The 14th century in Italian art is a very rich one, and Professor White's book gives architecture equal weight with painting and sculpture. The story of the Gothic style and the prehistory of the Renaissance is given: all the facts are related, but also the works of art are described with insight and for their own sakes, and not simply as data for fitting into schemes and theories. Among the great names are those of Arnolfo di Cambio, the Pisani, Cavallini, Cimabue, Duccio, Giotto, Simone Martini, and the Lorenzetti; among the buildings S. Croce, S. Maria Novella, the cathedral and the Palazzo Vecchio in Florence, and the cathedrals of Siena, Orvieto, and Milan, as well as churches, castles, and civic buildings from the Val d'Aosta to Sicily. The third edition of this work includes colour illustrations and incorporates textual revisions and an updated bibliography.
Art in Renaissance Italy' sets the art of that time in its context, exploring why it was created and in particular looking at who commissioned the palaces and cathedrals, the paintings and the sculptures.
Demonstrates that the millennium from the fall of the Roman Empire to the flowering of the Renaissance was a period of great intellectual and practical achievement and innovation. This reference work will be useful to scholars, students, and general readers researching topics in many fields of study, including medieval studies and world history.
The EU Regulation on a Single Market for Digital Services (Digital Services Act, the 'DSA') is a comprehensive legal framework to regulate digital services and to tackle illegal activity online across the European Union. The DSA represents one of the main pillars of the EU's reform of the digital single market. It applies horizontally to online intermediaries operating in the EU, including online platforms such as social media, video-sharing platforms, online marketplaces, and search engines. The EU Digital Services Act: A Commentary serves as a reference work on the DSA, written by experts who have been closely involved in all steps of the law-making process, from the preparation of the proposal to the final negotiations, as well as its subsequent elaboration and application. This commentary provides a comprehensive article-by-article analysis that will allow the reader to navigate the provisions of this new, complex legal act. While being novel, the DSA does not enter a completely unchartered territory: numerous provisions draw inspiration from, or are applied together with, the provisions of other Acts and areas of EU law. This Commentary explores the jurisprudential origins of the provisions of the DSA and their articulation with other EU Acts, which will be essential for its interpretation and application. With a foreword by Maciej Szpunar, the First Advocate General at the EU Court of Justice, The EU Digital Services Act: A Commentary strikes a balance between a practical commentary and an academic analysis, and is aimed at legal practitioners, academics, and public authorities.
In September, 1219, as the armies of the Fifth Crusade besieged the Egyptian city of Damietta, Francis of Assisi went to Egypt to preach to Sultan al-Malik al-Kâmil. Although we in fact know very little about this event, this has not prevented artists and writers from the thirteenth century to the twentieth, unencumbered by mere facts, from portraying Francis alternatively as a new apostle preaching to the infidels, a scholastic theologian proving the truth of Christianity, a champion of the crusading ideal, a naive and quixotic wanderer, a crazed religious fanatic, or a medieval Gandhi preaching peace, love, and understanding. Al-Kâmil, on the other hand, is variously presented as an enlightened pagan monarch hungry for evangelical teaching, a cruel oriental despot, or a worldly libertine. Saint Francis and the Sultan takes a detailed look at these richly varied artistic responses to this brief but highly symbolic meeting. Throwing into relief the changing fears and hopes that Muslim-Christian encounters have inspired in European artists and writers in the centuries since, it gives a uniquely broad but precise vision of the evolution of Western attitudes towards Islam and the Arab world over the last eight hundred years.
Tommaso Campanella (1568-1639) is one of the most fascinating, if hitherto inaccessible, intellectuals of the Italian Renaissance. His work ranges across many of the intellectual, ecclesiastical, and political concerns of that tumultuous era. John Headley uses Campanella's life and works to open a window into this complex period. He not only explicates the frequently contradictory texts of a prolific author but also situates Campanella's writings amidst the larger currents of European thought. For all its obscurely magical and astrolgocial intricacies, Campanella's entire intellectual endeavor expresses an effort to impose a distinctive order and direction upon the major issues and forces of the age different from that which was shortly to prevail with the new Galilean science and the Leviathan state. In the process of identifying and engaging these issues and imparting in some instances something of his own, he managed to mobilize and deploy many of the salient principles of late medieval and Renaissance culture, often cast in a curiously modern hue and aligned with the new forces of the age. Indeed, modern and antique, new and old juxtapose violently in the person of this reformer who combines an encyclopedic comprehensiveness of intellect with an appalling intensity of will. He is a man who strove to destabilize the regnant forces of what he identified as tyranny, sophistry, and hypocrisy and to shake the world into a new order. In this book, Headley invites readers to look anew at this mercurial figure and at the turbulent times in which he lived. John M. Headley is Professor of History at the University of North Carolina at Chapel Hill. He has authored studies of Luther, Thomas More, the Emperor Charles V, and San Carlo Borromeo. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A leading art historian’s plea for a more engaged reading of Italian Renaissance art Only Connect constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves by the spectator, that draw the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. John Shearman’s concern is mostly with anterior relationships with the viewer—that is, relationships conceived and constructed as part of a work’s design, making, and positioning. He proposes unconventional ways in which works of art may be distinguished from one another, and in which spectators may be distinguished as well, and enlarges the accepted field of artistic invention. Only Connect challenges us to recognize the presuppositions of Renaissance artists about their viewers, shining a light on the process of discovery by some of the most inventive and intellectual artists of the period.
In The Vacant See in Early Modern Rome John M. Hunt offers a social history of the papal interregnum from 1559 to 1655. The study concentrates on the Roman people’s relationship with their sacred ruler. Using criminal sources from the Archivio di Stato di Roma and Vatican sources, Hunt emphasizes the violent and tumultuous nature of the lapse in papal authority that followed the pope’s death. The vacant see was a time in which Romans of modest social backgrounds claimed unprecedented power. From personal acts of revenge to collective protests staged at the Capitol Hill and citywide discussions of the papal election the vacant see provided Romans with a unique opportunity for political involvement in an age of omnipresent hierarchy.
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