The new-look, full colour Rough Guide to Sardinia is the ultimate travel guide to one of the Mediterranean's most fascinating islands. Discover Sardinia's highlights with stunning photography, colour-coded maps and more listings and information than ever before. You'll find detailed practical advice on what to see and do in Sardinia, from museums and archaeological sites to mountain hikes and beaches, as well as up-to-date descriptions of the best hotels, bars and restaurants for all budgets. The major festivals are covered at length, Sardinia's chequered history and rich archeology are explored, and lesser-known aspects of the island such as its industrial heritage, literature, handicrafts, culinary quirks and trekking opportunities are featured. With loads of practical advice, suggested itineraries and top 5 boxes, The Rough Guide to Sardinia will help you make the most of your time on this stunning island. Now available in ePub format.
This book is not meant to be a definitive exploration of the whole of the two churches in any case. The attempt would be absurd. But the book is not meant, either, to be an intense exploration of "certain aspects" of the two churches. It is meant rather to be an extended essay about the connected differences between the two churches, to use "aspects" as touchstones for comparison. It is meant to be a comparison of two total styles. These are not architectural styles, although there is a marked and significant difference between English and Italian ecclesiastical architecture in the thirteenth century. The nonarchitectural style of the thirteenth-century Italian church might in fact be called sustained Romanesque, or perhaps sustained Burgundian. Comparing England (or Britain) with Italy in order to expose more fully one or both is not a new idea. Historians, like Tacitus and Collingwood, have made the comparison, and so have poets, like Browning and, with superb intellectuality, Clough. This is, at least locally, where angels feared to tread. The famous Venetian Anonymous wrote from the other side in his Relation (of about 1500), and condensed for us his comparison in the observation that unlike the Italians the English felt no real love, only lust. The spring bough and the melon-flower, Collingwood's city and field—the long continuity of the difference is startlingly apparent. Explaining the continuity (and perhaps there is no more difficult sort of historical explanation—its difficulty is painful to the mind) is not the job that this book sets itself. But it would be dull and dishonest to ignore the fact that the continuity exists. All that this book has to say may be no more than that the thirteenthcentury Italian church was in fact, as Browning warned, a melon-flower. The book may be only a gloss on amore. The symbol is more inclusive, more evocative, less guilty of excluding the essential but undefined, than detailed description can be. Melon-flower and amore, however, fortunately for the purpose of this book, say very little about the intricate, connected detail of administrative history. Collingwood's (after Tacitus's) city against field presses less deeply but says more. The general difference between the styles of the English and Italian churches has a great deal to do, and very directly, with the fact that the inhabitants of Italy were continually city-dwellers and the inhabitants of Britain were essentially not. Although this book is about both England and Italy, it approaches them differently. The thirteenth-century Italian church is, particularly in English and French, practically unknown. Before it can be explained or analyzed, it must be recreated, formed again in detail. The job is in part really archaeological. The outline of past existence must be uncovered. This is not at all true of the thirteenth-century English church. It has been well explored. This disparity in past observation forces my book to talk much more of Italy than of England; but, if it is a book about one church rather than the other, it is a book about England. England is meant to be seen, for a change, against what it was not. In this sort of profile it has a different look. England may no longer seem a country in the frozen North, incapable, in the distance, of responding fully to Lateran enthusiasm. Its full response to ecclesiastical government may seem clearly connected with its, of course relatively, full response to secular government.
