This book tells the story of one dynasty's struggle with water, to control its flow and manage its representation. The role of water in the art and festivals of Cosimo I and his heirs, Francesco I and Ferdinando I de' Medici, informs this richly-illustrated interdisciplinary study. Else draws on a wealth of visual and documentary material to trace how the Medici sought to harness the power of Neptune, whether in the application of his imagery or in the control over waterways and maritime frontiers, as they negotiated a place in the unstable political arena of Europe, and competed with foreign powers more versed in maritime traditions and aquatic imagery.

How did early modern societies think about disasters, such as earthquakes or floods? How did they represent disaster, and how did they intervene to mitigate its destructive effects? This collection showcases the breadth of new work on the period ca. 1300-1750. Covering topics that range from new thinking about risk and securitisation to the protection of dikes from shipworm, and with a geography that extends from Europe to Spanish America, the volume places early modern disaster studies squarely at the intersection of intellectual, cultural and socio-economic history. This period witnessed fresh speculation on nature, the diffusion of disaster narratives and imagery and unprecedented attempts to control the physical world. The book will be essential to specialists and students of environmental history and disaster, as well as general readers who seek to discover how pre-industrial societies addressed some of the same foundational issues we grapple with today.

This fourth volume in the European Festival Studies, 1450–1700 series breaks with precedent in stemming from a joint conference (Venice, 2013) between the Society for European Festivals Research and the PALATIUM project supported by the European Science Foundation. The volume draws on up-to-date research by a Europe-wide group of academic scholars and museum and gallery curators to provide a unique, intellectually-stimulating and beautifully-illustrated account of temporary architecture created for festivals of the sixteenth and seventeenth centuries, together with permanent architecture pressed into service for festival occasions across major European locations including Italian, French, Austrian, Scottish and German. Appealing and vigorous in style, the essays look towards classical sources while evoking political and practical circumstances and intellectual concerns – from re-shaping and re-conceptualizing early sixteenth-century Rome, through providing for the well-being and political allegiance of Medici-era Florentines and exploring the teasing aesthetics of performance at Versailles to accommodating players and spectators in seventeenth-century Paris and at royal and ducal events for the Habsburg, French and English crowns. The volume is unique in its field in the diversity of its topics and the range of its scholarship and fascinating in its account of the intellectual and political life of Early Modern Europe.

Water is a global resource for modern societies - and water was a global resource for pre-modern societies. The many different water systems serving processes of urbanisation and urban life in ancient times and the Middle Ages have hardly been researched until now. The numerous contributions to this volume pose questions such as what the basic cultural significance of water was, the power of water, in the town and for the town, from different points of view. Symbolic, aesthetic, and cult aspects are taken up, as is the role of water in politics, society, and economy, in daily life, but also in processes of urban planning or in urban neighbourhoods. Not least, the dangers of polluted water or of flooding presented a challenge to urban society. The contributions in this volume draw attention to the complex, manifold relations between water and human beings. This collection presents the results of an international conference in Kiel in 2018. It is directed towards both scholars in ancient and mediaeval studies and all those interested in the diversity of water systems in urban space in ancient and mediaeval times.

The aim of this Companion volume is to provide scholars and advanced graduate students with a comprehensive and authoritative state-of-the-art review of current research work on Anglo-Italian Renaissance studies. Written by a team of international scholars and experts in the field, the chapters are grouped into two large areas of influence and intertextuality, corresponding to the dual way in which early modern England looked upon the Italian world from the English perspective – Part 1: "Italian literature and culture" and Part 2: "Appropriations and ideologies". In the first part, prominent Italian authors, artists, and thinkers are examined as a direct source of inspiration, imitation, and divergence. The variegated English response to the cultural, ideological, and political implications of pervasive Italian intertextuality, in interrelated aspects of artistic and generic production, is dealt with in the second part. Constructed on the basis of a largely interdisciplinary approach, the volume offers an in-depth and wide-ranging treatment of the multifaceted ways in which Italy’s material world and its iconologies are represented, appropriated, and exploited in the literary and cultural domain of early modern England. For this reason, contributors were asked to write essays that not only reflect current thinking but also point to directions for future research and scholarship, while a purposefully conceived bibliography of primary and secondary sources and a detailed index round off the volume.

