Picking up a book on Renaissance Florence, you would expect to get a book almost solely devoted to art and culture. However, this book is fascinating in its analysis of all aspects of life in Renaissance Florence. Covering the period between about 1300 and 1500, Brucker divides the book into six subjects, including the economy, politics and the church. Through a lot of use of contemporary (and unpublished) documents, Florence comes across as a pretty chaotic place, with 40 religious holidays per year, public executions, workers' riots, plagues, wars with Milan and Naples plus a booming population (the fifth largest in Europe at the time). How a huge cultural revolution emerged from all of this seems like a miracle, but Brucker argues that it was the confluence of several factors: the even influence of the Greco-Roman-Christian tradition and the vernacular tradition, being stuck between feudalism and capitalism, the flexible social structure and, last but not least, Dante.

Brucker also traces the decline of Florence in the late 1400s and early 1500s as the city grew conservative and public patronage of the arts declined with the rise of the Medicis. Finally, he does devote a good chunk of the book to describing the achievements of Giotto, Michelangelo et al., making this an important read for any student of the Renaissance.

Gene Brucker sets new standards for World Historians! When you think about your purchases, think very hard before you walk away, so to speak, without a copy of Renaissance Florence. 'Cause if you do, you'll leave with a hole in your spiritual and cultural life.

Penned by an eminent historian, this book is superb! Very striking is Brucker's unique narrative style. He makes the readers think as if the events happened only yesterday. I strongly recommend his other works as well: You will feel enlightened. No other historian can capture the cultural richness of Florence with such delightful charm. I guarantee you'll fall in love with the city, her citizens, and this historian, Gene Adam Brucker.

Chef Antonnuci's cooking is considered by many to be "the best italian in NYC." And if youv'e eaten at his Remi restaurants I am sure you would agree. So, there is no doubting that the chef is knowledgable... but what is most important for a cookbook (as far as I am concerned), is how easy it is to re-create (at home) the meals Antonnuci has mastered over the years. And having just had a dinner party where we served several of his receipes, I can assure you that this book is a "must add" addition to your cookbook collection. To begin with all the receipes are mouthwatering, so you will no doubt have as hard a time narrowing down "what you are going to make" as I did. But once you start, don't worry -- you can't help but be successful... the instructions are easy to follow, and the end product will be your proof (not to mention the rave reviews of your guests).. This book is also nice in that it delves into the regional cooking of venice... it explains what venetian cusine means... and it's interdisciplenary, in that it delves into venetian taste in architecture, design (hand-blown glassware) etc. The roast herb chicken reciepe was a "no brainer" -- and I can't tell you the rave reveiws it got from our guests! It was so simple to make (the secret is in the herb salt receipe)... inexpensive and delicious ... you can't imagine how tender the chicken ended up being. The risotto, which I had been told "would be a nightmare" was painless to make and just delicious... I also have to add, that we NEVER cook... which is proof that this book is for those infrequent food lovers as well as those who get to cook all the time

Romola is constantly called Eliot's weakest novel, with even serious critics reluctant to praise it. However, it was seen in the 19th century as Eliot's masterpiece. Some of the blame for the novel going out of fashion must rest with F.R. Leavis who said that "few will want to read Romola a second time, and few can ever have got through it once without some groans." If Leavis, viewed as one of the great literary minds, thinks this, then more average readers like us are bound to be put off.

True, the start of Romola is bogged down in detail, but it is introduced by a wonderful, stirring and majestic 'Proem' which sees the Angel of the Dawn sweeping across the Earth and loftily states how humanity is the same now as it was when Romola is set. After this, the notes are best ignored - consult them separately, and concentrate on getting into the book. It is a stirring and sometimes hard read, and moves one with awe at what Eliot has created - you really feel you are experiencing Florence in the 15th century. There is one scene that stands out for me - the haunting and almost surreal episode where Romola drifts by boat to an apparent coastal haven. Images of peace and life are reversed disturbingly.

