Relevant bibliographies by topics / Women Italy Florence History Renaissance

Academic literature on the topic 'Women Italy Florence History Renaissance'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Women Italy Florence History Renaissance"

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Kirkham, Victoria. "Creative Partners: The Marriage of Laura Battiferra and Bartolomeo Ammannati." Renaissance Quarterly 55, no. 2 (2002): 498–558. http://dx.doi.org/10.2307/1262317.

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From the time of their courtship until death parted them forty years later, Bartolomeo Ammannati (1511-1592) and Laura Battiferra (1523-1589) nurtured a loving relationship with reciprocal support for complementary careers. Their childless union generated two bodies of art, vast and beautiful. Renaissance contemporaries esteemed the Ammannati as a rarity, creative peers in a close marriage, but history has indifferently divorced them, dropping Bartolomeo to the ranks of second best and pushing his accomplished wife into obscurity. Reunited, the couple can return as they deserve, in the entwined lives that enriched their joint corpus and enhanced the fame each won as an individual — she for her poetry, praised by the most prominent men and women of culture in Counter Reformation Italy; he in his dual activity as sculptor and architect for projects ordered by popes in Rome, leaders of the new Society of Jesus, and three generations of Medici rulers in Florence.
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Hoysted, Elaine. "The art of death and childbirth in Renaissance Italy." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2011 (January 1, 2011): 93–98. http://dx.doi.org/10.33178/boolean.2011.21.

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Pregnancy was a dangerous event in the life of a fifteenth-century Florentine patrician woman. One-fifth of all deaths among females that occurred in Florence during this period were in fact related to complications in childbirth or ensuing post-partum infections. In the years 1424-25 and 1430, the Books of the Dead recorded the deaths of fifty-two women as a result of labour. As conditions for pregnant women did not improve in the ensuing half a century, childbirth remained a dangerous event for women to endure. Husbands took many precautions to ensure a successful birth as can be seen in the vast array of objects associated with this event created at this time. People turned to religion and magic in order to ensure that both the mother and child would survive this perilous process. Death in childbirth affected women from all classes and wealth did not act as a deterrent. The loss ...
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Milligan, Gerry, and Natalie R. Tomas. "The Medici Women: Gender and Power in Renaissance Florence." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 478. http://dx.doi.org/10.2307/20477373.

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McDonogh, Gary, Christiane Klapisch-Zuber, and Lydia G. Cochrane. "Women, Family, and Ritual in Renaissance Italy." Ethnohistory 33, no. 4 (1986): 460. http://dx.doi.org/10.2307/482044.

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Trexler, Richard C., Christiane Klapisch-Zuber, and Lydia G. Cochrane. "Women, Family, and Ritual in Renaissance Italy." Journal of Interdisciplinary History 17, no. 2 (1986): 448. http://dx.doi.org/10.2307/204784.

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ffolliott, Sheila, Geraldine A. Johnson, and Sara F. Matthews Grieco. "Picturing Women in Renaissance and Baroque Italy." Sixteenth Century Journal 30, no. 1 (1999): 172. http://dx.doi.org/10.2307/2544922.

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Mieli, Anna, and Margaret D’Ambrosio. "IRIS: Consortium of Art History and Humanities Libraries in Florence." Art Libraries Journal 30, no. 4 (2005): 26–31. http://dx.doi.org/10.1017/s0307472200014218.

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Florence in Italy, a renowned centre for art and culture, has been called a ‘living museum’ of the Italian Renaissance. Today it is also the site of a co-operative international project bringing the world’s scholarly community access to the bibliographic patrimonies of a group of special art and humanities libraries. The IRIS consortium is a unique resource for art historians, but it is also of value and use for anyone interested in the many aspects of this rich artistic period.
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Terpstra, Nicholas, Daniel Bornstein, Roberto Rusconi, and Margery J. Schneider. "Women and Religion in Medieval and Renaissance Italy." Sixteenth Century Journal 28, no. 2 (1997): 690. http://dx.doi.org/10.2307/2543558.