In the age of European expansion, pearls became potent symbols of imperial supremacy. Pearls for the Crown demonstrates how European art legitimated racialized hierarchies and inequitable notions about humanity and nature that still hold sway today. When Christopher Columbus encountered pristine pearl beds in southern Caribbean waters in 1498, he procured the first source of New World wealth for the Spanish Crown, but he also established an alternative path to an industry that had remained outside European control for centuries. Centering her study on a selection of key artworks tied to the pearl industry, Mónica Domínguez Torres examines the interplay of materiality, labor, race, and power that drove artistic production in the early modern period. Spanish colonizers exploited the expertise and forced labor of Native American and African workers to establish pearling centers along the coasts of South and Central America, disrupting the environmental and demographic dynamics of their overseas territories. Drawing from postcolonial theory, material culture studies, and ecocriticism, Domínguez Torres demonstrates how, through use of the pearl, European courtly art articulated ideas about imperial expansion, European superiority, and control over nature, all of which played key roles in the political circles surrounding the Spanish Crown. This highly anticipated interdisciplinary study will be welcomed by scholars of art history, the history of colonial Latin America, and ecocriticism in the context of the Spanish colonies.

In the early seventeenth century, the Arno River in Florence became the setting for extravagant water festivals with complicated productions of mock naval and land battles that included fantastic pageant ships, imaginative scenery, and impressive fireworks. An investigation of a Medici court diary, festival books, art, and other primary source material reveals a remarkable escalation in scale and sophistication of Florentine water spectacles between 1608 and 1619. The first event was the Argonautica, a naumachia that was staged for the wedding of Cosimo de' Medici and Maria Magdalena of Austria in 1608. Eight additional court-sponsored water festivals, arranged between 1611 and 1619, replaced a simple popular boat race that was held annually for the Feast of San Iacopo. The distinctive nature of these performances suggests a noteworthy effort by Grand Dukes Ferdinando I and Cosimo II to stage and record these festivals for the Florentines, foreign courts, and posterity. No one until now has identified and investigated this unusual cluster of elaborate Arno feste. This study contributes to the debate about the complicated nature of social and cultural intersections and interactions during the early modern period. These river pageants indicate an interest of the sovereign in sponsoring civic entertainments that touched all classes of society, and they created opportunities for elite and popular groups to share an experience in a communal space. Recovered information also adds to the discussion of how early modern rulers appropriated public spaces and civic traditions to assert their power and glorify their images. Grand Dukes Ferdinando I and Cosimo II used these water spectacles to display and promote their authority as well as communicate messages of their maritime and trade interests. These public feste were an effective way to promote and advertise the idea that the ruler and the realm were healthy and indeed thriving. But the river setting was a different kind of festive theater. Its large and fluid field presented unique opportunities and challenges for the organizers and the designers. This investigation provides new information on Florentine court-sponsored civic celebrations and illuminates aspects of the life and reign of Cosimo II, an often overlooked member of the Medici family.

The history of the Florentine patriciate did not end with the establishment of the Medici Duchy and Grand Duchy of Tuscany. Proud and self-confident, these patricians were not subservient courtiers; on the contrary, they continued to exert a considerable influence on Florentine culture and politics for centuries. The patrician class in sixteenth-century Florence were the descendants of wealthy, sophisticated and politically savvy families who, while acquiring noble titles, estates, and villas, retained their long-standing urban identity. The mark they left on the city’s cultural and artistic life was embraced by the Medici, who used their political and diplomatic knowhow, eleborate artistic commissions, and European networks to enhance their power and prestige. A Cultural Symbiosis highlights the contributions to Florentine art and culture of eight patricians, focusing on the Valori, Pucci, Ridolfi, Vecchietti, del Nero, Salviati, Guicciardini, and Niccolini families.

Sally Cornelison draws upon contemporary visual, literary, and archival sources and diverse methodologies to interpret how the persona of St. Antoninus and the intercessory effectiveness of his relic cult were advertised to a broad audience of viewers and devotees during the Renaissance. Tracing the history of St. Antoninus' burial sites from 1459 until 1589, this interdisciplinary study demonstrates that the saint's cult was a key element of Florence's sacred cityscape.