Customer Reviews (1)

A satisfying book
I recently found a copy of this book. It is drastically out of print and took almost a year to track down. But it was well worth the large sum it cost and the time it took to find.

It is a large book, some 250 pages, lavishly illustrated in b/w and color. A complete art bibliography is included, but some of the paintings' attributions and titles have changed in the past 25 years, so be aware. Text is scholarly and witty, told by someone whose expertise in the subject is clearly profound. A glossary is included of garment terms from the period -- a lifesaver for me! Text includes all aspects of garment, from underwear to shoes to belts to hats to jewelry to clothes, and information on fabric types and weaving and dyeing techniques. I've already read it several times, and every time, I get something new from it. I should also add that many of these portraits do not appear to exist online, so you'll see plenty of things you haven't seen before.

It wasn't quite what I expected, however. I thought it'd tell me how exactly to make sleeves, hose, etc., and it didn't. But what it did give me was an excellent and in-depth study of clothes in Renaissance Italy, and enough information that I feel I am prepared to use all that velvet I've been hoarding finally without making an idiot of myself. If you are into costuming, and this is your period, definitely get it! Be prepared to spend some cash money, though. ... Read more

Product Description
Art And Society in Italy 1350-1500 dramatically revises the traditional story of the Renaissance. From paintings and coins to sculptures and tapestries, Welch examines the issues of materials, workshop practices, and artist-patron relationships and explores the ways in which visual imagery related to contemporary, sexual, social, and political behavior of the day. 150 photos, 65 in color. ... Read more

Customer Reviews (1)

A unique and novel perspective on Renaissance Art and Life
An excellent examination of the role of art in Renaissance life, including the actual day to day workings of the artists, their roles in the society as a whole, and the role of art itself in the display of "Magnificence" of the respective ruling authorities of the various Italian states. I have run across no other book with this unique perspective.It also discusses the role of women and women artists, while recognizing the extreme limits set for women, both in the society and in the creation of art works. I regret not being able to contact the author directly to offer my respect and admiration for such a formidable and at the same time completely accessible work of scholarship. ... Read more

Product Description
For Hitler when he came to power Mussolini was the great inspiration and modelfascism, totalitarianism, the charismatic ruler, terror and intimidation were all worked out and perfected in Italy many years before they came to Germany.And yet, as Richard Bosworth shows in his brilliant new book, there were huge differences between the two regimes, even if ultimately they both went down in flames together. Italy was in many other ways both the pioneer and goad for a European instability that fed ultimately into the Armageddon of 1939-45.Devastated and embittered by its experience of the First World War, Italy under Mussolini subverted, damaged and besmirched any possible democratic or peaceful future.And yet for many ordinary Italians (and this book, among other things, is wonderful on the lives and feelings of ordinary people all over the peninsula and islands) the dictatorship never had the stranglehold on their lives and minds that Mussolini and his associates dreamt that they had. ... Read more

Product Description
Using archival materials from all three nations, this first comparative study of French and Italian relations with the United States during the early Cold War shows that French and Italian ambitions of status, or prestige, crucially affected the formation of the Western Alliance. While attention to outside appearances had a long historic tradition for both European nations, the notion was compounded by their humiliation in World War II and their consequent fear of further demotion. Only by promoting an American hegemony over Europe could France and Italy aspire respectively to attain continental leadership and equality with the other great European powers. For its part, Washington carefully calibrated concessions of mere status with the more substantial issues of international roles. ... Read more

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Customer Reviews (6)

An excellent history of a forgotten conflict
Italy's Sorrow is the story of the often forgotten Italian campaign in WWII.Despite Soviet calls for a "second front" from 1942, somehow the 1943 invasion of Sicily, and subsequent slog up the Italian peninsula, did not even count as a second front in WWII, despite tying up a large number of German troops, especially after the Italian surrender, and then switching sides to fight alongside the Allies.

Nonetheless, the war in Italy was an important part of WWII, and James Holland tells the story well.All sides of the conflict are covered off - the Allied forces, including Free French and Polish troops as well as the GI's and Brits, and the German defenders under Kesselring, with the Italian people caught in the middle, whether as partisans, auxliaries to one side or other, or civilians.

The campaign is analysed from a military standpoint, but the impact on Italy itself is never overlooked.In Masters and Commanders and The Storm of War Andrew Roberts questioned the value of the Italian front after the capture of Rome, but Holland never considers the question - it is clear that to leave simply half of Italy in German hands and settle into defensive positions was not an option for democracies who claimed to be fighting for freedom.German atrocities against Italians are detailed, and the impact of the Allies was at times scarcely less brutal, especially the French colonial Goums.