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Strocchia, Sharon T., Daniel Bornstein, Roberto Rusconi, and Margery J. Schneider. "Women and Religion in Medieval and Renaissance Italy." American Historical Review 103, no. 1 (February 1998): 162. http://dx.doi.org/10.2307/2650810.

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Baernstein, P. Renée. ":Savonarola's Women: Visions and Reform in Renaissance Italy." American Historical Review 114, no. 1 (February 2009): 238–39. http://dx.doi.org/10.1086/ahr.114.1.238.

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Dissertations / Theses on the topic "Women Italy Florence History Renaissance"

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Hamilton, Desirae. "The Captain of the People in Renaissance Florence." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804880/.

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The Renaissance Florentine Captain of the People began as a court, which defended the common people or popolo from the magnates and tried crimes such as assault, murder and fraud. This study reveals how factionalism, economic stress and the rise of citizen magistrate courts eroded the jurisdiction and ended the Court of the Captain. The creation of the Captain in 1250 occurred during the external fight for dominance between the Holy Roman Emperor and the Pope and the struggle between the Guelfs and Ghibellines within the city of Florence. The rise of the Ciompi in 1379, worried the Florentine aristocracy who believed the Ciompi was a threat to their power and they created the Otto di Guardia, a citizen magistrate court. This court began as a way to manage gaps in jurisdiction not covered by the Captain and his fellow rectors. However, by 1433 the Otto eroded the power of the Captain and his fellow rectors. Historians have argued that the Roman law jurists in this period became the tool for the aristocracy but in fact, the citizen magistrate courts acted as a source of power for the aristocracy. In the 1430s, the Albizzi and Medici fought for power. The Albizzi utilized a government mandate, which had the case already carried out or a bullectini to exile Medici adherents. However, by 1433, the Medici triumphed and Cosimo de Medici returned to the city of Florence. He expanded the power of the Otto in order to utilize the bullectini to exile his enemies. The expansion of jurisdiction of the Otto further eroded the power of the Captain. Factionalism, economic stress and the rise of the citizen magistrate courts eroded the power of the Captain of the people.
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Mariani, Irene. "Vespucci family in context : art patrons in late fifteenth-century Florence." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15740.

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The study of Florentine artistic patronage has attracted several approaches over the last three decades, including the exploration of patron-­‐client structures and how the use of art in private and public spheres contributed to shape families’s identity. Building on past research, this work focuses on the art patronage of a prominent, yet overlooked, family, the Vespucci, to whom Amerigo, the navigator who reached the coasts of America in the late fifteenth century, belonged. Although the family’s importance was achieved through a synergy of political, religious and intellectual forces, attention is given to the Vespucci’s engagement with the arts and their key contribution to Florence’s humanistic culture between the years 1470-­1500. The family’s houses and private chapels are analysed, and three artists, Botticelli, Ghirlandaio and Piero di Cosimo, considered. Combining history, art history, and archival resources, new evidence and interpretations are advanced to ascribe selected artworks -­ controversially believed to be Vespucci commissions - to the private patronage of this Florentine family. Examining the Vespucci’s artistic taste in private and public settings, whilst attempting a reconstruction of partially lost painted commissions, deepens comprehension on the role that domestic and social life played in the creation of art and culture; the family’s force in shaping spaces; and the practice of buying, commissioning, and displaying as a means of signifying wealth, increasing status, and establishing identity. Power seekers, the Vespucci entered the Medici intellectual circles through which they created chains of friendship with prominent families inside and outside of Florence. As questions about shared artistic tastes and the paradigmatic role of the Medici artistic patronage have been the focus of scholarly enquiry, this study of the Vespucci provides an insight into the family’s spreading of new ideas and its interaction with the development of the visual arts. Investigation into the Vespucci’s breadth of interests helps to reframe the current knowledge of Florentine cultural exchanges and to contextualise the family’s influence beyond the geographical discoveries it has been exclusively associated with.
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Maxson, Brian. "Review of Cultures of Charity: Women, Politics, and the Reform of Poor Relief in Renaissance Italy." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/6202.

