The Paper Museum of Cassiano Dal Pozzo
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Cryptogamie,Mycologie, 2008, 29 (2): 201-204 © 2008 Adac. Tous droits réservés Analyse bibliographique PEGLER David and FREEDBERG David — Fungi. In: MacGregor Arthur and Montagu Jennifer, The paper Museum of Cassiano dal Pozzo – a catalogue raisonné. Drawings and prints in the Royal Library at Windsor Castle, the British Museum, the Institut de France and other collections. Series B – Natural history. Part Two. London,The Royal Collection in association with Harvey Miller Pub- lishers, 2006, 3 volumes, 1028 p., 925 ill. (distribué par Brepols publishers, www.brepols.net, ISBN 1905375050, prix : 286 g). Le présent ouvrage est composé de trois volumes. Le premier volume comprend : Francis Haskell and Henrietta McBurnet – The paper Museum of Cassiano dal Pozzo.- David Freedberg – General introduction to the drawings.– David Freedberg – The myco- logical researches of Frederico Cesi and the early Lincei. – Pegler D. Species groupings, mycological description and nomenclature in the Paris Drawings.– Le manuscrit 968 de la bibliothèque de l’Institut. Le deuxième volume comprend le manuscrit 969 de la bibliothèque de l’Institut. Le troisième volume comprend le manuscrit 970 de la biblio- thèque de l’Institut1 ; les dessins de la Royal Library (Windsor Castle) et du Royal Botanic Garden (Kew). – une étude sur les filigranes.– un appendice : le Manuscrit « Icones fungo- rum ineditorum » du Royal Botanical Garden de Kew. Afin de faciliter la présentation de la recension de cet ouvrage, les informations présentes dans les différents chapitres ont été réorganisées. Cassiano dal Pozzo (1588-1657) et le Museo cartaceo Ami de Galilée et correspondant de Peiresc (1580-1637), Cassiano dal Pozzo est né à Turin en 1588. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The academization of art A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca Jonker, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Jonker, M. J. (2017). The academization of art: A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 Appendix 1 Money in Florence and Rome in the sixteenth and seventeenth centuries Florence 1 scudo = 7 lire = 140 soldi = 1680 danari 1 giulio = 13 soldi and 4 danari 1 carlino = 10 soldi Rome 1 scudo = 10 giuli and 100 baiocchi 1 giulio = 10 baiocchi 1 grosso = 5 baiocchi 1 quatttrino = 1/5 of a baioccho 435 Appendix 2 Letters from Agnolo Guicciardini to Cosimo I de’ Medici AG, Legazione, XII, 18 (Published in Ridolfi 1931, 46-47). -
Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr. -
The Paper Museum of Cassiano Cialpozzo: a Catalogue Raisonne
The Paper Museum of Cassiano cial Pozzo: a Catalogue Raisonne III October 2001 the latest two of the five volllllles froll! this series pllblished to date Ivere laullched at a receptioll hosted by the Prillce of Wales at Windsor Castle: Ancient Mosaics and Wallpaintings, by Helen Whitehouse,jrom Series A: Antiqllities alld A rchitectllre, and Fossil Woods and Other Geological Specimens, by Andrew C. Scott alld David Freedberg,from Series B: Natllral History. Henrietta McBurney describes the history of the Paper lvfuse/lm, alld the project to catalogue it. he idea of cataloguing the Paper Museum acquired as part of earlier sketchbooks, and others The project was officially was conceived around fifteen years ago as individual sheets sent to Cassia no by his adopted as an Academy Twhen two art history scholars visited the correspondents from around Europe. The drawings Research Project in 1989. Print Room at Windsor to examine some of the and prints (of which there was also a large number) In 