The Flowering of the Renaissance

The Flowering of the Renaissance
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Now available as an ebook.Praise for The Flowering of The Renaissance:‘An evocative picture of Rome at the turn of the sixteenth century … the account of Michelangelo is particularly memorable. At the same time Mr Cronin places the Renaissance firmly in its historical, political and religious setting … The book is beautifully written, and in his discussion of such artists as Titian and Giorgione, Cronin shows a rare talent for describing and dissecting paintings.’ Observer‘It is Mr Cronin’s outstanding achievement to have given this truly chaotic period a form which makes it intelligible but without distorting its meaning through over-simplification.’ Daily Telegraph

Оглавление

Vincent Cronin. The Flowering of the Renaissance

Maps

Contents

Prologue

CHAPTER 1. The Awakening of Rome

CHAPTER 2. Julius II

CHAPTER 3. After Caesar, Augustus

CHAPTER 4. The Challenge from Germany

CHAPTER 5. The Courtier’s World

CHAPTER 6. The Growth of History

CHAPTER 7. All Things in Movement

CHAPTER 8. The Arts

CHAPTER 9. The Venetian Republic

CHAPTER 10. Venetian Architecture

CHAPTER 11. Venetian Painting

CHAPTER 12. The Response to the Crisis

CHAPTER 13. After the Crisis

CHAPTER 14. Sunset in Venice

Epilogue

If you enjoyed The Flowering of the Renaissance: 1919–1939, check out this other great Vincent Cronin title

APPENDIX A. Italian Currencies

APPENDIX B. Character and an Anti-Classical Style

APPENDIX C. The whereabouts of works of art mentioned in the text

Sources and Notes. LIST OF ABBREVIATIONS

The Popes from 1450 to 1616

A Table of Dates

Index

Notes. CHAPTER 1: The Awakening of Rome

CHAPTER 4: The Challenge from Germany

CHAPTER 8: The Arts

Also by the Author

About the Publisher

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Cover

Title Page

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After eight months’ gruelling labour in the Carrara quarries Michelangelo set up a workshop in front of St Peter’s and prepared to begin the tomb. Julius however had meanwhile conceived an even more ambitious plan—the rebuilding of St Peter’s—and his passion for the tomb had cooled. In April he told a goldsmith and his master of ceremonies that he would not give another penny for stones, whether large or small. Michelangelo, worried, asked several times for an audience, but Julius, who was preparing to lay the foundation stone of the new St Peter’s, was too busy to see him. Finally, on 17 April 1506, Michelangelo was turned out of the palace.

This rebuff both angered and alarmed him. He sensed secret enemies: ‘I believed, if I stayed, that the city would be my own tomb before it was the Pope’s.’ In 1494 at the time of the French invasion he had fled Florence, and now once again he took flight, selling his scanty possessions and galloping full speed for Florence, pursued by five of the Pope’s horsemen. Once safe on Florentine soil, he wrote to Julius: ‘Since your Holiness no longer requires the monument, I am freed from my contract, and I will not sign a new one.’

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