The Rough Guide to Sardinia is the ultimate travel guide to this astonishing and varied Italian island. Discover Sardinia's highlights from the exceptional seafood restaurants of Alghero to the remarkable prehistoric, Carthaginian and Roman monuments and authentic fishing villages inspired by dozens of photos. Rely on up-to-date descriptions of the best hotels, campsites, bars, clubs, shops, restaurants and resorts for all budgets and insider information on the wide array of outdoor pursuits on offer from walking to climbing to diving. The Rough Guide to Sardinia is loaded with practical information and insider tips from the best ways to travel around the island to enjoying superb food and wine, spectacular and melodramatic religious and folk festivals and unwinding on the multitude of unspoilt sandy beaches. Explore all corners of Sardinia with authoritative background on everything from the ubiquitous remains to Sardinia's fasinating rituals and festivals, with handy language tips and the clearest maps of any guide. Make the most of your holiday with The Rough Guide to Sardinia
Discover the freedom of open roads with Lonely Planet Tuscany Road Trips, your passport to uniquely encountering Tuscany by car. Featuring four amazing road trips, plus up-to-date advice on the destinations you'll visit along the way, walk among ancient ruins or taste your way through spectacular vineyards, all with your trusted travel companion. Get to Italy, rent a car, and hit the road along Tuscany's countrysides! Inside Lonely Planet Tuscany Road Trips : Lavish colour and gorgeous photography throughout Itineraries and planning advice to pick the right tailored routes for your needs and interests Get around easily - easy-to-read, full-colour route maps; detailed directions Insider tips to get around like a local, avoid trouble spots and be safe on the road - local driving rules, parking, toll roads Essential info at your fingertips - hours of operation, phone numbers, websites, prices Honest reviews for all budgets - eating, sleeping, sight-seeing, hidden gems that most guidebooks miss Useful features - including Detours, Walking Tours and Link Your Trip Covers Florence, Pisa, Siena, Chianti, Rome and more eBook Features: (Best viewed on tablet devices and smartphones) Downloadable PDF and offline maps prevent roaming and data charges Effortlessly navigate and jump between maps and reviews Add notes to personalise your guidebook experience Seamlessly flip between pages Bookmarks and speedy search capabilities get you to key pages in a flash Embedded links to recommendations' websites Zoom-in maps and images Inbuilt dictionary for quick referencing The Perfect Choice: Lonely Planet Tuscany Road Trips is perfect for exploring Tuscany via the road and discovering sights that are more accessible by car. Want to have a full-fledged Italian road trip? Check out Lonely Planet Italy's Best Trips for road trip itineraries that will give you a taste of what the whole country has to offer. Or looking to road trip in other Italian regions? Check out Lonely Planet's Amalfi Coast Road Trips, Italian Lakes Road Trips, or Grand Tour of Italy Road Trips. Planning an Italian trip sans a car? Lonely Planet Italy, our most comprehensive guide to Italy, is perfect for exploring both top sights and lesser-known gems. About Lonely Planet: Lonely Planet is a leading travel media company and the world’s number one travel guidebook brand, providing both inspiring and trustworthy information for every kind of traveler since 1973. Over the past four decades, we’ve printed over 145 million guidebooks and grown a dedicated, passionate global community of travelers. You’ll also find our content online, and in mobile apps, video, 14 languages, nine international magazines, armchair and lifestyle books, ebooks, and more. Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.
Distinguished historian Robert Brentano provides an entirely new perspective on the character of the church, religion, and society in the medieval Italian diocese of Rieti from 1188 to 1378. Combing through a cache of previously ignored documents stored in a tower of the cathedral, he uses wills, litigation proceedings, fiscal accounts, and other records to reconstruct the daily life of the diocese. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.
Robert Couzin’s Right and Left in Early Christian and Medieval Art provides the first in-depth study of handedness, position, and direction in the visual culture of Europe and Byzantium from the fourth to the fourteenth century.
From Robert Hughes, one of the greatest art and cultural critics of our time, comes a sprawling, comprehensive, and deeply personal history of Rome—as city, as empire, and, crucially, as an origin of Western art and civilization, two subjects about which Hughes has spent his life writing and thinking. Starting on a personal note, Hughes takes us to the Rome he first encountered as a hungry twenty-one-year-old fresh from Australia in 1959. From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries. From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world. From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870. As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France. Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.
From the author of the #1 New York Times bestseller The Monuments Men: "An astonishing account of a little-known American effort to save Italy's…art during World War II." —Tom Brokaw When Hitler’s armies occupied Italy in 1943, they also seized control of mankind’s greatest cultural treasures. As they had done throughout Europe, the Nazis could now plunder the masterpieces of the Renaissance, the treasures of the Vatican, and the antiquities of the Roman Empire. On the eve of the Allied invasion, General Dwight Eisenhower empowered a new kind of soldier to protect these historic riches. In May 1944 two unlikely American heroes—artist Deane Keller and scholar Fred Hartt—embarked from Naples on the treasure hunt of a lifetime, tracking billions of dollars of missing art, including works by Michelangelo, Donatello, Titian, Caravaggio, and Botticelli. With the German army retreating up the Italian peninsula, orders came from the highest levels of the Nazi government to transport truckloads of art north across the border into the Reich. Standing in the way was General Karl Wolff, a top-level Nazi officer. As German forces blew up the magnificent bridges of Florence, General Wolff commandeered the great collections of the Uffizi Gallery and Pitti Palace, later risking his life to negotiate a secret Nazi surrender with American spymaster Allen Dulles. Brilliantly researched and vividly written, the New York Times bestselling Saving Italy brings readers from Milan and the near destruction of The Last Supper to the inner sanctum of the Vatican and behind closed doors with the preeminent Allied and Axis leaders: Roosevelt, Eisenhower, and Churchill; Hitler, Göring, and Himmler. An unforgettable story of epic thievery and political intrigue, Saving Italy is a testament to heroism on behalf of art, culture, and history.