1997 a grant was made over-looked natural history drawings from the dal were classified by subject matter, mounted in by the Academy for the Pozzo collection. Their points of interest differed, albums and kept in the library which formed part salary of a full-time but they shared a concern that these drawings of the larger museum and art collection housed assistant to the project. should be rescued from obscurity and set in their within his small palazzo in Rome. based in the Royal Library, proper context - not so much because of their Windsor Castle. -
The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle
arts Article The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle Claudio Calì Design Department, Politecnico di Milano, 20133 Milan, Italy; [email protected] Abstract: This article presents an in-depth study of Raphael’s drawing of Leda and the Swan (RCIN 912759), preserved at Windsor Castle. The research aims to make the paper’s physical properties accessible and extend the information on the watermark. The methodology follows an artistic– design-oriented approach. The data extraction process uses a back-lighting photographic technique combined with image post-processing operations. The work catalogues in scientific terms the complete paper mould lines of the Windsor sheet according to the International Standard of Paper Classification (IPH). Based on comparisons with a series of drawings by Leonardo da Vinci, the contribution suggests a chronological and provenance estimate of the paper used by Raphael. Keywords: Raphael; Leonardo da Vinci; Leda; design; paper-based watermark; digitisation; graphical representation; image-processing; art; preservation 1. Introduction The drawing Leda and the Swan in the Royal Collection at Windsor Castle, RCIN 912759, dated 1507, is one of Raphael’s best-known mythological studies and conceivably Citation: Calì, Claudio. 2021. The among the most remarkable portraits on paper dedicated to the figure of Leda. The Rediscovered Watermark in the examination of the drawing from life came about almost by chance. A research visit to Drawing Leda and the Swan by Windsor was made to analyse the paper supports of a series of drawings made by Leonardo Raphael Kept at Windsor Castle. Arts da Vinci. -
The Lost Manuscripts of Leonardo Da Vinci
THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni. -
HORUS'tan GÜNÜMÜZE İLLUMİNATİ Ve YENİ DÜNYA DÜZENİ
HORUS’TAN GÜNÜMÜZE İLLUMİNATİ ve YENİ DÜNYA DÜZENİ Veli Metin Türkoğlu Kutlu Yayınevi İstanbul – 2021 T. C. Kültür ve Turizm Bakanlığı yayıncı belgesi: 44113 bétik: 786 Yazar: Veli Metin TÜRKOĞLU Düzenleyici: V. Metin TÜRKOĞLU Dizer: Deniz ÇATICI Kapak tasarımcısı: V. Metin TÜRKOĞLU 1. baskı: Şubat, 2021 – İstanbul ISBN: 978-625-7665-08-7 © Veli Metin TÜRKOĞLU Tüm içerik yazarının sorumluluğundadır. Yayınevi yalnızca basım, dağıtım ve satış işlemlerinden yükümlüdür. KUTLU YAYINEVİ – göksel sözcükleriñ yayıncısı Siyavuşpaşa Mah. Aydede Sok. No: 2A Bahçelievler/İstanbul Çağrı: 0212 603 5661 [email protected] Kaya Basımevi: 47102 HORUS’TAN GÜNÜMÜZE İLLUMİNATİ ve YENİ DÜNYA DÜZENİ Veli Metin Türkoğlu ! Tüm hakları saklıdır © Sadece okunabilir. Hiçbir içerik izin alınmadan kullanılamaz. İÇİNDEKİLER GİRİŞ …………………………………………………………………. 13 Yeni Dünya Düzeni (Tek Din – Tek Yönetim) …............ 15 Armageddon (Kıyamet Savaşı) …………………………….. 18 Yeni Dünya Düzeni Huzur ve Mutluluk Getirir mi …. 19 Yeni Dünya Düzeni ve Mısır’ın Tanrı Kralları ………… 21 Uygarlaşma ve Yeni Dünya Düzeni ……………………….. 21 HORUS’TAN İLLUMİNATİ’YE TAPINAKÇILARIN İNANÇ, GELENEK ve SEMBOLLERİNİN KÖKENİ ………………………………….. 27 Hz. Yakup ……………………………………………………………. 32 Hz. Yusuf …………………………………………………………….. 34 Hz. Musa ……………………………………………………………... 36 Hz. Davut …………………………………………………………….. 40 Hz. Süleyman ………………………………………………………. 41 Mitra İnancı ………………………………………………………… 46 Gül Haç Kardeşliği Oluşmaya Başladı ……………………. 50 Hz. İsa ………………………………………………………………… 56 Hristiyanlığın Dönemleri ……………………………………. -
