Radnor House, Continued] 'Doctors' Equals Any Paintings in Italy but Hindley Sells, 11

Total Page:16

File Type:pdf, Size:1020Kb

Radnor House, Continued] 'Doctors' Equals Any Paintings in Italy but Hindley Sells, 11 2198 INDEX [Radnor House, continued] 'Doctors' equals any paintings in Italy but Hindley sells, 11. 333n, 33. 105, 180, 183 those of, 23. 570 island belonging to, 11. 35m English painters still do not approach, 28. Murrays live at, 12. 58n 195-6 Potts lives in, after Hindley, 35. 365 'Ezekiel's Vision' by, at Boughton House, 10. Radnor leaves, to Hindley who sells it, 11. 34i 333n Faenza ware said to be designed by, 25. 5gin residents of, 42. 480 Feiibien and Du Fresnoy praise, 30. 325 Webb buys, 33. 183 female beauty inspired, 30. 325 Radnorshire, Wales: Gaven tries to sell alleged painting by, in Middleton, Mrs, born in, 15. 310 Poland, 35. 37n Radonvilliers. See Lysarde de Radonvilliers HW has not yet seen the paintings by, at Radstock, Bn. See Waldegrave, Granville George Rome, 13. 170 (1786-1857); Waldegrave, Hon. William HW is, in his 'portrait' of D. of Richmond, (1753-1825) 4. 304 Radstock, Bns. See Van Lennep, Cornelia Jacoba HW thinks, inadequate to illustrate Shake­ Radway Grange, Warwickshire: speare, 15. 206 Miller of, 9. i56n 'Holy Family' by, at Boughton House, 10. 341 Radziwill, Ps. See Lubomirska, Marja 'Last Supper' by, 2. i6g Radziwill, Prince Karol Stanislaw: Le Sueur's 'Vie de St-Bruno' surpasses, 35. 126 divorce of, 4. g3n Mabuse's painting perhaps influenced by, 15. Radziwill, Michael Kazimierz: g6n great general of Lithuania, 20. 44n 'Madonna della Sedia ['Seggiola']' by, copied Lascari governs family of, 20. 44n by Strange, 21. 448n, 470 Radziwill, Teofila Konstancia (1738-80), m. Mann thinks Flemish painters inferior to, 20. (1764) Count Ignacy Morawski: 398 Young Pretender might wed, 20. 35, 44 'Marriage of Cupid and Psyche' and 'Cupid's Rae, Mr, of Duke St, St James's: Accusation' by, are other names for Council SH visited by, 12. 235 and Supper of the Gods, 43. 270 Rae, Mrs Margaret: Masaccio influenced, 11. 154 Hoare's monument to, in Worcester Cathe­ 's designs the precursors of, 23. 266-7, dral, 20. 86n 26.45 Rafaele, Palazzo, Rome: missal illuminated by, 20. 47on Wyseman lived near gates of, 17. i5n painting attributed to, 5. i78n Raffaello Sanzio (Raphael) (1483-1520); paintings by: at Marigny's, 39. 15; at Oxford, painter: 33. 55; at the Escorial, 16. i8on; at the Agincourt's study of church paintings ends Vatican, damaged by 'veiling,' 20. 328n; with, 42. 104 Beaufort may buy, 18. 273; Gaven's price angels painted by: 11. 338; Mann has copy for, 18. 273; in Cybo collection, 18. 235, of, by Messini, 20. 145 35. 37-8; Mann to get copies of, 20. 328-g, Barry includes, in allegorical painting, 29. 301 4go, 21. 88; Mariette's collection of, 32. 266; Bartolommeo's paintings once regarded by neglected at Versailles, 35. 344; of Christ HW as equal to those of, 23. 465 and the Doctors, Charles Emmanuel III the 'parent' of, 23. 267 would have bought, from D. of Massa for Carmontelle better at resemblances than, 4. Marlborough, 18. 235-6; Parker buys, from 27 Cybo collection, 18. 23g; Portland, Ds of, cartoons by: 35. 37-8; at Boughton House, buys, 21. 20on; 'School of Athens' copied 10. 341; in England, 16. 147, 157; note on, by Mengs, 20. 4go, 21. 88; Walpole, Sir 16. i68n; tapestry from, at Madrid, 16. i6g; Robert, refuses to buy, without seeing it, tapestry from, said to be at Burghley House, 18. 254; Walpole, Sir Robert, wants further 16. isg; Waddilove asks about, 16. 168-g information about, 18. 250 Cellini's chest said to be copied from design portrait of, 2. 238n by, 23. 432 portrait wrongly attributed to, 7. 373n 's chest worthy of, 23. 425 Raimondi's print after, 23. 432 Chambers influenced by, 16. i88n 'St John' by, at Palais Royal, 7. 287 china of, 10. 345 'St Luke Painting the Virgin' by, 43. 275 Chute now indifferent to, 35. 58 'School of Athens' by, 20. 4go, 21. 88, 35. 37 copy of painting by, 21. 200 (?) self-portrait by, copied by Strange, 21. 470 Coypel inferior to, 3. 228 Thornhill called the English counterpart of, death of, at Venice, 16. 147 40. 382 'Death of the Blessed Virgin' by, at Burghley 'Transfiguration' by, 28. 473 House, 10. 346 Vatican loggias painted by, 23. 2g8 designs by, for houses in Florence, 11. 154 vellum copies of works of, 22. 233n .
