Hostname: page-component-848d4c4894-8bljj Total loading time: 0 Render date: 2024-06-25T01:22:41.727Z Has data issue: false hasContentIssue false
  • English
  • Français

The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe

Published online by Cambridge University Press:  16 March 2020

Pamela H. Smith ,
Tianna Helena Uchacz ,
Sophie Pitman ,
Tillmann Taape  and
Colin Debuiche
Pamela H. Smith
Affiliation:
Columbia University
Tianna Helena Uchacz
Affiliation:
Columbia University
Sophie Pitman
Affiliation:
Aalto University
Tillmann Taape
Affiliation:
Columbia University
Colin Debuiche
Affiliation:
University of Rennes
Get access Rights & Permissions [Opens in a new window]

Abstract

Through a close reading and reconstruction of technical recipes for ephemeral artworks in a manuscript compiled in Toulouse ca. 1580 (BnF MS Fr. 640), we question whether ephemeral art should be treated as a distinct category of art. The illusion and artifice underpinning ephemeral spectacles shared the aims and, frequently, the materials and techniques of art more generally. Our analysis of the manuscript also calls attention to other aspects of art making that reframe consideration of the ephemeral, such as intermediary processes, durability, the theatrical and transformative potential of materials, and the imitation and preservation of lifelikeness.

Type
Articles
Information
Renaissance Quarterly , Volume 73 , Issue 1 , Spring 2020 , pp. 78 - 131
Copyright
Copyright © The Author(s) 2020. Published by the Renaissance Society of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

The authors of this article sincerely thank Jo Kirby, Christine Göttler, and Diane Bodart for stimulating lectures and discussions, and Naomi Rosenkranz and the participants in the fall 2017 lab seminar for their research and laboratory work. Research for this article has been supported by NSF1430843, NEH RQ-249842-16, and the Henry Luce, Gladys Krieble Delmas, and Florence Gould Foundations. This article has been published during Sophie Pitman's time on the “Refashioning the Renaissance” project, which has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation program (grant agreement No. 726195). Unless otherwise specified, all translations are our own.

References

BIBLIOGRAPHY

Archives départementales de la Haute-Garonne, Toulouse, 1B1906, registre du parlement de Toulouse, copies d'actes divers enregistrés, 1560–65.Google Scholar
Archives départementales de la Haute-Garonne, Toulouse, 3E5208, registre du notaire Hilaire Lobeyrie, 1545.Google Scholar
Archives municipales de Toulouse (AMT), BB274, Annales manuscrites de la ville de Toulouse, 2e livre des Histoires, 1532–68.Google Scholar
AMT, CC1986, Comptabilité, comptes du trésorier, 1589.Google Scholar
AMT, CC2451, Comptabilité, pièces à l'appui des comptes et mandements relatifs à l'entrée du roi Charles IX à Toulouse, 1564–65.Google Scholar
AMT, CC2621, Comptabilité, pièces à l'appui des comptes et mandements de paiements, 1621.Google Scholar
Archives paroissiales de Saint-Sernin (APSS), Toulouse, B5, fols. 194–99, contrat de peinture pour le chœur, 1 May 1536.Google Scholar
Bibliothèque nationale de France, Paris (BnF), MS Fr. 640, Recueil de recettes et secrets concernant l'art du mouleur, de l'artificier et du peintre, n.d.Google Scholar
British Library, London, Cotton MS Augustus 111, fol. 18. Tent designs for the Field of Cloth of Gold, ca. 1520.Google Scholar
National Archives, Kew, Exchequer, Office of First Fruits and Tenths, and the Court of Augmentations, E36/229. Accounts of Richard Gibson for revels (connected with the Field of the Cloth of Gold), 22 April 1520–21 April 1521.Google Scholar
Alard, Jean. Entrée du Roy à Tolose. Toulouse: R. Colomiés, 1622.Google Scholar
Albicante, Giovanni Alberto. Trattato del’ intrar in Milano di Carlo V. Milan: Andreas Calvus, 1541.Google Scholar
Avery, Victoria, Calaresu, Melissa, and Laven, Mary, eds. Treasured Possessions from the Renaissance to the Enlightenment. London: Philip Wilson Publishers, 2015.Google Scholar
Bacon, Francis. Sylva Sylvarum or A Naturall History in ten centuries. London: William Rawley, 1627.Google Scholar
Becker, Jochen. “‘Greater than Zeuxis and Apelles’: Artists as Arguments in the Antwerp Entry of 1549.” In Court Festivals of the European Renaissance: Art, Politics, and Performance, ed. Mulryne, J. R. and Goldring, Elizabeth, 171–98. Farnham: Ashgate, 2002.Google Scholar
