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Abstract
Rulers in Renaissance Italy recognized that power must catch the eye. The evocative representation of power in works of art and public ceremonies has long been recognized as a hallmark of Italian Renaissance culture. Jacob Burckhardt’s famous phrase, ‘the state as a work of art’, epitomized his view that the naked exercise of power so common in Italy from the late fourteenth to the sixteenth century required the legitimation supplied by patronage of the arts and sponsorship of festivals. More recently scholars have remained intrigued by ‘the arts of power’, the ways in which works of art constituted personal and institutional power relationships, in effect creating as well as representing political networks.1 Since Burckhardt wrote a century and a half ago, the assessment of power in the Renaissance has broadened to treat the exercise of authority as a kind of public performance, enacted through civic rituals; princely, papal, and episcopal entries; and official rites of passage such as elections and coronations.
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