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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.

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Art History
M.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses
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Moreton, Melissa N. ""Scritto di bellissima lettera": nuns' book production in fifteenth and sixteenth-century Italy." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/6480.

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This dissertation examines the cultural, intellectual and artistic contributions religious women made in the production of secular and religious books in fifteenth and sixteenth-century Italy. It presents the first comparative study of nuns' book production across Italy and introduces new manuscripts to the canon of nuns' bookwork. Though the scholarship of the last fifty years has increased our understanding of the institutional and individual lives of nuns, little research has been done on their production and exchange of texts. Nun-scribes and manuscript painters produced liturgical, devotional and administrative books for use in-house, as well as for secular and religious communities and individuals outside the walls of the convents. Evidence of their bookwork repositions them as active participants in a rich spiritual, intellectual and artistic life and broadens their sphere of activity and influence to include a wide community of secular and religious patrons, artistic collaborators, scholars, family members, and book-buying clientele. Through a close examination of the material evidence in their manuscripts, this study illustrates how nuns used the production and exchange of texts to further their individual and institutional goals. This dissertation makes an important contribution to the current understanding nuns' spiritual, artistic and intellectual life and practice and significantly reshapes the current understanding of women's education and learning in Renaissance and early modern Italy (1400-1650).
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Merseburger, Maria. "Gemalte Gewandung im Florentiner Quattrocento." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18687.

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Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel.
The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.
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Carlson, Raymond Edward. "Michelangelo between Florence and Rome: Art and Literary Culture in Sixteenth-Century Italy." Thesis, 2020. https://doi.org/10.7916/d8-mnyb-pv07.

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This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.
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Maratsos, Jessica. "The Devotional Imagination of Jacopo Pontormo." Thesis, 2014. https://doi.org/10.7916/D8CN722C.

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In Italy the first half of the Cinquecento was marked by both flourishing artistic innovation and deep-seated religious uncertainty, the latter revealing itself most clearly in a widespread impetus towards reform. The relationship between these two cultural spheres--long a fraught problem in art historical scholarship--is made visually manifest in the religious works produced by the Florentine painter Jacopo da Pontormo. By re-examining Pontormo's three monumental religious commissions--the Certosa del Galluzzo (1522-27), the Capponi Chapel (1525-28), and the choir of San Lorenzo (1545-1557)--this dissertation maps the complex dialogue between artistic and devotional practice that characterized this era. Further, in highlighting the active role of the painter in this dynamic I propose a not only a new understanding of Pontormo, but also enrich our current notions of artistic agency in the Renaissance period. The foundation of these arguments derives from a re-evaluation of the specific historical context on the one hand, and the implementation of a broader framework of visual culture on the other. Taking its cue from Giorgio Vasari's 1568 edition of The Lives of the Artists, modern scholarship has tended to view much of the art from the early sixteenth century through a post-Tridentine lens; paintings are labeled controversial or heretical, when in fact such notions would not have been relevant in these earlier decades. Published five years after the conclusion of the Council of Trent, Vasari's Lives is predominantly characterized by the author's own attempts to codify artistic pedagogy and style in the service of the Medici Duchy, whose newly consolidated ties with the papacy were of primary importance. A further difficulty presented by following Vasari's example is the relatively narrow view of the artistic environment that his account affords. Aimed as it was towards the social elevation of the individual Renaissance artist, Vasari's narrative undervalues the importance of other genres and media--such as prints, Mystery plays, terracotta sculptures, and sacri monti--to the work of well-established painters like Pontormo. Each chapter examines a single, monumental project, delineating the artist's responsiveness to, and engagement with, the unique devotional and artistic challenges inherent to the individual commission. Chapter One resituates Pontormo's use of the maniera tedesca within the broader contexts of northern devotional practices and the parallels they form with affective strategies employed by other genres including sacre rappresentazioni and sacri monti. Chapter Two focuses on the painter's decision to portray himself the guise of Nicodemus, and the ways in which this identification evoked an entire web of historical associations--linked to hagiographic tradition and local legend--that would have been accessible to contemporary viewers. Finally, in Chapter Three I investigate Pontormo's pictorial approach, which combined an overarching diagrammatic simplicity with a complex, allusive figural language, as a means of communicating to the different levels of Florentine society that would have been his audience in this important parish church.
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Books on the topic "Women Italy Florence History Renaissance"

