From Greek statues to porcelain dolls to digital avatars, countless generations of artificial humans have fascinated, seduced, and earned the devotion of their flesh-and-blood creators. Falling in Love with Statues reveals that these relationships have played an instrumental role throughout human history in our efforts to understand, improve, and empower ourselves."--Inside jacket.
By analyzing this poetry - the tropes founded on the Greek terms for ornamental detail - he reconstructs a classical theory about the origin and meaning of the orders, one that links them to ancient sacrificial ritual and myth.
Drawing on Palladio's original published legacy of approximately 40 designs, the authors attempt to reveal the rigorous geometric rules by which Palladio conceived these structures. Using a computer, they test each rule in every possible application.
Michelangelo, Raphael, Bramante—together these artists created some of the most glorious treasures of the Vatican, viewed daily by thousands of tourists. But how many visitors understand the way these artworks reflect the passions, dreams, and struggles of the popes who commissioned them? For anyone making an artistic pilgrimage to the High Renaissance splendors of the Vatican, George L. Hersey's book is the ideal guide. Before starting the tour of individual works, Hersey describes how the treacherously shifting political and religious alliances of sixteenth-century Italy, France, and Spain played themselves out in the Eternal City. He offers vivid accounts of the lives and personalities of four popes, each a great patron of art and architecture: Julius II, Leo X, Clement VII, and Paul III. He also tells of the complicated rebuilding and expanding of St. Peter's, a project in which Bramante, Raphael, and Michelangelo all took part. Having set the historical scene, Hersey then explores the Vatican's magnificent Renaissance art and architecture. In separate chapters, organized spatially, he leads the reader through the Cortile del Belvedere and Vatican Museums, with their impressive holdings of statuary and paintings; the richly decorated Stanze and Logge of Raphael; and Michelangelo's Last Judgment and newly cleaned Sistine Chapel ceiling. A fascinating final chapter entitled "The Tragedy of the Tomb" recounts the vicissitudes of Michelangelo's projected funeral monument to Julius II. Hersey is never content to simply identify the subject of a painting or sculpture. He gives us the story behind the works, telling us what their particular themes signified at the time for the artist, the papacy, and the Church. He also indicates how the art was received by contemporaries and viewed by later generations. Generously illustrated and complete with a useful chronology, High Renaissance Art in St. Peter's and the Vatican is a valuable reference for any traveler to Rome or lover of Italian art who has yearned for a single-volume work more informative and stimulating than ordinary guidebooks. At the same time, Hersey's many anecdotes and intriguing comparisons with works outside the Vatican will provide new insights even for specialists.
In Nova Scotia, the focus of study about Scottish settlers, including the Grants, has been on the eastern counties of the province, and on Cape Breton Island. In the United States, when Grants are mentioned, a significant concern seems to be to find a genealogical or DNA link to Ulysses Grant. No one has seriously examined and written about the Grant families of southwestern Nova Scotia. That leaves a space for me to act in, and to develop a narrative history of a family founded in the soil, strengthened by the forest, and challenged by the sea environments that comprise the fundamental essence of Nova Scotia. And so, my passion has been to tell the story of my family and their relatives in southwestern Nova Scotia and to follow the paths of many of them to New England (especially to Massachusetts). This study will fulfill an implicit task left to me by my Aunt Ruth Dexter. That is the essence of why I have spent so much of my retirement on this task. But there is more to come as I follow suggestive clues left by my ancestors, or seek to overcome “brick walls” that stump every genealogist from time to time. When I began this project, my aim was simply: “To collate and present a family history of the line descending from John Grant and Mary Sabean to myself.” If I had stayed within that framework this book would have been much shorter and less interesting. As it turns out, there are many fascinating aspects to our story. Not only will you read about the hard-working and courageous children of John and Mary, but you will follow them and their offspring as they find love and marriage, sometimes with close or distant cousins. • You will ride or sail with them as they migrate within Nova Scotia and outward to New England. • You will wonder at their expressions of faith and sense their hidden, internal conflict as they make religious choices based on factors we can only imagine (spirituality, simplicity, availability, or energetic missionaries), reflected in obituaries, burial sites, or their answers to census questions. • You will share their sorrow at the deaths of loved ones through accident, disease, suicide, loss at sea or in the service of their country in war, particularly in World War I. • You will learn of their varied occupations, trades and professions, from farming, fishing and forestry to shoemaking, carpentry and sailing, nursing and teaching. • You will join them as they strive to become master mariners, volunteer in their churches, train young women with the YWCA in China, or succor the sick and wounded with the Red Cross in Siberia – follow them south to Boston and the Caribbean, east to Europe and across the Pacific to Asia. Only then you will come to understand why, at its core, my passion has been to be the voice of my direct ancestors and extended family within a defined framework of time and place, to record their activities where sources allow, in essence, to be the story they could not write.
Michelangelo, Raphael, Bramante—together these artists created some of the most glorious treasures of the Vatican, viewed daily by thousands of tourists. But how many visitors understand the way these artworks reflect the passions, dreams, and struggles of the popes who commissioned them? For anyone making an artistic pilgrimage to the High Renaissance splendors of the Vatican, George L. Hersey's book is the ideal guide. Before starting the tour of individual works, Hersey describes how the treacherously shifting political and religious alliances of sixteenth-century Italy, France, and Spain played themselves out in the Eternal City. He offers vivid accounts of the lives and personalities of four popes, each a great patron of art and architecture: Julius II, Leo X, Clement VII, and Paul III. He also tells of the complicated rebuilding and expanding of St. Peter's, a project in which Bramante, Raphael, and Michelangelo all took part. Having set the historical scene, Hersey then explores the Vatican's magnificent Renaissance art and architecture. In separate chapters, organized spatially, he leads the reader through the Cortile del Belvedere and Vatican Museums, with their impressive holdings of statuary and paintings; the richly decorated Stanze and Logge of Raphael; and Michelangelo's Last Judgment and newly cleaned Sistine Chapel ceiling. A fascinating final chapter entitled "The Tragedy of the Tomb" recounts the vicissitudes of Michelangelo's projected funeral monument to Julius II. Hersey is never content to simply identify the subject of a painting or sculpture. He gives us the story behind the works, telling us what their particular themes signified at the time for the artist, the papacy, and the Church. He also indicates how the art was received by contemporaries and viewed by later generations. Generously illustrated and complete with a useful chronology, High Renaissance Art in St. Peter's and the Vatican is a valuable reference for any traveler to Rome or lover of Italian art who has yearned for a single-volume work more informative and stimulating than ordinary guidebooks. At the same time, Hersey's many anecdotes and intriguing comparisons with works outside the Vatican will provide new insights even for specialists.
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