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.
The Rough Guide Snapshot to Puglia is the ultimate travel guide to this beautiful, beguiling "heel" of Italy. It guides you through the region with reliable information and comprehensive coverage of all the sights and attractions, from exploring the gorgeous medieval hilltop town of Ostuni and enjoying the sunniest, sandiest beaches this side of Rome, to admiring the swirly Baroque architecture of stand-out town Lecce and feasting on the best bread and pasta dishes in Italy. Detailed maps and up-to-date listings pinpoint the top caf�s, restaurants, hotels, shops, bars and nightlife, ensuring you have the most memorable trip possible, whether passing through, staying for the weekend or longer. Also included is the Basics section from The Rough Guide to Italy, with all the practical information you need for travelling in and around the country, including transport, food, drink, costs, health and festivals. Also published as part of The Rough Guide to Italy. Full coverage: F�ggia, Monfredonia, The Gargano promontory, The Tr�miti Islands, Bari, Castellana Grotte, T�ranto, Br�ndisi, Ostuni, Lecce, Salento, Otranto, Galatina, Gallipolli (Equivalent printed page extent 76 pages).
Birthplace of Michelangelo and home to untold masterpieces, Florence is a city for art lovers. But on November 4, 1966, the rising waters of the Arno threatened to erase over seven centuries of history and human achievement. Now Robert Clark explores the Italian city’s greatest flood and its aftermath through the voices of its witnesses. Two American artists wade through the devastated beauty; a photographer stows away on an army helicopter to witness the tragedy first-hand; a British “mud angel” spends a month scraping mold from the world’s masterpieces; and, through it all, an author asks why art matters so very much to us, even in the face of overwhelming disaster.
In Victorian England, with the country swept up in the Industrial Revolution, the Pre-Raphaelites, close to William Morris’ Arts and Crafts movement, yearned for a return to bygone values. Wishing to revive the pure and noble forms of the Italian Renaissance, the major painters of the circle (such as John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt) favoured realism and biblical themes over the academicism of the time. This work, with its captivating text and rich illustrations, describes with enthusiasm this singular movement which notably inspired Art Nouveau and Symbolism.
Scholarship on pre-university education in Italy before 1500 has been dominated by studies of individual towns or by general syntheses; this work offers not only an archival study of a region but also attempts to discern crucial local variations.
Robert Browning represents the intellectual and argumentative strand in English poetry, in contrast to the more ornate style of Spenser and Tennyson. His poetry demonstrates that a poet must be a sharp observer of the human condition. The most moving poems deal with his feelings for his wife.
What makes genuine leather genuine? What makes real things real? In an age of virtual reality, veneers, synthetics, plastics, fakes, and knockoffs, it's hard to know. Over the centuries, men and women have devoted enormous energy to making fake things seem real. As early as the fourteenth century, fabric was treated with special oils to make it resemble leather. In the 1870s came Leatherette, a new bookbinding material. The twentieth century gave us Fabrikoid, Naugahyde, Corfam, and Ultrasuede. Each claims to transcend leather's limitations, to do better than nature itself—or at least to convince consumers that it does. Perhaps more than any other natural material, leather stands for the authentic and the genuine. Its animal roots etched in its pores and in the swirls of its grain, leather serves as cultural shorthand for the virtues of the real over the synthetic, the original over the copy, the luxurious over the shoddy and second-rate. From formica, vinyl siding, and particle board to cubic zirconium, knockoff designer bags, and genetically altered foods, inspired fakes of every description fly the polyester pennant of a brave new man-made world. Each represents a journey of scientific, technical, and entrepreneurial innovation. Faux Real explores this borderland of the almost-real, the ersatz, and the fake, illuminating a centuries-old culture war between the authentic and the imitative.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.