Acknowledgements

Nevola, Fabrizio

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Acknowledgements

Fabrizio Nevola

Street Life in Renaissance Italy

~Work on this book has spanned my years at the University of Bath, where working in an architecture department was instrumental in developing my understanding of the built environment, and since 2013 at the University of Exeter. At Exeter I have been privileged to work with a growing team of highly supportive colleagues in art history and visual culture, and...

Author

Fabrizio Nevola

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22189

Acknowledgements

Work on this book has spanned my years at the University of Bath, where working in an architecture department was instrumental in developing my understanding of the built environment, and since 2013 at the University of Exeter. At Exeter I have been privileged to work with a growing team of highly supportive colleagues in art history and visual culture, and have been able to put into action a cross-disciplinary approach in both research and teaching. I am grateful to both institutions, and to the colleagues I have worked with over the past years.

The research that underpins this book began as part of a network on ‘Street Life and Street Culture’, generously funded by the Arts and Humanities Research Council (UK) as part of the ‘Beyond Text’ initiative. My special thanks go to Evelyn Welch for challenging me to push beyond the architectural setting to explore the wider social practices and performative aspects of urban public space. I am grateful to the British Academy for a small research grant which facilitated some of the archival research, as well as the AHRC for other funding that enabled parts of the project to be completed. At Exeter I have benefited from additional essential funding, as well as institutional research leave that provided time to complete the writing. Throughout, the staff of numerous libraries have been extremely supportive, providing invaluable facilities and assistance, especially Villa I Tatti, the Harvard University Center for Italian Renaissance Studies (Florence), the Kunsthistorisches Institut (Florence), the Warburg Institute (London) and the Bodleian Library (Oxford). Thanks also to a number of institutions for generously assisting me with securing permissions for some of the images.

Versions of the chapters that follow have been presented as seminars and talks over the past decade, and I am grateful to the many colleagues and students who offered valuable observations. My particular thanks go to the many people who have commented, criticised, advised and supported my work over these years; rather than list them all, I hope that the bibliography provides some record of the many contributions that I have turned to as I thought through this book. I would also like to thank the anonymous peer reviewers for their comments and suggestions on the final manuscript. At Yale University Press, I thank Gillian Malpass for originally supporting the project, and Mark Eastment for taking it on. I am very grateful to my copy-editor Rosemary Roberts, who saved me from a number of mistakes and tightened up the text throughout. Faye Robson and Lydia Cooper oversaw the design, elegantly conceived by Catherine Bankhurst, and managed the practicalities and impracticalities of putting it all together.

My very special thanks go to my wife Toni, whose endless patience and careful reading of different versions of the manuscript have improved it beyond recognition, and to our daughters, Clara and Gaia Luce, who will be glad to see it finally finished as it has intruded on our conversations for too many years!

Val di Pozzo, August 2019

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