When reading about D-Day and the second battle of France, the impact on civilian life- the collateral damage, in today's terms - is made clear.What is also clear after reading Italy's Sorrow is that Italy suffered far worse - perhaps rightly, as a former Nazi ally - and that this suffering can largely be laid at the feet of Il Duce Mussolini himself.A case could probably be made that Nazi Germany might have been better off with Italy remaning a friendly neutral in WWII, trading with Germany but not co-belligerant with it.With no North Africa and Greece to ensnare German troops to rescue Italian adventurism, the Eastern push might have been quite different in 1941-42.Certainly Italy would have been better off without entry into WWII, which ended with much of the country in ruins and a popultion starved and shell shocked by war.

A Stunning and Powerful Work
James Holland's "Italy's Sorrow" is a powerful and illuminating study of the WW II battle for Italy. As a student of history, I find that warfare studies often concentrate so much on the fighting, the movement of army units, the effect of air support and all the other parts of the battle that they overlook the fact that the fighting is taking place somewhere, that people live there, and that those people are often in the way of the warfare. Holland has brought to vivid life the horrendous effect that the fighting up the Italian peninsula had on the towns and the townspeople who had the ill fortune to be in its way. Magnificently researched and with the geography (so much a part of everything in this stretch of warfare) closely described, Holland easily deserves five stars for this great book.

German casualties 536,000; Allies 313,500. Total over a million
The above is a shortened quote from page 530. If the reader has got that far he'll be asking why the Italian statistic is missing.

The story is gripping but the writing isn't, and the book is long. This is partly because of the Balzacian repetition but also because the author tries to do too much. You might think that the title, Italy's Sorrow, would imply a focus on the Italians. Instead, it's sixty pages before we're introduced to one, and overall we get three stories: Grand Strategy, military events, the Italians. Holland at least sticks doggedly to chronology, but the scene changing between the allied front line, the German front line, HQs, partisans, fascists, Italian bystanders is clunky, and it's hard to remember where we met these characters before, let alone sympathise with them. The victims, in short, do not come alive on the page.

This despite the cliché. is the purpose of history. WW2 is well enough understood and the Italian campaign likewise. For the allies, it was a means to relieve pressure on Russia, and subsequently on the invasion of France. The allies achieved overwhelming numerical and material superiority but still had to battle inch by inch up the leg of Italy before final victory (when ironically the manpower difference was only about 1:1.4). We are used to WW1 generals being condemned as idiots, but the author is so fair to Clark and Alexander as to put doubt in the reader's mind. Hey, if Hannibal could do it (from the other end) why did the allies end up advancing nearly as slowly as the western front?The strategic feint may have been a colossal error and Kesselring (German commander) was right: "We tied up more of them than they tied up of us."

The author draws on Norman Lewis's memoir Naples '44, rarely in quotes. This is wise, as to compare yourself to one of the finest prose stylists of the 20th century is a comparison few of us would risk. I recommend Naples 44, and Mark Thompson's The White War, instead of this book.

Only for those who really need to know the details of the campaign.
Naples '44: A World War II Diary of Occupied ItalyThe White War: Life and Death on the Italian Front 1915-1919

Very good, if not for a few oddities
I've never read anything by James Holland before. Apparently I'm going to have to get used to historians (to say nothing of a President) who are younger than I, which is something of a jarring experience. The current book, however, is a well-researched, well-written account of the course of the campaign in Italy, basically from the last battle of Cassino up through the end of the war. The author spends a lot of time (more than used to be the fashion) discussing the impact of the war on civilians, and he also spends a lot of time discussing the lives of individual soldiers on both sides of the lines.

Cassino was one of the most frustrating battles of the war, for the Allies, and the author starts with it, recounting briefly the earlier battles, then recounting in considerable detail the successful attack by the Poles. He also spends a lot of time talking about the famous attack out of the Anzio bridgehead by Mark Clark's Fifth Army, and interestingly defends Clark's decision to turn towards Rome and capture it, as opposed to moving to the fabled Valmontane, where Alexander had ordered him to go. Holland discusses this incident, and the produces a map which shows the main German retreat routes from the Cassino front. Only one of them goes through Valmontane, and the author lets you know this was an alternate, less-important, route. The four further north, out of reach of Clark's forces no matter what he did, were the significant ones. Very interesting thesis.

That, in some ways, was the highlight of the book. There's a great deal of information here about various forces and battles, later in the campaign, and much of the information is very well-presented and the judgements are thoughtful. There isn't, however, anything in the way of ground-breaking scholarship for the rest of the book.