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The Medici women: Gender and power in Renaissance Florence. Aldershot, Hampshire, England: Ashgate, 2003.

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Nuns and nunneries in Renaissance Florence. Baltimore: Johns Hopkins University Press, 2009.

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J, Crum Roger, and Paoletti John T, eds. Renaissance Florence: A social history. New York: Cambridge University Press, 2006.

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The economy of Renaissance Florence. Baltimore: Johns Hopkins University Press, 2008.

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Brucker, Gene A. Renaissance Florence: Society, culture, and religion. Goldbach: Keip, 1994.

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A history of Florence 1200-1575. Malden, MA: Blackwell Pub., 2006.

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The Florentine Renaissance. London: Pimlico, 1992.

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Public life in Renaissance Florence. Ithaca: Cornell University Press, 1991.

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Lemaître, Alain J. Florence and the Renaissance. Paris: Terrail, 1994.

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Goldthwaite, Richard A. Banks, palaces, and entrepreneurs in Renaissance Florence. Aldershot, Hampshire, Great Britain: Variorum, 1995.

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Book chapters on the topic "Women Italy Florence History Renaissance"

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Campbell, Gordon. "4. Italy." In Garden History: A Very Short Introduction, 50–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199689873.003.0004.

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‘Italy’ discusses the essential features of the 16th-century Italian Renaissance garden—terraces, symmetry, statues, water, and a balance between constructed and natural materials—that were to influence gardens all over the world both in layout and in content. The two best-known surviving gardens of 16th-century Italy are Villa d’Este in Tivoli and the Boboli Gardens in Florence. The design of Italian gardens through the 17th and 18th centuries is also considered, when there was a greater French influence. Many gardens became derelict during the political and economic difficulties of a fragmented Italy in the late 18th and early 19th centuries, but the past forty years have witnessed the restoration of many Renaissance gardens.
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Lowe, Kate. "History writing from within the convent in Cinquecento Italy: the nuns’ version." In Women in Italian Renaissance Culture and Society, 105–21. Routledge, 2017. http://dx.doi.org/10.4324/9781351199070-7.

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Philo, John-Mark. "Roman History and the Status of Women." In An Ocean Untouched and Untried, 65–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857983.003.0004.

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Chapter 3 locates William Thomas’s (d.1554) translation of a succinct but significant moment of the AUC concerning the repeal of the Lex Oppia, a sumptuary law targeting women in particular. The episode shows the women of Rome taking to the streets to demand the law’s repeal, forcing senators and tribunes alike to acknowledge their protest. Thomas thus chose to adapt one of the most arresting examples of women’s engagement in Roman politics. By choosing Livy as a champion of female autonomy, he went firmly against the contemporary grain, vying against more frequent appeals to the AUC as a means of censuring women’s dress and behaviour. Thomas was most probably alerted to this way of reading Livy during his extensive travel in Italy. During the Quattrocento, there had emerged a series of speeches and tracts concerning the status of women, which had similarly harnessed Livy in the defence of womankind. This chapter explores how Thomas was able combine these arguments with his own reading of classical history, producing a bold intervention in the Renaissance querelle des femmes.
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Goncharova, Olena. "WOMEN ARTISTS OF THE RENAISSANCE AND BAROQUE PERIOD IN ITALY: CULTURAL STUDIES DISCOURSE." In Integration of traditional and innovation processes of development of modern science. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-021-6-13.