Bergeron, David M. English Civic Pageantry, 1558–1642. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2003.Google Scholar
Biringuccio, Vannoccio. Pirotechnia, 1540. Ed. and trans. Smith, Cyril Stanley and Gnudi, Martha Teach. New York: Dover, 1990.Google Scholar
Bordes, François. “Formes et enjeux d'une mémoire urbaine au bas Moyen Age: Le premier ‘Livre des Histoires’ de Toulouse, 1295–1532.” 5 vols. PhD diss., Université de Toulouse II-Le Mirail, 2006.Google Scholar
Brewer, J. S. ed. Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, vol. 4, part 2. London: Longman & Co., 1872.Google Scholar
Broecke, Lara. Cennino Cennini's “Il Libro dell'Arte.” London: Archetype Publications, 2015.Google Scholar
Bryant, Lawrence M. Ritual, Ceremony and the Changing Monarchy in France, 1350–1789. Farnham: Ashgate, 2010.Google Scholar
Bussels, Stijn. “All about Eve: Genesis and Gender in a Fireworks Display in the Antwerp Entry of Charles V and His Son Philip.” In Drama, Performance and Debate: Theatre and Public Opinion in the Early Modern Period, ed. Bloemendal, Jan, Strietman, Elsa, and Eversmann, Peter, 143–62. Leiden: Brill, 2013.CrossRefGoogle Scholar
Cannon, Joanna, Kirby, Jo, and Nash, Susie, eds. Trade in Artists’ Materials: Markets and Commerce in Europe to 1700. London: Archetype Publications, 2010.Google Scholar
Cartwright, John. “Forms and Their Uses: The Antwerp ‘Ommegangen,’ 1550–1700.” In Festive Drama: Papers from the Sixth Triennial Colloquium of the International Society for the Study of Medieval Theatre, Lancaster, 13–19 July, 1989, ed. Twycross, Meg, 119–31. Cambridge: D. S. Brewer, 1996.Google Scholar
Catel, Guillaume. Mémoires de l'histoire du Languedoc. Toulouse: Pierre Bosc, 1633.Google Scholar
Cennini, Cennino d'Andrea. The Craftsman's Handbook: Il libro dell'Arte. Trans. Thompson, Daniel V.. New York: Dover, 1960.Google Scholar
Cholcman, Tamar. Art on Paper: Ephemeral Art in the Low Countries: The Triumphal Entry of the Archdukes Albert and Isabella into Antwerp, 1599. Turnhout: Brepols, 2014.Google Scholar
Cholcman, Tamar. “Three Parts Divided: The Construction, Reconstruction, and Deconstruction of Festival Emblems.” Emblematica: Essays in Word and Image 2 (2018): 153–83.Google Scholar
Cotgrave, Randle. A Dictionarie of the French and English Tongues. London: Adam Islip, 1611: http://www.pbm.com/~lindahl/cotgrave/.Google Scholar
Debord, Guy. The Society of the Spectacle. New York: Zone Books, 1995.Google Scholar
Debuiche, Colin. “Triomphes royaux dans les Entrées toulousaines des XVIe et XVIIe siècles.” Les Cahiers de Framespa 11 (2012): http://journals.openedition.org/framespa/1872.Google Scholar
Debuiche, Colin. “Architecture et culture savante à Toulouse à la Renaissance.” 5 vols. PhD diss., Université Toulouse II-Jean Jaurès, 2016.Google Scholar
de Estrella, Juan Cristóbal Calvete. El felicissimo viaie d'el mvy alto y mvy poderoso Príncipe Don Phelippe. Antwerp: Martin Nucio, 1552.Google Scholar
de Vries, Jan. The Industrious Revolution: Consumer Behaviour and the Household Economy, 1650 to the Present. Cambridge: Cambridge University Press, 2008.CrossRefGoogle Scholar
Drogin, David J. “Art Patronage and Civic Identities in Renaissance Bologna.” In The Court Cities of Northern Italy, ed. Rosenberg, Charles M., 244–324. Cambridge: Cambridge University Press, 2010.Google Scholar
Ferté, Patrick. “Toulouse et son université, relais de la Renaissance entre Espagne et Italie, 1430–1550.” In Échanges entre les universités européennes à la Renaissance, ed. Bideaux, Michel and Fragonard, Marie-Madeleine, 217–30. Geneva: Droz, 2003.Google Scholar
Foister, Susan. “Holbein's Paintings on Canvas: The Greenwich Festivities of 1527.” In Hans Holbein: Paintings, Prints and Reception, ed. Roskill, M. and Hand, J. O., 109–23. Washington, DC: National Gallery of Art, 2001.Google Scholar
Fonkenell, Guillaume. Le palais des Tuileries. Ed. Clair, Honoré. Paris: Cité de l'architecture et du patrimoine, 2010.Google Scholar
Gaggetta, Claudia. “Louis II d'Amboise et les fresques de la cathédrale Sainte-Cécile d'Albi.” In Le duché de Milan et les commanditaires français, 1499–1521, ed. Elsig, Frédéric and Mauro, Natale, 287–321. Rome: Viella, 2013.Google Scholar