I did have a few misgivings. At times Holland's understanding of military technology seems a bit weak. One passage includes a discussion of something called an "Ofenrohre". I'm not the world's greatest expert on German militaria, but I know a lot of other amateur experts, and none of us had ever heard the term. It turns out "Ofenrohre" means "stovepipe" in German, and that this was the nickname for the Panzerschrek. *That* we would have understood, but he didn't include the name in the text or anywhere else. At other points he seems to get confused about gun calibers and things of that nature. He also has an odd habit of referencing U.S. Infantry divisions by their divisional nicknames, and occasionally getting them a bit wrong. So for instance, he refers to the 92nd "Buffalo" Division, when of course it should be (if you're going to do it this way) the 92nd "Buffalo Soldier" Division. The term "Buffalo Soldier" traces back to the Indian wars, when said Indians thought a black person's hair looked like buffalo fur.

Those few misgivings aside, this is an interesting, well-written book. It includes a considerable amount of information, and the text is well-illustrated by enough maps for you to follow the action as to what's going on. I really enjoyed the book, and would recommend it.

Not Bad
This covers the Italian campaign from just before the breaching of the Gustav line till the end of the war. The main thing that is new in the book is the discussion of the effect of the war on the Italian people. The Germans were able to use the mountainous territory of the Italian Peninsular to fight their most successful defensive campaign of the war. As they retreated the Germans destroyed all bridges and transport infrastructure. The allies used their air power to destroy anything power stations and other infrastructure. This meant that for the year covered by the book the lack of transport in both the German and Allied areas meant that civilians were on the brink of starvation. In the allied occupied areas at least half the woman under forty contracted venereal diseases as they turned to prostitution to try to make ends meet. French colonial troops also were poorly disciplined and raped very large numbers of Italian women.

In the context of the war the Italian campaign has been seen as something of a failure. The Russians wanted the allies to open a second front in France to draw large numbers of German troops away from the Eastern Front. Instead the allies first cleared the Germans out of Africa in 1942 and then invaded Italy in 1943. Churchill was the main advocate of the Italian strategy. He referred to Italy as the "soft underbelly of Europe". In the light of the bitter fighting that occurred for the next year this was seen as something of a bad joke. However there was some truth to Churchill's approach. The danger for the allies was that if they landed in France the Germans could use the European transport system to concentrate troops and actually win. In Italy the remoteness meant that they could not use allied mistakes to achieve a decisive victory. Thus the allies when they landed troops at Anzio moved slowly and soon their units were surrounded. However the Germans were not able to concentrate forces and to eliminate the beech head.

Whilst the Italian campaign was thus a safer option than France the terrain and remoteness which protected the allies from any real danger meant that the Germans were able to use reasonably limited forces to fight a tenacious defensive campaign.

In retrospect the Italian campaign does not seem to have achieved much. The major success was Italy overthrowing Mussolini and pulling out of the war. However the reality was that the Italian army by 1943 was ineffectual. The Germans were able to occupy Italy and they promptly occupied the industrial areas. They used Italians and slave labourers and sent of thousands to free up German workers for the army. In all probability this arrangement was more productive for the Germans as it is likely that if Italy continued to be a co-belligerent there would have been more active resistance to the use of workers as slave labourers.

The book is interesting as it does raise the issue of how dreadful the impact the campaign was on the civilian population and it gives a good narrative of the events. The weakness of the book is putting the campaign in the strategic context and seeing what effect it had on the rest of the war.

... Read more

Product Description
Michael Mallett's classic study of Renaissance warfare in Italy is as relevant today as it was when it was first published a generation ago. His lucid account of the age of the condottieri - the mercenary captains of fortune - and of the soldiers who fought under them is set in the wider context of the Italian society of the time and of the warring city-states who employed them. A fascinating picture emerges of the mercenaries themselves, of their commanders and their campaigns, but also of the way in which war was organized and practiced in the Renaissance world.

Customer Reviews (1)

Fascinating story of condottieri
This is simply the best book about warfare in Renaissance Italy. It is a serious academic study, but trust me, it reads as a good novel. The author opens for us a bright window into the world of condottieri, tyrans and heroes of Renaissance Italy, world of enormous passions, ambitions, lust for power and money, chivalry, violence and war. One of my favourite books on Renaissance warfare! ... Read more

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The dramatic story of Mussolini's fall from power in July 1943, illuminating both the causes and the consequences of this momentous event. Morgan shows how Italians of all classes coped with the extraordinary pressures of wartime living, both on the military and home fronts, and how their experience of the country at war eventually distanced them from the dictator and his fascist regime.

