Flying aircraft such as the Macchi 200-202, Fiat G.50 and biplane Fiat CR.42, the Italian fighter pilots were recognised by their Allied counterparts as brave opponents blessed with sound flying abilities, but employing under-gunned and underpowered equipment. Following the Italian surrender in September 1943, a number of aces continued to take the fight to the Allies as part of the Luftwaffe-run ANR, which was equipped with far more potent equipment such as the Bf 109G, Macchi 205V and Fiat G.55. Flying these types, the handful of ANR squadrons continued to oppose Allied bombing raids on northern Italy until VE-Day.
A guide, accompanied by descriptions and technical data, to helicopters around the world, from the earliest rotocrafts to sophisticated contemporary models
Beginning with Cimabue and Giotto in the 13th century, Vasari traces the development of Italian art across three centuries to the golden epoch of Leonardo and Michelangelo.
This book delineates the attempt, carried out by the Congregations of the Inquisition and the Index during the sixteenth and early seventeenth century, to purge various devotional texts in the Italian vernacular of heterodox beliefs and superstitious elements, while imposing a rigid uniformity in liturgical and devotional practices. The first part of the book is focused on Rome's anxious activity toward the infiltration of Protestant ideas in vernacular treatises on prayer meant for mass consumption. It next explores how, only in the second half of the sixteenth century, once Rome's main preoccupation toward Protestant expansion had subsided, the Church could begin thinking about a move from a rejection of any consideration of the merits of interior prayer to a recovery and acceptance of mental prayer. The final section is dedicated to the primary objective of the Church's actions in purging superstitious practices which was not simply the renewal of the spiritual life of the faithful, but also the control of the religious and social life of many faithful who were uneducated. Based on a careful examination of the archival records of the two Roman dicasteri in question, many of which have only been accessible to scholars since 1998, as well as a close reading of the many of suspect devotional texts themselves, this book offers a fascinating contribution towards a fuller appreciation of the complex landscape that characterized the spiritual realities of early modern Italy.
As has been well documented, the printed word was an essential vehicle for the transmission of reformed theology, and one that has left a tangible record for historians to explore. Yet as contemporaries well recognized, books were only a part of the process. It was the spoken word – and especially preaching – that created the demand for printed works. Sermons were the plough that prepared the ground for Lutheran literature to flourish. In order to better understand the relationship between oral sermons and the spread of protestant ideas, Preaching and Inquisition in Renaissance Italy draws upon the records of the Roman Inquisition to see how that institution confronted the challenges of reform on the Italian peninsula in the sixteenth century. At the heart of its subject matter is the increasingly sophisticated rhetorical skill of heterodox preachers at the time, who achieved their ends by silence and omission rather than positive affirmations of Lutheran tenets.
In his Lives of the Artists of the Italian Renaissance, Vasari demonstrated a literary talent that outshone even his outstanding abilities as a painter and architect. Through character sketches and anecdotes he depicts Piero di Cosimo shut away in his derelict house, living only to paint; Giulio Romano's startling painting of Jove striking down the giants; and his friend Francesco Salviati, whose biography also tells us much about Vasari's own early career. Vasari's original and soaring vision plus his acute aesthetic judgements have made him one of the most influential art historians of all time.
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