The Renaissance Perfected
Architecture, Spectacle, and Tourism in Fascist Italy
412 pages | 69 color/236 b&w illustrations/1 map | 9 x 10 | 2004
Cloth edition is not available
ISBN 978-0-271-02507-0 | paper: $48.00 sh
Buildings, Landscapes, and Societies Series
2005 Winner of the ISI Henry Paolucci/Walter Bagehot Book Award
“The Renaissance Perfected is a well-argued and originallook at the Italian Fascist appropriation and utilization of theItalian medieval and Renaissance heritage. Lasansky illuminatesthe functioning and politics of Fascist mass and high culture,architecture, urban design, and tourism. Her treatment of the politicsand practices of restoration is superb.”—Ruth Ben-Ghiat,New York University
“Lasansky stands to substantially enrich the field, opening it up to new questions and changing scholars’ perceptions of the place of antiquity vs. the medieval and Renaissance periods in Fascists’ ‘consciousness’ with respect to architectural design, conservation, archaeology, city planning, and the elaboration of civic rituals such as pseudo-medieval festivals.”—Mia Fuller, University of California, Berkeley
Mussolini’s bold claims upon the monuments and rhetoric of ancient Rome have been the subject of a number of recent books. D. Medina Lasansky shows us a much less familiar side of the cultural politics of Italian Fascism, tracing its wide-ranging efforts to adapt the nation’s medieval and Renaissance heritage to satisfy the regime’s programs of national regeneration.
Anyone acquainted with the beauties of Tuscany will be surprisedto learn that architects, planners, and administrators workingwithin Fascist programs fabricated much of what today’s tourists admire as authentic. Public squares, town halls, palaces, gardens, and civic rituals (including the famed palio of Siena) were all “restored” to suit a vision of the past shaped by Fascist notions of virile power, social order, and national achievement in the arts. Ultimately, Lasansky forces readers to question long-standing assumptions about the Renaissance even as she expands the parameters of what constitutes Fascist culture.
The arguments in The Renaissance Perfected are based in fresharchival evidence and a rich collection of illustrations, manyreproduced for the first time, ranging from photographs and architectural drawings to tourist posters and film stills. Lasansky’s groundbreaking book will be essential reading for students of medieval, Renaissance, and twentieth-century Italy as well as all those concerned with visual culture, architectural preservation, heritage studies, and tourism studies.
D. Medina Lasansky is Assistant Professor of Architecture at Cornell University and co-editor of Architecture and Tourism: Perception, Performance, and Place (2004).
Contents
List of Illustrations
A Personal Meditation
Preface
Introduction: Aesthetic Dissonance
1 The Love Affair with Tuscany
2 Mechanisms of Display
3 Urban Politics: The Fascist Rediscovery of Medieval Arezzo
4 Urban Theater: Performance, Virility, and Race
5 Accelerating Accessibility: Architecture for Mass Consumption
6 History as Spectacle: The Partita a Scacchi in Marostica
Conclusion: Fascist Strategies
Acknowledgments
Abbreviations
Notes
Bibliography
Index