Product Description
In 1943, Hitler ordered his forces to occupy the Italian mainland to protect the Third Reich's 'soft underbelly'. After the successfulthe Allied landings in Salerno, the Germans fought a series of hard, rearguard actions as the Allies slowly pushed north up the Apennines towards the Alps. These actions were based around the construction of a series of defensive lines: the Winter Line, the Gustav Line, the Hitler Line, the Caesar Line, the Gothic Line and the Voralpenstellung. This book explores the development and form of the six defensive lines constructed by the paramilitary Organisation Todt in Italy, examining the principles of defence of these key fortifications in visual depth, and discussing their fate in the wake of the Allied onslaught. ... Read more

Customer Reviews (1)

very good
Very good portrait and explanation of german fortifications used in the rugged italian terrain. A good reference for the hystorian of fortifications or the problems encountered by the 5th US Army in Italy. Based on this german experience the hystorian can also understand the standards used to build the post WW2 fortifications along the cold war borders. ... Read more

Product Description
In 1844, Charles Dickens took a break from novel writing to travel through Italy for almost a year and "Pictures from Italy" is an illuminating account of his experiences there. He presents the country like a magic-lantern show, as vivid images ceaselessly appear before his - and his readers' - eyes. Italy's most famous sights are all to be found here - St Peter's in Rome, Naples, with Vesuvius smouldering in the background, the fairytale buildings and canals of Venice - but Dickens's chronicle is not simply that of a tourist. Avoiding preconceptions and stereotypes, he portrays a nation of great contrasts: between grandiose buildings and squalid poverty, and between past and present, as he observes everyday life beside ancient monuments. Combining thrilling travelogue with piercing social commentary, "Pictures from Italy" is a revealing depiction of an exciting and disquieting journey. ... Read more

Customer Reviews (3)

Too detached to be a journal and not Dickensian enough for my tastes.
This is not at all what I expected from the great Charles Dickens.One expects far more drama and than detachment from one such as he but this book reads a bit like dry toast.
A part of this may be that the journey itself took place over many months and it appears to have been written from memory after consultation with various guide books of the time to jog the author's memory.

Another part of the poor reading experience is that the book is written in an almost stream of conscious manner as Mr. Dickens seemingly adds bits and pieces together as he remembers them in the midst of writing about the bits and pieces of the trip that he remembers.

Another part of it is likely due to the mores of the time when it wasn't accepted journalistic behaviour to include descriptions and exploits of one's immediate travel companions so, for instance, one has no idea that Mr. Dickens was accompanied by his family during parts of his travels.

This is a detached and disjointed recounting of a trip that fails to spark or hold one's interest for very long:Not recommended!

Charles Dickens takes us on a tour of Italy with his meticulous novelistic eye for detail and color
He left the London fog for the canals of Venice, the museums and statues of Florence, the churches and ruins of Rome and the glory of the Italian Mediterranean sun! He was Charles Dickens the greatest British novelist of the Victorian era. In 1846 Dickens and his family decided to spend several months in Italy where the great author could write and explore the wonders of the Italian boot.
Dickens was not the first or the last British author to love Italy. Just think of such literary luminaries as Frances Trollope, D.H. Lawrence
and EM Forster to name a few. Dickens gives us pictures in words of all the major cities and sights. After reading this short (just over 200 pages long) travel book the reviewer learns from Dickens that:
1. The cities and towns were usually run-down and the people encountered were poor. Dickens says little about Italian cuisine.
2. Rebellion against the monarchy was already in evidence in 1846. Several years later Garibaldi would lead a major Italian revolution.
Dickens was a committed democrat who favored constitutional monarchy such as was the practice in his native England.
3. Dickens disliked many aspects of the Roman Catholic Church as he witnessed it in Italy.
4. He includes many anecdotes regarding the mule and cart travel in upland Italy. Travel was often dangerous and slow.
5. Dickens was an early riser and walker enjoying touring on foot the major attractions.
This work is shorter and not as interesting as his "American Notes for General Circulation" but it is a window into the mind of a creative genius who relished new sights, sounds and smells. Viva Italia! Viva Dickens!

Careening Through Italy like the Dickens
I don't think I'd like to have Charles Dickens as my travelling companion. He's always on the go, seemingly preferring an enclosed carriage careening down the road to mixing it with the natives (he makes one exception for Genoa, where he spends twelve months). And he makes virtually no mention of his wife, to whom refers at one point as accompanying him, but who therupon disappears as surely as if she had fallen down a well. Finally, as a Roman Catholic, I would spend my trip grimacing at his observations of my faith.