Recommended publications
  • Download Press Release
    Contents Exhibition Facts Press Release Wall Texts Biography Supporting Program Exhibition Facts Press Conference 28 September 2017 | 10 am Opening 28 September 2017 | 6.30 pm Duration 29 September 2017 to 7 January 2017 Venue Propter Homines Hall Curator Dr Achim Gnann Exhibits 150 Catalogue The catalogue is available for EUR 34,90 in the Albertina’s museum shop and at www.albertina.at Contact Albertinaplatz 1 | A-1010 Vienna T +43 (0)1 534 83 - 0 [email protected] | www.albertina.at Opening hours NEW Daily 10 am – 6 pm Wednesdays & Fridays 10 am – 9 pm Press contact Mag. Verena Dahlitz T +43 (01) 534 83 - 510 | M +43 (0) 699 10981746 [email protected] Mag. Ivana Novoselac-Binder T +43 (01) 534 83 - 514 | M +43 (0)699 12178741 [email protected] Mag. Fiona Sara Schmidt T +43 (01) 534 83 - 511 | M +43 (0)699 12178720 [email protected] Mag. Barbara Walcher T +43 (01) 534 83 - 512 | M +43 (0)699 10981743 [email protected] Presented by Sponsor Partner Mediapartner RAPHAEL 29 September 2017 – 7 January 2018 Together with Leonardo da Vinci and Michelangelo, Raphael completes the triumvirate of Italian Renaissance artists. Moreover, the world-famous drawings of this prematurely deceased master (1483–1520) make him one of art history’s great draftsmen. The Albertina Museum is now paying tribute to Raphael with a major exhibition of 150 paintings and drawings. Starting from the Albertina Museum’s own significant holdings and rounded out by the most beautiful and important drawings from prominent museums such as the Uffizi, the Royal Collection of the British Royal Family, the British Museum, the Louvre, the Vatican Museums, and the Ashmolean Museum, this monographic presentation places Raphael’s thinking and conceptual process front and center: featured works range from initial spontaneous artist’s impressions to virtuosic detail studies, compositional studies, and the completed paintings themselves.
