Objects and Spaces of Encounter in Renaissance Italy
Lead Research Organisation:
University of Cambridge
Department Name: History
Abstract
This project for the first time places foreigners, migrants and minority groups at the centre of the long Renaissance in Italy. It explores the complex ties and interdependencies supporting cultural production in this period, unsettling long-held assumptions about what was 'Italian' about the 'Italian Renaissance'. Moving beyond the study of specific minorities (e.g. Jews, Greeks, Black Africans), it investigates the fundamental diversity and connectedness of Italian society and culture.
Our research holds that every aspect of the Italian Renaissance resulted from an encounter, and that within each encounter, every actor possessed a varying level of 'belonging' and conversely of 'extraneity' (Cerutti, 2012). This conceptual model allows us, first, to recognize the contribution of foreigners, migrants, and minority groups to Renaissance cultural production; second, to identify these contributions as fundamental to the social fabric of Italy, where 'the diversity of urban populations was hard-wired into the lives of whole regions' (Rubin, 2020); and third, to integrate those contributions into wider patterns of cultural exchange and production across the peninsula.
We focus on objects and spaces which reveal the influence of foreign actors, materials, designs and production techniques on the culture of the Renaissance. Objects (such as Turkish rugs, German bedclothes or garments made of 'damask' or 'scotch tweed'), contextualised using archival, textual and visual sources, evoke material exchanges, sociability, and the layering of real and imagined interactions. Spaces of encounter (workshops, inns, fairs, churches) frame the human and material contacts underpinning the Renaissance and allow us to assess levels of extraneity and belonging, as they varied by circumstance and place.
Our project guards against the conventional skewing of Italian history towards Venice, Florence and Rome with fresh research on less-studied coastal and frontier regions of southern, central and northern Italy. The timeframe, 1450-1650, covers a period of exceptional mobility, resulting from the persecution of Jews and Muslims in the Spanish kingdoms, the slave trade, the Reformations, religious wars and shifting European-Ottoman relations.
We expect this new history of the Renaissance to be unfamiliar, unsettling and uncomfortable. It engages with structures of inequality and discrimination inherent to Renaissance Italy while teasing out the potential for intercultural collaboration and innovation within that hostile, prejudiced world. By revealing the creative consequences of migration and multiculturalism, we challenge one of the key myths of 'western civilization'.
Our work thus presents a new critical approach to the Italian Renaissance. The field, long defined as the study of the intellectual and artistic output of humanist scholars and elite artists, has faced recent accusations of irrelevance and narrow elitism. We argue, by contrast, that the astonishing cultural production of the period was neither narrow nor elite, but germinated in its very encounters and interdependence with richly diverse networks of minority groups.
The project is timely. It answers a pressing need to demonstrate the diversity and connectedness of pre-modern communities and to recast European history in the light of Brexit, BLM, and the decolonization of the curriculum. It also deploys innovative historical methods to challenge old assumptions about national identity and the nature of creativity. In a famed costume book of 1590, Cesare Vecellio attributed the dazzling array of clothes in Italy to its defining mix of peoples: 'For this reason, it is no wonder that we can see a greater diversity of dress here than in any other major nation or region.' By studying the fecundity of encounters, we aspire to paint an alternative picture of the Renaissance in Italy, enriched by minorities, migrants and outsiders.
Our research holds that every aspect of the Italian Renaissance resulted from an encounter, and that within each encounter, every actor possessed a varying level of 'belonging' and conversely of 'extraneity' (Cerutti, 2012). This conceptual model allows us, first, to recognize the contribution of foreigners, migrants, and minority groups to Renaissance cultural production; second, to identify these contributions as fundamental to the social fabric of Italy, where 'the diversity of urban populations was hard-wired into the lives of whole regions' (Rubin, 2020); and third, to integrate those contributions into wider patterns of cultural exchange and production across the peninsula.
We focus on objects and spaces which reveal the influence of foreign actors, materials, designs and production techniques on the culture of the Renaissance. Objects (such as Turkish rugs, German bedclothes or garments made of 'damask' or 'scotch tweed'), contextualised using archival, textual and visual sources, evoke material exchanges, sociability, and the layering of real and imagined interactions. Spaces of encounter (workshops, inns, fairs, churches) frame the human and material contacts underpinning the Renaissance and allow us to assess levels of extraneity and belonging, as they varied by circumstance and place.
Our project guards against the conventional skewing of Italian history towards Venice, Florence and Rome with fresh research on less-studied coastal and frontier regions of southern, central and northern Italy. The timeframe, 1450-1650, covers a period of exceptional mobility, resulting from the persecution of Jews and Muslims in the Spanish kingdoms, the slave trade, the Reformations, religious wars and shifting European-Ottoman relations.
We expect this new history of the Renaissance to be unfamiliar, unsettling and uncomfortable. It engages with structures of inequality and discrimination inherent to Renaissance Italy while teasing out the potential for intercultural collaboration and innovation within that hostile, prejudiced world. By revealing the creative consequences of migration and multiculturalism, we challenge one of the key myths of 'western civilization'.
Our work thus presents a new critical approach to the Italian Renaissance. The field, long defined as the study of the intellectual and artistic output of humanist scholars and elite artists, has faced recent accusations of irrelevance and narrow elitism. We argue, by contrast, that the astonishing cultural production of the period was neither narrow nor elite, but germinated in its very encounters and interdependence with richly diverse networks of minority groups.
The project is timely. It answers a pressing need to demonstrate the diversity and connectedness of pre-modern communities and to recast European history in the light of Brexit, BLM, and the decolonization of the curriculum. It also deploys innovative historical methods to challenge old assumptions about national identity and the nature of creativity. In a famed costume book of 1590, Cesare Vecellio attributed the dazzling array of clothes in Italy to its defining mix of peoples: 'For this reason, it is no wonder that we can see a greater diversity of dress here than in any other major nation or region.' By studying the fecundity of encounters, we aspire to paint an alternative picture of the Renaissance in Italy, enriched by minorities, migrants and outsiders.
People |
ORCID iD |
| Mary Laven (Principal Investigator) | |
| Emily Michelson (Co-Investigator) |