Geertz, Clifford. Negara: The Theatre State in Nineteenth-Century Bali. Princeton, NJ: Princeton University Press, 1980.Google Scholar
Gevartius, Gaspar. Pompa introitus … Ferdinandi Austriaci. Antwerp: Johannes Meursius, 1642.Google Scholar
Giesey, Ralph E. Cérémonial et puissance souveraine: France, XVe–XVIIe siècles. Paris: A. Colin, 1987.Google Scholar
Giroire, Cécile. “Être citoyen dans l'Empire.” In De l'esclave à l'empereur: L'art romain dans les collections du Musée du Louvre, ed. Giroire, Cécile and Roger, Daniel, 116–63. Paris: Somogy, Musée du Louvre, 2008.Google Scholar
Goldthwaite, Richard A. Wealth and the Demand for Art in Italy, 1300–1600. Baltimore, MD: Johns Hopkins University Press, 1993.Google Scholar
Göttler, Christine. “Druon Antigoon, der unzerstörbare Koloss: Städtischer Raum, antiquarische Kultur und Künstlerwissen im Antwerpen des 16. Jahrhunderts.” In Skulptur und Platz: Raumbesetzung—Raumüberwindung—Interaktion, ed. Nova, Alessandro and Hanke, Stephanie, 141–72. Berlin: Deutscher Kunstverlag, 2014.Google Scholar
Grapheus, Cornelius. De seer wonderlijcke, schoone, triumphelijcke incompst. Antwerp: Pieter Coecke van Aelst, 1550a.Google Scholar
Grapheus, Cornelius. Spectaculorum in Susceptione Philippi Hisp. Prin. Antwerp: Pieter Coecke van Aelst, 1550b.Google Scholar
Guicciardini, Lodovico. Descrittione di tutti i paesi bassi, altrimenti detti germania inferiore. Antwerp: G. Silvius, 1567.Google Scholar
Heydenreich, Gunnar. Lucas Cranach the Elder: Painting Materials, Techniques and Workshop Practice. Amsterdam: Amsterdam University Press, 2007.Google Scholar
Julien, Pascal. “D'ors et de prières: Art et dévotion à Saint-Sernin de Toulouse, XVIe–XVIIIe siècles.” 3 vols. PhD diss., Université de Toulouse II-Le Mirail, 1996.Google Scholar
Krischel, Roland, ed. Tintoret, Naissance d'un génie. Paris: Les éditions Rmn-Grand Palais, 2018.Google Scholar
Kumar, Brinda. “Proxy Figures.” In Like Life: Sculpture, Color, and the Body, ed. Syson, Luke, 162–87. New Haven, CT: Yale University Press, 2018.Google Scholar
Kummer, Stefan. Anfänge und Ausbreitung der Stuckdekoration in Römischen Kirchenraum 1500–1600. Tübingen: E. Wasmuth, 1987.Google Scholar
Labrousse, Michel. Toulouse antique, des origines à rétablissement des Wisigoths. Paris: E. de Boccard, 1968.Google Scholar
Lafaille, Germain. Annales de la ville de Toulouse depuis la réunion de la comté de Toulouse à la couronne … Seconde partie. Toulouse: Colomyès, 1701.Google Scholar
Lasansky, D. Medina. The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy. University Park: Pennsylvania State University Press, 2004.Google Scholar
Lemerle, Frédérique. La Renaissance et les antiquités de la Gaule: L'architecture gallo-romaine vue par les architectes, antiquaires et voyageurs, des guerres d'Italie à la Fronde. Turnhout: Brepols, 2005.CrossRefGoogle Scholar
Leydi, Silvio. Sub umbra imperialis aquilae: Immagini del potere e consenso politico nella Milano di Carlo V. Florence: Olschki, 1999.Google Scholar
Making and Knowing Project, Smith, Pamela H., Rosenkranz, Naomi, Uchacz, Tianna Helena, Taape, Tillmann, Godbarge, Clément, Pitman, Sophie, Boulboullé, Jenny, Klein, Joel, Bilak, Donna, Smith, Marc, and Catapano, Terry, eds. Secrets of Craft and Nature in Renaissance France: A Digital Critical Edition and English Translation of BnF Ms. Fr. 640, http://edition640.makingandknowing.org. New York: The Making and Knowing Project, 2020.Google Scholar
Maravall, José Antonio. Culture of the Baroque: Analysis of a Historical Structure. Trans. Cochran, Terry. Minneapolis: University of Minnesota Press, 1986.Google Scholar
Marin, Louis. Portrait of the King. Trans. Houle, Martha M.. Minneapolis: University of Minnesota Press, 1988.CrossRefGoogle Scholar
McGowan, Margaret. “Henry IV as Architect and Restorer of the State: His Entry into Rouen, 16 October 1596.” In Ceremonial Entries in Early Modern Europe, ed. Mulryne, J. R., with Aliverti, Maria Ines and Testaverde, Anna-Maria, 53–76. Farnham, Ashgate, 2015.Google Scholar
McGrath, Elizabeth. “Rubens's Arch of the Mint.” Journal of the Warburg and Courtauld Institutes 37 (1974): 191–217.CrossRefGoogle Scholar
Meadow, Mark A. “Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst.” In Hof, Staats- en Stadsceremonies, ed. Falkenburg, Reindert, Meadow, Mark A., de Jong, Johannes Leenderd, et al., 37–67. Zwolle: Waanders, 1999.Google Scholar