So ignore Leavis and the dissenters. If you've read another Eliot, you'll like it. If you haven't, maybe start with something else, but come back, for it's a rewarding read

Given the majority of Eliot readers begin with Middlemarch, I found myself in the unique position of not only beginning with Romola, but also on a subject that I find most interesting. That of Renaissance Italy. Beginning at the death of the great Lorenzo di Medici in '92 I read this great novel twice. Once quickly as any other Twenty-First century paperback; the second, slowly, with more respect for the intellectual scope within the pages.
After the first attempt I was mildly disappointed. I came away with no true sense of the whole that is fifteenth century Florence and a bewilderment at the inconsistent central characterisation of Tito Melema and his golden-haired wife, Romola. The supporting actors were brilliant, from Fra Girolama's fantatical Catholicism to Bratti's salesmanship. But I was left disappointed, believing in the superficality of Tito, the maddening naivety of Tessa, and the almost puritanical martyrdom of Romola.
So I re-read it. Slowly.
It is now extremely clear why this great work of english literature is, as Eliot herself puts it, a "book of mine which I more thoroughly feel that I swear by every sentence as having been written with my best blood".
Each scene is mesmerically depicted, the infintesimal attention to details and Eliot's total control of her subject matter shines through.
Renaissance Florence wasn't so well depicted by its contemporaries.
From Tito's waking at the Loggia de' Cerchi to his final fall at the Ponte Vecchio his character moves through a full range as you would expect from a man in his early twenties. His child-like mesmerism coupled with his Greek tutorage gives rise to a cherubic man whom Florence loves. His fatal flaw is his desire for love and a single terrible lie he gives that, like Murphy's Law, evolves into a a stigma that alters his very persona. What is all the more damaging is that you truly believe he is unaware of the pain he causes. He is truly egocentric, in an almost blameless way. For Romola, you cold argue the opposite. Indeed she is potentially more culpable. Her fierce intellectualism is offset by a descent into a world of religious supersition, a world where religion is used as a political tool. Throughout she has the knowledge of where her actions will take her and a terrible sense of duty and restrains her. From the beginning, with the story we hear so often of Tito's escape from drowning, to his final near drowning at the hands of the mob, to his strangulation by his father there is a certain bitter justice until all that he leaves is his proud and world-scarred wife Romola and the innocence that he preserved with Tessa. Tito's move from innocent 'hero' to startled villain is an excerise in human failings. Yet it is not a sufficient single human tragedy, as Eliot says, "Florence was busy with greater affairs, and the preparation of a deeper tragedy".
In many respects 'Romola' is Eliot's King Lear. The parallels are many, including Baldessare's depiction. There is no Edgar, nor Edmund but the Fool is here in many guises. In taking one of Shakespeare's finest themes, Eliot has given true life to fifteenth century Florence and it is, perhaps, best encapsulated by Romola's final statement to Tessa's son, Lillo:
"There was a man to whom I was very near... who made almost everyone fond of him, for he ws young, and clever, and beautiful...I believe, when I first knew him, he never thought of anything cruel or base. But because he tried to slip away from everything that was unpleasant, and cared for nothing else so much as his own safety, he came at last to commit some of the basest deeds - such as make men infamous."
So, Eliot's 'Romola'. Read it, delight in it because it truly is, as the author can rightly claim, one of the finest works in english literature.

Yes, it bristles with Glossaries and Appendices and Notes like so much barbed wire. (And if you actually read the Penguin editor's introduction, it's a sure thing you'll never read the novel: she makes it sound like about as much fun as chewing rocks.) But don't let all that deter you. You may have some rough going at the beginning, mostly because Latin and Greek scholarship is so important to the plot. Use the notes and they'll enhance your enjoyment of the story, but ignore them and you're still in for a thrilling tale gorgeously told. Tito Melema is one of the great characters in fiction, and he's someone we all know: a thoroughly despicable human being who has no idea he's anything but a nice guy. Eliot has wrought a dreamy and hair-raising hybrid of fiction and history, infused with her own astonishing insight and complicated sympathy and delivered in her matchless prose. I loved this book.

I had to read this book for one of my college history classes and it was just a really tedious process. Even though the book is really short, it took me about 3 days to read it. This book is not a novel. It is not a fictional story. It is a true story that discusses the validity of Giovanni and Lusanna's so called marriage. The entire book is about Lusanna's story, then Giovanni's story. Naturally, each other's statements contradict each other. This whole book is like reading a legal transcript from a court house. The author himself, writes as if he were a witness in the court house as this whole case is broiling. This book is not one bit interesting and as soon as I am finished with my term paper, I'm running back to the book store to return it and getting my money back.

For anyone who enjoys history, and especially Italian Renaissance history, this is a gem! This book is an examination of marriage as a legal institution and the prescribed roles of both men and women in it. By examining two actual persons involved in a legal case about the validity of their marriage, Lusanna and Giovanni, Brucker allows the reader a rare glimpse into a more personal type of history- a microhistory, that tries to show the greater mores and norms of Renaissance Florence through the interpretation of a legal case. Although not an easy read, and why should it be, this is an excellent introduction to anyone interested in more detailed historical analysis of law and social institutions in the Renissance.