    [Show full text]
  • Clicca Qui Per Sfogliare La Rivista Hassler Life
    Numero Sette – 2019 HAPPY HEARTS COLLECTION Roma: Boutique Chopard - Via Del Babuino, 22 www.chopard.com 002HH_480x310 WORLDWIDEEXCELLENCE ROMA STP.indd 1 31/05/19 12:21 HAPPY HEARTS COLLECTION Roma: Boutique Chopard - Via Del Babuino, 22 www.chopard.com 002HH_480x310 WORLDWIDEEXCELLENCE ROMA STP.indd 1 31/05/19 12:21 LIFE IS ABOUT MOMENTS baume-et-mercier.it Baumatic Automatico in-house Acciaio 40mm ROMA - Via Fulceri P. de Calboli, 5 - Tel. 06 3728288 LIFE IS ABOUT MOMENTS baume-et-mercier.it Baumatic Automatico in-house Acciaio 40mm ROMA - Via Fulceri P. de Calboli, 5 - Tel. 06 3728288 Editorial Roberto E. Wirth stato un anno intenso, ricco It has been a busy year, with many di novità, di soddisfazioni e di changes, plenty of gratifications, and traguardi raggiunti. several goals achieved. ÈMa di certo non ci fermiamo. But we certainly won’t stand still. All’Hassler Roma continuiamo a At the Hassler Rome we always look guardare avanti: da oltre 40 anni ahead: I have been running this hotel for dirigo questo hotel, divenuto icona over 40 years now, and it has become a dell’hôtellerie internazionale, e true icon of international hospitality; I am dedico, insieme e grazie al mio still passionately dedicated in making sure splendido staff, tutta la mia that everything, up the smallest detail, is passione affinché ogni dettaglio sia simply perfect. All this together with, and semplicemente perfetto. thanks to, my wonderful staff. Come ripeto sempre: la frase “non As I often repeat, “it’s not possible” is si può” qui all’Hassler Roma non a concept that has no place here at the esiste! E il 2020 saprà sorprendere Hassler! And in 2020 we will once again ancora una volta i nostri ospiti.
    [Show full text]
  • READINGS: NEO-CLASSICISM Background: Neo-Classicism. Term Coined in the 1880S to Denote the Last Stage of the Classical Traditi
    READINGS: NEO-CLASSICISM Background: Neo-classicism. Term coined in the 1880s to denote the last stage of the Classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of THE ENLIGHTENMENT in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past -- non-Classical as well as Classical -- that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the 'true style', as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco- Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque.
    [Show full text]
  • In the Footsteps of Classical Antiquity. Influences of the Antique in Estonian Manor Murals
    Hilkka Hiiop IN THE FOOTSTEPS OF CLASSICAL ANTIQUITY. INFLUENCES OF THE ANTIQUE IN ESTONIAN MANOR MURALS This article examines the reception and reflection in Estonian manor mu- rals of the impact of the rediscovered antique in the second half of the 18th century and the 19th century in Europe. The extensive excavations of the legacy of ancient Rome in the 18th century influenced the whole visual culture in Europe from Germany to Italy and from England to Scandinavia1, as an indirect source of inspiration and the basis of direct quotation and copying. The current article takes a look at the decorative murals in Estonian manor houses, which are part of this visual geo- graphical circle and contain references to antiquity as a set model. Wall paintings in Estonian manors have not been extensively studied2; they have been seen via individual objects or in a general architectural context. Many unpublished materials are related to conservation-restora- tion reports and are kept in the archives of the National Heritage Board. Krista Kodres and Juhan Maiste have tackled the topic, indicating the influence of antiquity in certain wall paintings à( l`antique (Hõreda); à la Pompeij (Vihterpalu); the grotesque (Voltveti)).3 However, since the article Transalated by Tiina Randviir. 1 Peter Werner, Pompeji und die Wanddekoration der Goethezeit (München: Wilhelm Fink Verlag, 1970), 14. 2 The article by Krista Kodres and Juhan Maiste is one of the few generalising overviews of wall paint- ings in Estonian manors in the 18th–19th centuries (Krista Kodres, Juhan Maiste, “Purilast Inglisteni. Seinamaalingute leiud mõisates”, Kunst, 70, 2 (1987), 41–48).
    [Show full text]
  • The Discovery of the Oldest Recorded Printed Image of a Tuna Trap
    SCRS/2013/140 Collect. Vol. Sci. Pap. ICCAT, 70(6): 2820-2827 (2014) ICONOGRAPHY OF TUNA TRAPS: THE DISCOVERY OF THE OLDEST RECORDED PRINTED IMAGE OF A TUNA TRAP A. Di Natale1 SUMMARY The iconography of tuna traps is an essential element for providing better knowledge of this ancient fishing technique. Images from the earliest period are not very common and printed images from the XVI century are extremely rare. Since the publication of a comprehensive review in 2012 (SCRS/2012/036) an earlier engraving has been found. This latest finding is particularly relevant not only because it is the first known printed image of a tuna trap but also because of the artistic importance of its author, Adamo Scultori. This masterpiece engraving was printed in an uncertain date between 1563 and 1565. This paper provides details about this specific engraving as well as its historical and artistic context. RÉSUMÉ L'iconographie des madragues thonières est un élément essentiel pour fournir une meilleure connaissance de cette ancienne technique de pêche. Les images de la toute première période sont peu fréquentes et les impressions du XVIe siècle sont extrêmement rares. Depuis la publication d'une étude exhaustive en 2012 (SCRS/2012/036), une gravure plus ancienne a été découverte. Cette toute dernière découverte est particulièrement importante car il s'agit non seulement de la première impression connue d'une madrague thonière mais aussi en raison de l'importance artistique de son auteur, Adamo Scultori. Ce chef-d'œuvre d'impression a été réalisé à une date incertaine, entre 1563 et 1565.