The people appearing in PICTURES are almost entirely people encountered enroute, including postilions, innkeepers, guides, soldiers, and the like. He does not appear to have entertained any intention of interviewing writers, political leaders, prelates, or others. It is as if I took a trip through the U.S. and wrote only about bus drivers, service station attendants, traffic cops, and ticket takers.

And yet, and yet, it is obviously the great Charles Dickens writing this book. The writing is superb even if the subject matter is strangely limited. I was entertained, dismayed, and befuddled all at the same time. Comparing it to something like Mark Twain's INNOCENTS ABROAD or ROUGHING IT, however, I feel it is Twain who comes out ahead. Dickens, it seems, forgot to create any memorable characters. ... Read more

Product Description
Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life.Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels.The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others.Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

This new second edition includes an appendix that lists the original Latin and Italian texts referred to throughout the book, providing the reader with all the relevant, authentic sources.It also contains an updated bibliography and a new reproduction of a recently restored painting which replaces the original. ... Read more

Customer Reviews (6)

Art Book
This was my first introduction to the art historian world and it was fascinating. Unfortunately, but only for me, is the fact that both my educational level and acquired knowledge of the subject were insufficiently advanced to fully appreciate the author's insights. That just calls for more work on my part to study up in advance. It should be taken as praise for Mr. Baxandall's pedagocic style which -- as the best teachers tend to do -- opened up new vistas, if only I choose to look.

My only crticism is not of the contents or the author but of the publisher or more likely the editor. Perhaps it is pure economics which resulted in this insecure form of binding and too much type on each page to save space, while the juxtaposition of plates against the relevant text reference was very poor.

A Must-Read If You Are More Than A Casual Art Student
I really can't add more to Robert W. Moore's insightful review. However, I feel a need to counterbalance the ranting reviews posted by others on this page.

In particular, the one-star reviews listed here are simply embarrassing. Clearly, these reviewers do not represent the intended audience for this book. It's not Michael Baxandall's fault that these reviewers were unable or unwilling to engage themselves with the depth, detail, and scope of his book. Ignore them.

Here's a useful litmus test: If you would consider taking an art history course because you think it would be an "easy A," avoid this book. On the other hand, if you hold a genuine interest and enthusiasm for art history in general - and for Renaissance art in particular - this book should be well worth your time.

Not A good Read!!!
This book is what I would call hard to read, unless of course you already have a masters degree in Florentine art. As a student in an art history class that required this as one of our reads, I can say this book is crap, yes I mean crap. I have read many more well written books covering this subject in an easier to read format. I would defiantly not recommend this overpriced piece of firewood.

Splitting Attractive Hairs
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual. When I first saw this book I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia. This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and (oddly) the ability to judge quantities by eye. The reason this book works is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'

terrible!!
... this book was tedious. there are very few books that make me say, "i'd rather be working!"
you have to have a really high tolerance for italian art, or even art in general. a passing interest simply will not allow for an enjoyable read.
... ... Read more

Product Description
This study shows how theater was an important feature of convent life from the early fifteenth century, probably in all of Catholic Europe and its colonies. For this study, mainly devoted to Tuscany, the author has found an extensive corpus of theatrical works of convent provenance, which argues for the widespread practice of theater in the convents. She traces its chief characteristics--what the nuns' own writings tell us about their literacy and that of their audiences, and how their lives and work intersect with secular society and literary culture. ... Read more

Product Description
This beautifully written study is the most comprehensive study of Rome from 753 BC to 264 BC. It is an important synthesis of the many developments in research over the last couple of decades. It adheres closely to the available sources, dealing with economic, social, literary and religious history, as well as telling the story of internal politics and foreign policy. A major student text. ... Read more

Customer Reviews (8)

