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The Egyptian Renaissance: The Afterlife of Ancient Egypt in Early Modern Italy, by Brian Curran
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Fascination with ancient Egypt is a recurring theme in Western culture, and here Brian Curran uncovers its deep roots in the Italian Renaissance, which embraced not only classical art and literature but also a variety of other cultures that modern readers don’t tend to associate with early modern Italy. Patrons, artists, and spectators of the period were particularly drawn, Curran shows, to Egyptian antiquity and its artifacts, many of which found their way to Italy in Roman times and exerted an influence every bit as powerful as that of their more familiar Greek and Roman counterparts.
Curran vividly recreates this first wave of European Egyptomania with insightful interpretations of the period’s artistic and literary works. In doing so, he paints a colorful picture of a time in which early moderns made the first efforts to decipher Egyptian hieroglyphs, and popes and princes erected pyramids and other Egyptianate marvels to commemorate their own authority. Demonstrating that the emergence of ancient Egypt as a distinct category of historical knowledge was one of Renaissance humanism’s great accomplishments, Curran’s peerless study will be required reading for Renaissance scholars and anyone interested in the treasures and legacy of ancient Egypt.
- Sales Rank: #3831979 in Books
- Published on: 2007-05-01
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x 1.20" w x 8.50" l, 3.85 pounds
- Binding: Hardcover
- 428 pages
Review
“Brian Curran’s learned and eloquent book traces a new path through the art, culture, and scholarship of High Renaissance Italy. He recreates the many roles that versions of Egypt—some imaginary, others based on surprisingly precise observation of original objects—played in Italian culture of the fifteenth and sixteenth centuries. And in doing so he reveals an erudition, insight, and imaginative sympathy that would do credit to the great humanists he studies.”
(Anthony Grafton)
“A tour de force that is deceptively easy to read. The fluidity of Curran’s writing makes his crystal-clear analysis of stubbornly elusive topics—such as the bizarre forgeries of Annius of Viterbo—look simple and straightforward. There should be no mistake about the fact that he is dancing through a minefield, and doing it with Renaissance sprezzatura. The Egyptian Renaissance will be the definitive study of its kind.”
(Ingrid D. Rowland, author of The Scarith of Scornello: A Tale of Renaissance For)
“A fascinating journey into one of the most intriguing and yet heretofore dimly lit recesses of the Renaissance imagination. Meticulously researched and brilliantly written, this magisterial study illuminates a major aspect of the revival of antiquity and reminds us that it was inspired not only by classical Greek and Roman culture, but also by the mysterious world of the pharaohs.”
(Patricia Fortini Brown, author of Venice & Antiquity: The Venetian Sense of the Past)
"[Curran] presents a convincing case that there has always been a fascination with Egyptian culture, even during the Italian Renaissance. . . . A scholarly work, heavily footnoted with a wealth of information." (Patricia Anne Cross-Laing Bloomsbury Review)
"With its scrupulous cataloguing of Egyptian and Egyptianizing artefacts present in Rome in the fifteenth century, its exhaustive descriptions and detailed lists of sources . . . [Curran's book] is a useful work of scholarship and, with its copious illustrtions, a handsome production." (Lucy Hughes-Hallett TLS)
"Meticulous research backs up every line, and each topic is covered with admirable clarity. . . . No doubt, the book's scholarly rigor will make it a central text in the study of Renaissance archaeology and antiquarianism. . . . [The] book adds another cultural sphere and another few millennia to the 'antiquity' revived in Renaissance Italy, bringing Egyptology out of its long-lived obscurtity and granting wide acess to a topic at the core of Renaissance antiquarian studies." (Kathleen Christian Renaissance Quarterly)
"Curran tells the whole story of Italian Egyptomania, from the identification of the pyramids with Joseph's biblical granaries to the Egyptian mysteries in the missal of Cardinal Pompeo Colonna. . . . Well written and illustrated, this is a most valuable resource for cultural historians." (International Review of Biblical Studies)
"This book will be of interest to Renaissance scholars, but also to anyone who is interested to learn about the artistic and architectural legacy of ancient Egypt." (Ancient Egypt)
"The text is packed with information, but the narrative flows easily, leavened with humour. . . . Curran has performed an enormous service in so firmly defining the beginning of this engagement with Egypt as a 'renaissance' in its own right." (Helen Whitehouse Journal of the History of Collections)
About the Author
Brian Curran is associate professor of art history at Penn State University.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Renaissance "Egyptomania"
By Friend of Ancient Egypt
As a prefatory note, the author of this work assumes the reader has a rudimentary knowledge of Latin, Italian and a history of the renaissance humanist architect/artists of the time such as Vasari, Bramante, Alberti, Bernini & the like. Many referenced book titles go untranslated leaving the reader to guess. This minor encumbrance aside, my only critique would be the writing style. It is lofty, highly scholarly and drags the reader into unrelenting footnotes, many detailing who had access to specific Egyptian artifacts, the provenance of the object & its history within the precincts of Rome, from the Romans who usurped them from Egypt to the numerous times they were moved about & reused by others. The level of detail, however, is astounding & necessary for a complete understanding of these pieces and their role in influencing their revival.
This volume is hardly an account of an Egyptian afterlife understood by the renaissance artists, architects & scholars, but rather what they didn't know. It describes the fanciful "interpretations" of the objects' role in ancient times & accounts of attempting to translate hieroglyphs that were beyond their understanding. Most of the architects of the day proclaimed they understood the ancient language of "Egyptian letters" but few attempted to provide any translations (and those were dismal). Others stated they knew the symbolism of the pyramid & obelisk and therefore were "knowledgeable" in their use. In reality, no one during this period in history truly understood any of the Egyptian monuments extant; only having the writings of inadequate and flawed ancient authors such as Herodotus, Pliny, Horapollo, etc., to assist them. What IS fascinating is the use of these "pagan" symbols by the papacy from Julius II to Leo X & Clement VII. The papal families of Borgia & Colonna both claim a decent from Osiris (Egyptian king of the afterlife) and other Egyptian deities! The apartments and tombs of the popes are littered with frescos & sculptures of these ancient symbols (sphinxes, gold bulls, pyramids, obelisks & folklore) tailored to suit their claim while understanding little of their actual meaning. But, all this rekindled an interest in ancient Egypt.
While there are only 12 color plates and many B & W photos, they beautifully detail the most significant items from the missal of Cardinal Colonna (a Roman Catholic liturgical manuscript laced with Egyptian iconography!) to the granite lions of Nectanebo (a 26th dynasty Nubian pharaoh) currently in the Vatican. This volume gives a rich account of the roots of modern "Egyptomania" and its relevance in art, architecture & literature of the time. There is no "secret knowledge" here, as in fictional novels. Meticulously referenced, overtly so while reading, but from a viewpoint that is refreshingly new, all 430 pages worth!
0 of 0 people found the following review helpful.
Bought for school, haven't opened since
By Erica
I had to purchase this book for a class in college that my professor specifically studied this material for her doctorate. I loved her class but found this book to be a very dry resource that I don't have much use for now. It's hyper-specific and the content is quite interesting, but I feel like for the average art history student this is a bit too much information without much utility. I'd love to sell it, to be honest.
0 of 0 people found the following review helpful.
This is a well written and significant scholarly study
By Persona
Excellent discussion, well researched, an important study useful to archeologists and Renaissance art historians.
Well written, good index, illustrations and bibliography.
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