Italy: Florence and Venice;

A translation of vol. 2 of the author's "Voyage en Italie."

Italy, Florence and Venice,

Mode of access: Internet.

Performing Leigh Hunt’s 1840 Play "A Legend of Florence"

Leigh Hunt's authorship of "A legend of Florence" (1840) — a drama inspired by the rich cultural, intellectual, and political climate of Italy — reflects, as Michael Eberle-Sinatra demonstrates in the final essay of the first section, not only a literary exchange between England and Italy, but argues that during the creation of his play, Hunt engaged in his own version of border crossing as he managed the transition between writing about and writing for the stage. A complex maneuver that required Hunt to rech beyond his own intellectual boundaries, the shift from critic to dramatist challenged and enriched his thoughts regarding the work of the theater.

Italy : handbook for travellers /

Includes indexes.

Handbook for travellers in northern Italy ...

Original edition, 1842, by Sir Francis Palgrave.

Italy; handbook for travellers,

Part 2 has appended "Index of streets and plans of Rome", 14 p.

Italy, handbook for travellers /

Includes index.

Description of the antiquities & other curiosities of Rome; from personal observation during a visit to Italy in the years 1818-19.

Mode of access: Internet.

Galignani's traveller's guide through Italy, or, A comprehensive view of the antiquities and curiosities of that classical and interesting country : containing sketches of manners, society, and customs ... /

Includes index.

Italy, handbook for travellers,

Each part also issued separately.

Italy : handbook for travellers /

"Index of streets and plans of Rome": v. 2, 18 p. at end.

Italy : handbook for travellers /

pt. 1. Northern Italy, including Leghorn, Florence, Ravenna, the Island of Corsica, and routes through France, Switzerland, and Austria. 8th remodelled ed. 1889. -- pt. 2. Central Italy and Rome. 10 rev. ed. 1890. -- pt. 3. Southern Italy and Sicily, with excursions to the Lipari Islands, Malta, Sardinia, Tunis, and Corfu. 10 rev. ed. 1890.

Italy; handbook for travellers,

Pt. 2-3: 13th rev. ed.

Mount Carmel in the Commune: Promoting the Holy Land in Central Italy in the 13th and 14th Centuries

The Carmelite friars were the last of the major mendicant orders to be established in Italy. Originally an eremitical order, they arrived from the Holy Land in the 1240s, decades after other mendicant orders, such as the Franciscans and Dominicans, had constructed churches and cultivated patrons in the burgeoning urban centers of central Italy. In a religious market already saturated with friars, the Carmelites distinguished themselves by promoting their Holy Land provenance, eremitical values, and by developing an institutional history claiming to be descendants of the Old Testament prophet Elijah. By the end of the 13th century the order had constructed thriving churches and convents and leveraged itself into a prominent position in the religious community. My dissertation analyzes these early Carmelite churches and convents, as well as the friars’ interactions with patrons, civic governments, and the urban space they occupied. Through three primary case studies – the churches and convents of Pisa, Siena and Florence – I examine the Carmelites’ approach to art, architecture, and urban space as the order transformed its mission from one of solitary prayer to one of active ministry.

My central questions are these: To what degree did the Carmelites’ Holy Land provenance inform the art and architecture they created for their central Italian churches? And to what degree was their visual culture instead a reflection of the mendicant norms of the time?

I have sought to analyze the Carmelites at the institutional level, to determine how the order viewed itself and how it wanted its legacy to develop. I then seek to determine how and if the institutional model was utilized in the artistic and architectural production of the individual convents. The understanding of Carmelite art as a promotional tool for the identity of the order is not a new one, however my work is the first to consider deeply the order’s architectural aspirations. I also consider the order’s relationships with its de facto founding saint, the prophet Elijah, and its patron, the Virgin Mary, in a more comprehensive manner that situates the resultant visual culture into the contemporary theological and historical contexts.