The Origins of the Exhibition Space (1450-1750)

Pamela Bianchi is a professor in art history at the École Supérieure d’Art et Design in Toulon (ESADtpm). She is specialized in the relationship between art, architecture and exhibition design and since 2013, she has been an affiliated researcher at the Paris 8 University (AI-AC).

Table of Contents
Acknowledgments
1. INTRODUCTION
1.1 Reasons for a Research
1.2 Topics, Frames and Methodology
2. Main Topics
2.1 The Topoi of the Exhibition Space
2.2 From the Act of Showing to the Idea of Exhibiting
2.3 Depicting the Exhibitions
2.4 Early Exhibition Design Precepts and Treatises
3. (Domestic) Interiors
3.1 Dressing Up Environments. From Representative Spaces to Exhibition Rooms
3.2 Aesthetic Promenades in Italian Noble Palaces
3.3 Dutch and Venetian Burghers’ Dwellings
3.4 A Proper Place for Artefacts
3.5 Setting-Up the Collections
3.6 Directing the Viewers’ Gaze
*Spaces in Between
*Ubi Papa, Ibi Roma. Furniture and Display Apparatus
4. (Public) Exteriors
4.1 Gardens, Outer Loggias and Inner Galleries
4.2 The City: a Stage to Display Ceremonies
4.3 Religious Spaces for Early Exhibitions
4.4 Transitional Space for Exhibition Fairs in Florence and Venice
4.5 Other Venues of Exhibiting. Italian Botteghe and Northern Panden
4.6 Alternative Exhibition Spaces: Eighteen-century Paris
5. Conclusion
5.1 The psychology of the display
Bibliography
List of Illustrations
Index