Antiquity and its Interpreters Book

Introduction; Part I. Inhabiting History: 1. Historical self-definition; 1.1 Imitation James Ackerman; 1.2 P. Petrarch and the broken city David Galbraith; 1.3 Acquiring a classical past: historical appropriation in Renaissance Venice Patricia Fortini Brown; 1.4 Ordering history and style: Georgio Vasari on the art of history Philip Sohm; 2. Historical continuities; 2.1 Renaissance and real estate: the medieval afterlife of the Temple of Diana in Nimes Sheila Bonde; 2.2 Imaginary architecture and antiquity: the fountain of Venus in Francesco Colonna's Hypnerotomachia Poliphili Martine Furno II; 2.3 Antiquity consumed: transformations at San Marco, Venice Marina Belozerskaya and Kenneth Lapatin; Part II. Cultural Pursued: 3. The heritage of Zeuxis: painting, rhetoric and history Leonard Barkan; 3.1 Mind's passion: conjugating rationality and sensuality in neo-platonic interpretations of Italian Renaissance art Julia Branna Perlman; 3.2 The transformation of ancient landscape through the ideology of Christian reform Nicola Courtright; 4. The (re)emergence of the aesthetic; 4.1 Ut poesis architectura: Gherardo Spini and Italian archietectural criticism circa 1570 Alina Payne; 4.2 Viewing the art of Michelangelo: visual metaphor in the art critical tradition of the Renaissance Rebekah Smick; 4.3 The body and antiquity in Alberti's art theoretical writings Gerhard Wolf; 4.4 Patterns of transumption in Renaissance architectural theory Christof Thoenes; Part III. Culture Produced: 5. Textual exegesis; 5.1 Pliny's laocoon? Michael Koortbojian; 5.2 Symmetry and eurythmy: classical theory in architecture from Vitruvius to Bernini to the present day Tod Marder; 6. Appropriation contexts: decor, Furor Bacchicus, Convivium Phyllis Pray Bober; 6.1 Si come dice Vetruvio: images of antiquity in early Renaissance theory of architecture Richard Betts; Part IV. Coda: 7. Antiquity and the Renaissance from the outside; 7.1 Remaking antiquity in eighteenth-century Seville Catherine Wilkinson Zerner; 7.2 Winckelmann and Warburg: contrasting attitutudes toward the instrumental authority of ancient art Richard Brilliant; 7.3 Figural speculations Michael Ann Holly; 7.4 Writing history, viewing art: the question of the humanist's eye Carl Goldstein.