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Major theme blocks for the lecture series: The course is structured thematically, so as to address new and emerging themes in the scholarship of art history and visual culture of the Italian Renaissance, using examples drawn from various centres in Italy, but with a focus on Florence.

Explain and discuss personal conclusions with other members of the group Undertake structured learning activities with guidance from course tutor and with the help of written guidelines Assimilate, select and organise material in order to produce a written or oral argument Research independently and interpret information based on a range of primary and secondary sources Use a reading list to identify material relevant to a given aspect of the subject, and communicate ideas effectively in both oral and written forms With initial guidance, find his/her way around the relevant subject areas of the University Library and access and use learning resources specified by the course tutor Recognise and understand relevant art-historical terminology and concepts

Demonstrate familiarity with the history of various forms of cultural expression: literature, political theory, art and architecture, urban design Demonstrate a basic knowledge of the key recent debates and issues in the scholarship of art history and visual culture of the Italian Renaissance Demonstrate an understanding of the specific types of material culture of the early modern period in Italy Demonstrate an understanding of the ways that social practices inform contemporary production and experience of space It will draw on cross-disciplinary concerns in historical anthropology, sociology, and ideological criticism as well as theories of vision, materiality and reception to re-consider monumental spaces, well-known Italian paintings, sculptures and prints as well as less familiar places and practices. The course is structured thematically, so as to address new and emerging themes in the scholarship of art history and visual culture of the Italian Renaissance. We will also consider the way that meaning is structured within the painted field of images, both through the “science” of perspective and through the social norms that images codified.