A magisterial overview and a paragon of scholarship
The other reviewers have touched on the qualities of this book. I think you can guess my feelings from my title. As far as that goes, I will only say that Cornell is a graceful and lucid writer and an exemplar of how to weigh and present evidence.
What I want to do is to tell you a little more about some of the themes of the book which the other reviewers only touch upon.
Cornell's book was published in 1995. He was the first writer (that I know of) to try to sum up the results of contemporary archeological work and to lay out how that changed our understanding of the history of early Rome.
Our traditional understanding of that history comes from literary sources; above all Livy, but other historians such as Polybius, Dionysius of Halicarnassus, Cicero, Plutarch and Fabius Pictor (whose writings we only know through summaries of his work in other writers). We also have the antiquarians such as Varro, the Fasti (the list of the consuls) and whatever other documents might exist. All present problems- not least that the purposes of historical writings at the time were far different from our times.
Against that traditional history, Cornell presents what we can glean from the archeological record.
He is extremely careful about this. He frequently asserts that the archeological record can only be understood on the basis of what we know from the traditional history. One of the pleasures, indeed one of the main values of the book for the non-historian (me! me! me!), is to read him weighing the evidence, arguing his point of view against other scholars and trying to understand the evidence in all its inherent ambiguity (polysemy?).
I want to emphasize that he is presenting some controversial ideas here. This book obviously challenged many of the orthodoxies of his field at the time. One of the other reviewers mentions Cornell's dismissing of the influence on the Etruscans on the Romans. It seems to still be a common interpretation of the evidence about the earliest period of Roman history that it culturally was heavily influenced by Etruscan culture and that the early kings were Etruscans.
Cornell is instead arguing for a Hellenistic "koine" (e.g., p. 163 or p. 167). He is suggesting that both the Romans and the Etruscans were influenced in that period by a dominant Greek culture that had begun to be felt in Italy at the time. This is probably the most controversial part of the book. I would love to read someone argue the other point of view. All I will say is that at times in this part of the book (Chapter 6 is central), Cornell's arguments seemed at his weakest. For example, on p. 169, Cornell asserts that "Formal dress, magisterial symbols, ceremonial trappings, ritual technicalities and architectural forms- these amount to little more than outward tokens". To which I can only say, "If you say so".
There is much else in the book that is utterly convincing. It is difficult to read Livy (or any one else on Roman history) for very long and not become discombobulated by the whole patrician/plebeian thing. Cornell sorts that out very lucidly. His basic argument is that the war of the orders was between two different elites. One was a traditional family based elite (the patricians), the other was formed by men of ambition and skill who sought leadership by channeling the dissatisfaction of the lower classes. Cornell argues that the Licinio-Sextian Laws were the turning point at which the two elites came to a working agreement and thereby created a new nobility which successfully ruled Rome for the next several hundred years (p. 340). I find this part of his argument conclusive.
Cornell is also somewhat controversial in his attitude toward traditional sources like Livy. Livy's is by far the most complete and detailed we have of this early phase of Roman history. I find Cornell's (generally positive) assessment of Livy's trustworthiness to be very convincing. But I should mention that Gary Forsythe, who has written another very well received history of this period of Roman history is much more skeptical of Livy (or so I understand, I have not read Forsythe yet). Cornell's book offers plenty of examples of places where he reads Livy with a skeptical eye (see, e.g., picked at random from my notes, p. 334).
In many ways, this is the perfect scholarly book. I don't care if you are an amateur historian or someone whose life has been devoted to early Rome (a noble fellow, you)this is a book you should know and read. You may not agree with Cornell but you will want to listen to, to discuss and to argue with him.
The one problem I have with the book is its age. Much of the archeological work that he references was unpublished at the time. It would be nice to have an updated bibliography. It would be nice to read how the work of the last 15 years has effected his opinions. Ergo, a new updated edition is needed.
Since I am a nervy guy, I wrote Prof. Cornell and asked about that possibility. He said that a new edition was being talked about but that he had to finish a current project on Roman historians. He also stated that he believes he would probably have to rewrite the whole thing.
So my suggestion is to read this version, write the publisher or Prof. Cornell if you would like to see an update and then read that when it comes out. That's what I plan to do.

Cornell invictus
This volume of the Routledge History of the Ancient World by Cornell is simply brillant. I read it three times and I will surely read it again. It provides a fascinating comparison between the myths and legends of archaic Rome and the reality that lies behind it. One of the most beautiful examples is the part when Cornell analyses the historic bases of a figure like the Roman king Servius Tullus. He cites a stunning piece of scholarship of the emperor Claudius where he explains to his fellow Romans that Servius Tullus was called by the Estruscan Macstarna (which may mean in Latin "Magister" signifying that he was the right hand of the king serving as a magister equitus at that time of his career), information that lets you "feel history" when Cornell then makes you look at a drawing of an Estruscan wall painting showing possibly this Macstarna involved in some action of killing enemies. Everytime when I read this passage of the book I get a chicken skin...to my mind the author really understands to tell a story out of some facts that may themselves be rather dry.

Excellent discussion of Early Rome
An informative and thorough discussion of the history of early Rome. "The Early History of Rome" provides an intense discussion of archaeological and legendary evidence and attempts, with great success, to separate actual history from the legends.A must have book for any student of Rome and of things Roman. A standing ovation to T.J. Cornell for an excellent study.

