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Revelation and Revolution: Basic Writings of Thomas Müntzer . Edited and translated by Michael G. Baylor. Bethlehem, Pa.: Lehigh University Press, 1993. 256 pp.

from the aristocratic and elegant international Gothic to a patriotic Florentine style mostly derived from twelfth-century Romanesque early in the century and a strongly classicizing tendency at the end of the century. Later Hollingsworth gives a parallel treatment of developments in Venice and papal Rome, pointing out important differences in local patronage institutions, like the scuole in Venice, and the influence of dominant personalities, like the individual popes. In between she provides a shorter treatment of Milan, Naples, Urbino, Ferrara, and Mantua, where the stress is on princely power. The Venetians looked back to Byzantine traditions and some of the popes (such as Sixtus IV) to early Christianity as opposed to the Florentine emphasis on republican Rome, but on the whole the basic patterns were the same. Patrons dominated new building and art projects as a way of displaying their wealth and political power or social status, and were increasingly turning to classical Rome for inspiration. The documents indicate little interest in aesthetic questions as such early in the century, but they emerged late in the century as a result of classical literary influence and perhaps an increasingly aristocratic outlook. This survey is concise, well expressed, richly supported by details, and well documented by key black-and-white illustrations. It suffers, however, from some correlative problems. It becomes quite encyclopedic in places, in listing the various projects of the various popes for instance, where the reader may easily get lost if unfamiliar with the details of the site. Maps of the cities discussed might have helped, but this survey would still be most useful for a student living in the cities and interested in disentangling their various historical layers. Patronage studies provide a most valuable link between historical events and the visible record. Finally, Hollingsworth's emphasis on patronage as a display of wealth and power, while valuable, inevitably leads to a neglect of other important historical factors, like the intellectual debate going on within the elite classes, that are also essential for understanding the subject and message of various works of art. Local patriotism was not the only factor, although it was very important. The humanist movement, only partially recognized by the author, was the creative engine. Moreover the interest in powerful religious art cannot be explained solely in terms of social competition and the guilt feelings of the wealthy. While the role of religion in the Italian Renaissance has been a controversial topic since Burckhardt, if not from the Reformation, the interest of so many patrons in "reformed" religion needs further recognition and study.