Mesuret, Robert. Évocation du Vieux Toulouse. Paris: Éditions de Minuit, 1960.Google Scholar
Montagu, Jennifer. Roman Baroque Sculpture: The Industry of Art. New Haven, CT: Yale University Press, 1992.Google Scholar
Muñoz, Sarah. “Célébrer et paraître: Les têtes en médaillon sculptées dans l'architecture de la Renaissance en France.” 3 vols. PhD diss., Université Toulouse II-Jean Jaurès, 2016.Google Scholar
Nash, Susie. “‘Pour couleurs et autres choses prise de lui…’: The Supply, Acquisition, Cost and Employment of Painters’ Materials at the Burgundian Court, c.1375–1419.” In Trade in Artists’ Materials: Markets and Commerce in Europe to 1700, ed. Cannon, Joanna, Kirby, Jo, and Nash, Susie, 97–182. London: Archetype Publications, 2010.Google Scholar
Neilson, Christina. Practice and Theory in the Italian Renaissance Workshop: Verrocchio and the Epistemology of Making Art. Cambridge: Cambridge University Press, 2019.CrossRefGoogle Scholar
Neven, Sylvie. The Strasbourg Manuscript: A Medieval Tradition of Artists’ Recipe Collections, 1400–1570. London: Archetype Publications, 2016.Google Scholar
Nuti, Lucia. “Re-Moulding the City: The Roman Possessi in the First Half of the Sixteenth Century.” In Ceremonial Entries in Early Modern Europe: The Iconography of Power, ed. Mulryne, J. R., Aliverti, Maria Ines, and Testaverde, Anna-Maria, 113–34. Farnham: Ashgate, 2015.Google Scholar
O'Malley, Michelle, and Welch, Evelyn, eds. The Material Renaissance. Manchester: Manchester University Press, 2007.Google Scholar
Pascal, Blaise. Pensées. Ed. Lafuma, Louis. 2nd ed. Paris: Delmas, 1952.Google Scholar
Pepys, Samuel. The Diary of Samuel Pepys: A New and Complete Transcription, vol. 2. Ed. Latham, Robert and Matthews, William. Berkeley: University of California Press, 2000.Google Scholar
Plat, Hugh. The jevvel house of art and nature. London: Bernard Alsop, 1653.Google Scholar
Pleij, Herman. De sneeuwpoppen van 1511: Literatuur en Stadscultuur tussen Middeleeuwen en Moderne Tijd. Amsterdam: Meulenhoff, 1988.Google Scholar
Russell, Nicolas. “Construction et représentation de la mémoire collective dans les entrées triomphales au XVIe siècle.” Renaissance & Reformation/Renaissance et Reforme 32.1 (2009): 53–72.CrossRefGoogle Scholar
Sabatier, Gérard. Le Prince et les arts: Stratégies figuratives de la monarchie française, de la Renaissance aux Lumières. Seyssel: Champ Vallon, 2010.Google Scholar
Schneider, Robert A. Public Life in Toulouse 1463–1789: From Municipal Republic to Cosmopolitan City. Ithaca, NY: Cornell University Press, 1989.Google Scholar
Scholten, Frits. “Malleable Marble: The Antwerp Snow Sculptures of 1772.” In Meaning in Materials, ed. Lehman, Ann-Sophie, 266–95. Leiden: Brill, 2013.Google Scholar
Tierney, Elaine. “Contested Ideals: Designing and Making Temporary Structures for the Entrée of Louis XIV into Paris, August 1660.” In Architectures of Festival in Early Modern Europe: Fashioning and Re-Fashioning Urban and Courtly Space, ed. Mulryne, J. R., Jonge, Krista de, Martens, Pieter, et al. , 139–67. London: Routledge, 2018.Google Scholar
Toulouse Renaissance. Ed. Pascal Julien. Paris: Somogy éditions d'art; Toulouse: Musée des Augustins, 2018. Exhibition catalogue.Google Scholar
Tuohy, Thomas. “The Ephemera of Magnificence: Sports; Feats of Arms; Theatre; Triumphal Entries; Banquets.” In Herculean Ferrara: Ercole d'Este 1471–1505, and the Invention of a Ducal Capital, ed. Tuohy, Thomas, 234–76. Cambridge: Cambridge University Press, 1996.Google Scholar
Van Bruaene, Anne-Laure. “Spectacle and Spin for a Spurned Prince: Civic Strategies in the Entry Ceremonies of the Duke of Anjou in Antwerp, Bruges and Ghent, 1582.” Journal of Early Modern History 11.4 (2007): 263–84.CrossRefGoogle Scholar
Vasari, Giorgio. Vasari on Technique. Trans. Louisa Maclehose. Ed. G. Baldwin Brown. London: J. M. Dent, 1907.Google Scholar
Vasari, Giorgio. Lives of the Most Eminent Painters, Sculptors & Architects. Trans. De Vere, Gaston du C.. 10 vols. London: Philip Lee Warner, 1912–15.Google Scholar
Visentin, Hélène, and Russell, Nicolas. “The Multilayered Production of Meaning in Sixteenth-Century French Ceremonial Entries.” In French Ceremonial Entries in the Sixteenth Century, ed. Visentin, Hélène and Russell, Nicolas, 15–26. Toronto: Centre for Reformation and Renaissance Studies, 2007.Google Scholar