    [Show full text]
  • Rome and the Guidebook Tradition
    Rome and the Guidebook Tradition Rome and the Guidebook Tradition From the Middle Ages to the 20th Century Edited by Anna Blennow and Stefano Fogelberg Rota ISBN 978-3-11-061044-4 e-ISBN (PDF) 978-3-11-061563-0 e-ISBN (EPUB) 978-3-11-061578-4 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018963421 Bibliografic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutschen Nationalbibliografie; detailed bibliografic data are available on the Internet at http://dnb.dnb.de. © 2019 Anna Blennow and Stefano Fogelberg Rota, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck Cover image: Giambattista Nolli, Nuova Pianta di Roma (1748). Public Domain, via Wikimedia Commons www.degruyter.com Acknowledgements The project “Topos and Topography: Rome as the Guidebook City” has been based at the Swedish Institute for Classical Studies in Rome between 2013 and 2016, and financed by the Swedish Foundation for Humanities and Social Sciences (Riksbankens Jubileumsfond). The seven members of the project – also known as “the seven hills of Rome”–are Anna Blennow, Anna Bortolozzi, Carina Burman, Stefano Fogelberg Rota, Sabrina Norlander Eliasson, Victor Plahte Tschudi, and Frederick Whitling. The chapters of the present publication contain the results of the subprojects of the participants, as well as a valuable addition in the form of a study of Ludwig Schudt’sinfluentialLe Guide di Roma, performed by four scholars at the Royal Netherlands Institute in Rome (estimated neighbour of the Swedish Institute in via Omero): Arnold Witte, Head of Art History at the Netherlands Institute, together with Eva van Kemenade, Niels Graaf, and Joëlle Terburg.
    [Show full text]
  • Introduction. Antonio Da Sangallo the Younger and the Practice of Architecture in the Renaissance
    Originalveröffentlichung in: Frommel, Christoph Luitpold ; Adams, Nicholas (Hrsgg.): The architectural drawings of Antonio da Sangallo the Younger and his circle, Bd. 2, Cambrige, Mass. 2000, S. 1-21 Introduction. Antonio da Sangallo the Younger and the Practice of Architecture in the Renaissance Our knowledge of Renaissance architecture has risen from the ranks of comrnon artisans. He went increased and deepened so much during the last three through the various Stages of training with exceptional decades that a reexamination of the more general issue thoroughness, from a draftsman of ancient and con­ of how architecture was practiced is now warranted. 1 temporary monuments to a working carpenter and The sheer quantity of Antonio's drawings and build­ building supervisor to a creative architect. Scarcely ings, the latter often precisely documented, 2 requires a any other architect in the Renaissance had such solid new discussion of three basic questions: How at that and continuous training. time did a talented individual become an architect; From the time of the Gothic builders' lodges to the what was the nature of the design process; and by Quattrocento, most architects had begun as sculptors what process was a building erected? The architectural or stonemasons, who were much more closely projects of the popes and their nipote in which involved in the creation of sacred buildings than were Antonio participated afford far more detailed informa­ painters.4 Even in the Quattrocento, only a very few tion on these issues than has previously been supposed. architects-Alberti, Francesco de! Borgo, and Fra Antonio was trained under unusually advantageous Giocondo-came from humanism and theory.
