This work places the Syriac New Testament in the Antwerp Polyglot within a new appreciation of sixteenth century Catholic Syriac and Oriental scholarship. The Spanish antecedents of the Polyglot and the role of Montano in its production are evaluated before the focus is turned upon the Northern Scholars who prepared the Syriac edition. Their motivation is shown, particularly in the case of Guillaume Postel, to derive from both Christian kabbalah and an insistent eschatological timetable. The principles of Christian kabbalah found in the Polyglot are then shown to be characteristic also of Guy Lefevre de la Boderie's 1584 Paris edition of the Syriac New Testament dedicated to Henri III. This work completes the account of sixteenth century Syriac bibles begun in the companion volume Orientalism, Aramaic and Kabbalah in the Catholic Reformation which also appears with Brill.
Leon Battista Alberti (1404-72) - writer, painter and sculptor, mathematician and, most famously, architectural theorist and architect - came closer than anyone to the Renaissance ideal of the 'complete man'. Recognised by his contemporaries as an extraordinary person, he helped to shape, through his writings and his practical example in the arts, the way in which the natural and artificial world was perceived and represented during the Renaissance.
Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient r?me France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand si?e.
This work is an account of the struggle over freedom of caricature in France during the period between 1815 and 1914. Illustrated with caricatures originally published during the 19th century, it traces the attempt of the French authorities to control opposition political drawings and the attempts of caricaturists to evade restrictions on their craft.
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