Weigert, Laura. French Visual Culture and the Making of Medieval Theater. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Werrett, Simon. “Picturing Fireworks.” The Public Domain Review. https://publicdomainreview.org/essay/picturing-pyrotechnics.Google Scholar
Wiggins, Martin, and Richardson, Catherine, eds. British Drama, 1533–1642: A Catalogue, vol. VI: 1609–16. Oxford: Oxford University Press, 2015.Google Scholar
Wilson, Jean C. “Workshop Patterns and the Production of Paintings in Sixteenth-Century Bruges.” Burlington Magazine 132.1049 (1990): 523–27.Google Scholar
Wolfthal, Diane. “Agnes van Den Bossche: Early Netherlandish Painter.” Woman's Art Journal 6.1 (1985): 8–11.CrossRefGoogle Scholar
Wood, Christopher S. “The Perspective Treatise in Ruins: Lorenz Stoer, Geometria et Perspectiva, 1567.” In The Treatise on Perspective: Published and Unpublished, ed. Massey, Lyle, 235–57. New Haven, CT: Yale University Press for the National Gallery of Art, 2003.Google Scholar
Zolli, Daniel. “Donatello's Promiscuous Technique.” PhD diss., Harvard University, 2016.Google Scholar
Archives départementales de la Haute-Garonne, Toulouse, 1B1906, registre du parlement de Toulouse, copies d'actes divers enregistrés, 1560–65.Google Scholar
Archives départementales de la Haute-Garonne, Toulouse, 3E5208, registre du notaire Hilaire Lobeyrie, 1545.Google Scholar
Archives municipales de Toulouse (AMT), BB274, Annales manuscrites de la ville de Toulouse, 2e livre des Histoires, 1532–68.Google Scholar
AMT, CC1986, Comptabilité, comptes du trésorier, 1589.Google Scholar
AMT, CC2451, Comptabilité, pièces à l'appui des comptes et mandements relatifs à l'entrée du roi Charles IX à Toulouse, 1564–65.Google Scholar
AMT, CC2621, Comptabilité, pièces à l'appui des comptes et mandements de paiements, 1621.Google Scholar
Archives paroissiales de Saint-Sernin (APSS), Toulouse, B5, fols. 194–99, contrat de peinture pour le chœur, 1 May 1536.Google Scholar
Bibliothèque nationale de France, Paris (BnF), MS Fr. 640, Recueil de recettes et secrets concernant l'art du mouleur, de l'artificier et du peintre, n.d.Google Scholar
British Library, London, Cotton MS Augustus 111, fol. 18. Tent designs for the Field of Cloth of Gold, ca. 1520.Google Scholar
National Archives, Kew, Exchequer, Office of First Fruits and Tenths, and the Court of Augmentations, E36/229. Accounts of Richard Gibson for revels (connected with the Field of the Cloth of Gold), 22 April 1520–21 April 1521.Google Scholar
Alard, Jean. Entrée du Roy à Tolose. Toulouse: R. Colomiés, 1622.Google Scholar
Albicante, Giovanni Alberto. Trattato del’ intrar in Milano di Carlo V. Milan: Andreas Calvus, 1541.Google Scholar
Avery, Victoria, Calaresu, Melissa, and Laven, Mary, eds. Treasured Possessions from the Renaissance to the Enlightenment. London: Philip Wilson Publishers, 2015.Google Scholar
Bacon, Francis. Sylva Sylvarum or A Naturall History in ten centuries. London: William Rawley, 1627.Google Scholar
Becker, Jochen. “‘Greater than Zeuxis and Apelles’: Artists as Arguments in the Antwerp Entry of 1549.” In Court Festivals of the European Renaissance: Art, Politics, and Performance, ed. Mulryne, J. R. and Goldring, Elizabeth, 171–98. Farnham: Ashgate, 2002.Google Scholar
Bergeron, David M. English Civic Pageantry, 1558–1642. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2003.Google Scholar
Biringuccio, Vannoccio. Pirotechnia, 1540. Ed. and trans. Smith, Cyril Stanley and Gnudi, Martha Teach. New York: Dover, 1990.Google Scholar
Bordes, François. “Formes et enjeux d'une mémoire urbaine au bas Moyen Age: Le premier ‘Livre des Histoires’ de Toulouse, 1295–1532.” 5 vols. PhD diss., Université de Toulouse II-Le Mirail, 2006.Google Scholar
Brewer, J. S. ed. Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, vol. 4, part 2. London: Longman & Co., 1872.Google Scholar
Broecke, Lara. Cennino Cennini's “Il Libro dell'Arte.” London: Archetype Publications, 2015.Google Scholar
Bryant, Lawrence M. Ritual, Ceremony and the Changing Monarchy in France, 1350–1789. Farnham: Ashgate, 2010.Google Scholar
Bussels, Stijn. “All about Eve: Genesis and Gender in a Fireworks Display in the Antwerp Entry of Charles V and His Son Philip.” In Drama, Performance and Debate: Theatre and Public Opinion in the Early Modern Period, ed. Bloemendal, Jan, Strietman, Elsa, and Eversmann, Peter, 143–62. Leiden: Brill, 2013.CrossRefGoogle Scholar
