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Acknowledgments
Charles Dempsey
Description: The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time...
The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time of Lorenzo the Magnificent
~~THIS BOOK was written for the most part during leaves of absence from Bryn Mawr College and the Johns Hopkins University that I spent at the Harvard Center for Renaissance Studies at Villa I Tatti in Florence, at the Institute for Advanced Study in Princeton, and at the Charles S. Singleton Center for Italian Studies of the Johns...
Author
Charles Dempsey
PublisherPrinceton University Press
Copyright© 1992 by Princeton University Press
Stable URL: https://aaeportal.com/?id=-23768
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Acknowledgments
This book was written for the most part during leaves of absence from Bryn Mawr College and the Johns Hopkins University that I spent at the Harvard Center for Renaissance Studies at Villa I Tatti in Florence, at the Institute for Advanced Study in Princeton, and at the Charles S. Singleton Center for Italian Studies of the Johns Hopkins University at Villa Spelman in Florence. In their different but complementary ways, each of these institutions perfectly fulfilled its individual mission as a home for creative research and writing, and I am deeply grateful to them, to their respective directors and staffs, and to the many friends I made in the course of my work under their beneficent auspices. I am also grateful to them and to Bryn Mawr and Johns Hopkins for material assistance in the form of fellowships, research support, and replaced salary, as well as to the National Endowment for the Humanities for a Senior Research Fellowship.
Chapter 3 was first presented as the Eric Cochrane Lecture in Renaissance History at the University of Chicago, providing a lively audience and an occasion I remember with affection, and for which I would especially like to thank Julius Kirshner and Lydia Cochrane. Chapter 1 incorporates, in considerably revised form, material originally published in the Journal of the Warburg and Courtauld Institutes for 1968 and 1972. My thanks go to the editors for permission to integrate this material into the argument of this book, as well as to Elizabeth McGrath, Keeper of Photographs at the Warburg Institute, for her help in acquiring several illustrations. I am grateful to Carl Brandon Strehlke for his help in prizing loose one important photograph, and I am especially indebted to Macie Hall, Curator of Art History at Johns Hopkins, who took general responsibility for sending away for photographs and arranging for permission to reproduce them. It has been a pleasure working with the editors at Princeton University Press, and I would like to express special gratitude to Elizabeth Powers, Timothy Wardell, and to my copyeditor, Jane Lincoln Taylor.
Over many years colleagues, students, and friends have helped in manifold ways, and though I cannot name them individually here I want them all to be assured of my gratitude. In particular, I single out a few without whose friendship and support this book could not have been completed in its present form. I owe special debts, different in kind and unrepayable, to the friendship of Richard Longaker, the former provost of Johns Hopkins, to the encouragement of the late Charles Singleton, and to the unflagging goodwill of Michael Fried. Herbert Kessler, Carol Mattusch, and Richard Mason each read versions of the manuscript and provided support and guidance when it was most needed. David Quint, Hellmut Wohl, and Arthur Field gave me the special benefits of their knowledge of Renaissance Florence and their intellectual taste as readers, and I am more grateful for their painstakingly helpful criticism and magnanimity than I can adequately say. My greatest debt is to the unfailing generosity, encouragement, and companionship of Elizabeth Cropper, to whom this book, which is about love, is dedicated.
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