    [Show full text]
  • Five-Door Screen with Grotesque Decoration
    anticSwiss 29/09/2021 15:02:24 http://www.anticswiss.com Five-door screen with grotesque decoration FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:158cm Width:185cm Material:Olio su tela Price:2800€ DETAILED DESCRIPTION: 19th century Screen with grotesques (5) Oil on canvas, 158 x 185 cm The screen analyzed is made up of five panels, each divided into two panels decorated with elements from the natural world on the upper level and grotesque decorations on the lower level. The grotesque is a type of ornamentation often used in painting, sculpture and minor arts, for example in ceramics and tapestries, developed at the end of the 15th century. It owes its name to its singular and ancient origin; after the discovery of these decorations in 1480 in Nero's Domus Aurea, a palace that had been buried for centuries, under the pretext of imitatio antiquitatis, they were re-proposed in contemporary palaces. Nero's palace was visited by many explorers, who descended into it and had the impression of being inside a cave, which is why, as Benvenuto Cellini tells us, these particular decorations rediscovered there were called grotesque. The great success of the grotesques is testified by Raphael's decorations in the Vatican Loggias, in the grotesque room of Palazzo Te in Mantua or in the Grotesque Room of the Castello della Manta in the province of Cuneo. With the end of the Mannerist, the grotesque did not die out as a decorative system, but persisted in the form of an arabesque and later alternated as a decorative system of the chinoiserie.
    [Show full text]
  • 1 CITIES of GOD: the BIBLE and ARCHAEOLOGY in NINETEENTH- CENTURY BRITAIN Edited by David Gange and Michael Ledger-Lomas
    CITIES OF GOD: THE BIBLE AND ARCHAEOLOGY IN NINETEENTH- CENTURY BRITAIN Edited by David Gange and Michael Ledger-Lomas 1 TABLE OF CONTENTS Acknowledgments Illustrations Notes on contributors Introduction Michael Ledger-Lomas and David Gange Troy David Gange and Rachel Bryant Davies Jerusalem Simon Goldhill Nineveh Tim Larsen Pithom David Gange Babylon Michael Seymour Sodom Astrid Swenson Bethlehem Eitan Bar-Yosef Ephesus Michael Ledger-Lomas Rome Jane Garnett and Anne Bush Bibliography Index 2 Acknowledgments 3 ILLUSTRATIONS Troy Fig. 1 Alexander Pope, ‘Plan of the Plain of Troy’ Source: Alexander Pope, The Iliad of Homer (London, 1715-20), foldout sheet preceding text. Fig. 2 Heinrich Schliemann, ‘The Double Scaean Gate’ Source: Heinrich Schliemann, Troy and its Remains (London, 1875), facing p. 303. Fig 3 'Schliemann's Excavations at Mycenae' Source: Illustrated London News, 3 February 1877, 1. Jerusalem Fig. 1 James Fergusson, ‘The Temple’ Source: Fergusson, The Temples of the Jews and the Other Buildings in the Haram area at Jerusalem (London, 1878). Fig. 2 View of Capharnaum, photograph Source: Yeshayahu Nir, The Bible and the Image: The History of Photography in the Holy Land, 1839-1899 (Philadelphia, 1985), p. 104. Fig. 3 ‘Ruth and Boaz’, photograph Source: Nir, Bible and the Image, pp. 144-45. Fig. 4 Palestinian scene, photograph Source: American Colony, Jerusalem Fig. 5 C.R. Ashbee, Sketch for the redevelopment of Jerusalem, 4 Source: King’s College, Cambridge Modern Archives Centre. Fig. 6 ’Drawing by Major General C.J. Gordon’ Source: Charles Wilson, Golgotha and the Holy Sepulchre (London, 1906), p. 206. Nineveh Fig. 1 Lowering the great winged bull Source: Austen Henry Layard, Nineveh and its Remains: With an Account of a Visit to the Chaldaean Christians of Kurdistan, and the Yezidis, or Devil-worshippers; and an Enquiry into the Manner and Arts of the Ancient Assyrians (2 vols, London, 1849), I, frontispiece.