Don't walk run and buy this book!
This is one of the best books I have ever read. And I do not mean just books about ancient Rome or history books. I have read it three times and just for the kick of it. I am neuroscientist and not a classical scholar but I love history and this is history writing at its best: scholarly, fair, witty, and elegantly written (sometimes donwright dazzling). Cornell lets the readers into his secret cabinet and shows them the raw materials the professional historian works with. Amazingly, this does not detract from the magic of the "story" but makes it all the more enthralling. Don't walk run and buy this book!

Excellent background on the beginnings of Rome
A book that was much needed in the field. Scholarly but not overly pedantic and certainly not impenetrable.
The author relies much archeology and offers no easy solutions to theoretical problems.
The conclusions offered are in various shades of gray depending on the reliability and amount of evidence. However the reader should be aware that certain theories are being pushed here with which many might disagree.
Rome certainly did not come from a monolithic source and the author provides a survey of the many cultures that inhabited that peninsula as well as the outside civilizations that colonized it. However the book is not without certain controversies.
One of the author's great strengths in this book is his knowledge of currentarchaeological discoveries Etruria and in Latium as well asperiod of orientalization and early Iron Age. Thus, the book's greatest strength is its carefulsynthesis of historical and archaeological data for the period preceding the republic; and it is likewise excellent concerning Roman external affairs and conquest of Italy. Perhaps the books biggest weakness is its insufficiently critical treatment of the ancient literary sources .
The book's 15 chapters are methodically presented and are augmented with very helpful illustrations and tables. A brief overview of human culture in Italy from the Bronze Age to the early Iron Age. The author's treatment of the importance of ascribing cultural difference between inhumation and cremation I personally found somewhat controversial.
In this reviewers opinion he rightly dismisses some of the value of the written tradition of the formation of Rome.
Further controversy is raised in chapter four with the authors contention that the clan did not proceed the city-state and heroic graves but were enmeshed together. It does give one something to think about.
Yet another controversy offered in this book which personally I take issue with is the minimization of the influence of the Etruscans on Roman culture.
Actually there is quite a bit to chew on here yet I do not what to dissuade the reader form picking it up. Just be aware that there is a lot of theory in this book some of which many academics might take issue.
One thing the book successfully establishes is that by the beginning of the early third century B.C. Rome had acquired the political structure which laid the foundations for its later greatness.

One would hope the reader after being inspired by this volume would look into authors that offer equally compelling alternative theories.
Highly recommended.


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Perched on a plateau of tufa rock, with the outline of its world famous Duomo visible for miles around, the city of Orvieto has adapted to the needs of the modern day tourist by transforming itself into a car-free haven. The exceptional views commanded by the city, as well as the beautiful skyline of Orvieto itself,can be fully appreciated by looking out from the top of the 13th century Torre del Moro, the highest vantage point in town. But the heart of Orvieto is undoubtedly Piazza del Duomo, onto which look the town's most important public buildings and the facade of the Duomo, a masterpiece of gothic architecture with its polychrome marble inlays and dazzling mosaics. The interior of the cathedral contains, among other important works of art, Luca Signorelli's fresco cycles depicting the Antichrist, Armageddon, the Resurrection of the Flesh, the Chosen and the Reprobates, along with a spectacular Last Judgement in the San Brizio Chapel. Another great artist, Beato Angelico, completed the angels in the vaults of the ceiling. Started in 1290, the Duomo took several centuries before completion. At the corner of Via del Duomo there still survives the mechanical clock tower that chimed the moments of work and rest for the workmen in the building site over the centuries. This book covers: Historical Notes; The Town; Piazza del Popolo; The Cathedral; Palazzo Soliano; The Cathedral Museum; Emilio Greco Museum; The "Claudio Faina" Archaeological Museum; The Necropolis of Tufa Crucifix; The Churches of Orvieto; Pozzo Di San Patrizio; Orvieto Underground; The Walls and the Gates of the Town; The Fortress of Albornoz; The Temple of Belvedere; The Historic Centre of the Town; Torre Del Moro E Di Maurizio; The Feast of the Palombella; The Feast of Corpus Christi - The Historical Procession; Orvieto's Handicrafts and Agriculture; The Wine of Orvieto and The Environs of Orvieto. This book is filled with a bounty of full color photographs from cover to cover. ... Read more

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This compelling memoir of Richard N. Gardner's years as ambassador to Italy from 1977 to 1981 offers fascinating insights into the foreign policy of the Carter administration as well as into a critical turning point in Italian history and in the history of the Cold War. This tumultuous period witnessed U.S. attempts to contain Eurocommunism, the rise of the Red Brigades, the kidnapping and murder of Aldo Moro, and the deployment of theater nuclear forces in Europe. Balanced, scrupulous, and compelling, Gardner's memoir will be invaluable reading for all those interested in the inner workings of U.S. foreign policy, diplomacy, and European politics. ... Read more

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A Forgotten Success
The Carter Administration's success in helping Italy to stay on the pathway of freedom and democracy, at a moment when it could have gone in the oppostie direction, is a shining example of enlightend diplomacy over cold war ideology. Richard Gardener, Carter's appointed ambassador, with his Italian wife, was the essential ingregient in keeping vital contact with the Italian center-left that made it all possible.