Cannon, Joanna, Kirby, Jo, and Nash, Susie, eds. Trade in Artists’ Materials: Markets and Commerce in Europe to 1700. London: Archetype Publications, 2010.Google Scholar
Cartwright, John. “Forms and Their Uses: The Antwerp ‘Ommegangen,’ 1550–1700.” In Festive Drama: Papers from the Sixth Triennial Colloquium of the International Society for the Study of Medieval Theatre, Lancaster, 13–19 July, 1989, ed. Twycross, Meg, 119–31. Cambridge: D. S. Brewer, 1996.Google Scholar
Catel, Guillaume. Mémoires de l'histoire du Languedoc. Toulouse: Pierre Bosc, 1633.Google Scholar
Cennini, Cennino d'Andrea. The Craftsman's Handbook: Il libro dell'Arte. Trans. Thompson, Daniel V.. New York: Dover, 1960.Google Scholar
Cholcman, Tamar. Art on Paper: Ephemeral Art in the Low Countries: The Triumphal Entry of the Archdukes Albert and Isabella into Antwerp, 1599. Turnhout: Brepols, 2014.Google Scholar
Cholcman, Tamar. “Three Parts Divided: The Construction, Reconstruction, and Deconstruction of Festival Emblems.” Emblematica: Essays in Word and Image 2 (2018): 153–83.Google Scholar
Cotgrave, Randle. A Dictionarie of the French and English Tongues. London: Adam Islip, 1611: http://www.pbm.com/~lindahl/cotgrave/.Google Scholar
Debord, Guy. The Society of the Spectacle. New York: Zone Books, 1995.Google Scholar
Debuiche, Colin. “Triomphes royaux dans les Entrées toulousaines des XVIe et XVIIe siècles.” Les Cahiers de Framespa 11 (2012): http://journals.openedition.org/framespa/1872.Google Scholar
Debuiche, Colin. “Architecture et culture savante à Toulouse à la Renaissance.” 5 vols. PhD diss., Université Toulouse II-Jean Jaurès, 2016.Google Scholar
de Estrella, Juan Cristóbal Calvete. El felicissimo viaie d'el mvy alto y mvy poderoso Príncipe Don Phelippe. Antwerp: Martin Nucio, 1552.Google Scholar
de Vries, Jan. The Industrious Revolution: Consumer Behaviour and the Household Economy, 1650 to the Present. Cambridge: Cambridge University Press, 2008.CrossRefGoogle Scholar
Drogin, David J. “Art Patronage and Civic Identities in Renaissance Bologna.” In The Court Cities of Northern Italy, ed. Rosenberg, Charles M., 244–324. Cambridge: Cambridge University Press, 2010.Google Scholar
Ferté, Patrick. “Toulouse et son université, relais de la Renaissance entre Espagne et Italie, 1430–1550.” In Échanges entre les universités européennes à la Renaissance, ed. Bideaux, Michel and Fragonard, Marie-Madeleine, 217–30. Geneva: Droz, 2003.Google Scholar
Foister, Susan. “Holbein's Paintings on Canvas: The Greenwich Festivities of 1527.” In Hans Holbein: Paintings, Prints and Reception, ed. Roskill, M. and Hand, J. O., 109–23. Washington, DC: National Gallery of Art, 2001.Google Scholar
Fonkenell, Guillaume. Le palais des Tuileries. Ed. Clair, Honoré. Paris: Cité de l'architecture et du patrimoine, 2010.Google Scholar
Gaggetta, Claudia. “Louis II d'Amboise et les fresques de la cathédrale Sainte-Cécile d'Albi.” In Le duché de Milan et les commanditaires français, 1499–1521, ed. Elsig, Frédéric and Mauro, Natale, 287–321. Rome: Viella, 2013.Google Scholar
Geertz, Clifford. Negara: The Theatre State in Nineteenth-Century Bali. Princeton, NJ: Princeton University Press, 1980.Google Scholar
Gevartius, Gaspar. Pompa introitus … Ferdinandi Austriaci. Antwerp: Johannes Meursius, 1642.Google Scholar
Giesey, Ralph E. Cérémonial et puissance souveraine: France, XVe–XVIIe siècles. Paris: A. Colin, 1987.Google Scholar
Giroire, Cécile. “Être citoyen dans l'Empire.” In De l'esclave à l'empereur: L'art romain dans les collections du Musée du Louvre, ed. Giroire, Cécile and Roger, Daniel, 116–63. Paris: Somogy, Musée du Louvre, 2008.Google Scholar
Goldthwaite, Richard A. Wealth and the Demand for Art in Italy, 1300–1600. Baltimore, MD: Johns Hopkins University Press, 1993.Google Scholar
Göttler, Christine. “Druon Antigoon, der unzerstörbare Koloss: Städtischer Raum, antiquarische Kultur und Künstlerwissen im Antwerpen des 16. Jahrhunderts.” In Skulptur und Platz: Raumbesetzung—Raumüberwindung—Interaktion, ed. Nova, Alessandro and Hanke, Stephanie, 141–72. Berlin: Deutscher Kunstverlag, 2014.Google Scholar
Grapheus, Cornelius. De seer wonderlijcke, schoone, triumphelijcke incompst. Antwerp: Pieter Coecke van Aelst, 1550a.Google Scholar
