Music and Visual Culture in Renaissance Italy

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Introduction
Chriscinda Henry and Tim Shephard
PART IKnowledge and Practice Across Disciplines
1. "A Body Composed of Many Parts": The Concept of Harmony in Leonardo da Vinci's Paragone
David E. Cohen
2. Aporia and the Harmonious Subject
Tim Shephard
3. Singing Sibyls: Music, Inspiration, Labour, and Art on the Sistine Chapel Ceiling
Barnaby Nygren
4. Musical Self-Portraits by Garofalo, Anguissola, and Fontana
Samantha Chang
5. Dangerous Music at the Accademia di San Luca and Federico Zuccaro's "Art" of Censorship
Leslie Korrick
6. Il Figino and the Paragone
Antonio Cascelli
7. The Tuning Figure in Early Modern Art 1350-1700
Francois Quiviger
8. The Flow of Time and Feelings in Evaristo Baschenis' Still Lifes with Instruments
Gioia Filocamo
PART IICultures of Everyday Life
9. The Iconography of Dancing on Renaissance Wedding Chests
Jasmine Marie Chiu
10. Visible and Invisible Musical Paths in Federico da Montefeltro's Gubbio Studiolo
Nicoletta Guidobadi
11. The Convergence of Sacred and Secular in Vittore Carpaccio's British Museum Concert
Chriscinda Henry
12. The Artist and Artistry of the "Capirola Lutebook"
Victor Coelho
13. No Country for Old Men? Aging and Men's Musicianship in Italian Renaissance Art
Sanna Raninen
14. Music, the Visual and the Material in an Italian Renaissance Basin
Flora Dennis
15. Fantastic Finials: Carved Scrolls and Headstocks of Renaissance Stringed Instruments
Emanuela Vai
16. The "Author's Portrait" in Early Modern Italian Music Books
Massimo Privitera

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The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts. Beginning in the fifteenth century, transformations emerge in the depiction of music within visual arts, the conceptualization of music in ethics and poetics, and in the practice of musical harmony. This book brings together contributors from across musicology and art history to consider the trajectories of these changes and the connections between them, both in theory and in the practices of everyday life.

In sixteen chapters, the contributors blend iconographic analysis with a wider range of approaches, investigate the discourse surrounding the arts, and draw on both social art history and the material turn in Renaissance studies. They address not only paintings and sculpture, but also a wide range of visual media and domestic objects, from instruments to tableware, to reveal a rich, varied, and sometimes tumultuous exchange among musical and visual arts and ideas. Enriching our understanding of the subtle intersections between visual, material, and musical arts across the long Renaissance, this book offers new insights for scholars of music, art, and cultural history.

Chapter 15 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

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