After Vasari's Lives of the Most Famous Artists,The Life of Titian by the seventeenth-century Venetian artist and writer Carlo Ridolfi is the most important contemporary documentary source for our understanding of the great Renaissance artist. This new critical edition, the first translation into English of Ridolfi's biography, illuminates his life, his artistic production, and his early critical reputation. The editors address art-historical questions of attribution, provenance, and documentation that Ridolfi's biography raises. Two introductory essays present the nature, scope, and importance of the biography for the study of Titian and Venetian Renaissance art and place Ridolfi in the tradition of Renaissance biography and artistic literature. The annotations provide a useful and current bibliography drawn from both art history and literature. The Life of Titian will be of interest to a wide audience of scholars and students of the history of Renaissance art, literature, language, and culture.
After Vasari's Lives of the Most Famous Artists,The Life of Titian by the seventeenth-century Venetian artist and writer Carlo Ridolfi is the most important contemporary documentary source for our understanding of the great Renaissance artist. This new critical edition, the first translation into English of Ridolfi's biography, illuminates his life, his artistic production, and his early critical reputation. The editors address art-historical questions of attribution, provenance, and documentation that Ridolfi's biography raises. Two introductory essays present the nature, scope, and importance of the biography for the study of Titian and Venetian Renaissance art and place Ridolfi in the tradition of Renaissance biography and artistic literature. The annotations provide a useful and current bibliography drawn from both art history and literature. The Life of Titian will be of interest to a wide audience of scholars and students of the history of Renaissance art, literature, language, and culture.
This is the first edition ever of the Queen’s correspondence in Italian. These letters cast a new light on her talents as a linguist and provide interesting details as to her political agenda, and on the cultural milieu of her court. This book provides a fresh analysis of the surviving evidence concerning Elizabeth’s learning and use of Italian, and of the activity of the members of her ‘Foreign Office.’ All of the documents transcribed here are accompanied by a short introduction focusing on their content and context, a brief description of their transmission history, and an English translation.
This book offers a self-contained introduction to the theory of electroweak interactions based on the semi-classical approach to relativistic quantum field theory, with thorough discussion of key aspects of the field. The basic tools for the calculation of cross sections and decay rates in the context of relativistic quantum field theory are reviewed in a short, but complete and rigorous, presentation. Special attention is focused on relativistic scattering theory and on calculation of amplitude in the semi-classical approximation. The central part of the book is devoted to an illustration of the unified field theory of electromagnetic and weak interactions as a quantum field theory with spontaneously broken gauge invariance; particular emphasis is placed on experimental confirmations of the theory. The closing chapters address the most recent developments in electroweak phenomenology and provide an introduction to the theory and phenomenology of neutrino oscillations. In this 2nd edition the discussion of relativistic scattering processes in the semi-classical approximation has been revised and as a result intermediate results are now explicitly proven. Furthermore, the recent discovery of the Higgs boson is now taken into account throughout the book. In particular, the Higgs decay channel into a pair of photons, which has played a crucial role in the discovery, is discussed. As in the first edition, the accent is still on the semi-classical approximation. However, in view of the necessity of a discussion of H !, the authors give several indications about corrections to the semiclassical approximation. Violation of unitarity is discussed in more detail, including the dispersion relations as a tool for computing loop corrections; the above-mentioned Higgs decay channel is illustrated by means of a full one-loop calculation; and finally, loop effects on the production of unstable particles (such as the Z0 boson) are now discussed. Finally, the neutrino mass and oscillation analysis is updated taking into account the major achievements of the last years.
Between 1512 and 1570, Florence underwent dramatic political transformations. As citizens jockeyed for prominence, portraits became an essential means not only of recording a likeness but also of conveying a sitter’s character, social position, and cultural ambitions. This fascinating book explores the ways that painters (including Jacopo Pontormo, Agnolo Bronzino, and Francesco Salviati), sculptors (such as Benvenuto Cellini), and artists in other media endowed their works with an erudite and self-consciously stylish character that made Florentine portraiture distinctive. The Medici family had ruled Florence without interruption between 1434 and 1494. Following their return to power in 1512, Cosimo I de’ Medici, who became the second Duke of Florence in 1537, demonstrated a particularly shrewd ability to wield culture as a political tool in order to transform Florence into a dynastic duchy and give Florentine art the central position it has held ever since. Featuring more than ninety remarkable paintings, sculptures, works on paper, and medals, this volume is written by a team of leading international authors and presents a sweeping, penetrating exploration of a crucial and vibrant period in Italian art.
From the master of "micro-history" a reconstruction of two contrasting early-modern thinkers Nevertheless comprises essays on Machiavelli and on Pascal. The ambivalent connection between the two parts is embodied by the comma (,) in the subtitle: Machiavelli, Pascal. Is this comma a conjunction or a disjunction? In fact, both. Ginzburg approaches Machiavelli's work from the perspective of casuistry, or case-based ethical reasoning. For as Machiavelli indicated through his repeated use of the adverb nondimanco ("nevertheless"), there is an exception to every rule. Such a perspective may seem to echo the traditional image of Machiavelli as a cynical, "machiavellian" thinker. But a close analysis of Machiavelli the reader, as well as of the ways in which some of Machiavelli's most perceptive readers read his work, throws a different light on Machiavelli the writer. The same hermeneutic strategy inspires the essays on the Provinciales, Pascal's ferocious attack against Jesuitical casuistry. Casuistry vs anti-casuistry; Machiavelli's secular attitude towards religion vs Pascal's deep religiosity. We are confronted, apparently, with two completely different worlds. But Pascal read Machiavelli, and reflected deeply upon his work. A belated, contemporary echo of this reading can unveil the complex relationship between Machiavelli and Pascal - their divergences as well as their unexpected convergences.