    [Show full text]
  • LA MADONNA “DEL SOCCORSO” NELLA BASILICA VATICANA OUR LADY of HELP in SAINT PETER’S BASILICA Curatore Editor Pietro Zander Pietro Zander
    Al nostro Santo Padre Francesco il cui nome è scritto sul cuore della Vergine Maria To our Holy Father Francis whose name is written on the heart of the Virgin Mary LA MADONNA “DEL SOCCORSO” NELLA BASILICA VATICANA OUR LADY OF HELP IN SAINT PETER’S BASILICA Curatore Editor Pietro Zander Pietro Zander Testi Texts Giorgio Capriotti, Lorenza D’Alessandro, Mallio Giorgio Capriotti, Lorenza D’Alessandro, Mallio Falcioni, Vittorio Lanzani, Simona Turriziani, Falcioni, Vittorio Lanzani, Simona Turriziani, Pietro Zander Pietro Zander Traduzioni Translation Frank Dabell con la collaborazione di Mark Frank Dabell, with the assistance of Mark Roberts Roberts Progetto grafico Graphic design Ana Gabriela Llarin Ana Gabriela Llarin Impaginazione Layout Fabio Ferrari Fabio Ferrari Revisione Redazionale Copy editing Simona Andrisano Simona Andrisano Stampa Printing TMB Stampa S.r.l., Roma TMB Stampa S.r.l., Rome Referenze fotografiche Photographic references Città del Vaticano, Archivio fotografico - Musei Vatican City, Vatican Museums Photographic Vaticani: pp. 72-78 Archive: pp. 72-78 Tutte le altre fotografie sono dell’ Archivio Fotogra- All other photographs are from the Photographic fico della Fabbrica di San Pietro in Vaticano e sono Archive of the Fabbrica di San Pietro in Vaticano state eseguite da Mallio Falcioni, ad eccezione delle and are by Mallio Falcioni, with the exception immagini alle pp. 80-81; 130 (in alto), realizzate da of the images on pp. 80-81; 130 (above), by Marco Andreozzi Marco Andreozzi Volume promosso e sponsorizzato Volume
    [Show full text]
  • Paradigms of Renaissance Grotesques. Toronto
    174090 C C1C4 4C_OK-Proofs.pdf_PG 1_Juillet 23, 2019_09:25:15 Acciarino Paradigms of Renaissance Grotesques Renaissance of Paradigms Acciarino Since the grotesque frequently manifests itself as striking incongruities, ingen- ious hybrids, and creative deformities of nature and culture, it is profoundly impli- cated in early modern debates on the theological, philosophical, and ethical role of images. This consideration serves as the central focus from which the articles inthe collection then move outward along different lines of conceptualization, chronology, cultural relevance, place, and site. They cover a wide spectrum of artistic media, from prints to drawings, from sculptures to gardens, from paintings to stuccos. As they do this, they engage with, and bring together, theoretical perspectives from writ- ersasdiverseasPlatoandPaleotti,VitruviusandVasari,MolanusandMontaigne. Whether travelling a short distance from Nero’s Domus Aurea toRaphael’sVatican logge,oracrosstheoceanfromItalytoNewSpain,thisvolumegoesfurtherthanany previous study in defining the historic understanding of grotesque and, in so doing, providing us with a more nuanced resource for our understanding of an art form once viewed as peripheral. This book offers new readings of the history, meanings, and cultural innovations of the grotesque as defined by a diversity of current critical theories and practices anchored by solid, enlightening scholarship. The research presented in these essays is not only sound but impressive. Michael Giordano, Wayne State University This is an important study on the ever more interesting subject of the idea of the grotesque throughout the Renaissance. It deserves many readers. David Cast, Bryn Mawr College Damiano Acciarino is Marie Curie Postdoctoral Fellow at Università Ca’ Foscari Venezia and at the University of Toronto.
    [Show full text]
  • The Loggia: Renaissance Revival of Ancient Roman Villa Ideology As Manifest in a Liminal Space
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 The Loggia: Renaissance Revival of Ancient Roman Villa Ideology as Manifest in a Liminal Space John Francisco Cherichello Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Cherichello, John Francisco, "The Loggia: Renaissance Revival of Ancient Roman Villa Ideology as Manifest in a Liminal Space" (2016). Senior Projects Spring 2016. 252. https://digitalcommons.bard.edu/senproj_s2016/252 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. The Loggia: Renaissance Revival of Ancient Roman Villa Ideology as Manifest in a Liminal Space Senior Project submitted to The Division of the Arts of Bard College by John Cherichello Annandale-on-Hudson, NY May 2016 2 3 Table of Contents Introduction………………………………………………………………………………………………………..…………1
    [Show full text]