the Classical era until the middle ages. There are different opinions among historians about who and when the first contact between Islam and the West took place. The first contact, however, occurred when the areas of East Roman government (Byzantium), Syria (638) and Egypt (640) fell into the hands of the Islamic government during the reign of Caliph 'Umar bin Khaţţāb. The Second contact, at the beginning of the eighth and ninth centuries occurred when the kings of Islam were able to rule Spain (711-1472), Portugal (716-1147), and important Mediterranean islands such as Sardinia (740-1050), Cicilia (827-1091), Malta (870-1090) as well as several small areas in Southern Italy and French Southern France. The third contact, took place in Eastern Europe from the fourteenth to early twentieth century when the Ottoman empire ruled the Balkan peninsula (Eastern Europe) and Southern Russia. The Ottoman empire's powers in Europe covered Yunāni, Bulgaria, Albania, Romania, Yugoslavia, Hungary, parts of Rhode, Cyprus, Austria and parts of Russia. Of the three periods of contact, the greatest influence was in the second contact period, where the decline of Western science in the dark era, while in the Islamic world developed advanced and produces scientists, thinkers and intellectuals in various sciences. This influence can be seen from the sending of students studying to the university of Islamic area, the establishment of the university, the translation and copying of various scientific literature such as natural science (Science of astronomy, Mathematics, Chemistry, Pharmacy, medicine, architecture etc) and Social Science history, philosophy, politics, economics, earth sciences, sociology, law, culture, language, literature, art, etc.). The Historians recognize that the influence of Islamic civilization is very great on the development of the West, which culminated in the renaissance or rise of Western civilization in Europe after the dark era.
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Huzain, Muh. "PENGARUH PERADABAN ISLAM TERHADAP DUNIA BARAT." Tasamuh: Jurnal Studi Islam 10, no. 2 (November 7, 2018): 355–77. http://dx.doi.org/10.32489/tasamuh.41.
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The emergence of Islam influenced the revolution and made a wave of culture toward a new world when experiencing an era of darkness. The progress of Greek civilization in the West could not be continued by the Roman empire and Roman domination in the classical era until the middle ages; which was then the rise of the West in the era of renaissance in the 14-16th century. This paper will reveal the influence of Islam on the development of the Western world, since the emergence of contact between Islam with the West in the Classical era until the middle ages. There are different opinions among historians about who and when the first contact between Islam and the West took place. The first contact, however, occurred when the areas of East Roman government (Byzantium), Syria (638) and Egypt (640) fell into the hands of the Islamic government during the reign of Caliph 'Umar bin Khaţţāb. The Second contact, at the beginning of the eighth and ninth centuries occurred when the kings of Islam were able to rule Spain (711-1472), Portugal (716-1147), and important Mediterranean islands such as Sardinia (740-1050), Cicilia (827-1091), Malta (870-1090) as well as several small areas in Southern Italy and French Southern France. The third contact, took place in Eastern Europe from the fourteenth to early twentieth century when the Ottoman empire ruled the Balkan peninsula (Eastern Europe) and Southern Russia. The Ottoman empire's powers in Europe covered Yunāni, Bulgaria, Albania, Romania, Yugoslavia, Hungary, parts of Rhode, Cyprus, Austria and parts of Russia. Of the three periods of contact, the greatest influence was in the second contact period, where the decline of Western science in the dark era, while in the Islamic world developed advanced and produces scientists, thinkers and intellectuals in various sciences. This influence can be seen from the sending of students studying to the university of Islamic area, the establishment of the university, the translation and copying of various scientific literature such as natural science (Science of astronomy, Mathematics, Chemistry, Pharmacy, medicine, architecture etc) and Social Science history, philosophy, politics, economics, earth sciences, sociology, law, culture, language, literature, art, etc.). The Historians recognize that the influence of Islamic civilization is very great on the development of the West, which culminated in the renaissance or rise of Western civilization in Europe after the dark era.
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Falasca‐Zamponi, Simonetta. "The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy . By D. Medina Lasansky. Buildings, Landscapes, and Societies, volume 4. University Park: Pennsylvania State University Press, 2004. Pp. xliv+380. $85.00." Journal of Modern History 79, no. 2 (June 2007): 451–52. http://dx.doi.org/10.1086/519351.
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