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The purpose of the monograph section. On the basis of anthropocentric approach to the analysis of visual self-presentations of Italian women artists of the Renaissance and Baroque period fill in the gaps that exist in domestic art history regarding the works of Plautilla Nelli, Sofonisba Anguissola, Lavinia Fontana, Marietta Robusti, Artemisia Gentileschi, Arcangela Paladini, Giovanna Garzoni, Elisabetta Sirani and the sculptor Properzia de’ Rossi. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical, comparative, iconographic and figurative and stylistic methods were used in writing the monograph. The scientific novelty lies in the author's method of analyzing works of visual art from the point of view of anthropocentric approach, as well as in considering the creativity of women artists of Renaissance and Baroque period in Italy as their self-objectifications, which give rise to a new cultural reality. Conclusions. Creativity by Italian women artists Plautilla Nelli, Sofonisba Anguissola, Lavinia Fontana, Marietta Robusti, Artemisia Gentileschi, Arcangela Paladini, Giovanna Garzoni, Elisabetta Sirani and the sculptor Properzia de’ Rossi in diachronic view can be expanded. During 16th–17th centuries, several talented female painters and one female sculptor worked in Italian fine arts. Against the background of the cultural realities of the time, this phenomenon can be considered an indicator of paradigmatic changes in the public consciousness in relation to the social significance of talented women.
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Werlin, Julianne. "The Writing of Daily Life." In Writing at the Origin of Capitalism, 105–29. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869467.003.0005.

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This chapter argues that the growing importance of financial documentation in early modernity shaped the form and content of vernacular writing. Focusing on the diary, it traces links between journals and accounts from early Renaissance Florence through seventeenth-century England, showing how notebook culture spread in response to financial pressures. Ultimately, the extension of monetary relations in early capitalist England gave men and women new reasons to record apparently trivial details of their daily lives, which now appeared in lists of expenses, debts, and accounts. The chapter thus contributes to debates about English economic individualism and the origins of realist prose; in addition, it shows how practical documents served as a vector for transmitting financial imperatives to literary history.
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Golubkov, Andrey V. "Hesiod’s dream: the History of World Literature in the Novel of French Précieuse (“Clélie, l’histoire romaine” by Madeleine de Scudéry)." In “The History of Literature”: Non-scientific sources of a scientific genre, 705–52. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-705-752.

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The research focuses on the annotated translation into Russian language of the Hesiod’s Dream, large fragment from the 2nd book of the 8th volume of the novel “Clélie, l’histoire romaine” of the French writer of the middle of the 17th century Madeleine de Scudéry, which is a consistent narration about the world history of the literature in Ancient Greece, Ancient Rome, Renaissance Italy, as well as in France from the late Middle Ages up to the 1650’s. The introductory article analyzes the metatextual nature of the narrative (it is presented as the reading of a manuscript by the heroes of the novel, which tells about Hesiod, to whom the muse of poetry Calliope tells the future development of literature), as well as the context of the creation of an episode that reflected the influence of ancient and renaissance poetics and rhetoric. In the course of the research, it is demonstrated that Scudéry builds the logic of the evolution of Western literature in the context of the idea of “progress”: the ancient and Renaissance Italian tradition appears as a stage that prepared the flowering of gallant poetry in France; such an understanding of the logic of the development of Western literature, leading to an emphasis on the role of women and focusing on light love poetry (Catullus, Petrarca) to the detriment of the philosophical tradition (Dante) is the result of the cultural policy of Superintendent Nicolas Fouquet, who was considered by a significant part of the French elites as a new “Patron of the Arts”.
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Conference papers on the topic "Women Italy Florence History Renaissance"

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Rinaldi, Simona. "L’architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11481.

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The Italian military architecture of Ancona’s Citadel: construction techniques and defensive systems in the sixteenth centuryThe objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture’s history, as it was one of the first experiments of fronte bastionato all’italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona’s fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes’ reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period.
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