Grapheus, Cornelius. Spectaculorum in Susceptione Philippi Hisp. Prin. Antwerp: Pieter Coecke van Aelst, 1550b.Google Scholar
Guicciardini, Lodovico. Descrittione di tutti i paesi bassi, altrimenti detti germania inferiore. Antwerp: G. Silvius, 1567.Google Scholar
Heydenreich, Gunnar. Lucas Cranach the Elder: Painting Materials, Techniques and Workshop Practice. Amsterdam: Amsterdam University Press, 2007.Google Scholar
Julien, Pascal. “D'ors et de prières: Art et dévotion à Saint-Sernin de Toulouse, XVIe–XVIIIe siècles.” 3 vols. PhD diss., Université de Toulouse II-Le Mirail, 1996.Google Scholar
Krischel, Roland, ed. Tintoret, Naissance d'un génie. Paris: Les éditions Rmn-Grand Palais, 2018.Google Scholar
Kumar, Brinda. “Proxy Figures.” In Like Life: Sculpture, Color, and the Body, ed. Syson, Luke, 162–87. New Haven, CT: Yale University Press, 2018.Google Scholar
Kummer, Stefan. Anfänge und Ausbreitung der Stuckdekoration in Römischen Kirchenraum 1500–1600. Tübingen: E. Wasmuth, 1987.Google Scholar
Labrousse, Michel. Toulouse antique, des origines à rétablissement des Wisigoths. Paris: E. de Boccard, 1968.Google Scholar
Lafaille, Germain. Annales de la ville de Toulouse depuis la réunion de la comté de Toulouse à la couronne … Seconde partie. Toulouse: Colomyès, 1701.Google Scholar
Lasansky, D. Medina. The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy. University Park: Pennsylvania State University Press, 2004.Google Scholar
Lemerle, Frédérique. La Renaissance et les antiquités de la Gaule: L'architecture gallo-romaine vue par les architectes, antiquaires et voyageurs, des guerres d'Italie à la Fronde. Turnhout: Brepols, 2005.CrossRefGoogle Scholar
Leydi, Silvio. Sub umbra imperialis aquilae: Immagini del potere e consenso politico nella Milano di Carlo V. Florence: Olschki, 1999.Google Scholar
Making and Knowing Project, Smith, Pamela H., Rosenkranz, Naomi, Uchacz, Tianna Helena, Taape, Tillmann, Godbarge, Clément, Pitman, Sophie, Boulboullé, Jenny, Klein, Joel, Bilak, Donna, Smith, Marc, and Catapano, Terry, eds. Secrets of Craft and Nature in Renaissance France: A Digital Critical Edition and English Translation of BnF Ms. Fr. 640, http://edition640.makingandknowing.org. New York: The Making and Knowing Project, 2020.Google Scholar
Maravall, José Antonio. Culture of the Baroque: Analysis of a Historical Structure. Trans. Cochran, Terry. Minneapolis: University of Minnesota Press, 1986.Google Scholar
Marin, Louis. Portrait of the King. Trans. Houle, Martha M.. Minneapolis: University of Minnesota Press, 1988.CrossRefGoogle Scholar
McGowan, Margaret. “Henry IV as Architect and Restorer of the State: His Entry into Rouen, 16 October 1596.” In Ceremonial Entries in Early Modern Europe, ed. Mulryne, J. R., with Aliverti, Maria Ines and Testaverde, Anna-Maria, 53–76. Farnham, Ashgate, 2015.Google Scholar
McGrath, Elizabeth. “Rubens's Arch of the Mint.” Journal of the Warburg and Courtauld Institutes 37 (1974): 191–217.CrossRefGoogle Scholar
Meadow, Mark A. “Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst.” In Hof, Staats- en Stadsceremonies, ed. Falkenburg, Reindert, Meadow, Mark A., de Jong, Johannes Leenderd, et al., 37–67. Zwolle: Waanders, 1999.Google Scholar
Mesuret, Robert. Évocation du Vieux Toulouse. Paris: Éditions de Minuit, 1960.Google Scholar
Montagu, Jennifer. Roman Baroque Sculpture: The Industry of Art. New Haven, CT: Yale University Press, 1992.Google Scholar
Muñoz, Sarah. “Célébrer et paraître: Les têtes en médaillon sculptées dans l'architecture de la Renaissance en France.” 3 vols. PhD diss., Université Toulouse II-Jean Jaurès, 2016.Google Scholar
Nash, Susie. “‘Pour couleurs et autres choses prise de lui…’: The Supply, Acquisition, Cost and Employment of Painters’ Materials at the Burgundian Court, c.1375–1419.” In Trade in Artists’ Materials: Markets and Commerce in Europe to 1700, ed. Cannon, Joanna, Kirby, Jo, and Nash, Susie, 97–182. London: Archetype Publications, 2010.Google Scholar
Neilson, Christina. Practice and Theory in the Italian Renaissance Workshop: Verrocchio and the Epistemology of Making Art. Cambridge: Cambridge University Press, 2019.CrossRefGoogle Scholar
Neven, Sylvie. The Strasbourg Manuscript: A Medieval Tradition of Artists’ Recipe Collections, 1400–1570. London: Archetype Publications, 2016.Google Scholar
