Nature and the Arts in Early Modern Naples


Book Description

The literary, artistic, and scientific culture of early modern Naples is closely linked to the natural topography of the city, stretching from Iacopo Sannazaro’s poetic evocation of the Campania landscape to Giambattista Vico’s approach in which he anchors human civilization to the existential confrontation with natural forces. With the open sea, the rocky coastline, and the menacing presence of Vesuvius, the image of Naples, more than any other city in early modern times, is associated in the collective imagination with the forces of nature. Even the populace was interpreted as a force of nature. In this volume, art, literature, and science historians investigate the convergence of culture and nature in a unique geographic context.




News from the Epicentre


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For decades historians argued for the downfall of communication, when early modern societies were hit by a natural disaster. After all, earthquakes caused the destruction of infrastructure, which hindered the spread of news. Instead, the last investigations opened a new point of view about the political communication: every crisis was a catalyst for news. The book widens this reading through a comparative analysis of several earthquakes in the Hispanic Monarchy territories, from Asia to America. However, the examination of communications provided in this volume is not an end in itself but is offered as a basis for reflection and to propose the notion that earthquakes trigger change in social and political dynamics. Earthquake-related crises exposed the underlying contradictions that the court of Madrid needed to address in the most effective way, and, if possible, swiftly. Earthquakes not only destroyed buildings and infrastructure but also social norms. Urgency reduced the distance between interlocutors, to some extent blurring the boundaries of self-censorship. Tremors therefore offer a rare opportunity to observe the political and military crises faced by the Hispanic Monarchy, the global empire of the time.




Watching Vesuvius


Book Description

Mount Vesuvius has been famous ever since its eruption in 79 CE, when it destroyed and buried the Roman cities of Pompeii and Herculaneum. But less well-known is the role it played in the science and culture of early modern Italy, as Sean Cocco reveals in this ambitious and wide-ranging study. Humanists began to make pilgrimages to Vesuvius during the early Renaissance to experience its beauty and study its history, but a new tradition of observation emerged in 1631 with the first great eruption of the modern period. Seeking to understand the volcano’s place in the larger system of nature, Neapolitans flocked to Vesuvius to examine volcanic phenomena and to collect floral and mineral specimens from the mountainside. In Watching Vesuvius, Cocco argues that this investigation and engagement with Vesuvius was paramount to the development of modern volcanology. He then situates the native experience of Vesuvius in a larger intellectual, cultural, and political context and explains how later eighteenth-century representations of Naples—of its climate and character—grew out of this tradition of natural history. Painting a rich and detailed portrait of Vesuvius and those living in its shadow, Cocco returns the historic volcano to its place in a broader European culture of science, travel, and appreciation of the natural world.




Artes Apodemicae and Early Modern Travel Culture, 1550–1700


Book Description

This volume explores the early modern manuals on travelling (Artes apodemicae), a new genre of advice literature that originated in the sixteenth century, when it became communis opinio among intellectuals that travelling was an important means of acquiring knowledge and experience, and that an extended tour abroad was a vital, if not indispensable part of humanist, academic and political education. In this volume, the formation of this new genre, between 1550 and 1700, is studied in its historical, social and cultural context. Furthermore, the volume examines the impact of this new genre on the acquisition and collection of knowledge in the early modern period, empirical or otherwise. Contributors: Justin Stagl, Karl Enenkel, Jan Papy, Thomas Haye, Robert Seidel, Gabor Gelléri, Bernd Roling, Harald Hendrix, Jan L. de Jong, Kerstin Maria Pahl, Johanna Luggin, Marc Laureys, and Justina Spencer.







Viator


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Joris and Jacob Hoefnagel


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Joris Hoefnagel (1542-1600) internationalized Flemish miniature painting in the sixteenth century unlike any other artist. He enriched the natural sciences as well, particularly entomology, with exquisite depictions owing to his keen gift of observation. Upon viewing his breathtaking works, it is all the more surprising that he Hoefnagel developed his own talent as a self-taught artist. The painter belongs to a circle of highly educated artists and humanists who were active in the late sixteenth century at the most important European courts. It is within this environment that he created his illuminations in comprehensive codices of religious and worldly content. After training as a painter in Antwerp, his son Jacob Hoefnagel (1575-1632/33) followed in his father's footsteps, dazzling the art chamber at the imperial court in Prague with his works. He, however, concentrated primarily on mythological and allegorical scenes. With an analytical gaze and scholarship-based texts, this richly illustrated volume introduces readers to the visual worlds of the miniaturists that, just as they did then, continue to arouse mesmerized admiration in the eyes of the beholder.




Descrittione del Regno di Napoli, nella quale s'ha piena contezza, cosi' del sito d'esso, de' nomi delle prouintie antiche ... come de' monti, de' mari ... che vi sono. Con la nota de' fuochi, dell'impositioni, de' donatiui ... Et vi si fa mentione de i rè, con la loro vita, & effigie, che l'han dominato ... de' pontefici e de' cardinali che vi nacquero ... e con un preambolo de i re di Gierusalem, oue si dichiara perche i rè di Napoli habbiano quel titolo. Con la tauola copiosissima, & altre cose notabili, che nella prima impressione non erano. Di Scipione Mazzella napolitano


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