Armour and Masculinity in the Italian Renaissance /
Springer, Carolyn
Armour and Masculinity in the Italian Renaissance / Carolyn Springer. - 1 online resource (272 p.)
Frontmatter -- Contents -- List of Illustrations -- Photograph Credits -- Acknowledgments -- Introduction -- PART ONE: ARMOURED BODIES -- 1. The Classical Body: The Poetics of the Bella Figura -- 2. The Sacred Body: The Armour of Sacrifice -- 3. The Grotesque Body: Tropes and Apotropes -- PART TWO: STUDIES IN SELF-FASHIONING -- 4. Guidobaldo II della Rovere (1514–74) -- 5. Charles V Habsburg (1500–58) -- 6. Cosimo I de’ Medici (1519–74) -- Conclusion -- Glossary -- Notes -- Bibliography -- Index
restricted access http://purl.org/coar/access_right/c_16ec
During the Italian Wars of 1494 to 1559, with innovations in military technology and tactics, armour began to disappear from the battlefield. Yet as field armour was retired, parade and ceremonial armour grew increasingly flamboyant. Displaced from its utilitarian function of defense but retained for symbolic uses, armour evolved in a new direction as a medium of artistic expression. Luxury armour became a chief accessory in the performance of elite male identity, coded with messages regarding the owner's social status, genealogy, and political alliances. Carolyn Springer decodes Renaissance armour as three-dimensional portraits through the case studies of three patrons of luxury armourers, Guidobaldo II della Rovere (1514-75), Charles V Habsburg (1500-58 and Holy Roman Emperor from 1519-56), and Cosimo I de'Medici (1519-74). A fascinating exposition of male self-representation, Armour and Masculinity in the Italian Renaissance explores the significance of armour in early modern Italy as both cultural artefact and symbolic form.
Mode of access: Internet via World Wide Web.
In English.
9781442626171 9781442685765
10.3138/9781442685765 doi
Armor in art.
Armor, Renaissance--Social aspects--Italy.
Masculinity--History.--Italy
ART / History / Renaissance.
739.7/5094509031
Armour and Masculinity in the Italian Renaissance / Carolyn Springer. - 1 online resource (272 p.)
Frontmatter -- Contents -- List of Illustrations -- Photograph Credits -- Acknowledgments -- Introduction -- PART ONE: ARMOURED BODIES -- 1. The Classical Body: The Poetics of the Bella Figura -- 2. The Sacred Body: The Armour of Sacrifice -- 3. The Grotesque Body: Tropes and Apotropes -- PART TWO: STUDIES IN SELF-FASHIONING -- 4. Guidobaldo II della Rovere (1514–74) -- 5. Charles V Habsburg (1500–58) -- 6. Cosimo I de’ Medici (1519–74) -- Conclusion -- Glossary -- Notes -- Bibliography -- Index
restricted access http://purl.org/coar/access_right/c_16ec
During the Italian Wars of 1494 to 1559, with innovations in military technology and tactics, armour began to disappear from the battlefield. Yet as field armour was retired, parade and ceremonial armour grew increasingly flamboyant. Displaced from its utilitarian function of defense but retained for symbolic uses, armour evolved in a new direction as a medium of artistic expression. Luxury armour became a chief accessory in the performance of elite male identity, coded with messages regarding the owner's social status, genealogy, and political alliances. Carolyn Springer decodes Renaissance armour as three-dimensional portraits through the case studies of three patrons of luxury armourers, Guidobaldo II della Rovere (1514-75), Charles V Habsburg (1500-58 and Holy Roman Emperor from 1519-56), and Cosimo I de'Medici (1519-74). A fascinating exposition of male self-representation, Armour and Masculinity in the Italian Renaissance explores the significance of armour in early modern Italy as both cultural artefact and symbolic form.
Mode of access: Internet via World Wide Web.
In English.
9781442626171 9781442685765
10.3138/9781442685765 doi
Armor in art.
Armor, Renaissance--Social aspects--Italy.
Masculinity--History.--Italy
ART / History / Renaissance.
739.7/5094509031