Nuti, Lucia. “Re-Moulding the City: The Roman Possessi in the First Half of the Sixteenth Century.” In Ceremonial Entries in Early Modern Europe: The Iconography of Power, ed. Mulryne, J. R., Aliverti, Maria Ines, and Testaverde, Anna-Maria, 113–34. Farnham: Ashgate, 2015.Google Scholar
O'Malley, Michelle, and Welch, Evelyn, eds. The Material Renaissance. Manchester: Manchester University Press, 2007.Google Scholar
Pascal, Blaise. Pensées. Ed. Lafuma, Louis. 2nd ed. Paris: Delmas, 1952.Google Scholar
Pepys, Samuel. The Diary of Samuel Pepys: A New and Complete Transcription, vol. 2. Ed. Latham, Robert and Matthews, William. Berkeley: University of California Press, 2000.Google Scholar
Plat, Hugh. The jevvel house of art and nature. London: Bernard Alsop, 1653.Google Scholar
Pleij, Herman. De sneeuwpoppen van 1511: Literatuur en Stadscultuur tussen Middeleeuwen en Moderne Tijd. Amsterdam: Meulenhoff, 1988.Google Scholar
Russell, Nicolas. “Construction et représentation de la mémoire collective dans les entrées triomphales au XVIe siècle.” Renaissance & Reformation/Renaissance et Reforme 32.1 (2009): 53–72.CrossRefGoogle Scholar
Sabatier, Gérard. Le Prince et les arts: Stratégies figuratives de la monarchie française, de la Renaissance aux Lumières. Seyssel: Champ Vallon, 2010.Google Scholar
Schneider, Robert A. Public Life in Toulouse 1463–1789: From Municipal Republic to Cosmopolitan City. Ithaca, NY: Cornell University Press, 1989.Google Scholar
Scholten, Frits. “Malleable Marble: The Antwerp Snow Sculptures of 1772.” In Meaning in Materials, ed. Lehman, Ann-Sophie, 266–95. Leiden: Brill, 2013.Google Scholar
Tierney, Elaine. “Contested Ideals: Designing and Making Temporary Structures for the Entrée of Louis XIV into Paris, August 1660.” In Architectures of Festival in Early Modern Europe: Fashioning and Re-Fashioning Urban and Courtly Space, ed. Mulryne, J. R., Jonge, Krista de, Martens, Pieter, et al. , 139–67. London: Routledge, 2018.Google Scholar
Toulouse Renaissance. Ed. Pascal Julien. Paris: Somogy éditions d'art; Toulouse: Musée des Augustins, 2018. Exhibition catalogue.Google Scholar
Tuohy, Thomas. “The Ephemera of Magnificence: Sports; Feats of Arms; Theatre; Triumphal Entries; Banquets.” In Herculean Ferrara: Ercole d'Este 1471–1505, and the Invention of a Ducal Capital, ed. Tuohy, Thomas, 234–76. Cambridge: Cambridge University Press, 1996.Google Scholar
Van Bruaene, Anne-Laure. “Spectacle and Spin for a Spurned Prince: Civic Strategies in the Entry Ceremonies of the Duke of Anjou in Antwerp, Bruges and Ghent, 1582.” Journal of Early Modern History 11.4 (2007): 263–84.CrossRefGoogle Scholar
Vasari, Giorgio. Vasari on Technique. Trans. Louisa Maclehose. Ed. G. Baldwin Brown. London: J. M. Dent, 1907.Google Scholar
Vasari, Giorgio. Lives of the Most Eminent Painters, Sculptors & Architects. Trans. De Vere, Gaston du C.. 10 vols. London: Philip Lee Warner, 1912–15.Google Scholar
Visentin, Hélène, and Russell, Nicolas. “The Multilayered Production of Meaning in Sixteenth-Century French Ceremonial Entries.” In French Ceremonial Entries in the Sixteenth Century, ed. Visentin, Hélène and Russell, Nicolas, 15–26. Toronto: Centre for Reformation and Renaissance Studies, 2007.Google Scholar
Weigert, Laura. French Visual Culture and the Making of Medieval Theater. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Werrett, Simon. “Picturing Fireworks.” The Public Domain Review. https://publicdomainreview.org/essay/picturing-pyrotechnics.Google Scholar
Wiggins, Martin, and Richardson, Catherine, eds. British Drama, 1533–1642: A Catalogue, vol. VI: 1609–16. Oxford: Oxford University Press, 2015.Google Scholar
Wilson, Jean C. “Workshop Patterns and the Production of Paintings in Sixteenth-Century Bruges.” Burlington Magazine 132.1049 (1990): 523–27.Google Scholar
Wolfthal, Diane. “Agnes van Den Bossche: Early Netherlandish Painter.” Woman's Art Journal 6.1 (1985): 8–11.CrossRefGoogle Scholar
Wood, Christopher S. “The Perspective Treatise in Ruins: Lorenz Stoer, Geometria et Perspectiva, 1567.” In The Treatise on Perspective: Published and Unpublished, ed. Massey, Lyle, 235–57. New Haven, CT: Yale University Press for the National Gallery of Art, 2003.Google Scholar
Zolli, Daniel. “Donatello's Promiscuous Technique.” PhD diss., Harvard University, 2016.Google Scholar