the Tornabuoni chapel in Santa Maria Novella. Giovanni’s son followed suit by commissioning art works that marked important moments in his marital life cycle. Lorenzo celebrated the virtues of Giovanna degli Albizzi, his new bride, by having two medals depicting her likeness struck in 1486. He also ordered panel paintings depicting Renaissance ideals of female beauty and fertility for their private rooms, and commissioned an exquisite commemorative portrait when Giovanna died two years later. Similarly, Lorenzo paid homage to his second wife Ginevra Gianfigliazzi by engaging Sandro Botticelli to create fresco portraits of the couple at the Tornabuoni villa in 1491. Both of Lorenzo’s sons continued the family tradition of art patronage, although with them it seems to have acquired a greater religious bent. Throughout the volume, DePrano situates diverse classes of objects in relation to classical art and literature, as well as Renaissance humanism and contemporary social practice, skillfully putting visual and textual evidence in conversation with each other. DePrano offers substantive visual analyses of individual works, deftly analyzing the literary motifs and symbolism underpinning their imagery. DePrano’s handling of conjugal relationships and gender constructs, however, remains less satisfying. Because the analysis sidesteps tensions within gendered representations and household dynamics, as well as issues of women’s structural vulnerability, it tends to reinforce rather than challenge prescriptive views of Renaissance family life. One question that looms large is why the Tornabuoni—unlike other Florentine patrician families comparable in wealth, reputation, and sense of corporate identity—took such a strong interest in celebrating their female kin. Why did these men adopt seemingly distinctive strategies for representing the family, especially compared to the Medici? Some additional informed hypotheses about the family’s motivations and objectives would have been welcome.

中文翻译：

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寒冷的黄金时代：气候变化，小冰河时期和荷兰共和国，1560年至1720年

新圣母玛利亚教堂（Santa Maria Novella）的Tornabuoni教堂。乔凡尼（Giovanni）的儿子也效仿了委托创作艺术品，这些作品标志着他婚姻生活中的重要时刻。洛伦佐（Lorenzo）为庆祝他的新婚新娘吉奥凡娜·德利·阿尔比齐（Diov Albizzi）的美德，于1486年获得了两枚刻画她的肖像的奖章。他还订购了壁画，描绘了文艺复兴时期女性美感和生育力的理想，并在其私人房间里布置了精美的纪念肖像画。两年后去世。同样，洛伦佐（Larenzo）通过与桑德罗·波提切利（Sandro Botticelli）于1491年在Tornabuoni别墅创作壁画肖像，向他的第二任妻子Ginevra Gianfigliazzi致敬。洛伦佐的两个儿子都继承了艺术赞助的家庭传统，尽管他们似乎已经获得了艺术赞助。更大的宗教倾向。在整个音量中 DePrano将与古典艺术和文学以及文艺复兴时期的人文主义和当代社会实践有关的各种对象置于不同的位置，巧妙地使视觉和文本证据彼此对话。DePrano对单个作品进行了实质性的视觉分析，巧妙地分析了构成其形象的文学主题和象征意义。然而，DePrano对夫妻关系和性别结构的处理仍然不令人满意。由于该分析避开了性别代表性和家庭动态以及妇女的结构脆弱性问题之间的紧张关系，因此它倾向于加强而不是挑战关于文艺复兴时期家庭生活的规定性观点。一个迫在眉睫的问题是，为什么Tornabuoni（与其他佛罗伦萨贵族家庭相比，其财富，声誉，和企业形象感-在庆祝自己的女性亲戚时表现出了浓厚的兴趣。为什么这些人为什么采取看似独特的策略来代表家庭，尤其是与美第奇相比？关于家庭动机和目标的一些其他知情假设将受到欢迎。