Environmental fluid mechanics (EFM) is the scientific study of transport, dispersion and transformation processes in natural fluid flows on our planet Earth, from the microscale to The planetary scale. This book brings together scientists and engineers working in research institutions, universities and academia, who engage in the study of theoretical, modeling, measuring and software aspects in environmental fluid mechanics. it provides a forum for The participants, and exchanges new ideas and expertise through the presentations of up-to-date and recent overall achievements in this field.
The basis for our understanding of Leonardo’s theory of art was, for over 150 years, his Treatise on Painting, which was issued in 1651 in Italian and French. This present volume offers both the first scholarly edition of the Italian editio princeps as well as the first complete English translation of this seminal work. In addition, It provides a comprehensive study of the Italian first edition, documenting how each editorial campaign that lead to it produced a different understanding of the artist’s theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardo’s workshop in the Duchy of Milan to Carlo Borromeo’s Milan, Cosimo I de’ Medici’s Florence, Urban VIII’s Rome, and Louis XIV’s Paris.
The goal we have set ourselves with this series of four volumes, written in four hands, is to give an overall picture of the Divisions formed by the Army of the R.S.I. to the departments used in the fight against the partisans by the Republican National Army, starting from the last months of 1943, offering a purely military point of view, free from judgments of any kind. The purpose of "continuing the war" had always been present since the beginning of autumn 1943 in the military authorities of the Social Republic. During talks between three Mussolini and Hitler it was agreed to form a new fascist army, which, in the intentions of the Fuhrer, was to be made up of an army of 10/15 divisions. In reality, only 4 were planned and formed by the Republican National Army: 1st Bersaglieri Division "Italy", 2nd Grenadiers Division "Littorio", 3rd Marine Division "San Marco", 4th Alpine Division "Monterosa". This first volume is dedicated to the Division “Italy”, which operated on the southern front in Garfagnana, against the Allies, until the end of the conflict.
This book traces the origins of a financial institution, the modern corporation, in Genoa and reconstructs its diffusion in England, the Netherlands, and France. At its inception, the Casa di San Giorgio (1407–1805) was entrusted with managing the public debt in Genoa. Over time, it took on powers we now ascribe to banks and states, accruing financial characteristics and fiscal, political, and territorial powers. As one of the earliest central banks, it ruled territories and local populations for almost a century. It controlled strategic Genoese possessions near and far, including the island of Corsica, the city of Famagusta (in Cyprus), and trading posts in Crimea, the Black Sea, the Lunigiana in northern Tuscany, and various towns in Liguria. In the early sixteenth century, in his Florentine Histories (Book VIII, Chapter 29), Niccolò Machiavelli was the first to analyze the relationship between the Casa di San Giorgio’s financial and territorial powers, declaring its possession of territories as the basis of its ascendancy. Later, the founders of some of the earliest corporations, including the Dutch East India Company (1602), the Bank of England (1694), and John Law’s Mississippi Company (1720) in France, referenced the model of the Casa di San Giorgio.
Born Jacopo Comin, Tintoretto (ca. 1519–1594) was one of the great painters of the late Renaissance. This book presents the first biographies of Tintoretto, by Giorgio Vasari and Carlo Ridolfi, as well as accounts from individuals who knew the artist personally. This volume also includes a translation of the marginal notes El Greco wrote in his copy of Vasari’s Life of Tintoretto, which have never before been published. Richly illustrated, with an introduction by the scholar Carlo Corsato that reconstructs Tintoretto’s career and contextualizes the contemporary sources, Lives of Tintoretto enhances our understanding of this influential Renaissance artist, who helped establish the Mannerist style.
Giovanni Bellini (ca. 1435–1516), widely considered the greatest Venetian artist of his time, was born into the most influential artistic family in Venice. He received his training in the studio of his father, Jacopo, along with his brother, Gentile, and through a long and fruitful career played a leading role in defining the Renaissance style in Venice. His workshop, one of the most important of the period, counted Giorgione and Titian among its pupils. The first account of his life, by Giorgio Vasari, also portrays the family artistic enterprise; it appeared in Vasari’s seminal Lives of the Most Excellent Painters, Sculptors and Architects, published in 1550 and revised and expanded in 1568. A century later Carlo Ridolfi, who sought to rectify Vasari’s emphasis on Florentine painters, provides a fuller portrayal of Bellini in his 1648 work The Marvels of Art, or the Lives of the Famous Painters of Venice and Its State. These two narratives are complemented in this book by Marco Boschini’s poetic homage to the artist and by correspondence between the renowned Renaissance patron of the arts Isabella d'Este, Bellini, and others regarding the commission of a painting for her celebrated studiolo in Mantua. Ridolfi’s biography, Boschini’s poem, and the Isabella d’Este correspondence appear here in English for the first time. Full-page color illustrations throughout the book represent the full sweep of Bellini’s career.
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