The Renaissance Popes Culture Power And The Making Of The Borgia Myth

Between the years of 1447 (Nicholas V) and 1572 (Pius V) Rome was transformed from a ruined Medieval city. The Vatican became the official home of the church and the worlds largest bureaucracy, a spectacular new Basilica of St Peters took 100 years to build and Michelangelo changed the course of art history with his Sistine Chapel. So vast and expensive was this cultural explosion that a new fundraising initiative was launched: the sale of indulgences. The Renaissance Popes were statesmen, warriors, patrons of the arts as well as churchmen. These were earthly times and the reputations of popes like Alexander VI, the infamous Borgia patriarch, and Julius 'Il Terrible' II for murder, poison, sodomy and simony vary only in degree. Meanwhile, the sin of heresy, which threatens the very core of the Catholic soul, was tirelessly targeted by two other lasting innovations of the period: the Inquisition and witch-hunts. Alexander VI, father of the ruthless Cesare and jezebel Lucrezia, is seen to this day as the embodiment of this iniquity. But Gerard Noel shows this is unjust, and based on false confessions and historical myth. What's more, Alexander created the blueprint for reform -- the first of its kind -- that would eventually lead to the Counter-Reformation. In his survey of the colourful reigns of the seventeen Renaissance Popes and his examination of the great Borgia myth Noel brings to light the true legacy -- political, artistic, religious -- of an extraordinary time.

Between the years of 1447 (Nicholas V) and 1572 (Pius V), the Vatican became the official home of the Church, and a succession of Renaissance Popes — who were statesmen, warriors, and patrons of the arts as well as churchmen — turned Rome into an unparalleled center for culture, and turned the Church into the world's largest bureaucracy. These mercurial popes, such as Alexander VI, the infamous Borgia patriarch, and Julius 'Il Terrible' II, contributed to cultural achievements — the Basilica of St. Peters and Michaelangelo's Sistine Chapel — through the sale of indulgences, and targeted heretics with Inquisitions and witchhunts. In the midst of this explosion of great culture and violent debasement, Alexander VI, father of the ruthless Cesare and jezebel Lucrezia, came to be seen as the embodiment of this iniquity. But Gerard Noel shows that Alexander's legacy was tainted by false confessions and historical myth. In fact, Alexander created the blueprint for reform — the first of its kind — that would eventually lead to the Counter-Reformation. In his survey of the colorful reigns of the seventeen Renaissance Popes and his examination of the great Borgia myth, Noel brings to light the true legacy — political, artistic, religious — of an extraordinary time.

Toxicology in the Middle Ages and Renaissance provides an authoritative and fascinating exploration into the use of toxins and poisons in the Middle Ages and Renaissance. Part of the History of Toxicology and Environmental Health series, this volume is a follow-up, chronologically, to the first two volumes which explored toxicology in antiquity. The book approximately covers the 1100s through the 1600s, delving into different aspects of toxicology, such as the contributions of scientific scholars of the time, sensational poisoners and poisoning cases, as well as myths. Historical figures, such as the Borgias and Catherine de Medici are discussed. Toxicologists, students, medical researchers, and those interested in the history of science will find insightful and relevant material in this volume. Provides the historical background for understanding modern toxicology Illustrates the ways previous civilizations learned to distinguish safe from hazardous substances, how to avoid them, and how to use them against enemies Explores the way famous historical figures used toxins

The Borgia Family: Rumor and Representation explores the historical and cultural structures that underpin the early modern Borgia family, their notoriety, and persistence and reinvention in the popular imagination. The book balances studies focusing on early modern observations of the Borgias and studies deconstructing later incarnations on the stage, on the page, on the street, and on the screen. It reveals how contemporary observers, later authors and artists, and generations of historians reinforced and perpetuated both rumor and reputation, ultimately contributing to the Borgia Black Legend and its representations. Focused on the deeds and posthumous reputations of Pope Alexander VI and his children, Cesare and Lucrezia Borgia, the volume charts the choices made by the family and contextualizes them amid contemporary expectations and reactions. Extending beyond their deaths, it also investigates how the Borgias became emblems of anti-Catholic and anti-Spanish criticism in the later early modern period and their residing reputation as the best and worst of the Renaissance. Exploring a spectrum of traditional and modern media, The Borgia Family contextualizes both Borgia deeds and their modern representations to analyze the family’s continuing history and meaning in the twenty-first century. It will be of great interest to researchers and students working on interdisciplinary aspects of the Renaissance and early modern Italy.

The Borgia family have become a byword for evil. Corruption, incest, ruthless megalomania, avarice and vicious cruelty—all have been associated with their name. And yet, paradoxically, this family lived when the Renaissance was coming into its full flowering in Italy. Examples of infamy flourished alongside some of the finest art produced in western history.This is but one of several paradoxes associated with the Borgia family. For the family which produced corrupt popes, depraved princes and poisoners, would also produce a saint. Previously history has tended to condemn, or attempt in part to exonerate, this remarkable family. Yet in order to understand the Borgias, the Borgias must be related to their time, together with the world which enabled them to flourish. Within this context the Renaissance itself takes on a very different aspect. Was the corruption part of the creation, or vice versa? Would one have been possible without the other?The powerful forces which first played out in the amphitheaters of ancient Greece: hubris, incest, murder, rivalries and doomed families, treacheries of political power, twists of fate—they are all here. Along with the final, tragic downfall. All these elements are played out in full in the glorious and infamous history of the Borgia family.

This myth-busting biography reveals the fascinating true lives of Renaissance Italy’s most infamous brother and sister. Salacious rumors have shrouded the Borgia family for centuries. In particular, tales of murder and incest have stuck to the names of Cesare and Lucrezia. But in this enlightening biography, Samantha Morris separates fact from fiction, presenting these two fascinating individuals from their early lives, through their years at the Vatican and their untimely deaths. Morris begins her narrative in the bustling metropolis of Rome, where the siblings were caught up in the dynastic plans of their father, Pope Alexander VI. Though they were not the villains depicted in popular media, their intertwined lives were full of ambition, intrigue, and danger. Drawing on both primary and secondary sources, Morris follows Cesare through his cardinalship and military career, and Lucrezia through her multiple arranged marriages and her rule over Spoleto.

Francis I (1494-1547) was inconstant, amorous, hot-headed and flawed. Arguably he was also the most significant king that France ever had. A contemporary of Henry VIII of England, Francis saw himself as the first Renaissance king. A courageous and heroic warrior, he was also a keen aesthete, an accomplished diplomat and an energetic ruler who turned his country into a force to be reckoned with. Bestselling historian Leonie Frieda's comprehensive and sympathetic account explores the life of the most human of all Renaissance monarchs - and the most enigmatic.

This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.