The ethical realism of this important episode, set the stage for all that followed under Ronald Reagan. It was an essential, and quite necessary, link in George Kennen's "containment policy"...that eventually led to the happy end of the Cold War. ... Read more

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A window that opens onto a distant age
While I agree with the reviewer quoted on Amazon that Mr. Cohen inserts his comments and voice often, I don't think this in any way detracts from this wonderful book. Rather, I found Mr. Cohen's passion for his subject and for the lives and stories he has unearthed from old lawsuit transcripts very refreshing. "Love and Death..." manages to be at the same time very learned and very gripping - a scholarly page-turner. By the end of the book, you will fully share Mr. Cohen's love of microhistory, as opposed to history focused on the famous and the powerful, or, on a larger scale, with global processes, whether political or economic. (And, if you do, please move on to Carlo Ginzburg's "The Cheese and the Worms" - but that would merit a separate review).

I think the word that best sums up this engrossing book is "moving". These long-dead people's struggles and longings are centuries removed from our own, and yet to me they felt utterly human and real - I wanted to stay Giovanni Savelli's hand as he savagely slashed at his wife - scream at the vultures hovering at poor Vittoria Giustini's deathbed - shake the Gramar sisters' parents as they passively witnessed their daughters' sexual abuse at the hands of a predatory neighbor!

If you are interested in Italy, the sexual mores of the Renaissance, women's history, or the law, by all means read this book. If you think history is boring, by all means read this book.

A fascinating look at law, love, death in the renaissance
Thomas and Elizabeth Cohen found stories from a most unlikely source...the court records of the state archives of Rome...and created a series of tales full of sex, lies, and mayhem.

It is well written and well-researched, and full of memorable characters. ... Read more

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This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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This is an exploration and reconstruction of the role of charlatans, itinerant medical practitioners, in Italy from the Renaissance to the Enlightenment.David Gentilcore examines the goods and services charlatans provided, their marketing strategies, and dealings with the public, and shows how the authorities attempted to regulate and control their business. ... Read more

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The Italian Renaissance was one of the most extraordinary periods in the history of Western art, and art lovers from around the world are captivated by the treasures that are held in Italian museums, churches, and galleries. This guide introduces art lovers to the major artists and sights of the Renaissance in a series of art trails-itineraries that cover the most important paintings and sculptures of the period. Written in a friendly, informative style, it is designed for the traveler who is serious-but not stuffy-about art. Not only does it give specialized coverage of the best in Italian Renaissance art, but it will save the traveler the expense of purchasing numerous gallery guides.

The guide features:

-Coverage of background of the Renaissance and its cultural context-Brief biographies of individual artists-Expert knowledge presented in a friendly, informative style-Details and descriptions of the outstanding pieces at every site-Interesting critical descriptions of works and explanations of technical terms-Maps highlighting places to visit, including intercity routes -Diagrams of important series of paintings (such as the Sistine Chapel)-Information on the saints and Biblical scenes portrayed in the paintings

Meeting the needs of a market that has hitherto been ignored, this delightful guide will entertain and inform the seasoned cultural traveler as well as the amateur art buff. ... Read more

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Art for Travellers Demystifys Complex Subject
I approached this book with some trepidation, since the Renaissance art of Italy is an enormous subject and all but the most intrepid travelers succumb at some point to museum fatigue. However, I was delighted to see that this guide givesvery readable background information suitable for people with very little prior exposure to Renaissance art. At the same time it is authoritative and interesting for someone with a deeper knowledge. The fact that the author narrows down the focus to a shorter list of painters and sculptors is very helpful. The illustrations are beautiful. Diagrams of where to find particular works in particular museums, or how to "read" multiple panels in churches can be useful.My only concern is that the book weighs in a bit heavy for a traveler who is packing light. While I would like to have the book with me as a companion while walking through museums, I may have to content myself with notes or (gasp!) cut out pages of particular interest to take with me.

Artfor Travellers ; Italy


It is a very good guide for the amateur, even more remarkable considering that it was written by Australians.
I am an Italain national myself living in Hawaii for the time being and I know that I will put this guide to good use when I eventually decide to rediscover my own country.
Highly recommended. ... Read more