The Intellectual Properties of Learning
The Intellectual Properties of Learning The Intellectual Properties of Learning A Prehistory from Saint Jerome to John Locke JOHN WILLINSKY The University of Chicago Press chicago and london The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2017 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2017 Printed in the United States of America 26 25 24 23 22 21 20 19 18 17 1 2 3 4 5 isbn- 13: 978- 0- 226- 48792- 2 (cloth) isbn- 13: 978- 0- 226- 48808- 0 (e- book) doi: 10.7208/chicago/9780226488080.001.0001 Library of Congress Cataloging-in-Publication Data Names: Willinsky, John, 1950– author. Title: The intellectual properties of learning : a prehistory from Saint Jerome to John Locke / John Willinsky. Description: Chicago ; London : The University of Chicago Press, 2018. | Includes bibliographical references and index. Identifiers: lccn 2017038019 | isbn 9780226487922 (cloth : alk. paper) | isbn 9780226488080 (e-book) Subjects: LCSH: Learning and scholarship—History. | Learned institutions and societies—History. | Intellectual property. | Universities and colleges— Europe—History. Classification: lcc az231 .W 55 2018 | ddc 001.2—dc23 lc record available at https://lccn.loc.gov/2017038019 ♾ This paper meets the requirements -
Dispersed Collections of Scientific Books: the Case of the Private Library of Federico Cesi (1585–1630)
chapter 18 Dispersed Collections of Scientific Books: The Case of the Private Library of Federico Cesi (1585–1630) Maria Teresa Biagetti The extraordinary library collected by Federico Cesi, founder in 1603 of the Accademia dei Lincei in Rome, is a clear manifestation of the scientific person- ality of its owner. In the scientific community of the early seventeenth century, Federico Cesi occupies a prominent position in both the fields of botany and zoology. However, botany was his principal love. In this field, while dutifully acknowledging the authority of Pliny and Theophrastus, he confidently pro- posed himself as successor of Pietro Andrea Mattioli and Andrea Cesalpino.1 He was interested in the subfield constituted by the scientific researches of Ulisse Aldrovandi and Giambattista Della Porta, Gaspar Bauhin, Jacobus Theodorus and Matthias de L’Obel.2 His investigations of the reproduction of the plants, which were never published, were innovative;3 particularly relevant to the field of botany is his planned encyclopedia synthesized in the Tabulae Phytosophicae, which reveals his taste for schematic organization through the creation of tables and diagrams.4 The desire to analyze the minute details of plants is confirmed by the presence of detailed drawings of plants, flowers and mushrooms in some manuscripts that formed part of his library, now in the 1 2 3 4 1 Pietro Andrea Mattioli (1500–1577), physician and naturalist, born in Siena. Andrea Cesalpino (c. 1524–1603), physician, botanist, and professor of Medicine at the Sapienza University of Rome. 2 Ulisse Aldrovandi (1522–1605), physician and naturalist from Bologna. Giambattista Della Porta (c. -
Cronologia Dell'accademia Dei Lincei
MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER I BENI LIBRARI E GLI ISTITUTI CULTURALI ______________________ Comitato Nazionale per le celebrazioni del IV centenario della fondazione dell'Accademia dei Lincei Cronologia 1603-1651 L'Accademia di Federico Cesi Il 17 agosto 1603, Federico Cesi riunisce nel palazzo di famiglia, in via della Maschera d'Oro a Roma, gli amici Anastasio de Filiis, Francesco Stelluti e Johannes van Heeck; insieme fondano l'Accademia dei Lincei. Sottoscrivono un Albo e adottano come emblema una lince con il motto Sagacius ista. Si proclamano "discepoli della natura al fine di ammirarne i portenti e ricercarne le cause". I termini e gli incarichi della collaborazione lincea vengono redatti da Cesi nel verbale della prima riunione dell'Accademia, il Primum Consilium Linceorum. La vera essenza ideologica del sodalizio linceo viene espressa nel Lynceographum, l'ampio statuto programmatico del giovane nobile, ripetutamente sottoposto al giudizio e alle correzioni degli altri "fratelli". Il 25 dicembre dello stesso anno ha luogo l'inaugurazione solenne dell'Accademia, con una cerimonia nella quale Cesi, eletto Princeps perpetuo, consegna a ciascun affiliato una collana d'oro con un pendente a forma di lince, in seguito sostituita da un anello di smeraldo. 1604 L'Accademia si scioglie L'attività dell'Accademia dura pochi mesi, e già nella primavera del 1604 i giovani lincei si disperdono in seguito all'opposizione della famiglia Cesi, in particolare del padre di Federico, che culmina con la denuncia di van Heeck al Santo Uffizio. Il medico olandese, infatti, fuggito dai Paesi Bassi per le persecuzioni calviniste, principale animatore della “compagnia Lincea”, agli occhi del padre di Federico è un personaggio pericoloso, stravagante e sospetto di eresia. -
Accademia Dei Lincei – Ilveste Akadeemia Tõnu Viik
Accademia dei Lincei – Ilveste Akadeemia Tõnu Viik Ilves Olen elu jooksul mitmel korral sattunud sellise kummalise nimega akadeemia peale, kuid polnud kunagi huvi tundnud, kust selline nimi on tulnud. Nüüd siis lõpuks Galilei elulooga lähemalt tutvudes kohtasin uuesti seda nime ja ma asusin uurima selle nime päritolu. Alljärgnev on see, mis ma teada sain. 1 Federico Angelo Cesi Cesi elu Kaheksateistkümne aastane itaalia nooruk Federico Angelo Cesi (1585-1630) asutas koos sõpradega 1603. a augustikuus Roomas Accademia dei Lincei ehk siis eesti keeles Ilveste akadeemia1. Kust tuli akadeemiale selline kaslaste hulka kuuluva kiskja nimi? Siin on kaks teineteist välistavat seletust. Esimene seletus pidavat olema selles, et Kuldvillakut otsima läinud Iasoni argonautide hulgas olnud eriti terava nägemisega mees nimega Lynceus (ladina keeles on ilves Lynx lynx). Aga just looduse otsene vaatlemine pidi saama uue 1 See polnud kaugeltki esimene akadeemia, sest juba enne 1580ndaid asutas Giambattista della Porta Academia Secretorum Naturae (e.k. Looduse saladuste akadeemia). Ning 1583. a asutati Firenzes Accademia della Crusca (e.k. kliide akadeemia), mis on maailma esimene lingvistika ja filoloogia akadeemia. 2 akadeemia põhisuunaks. Seega siis niisugune nimi oli igati sobiv, seda enam, et keskajal arvati ilvest nägevat mitte ainult asjade pealispinda, vaid ka lausa läbi seinte, seega siis asjade sisemust. Palazzo Gaddi-Cesi via della Maschera d’Orol Kuid oli ka teine seletus – neli asutajat olevad valinud akadeemia nime kuulsa teadlase Giambattista della Porta raamatust Magia naturalis, mille esikaanel oli kassi pilt ja sõnad ... ilvese sarnaste silmadega vaadeldes neid asju, mis ilmutavad ennast, nii et olles neid vaadelnud, võib neid innukalt kasutada. Sellepärast siis valis Cesi ilvese ja kotka, kel ka ju väga terav nägemine, akadeemia sümboliteks. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The academization of art A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca Jonker, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Jonker, M. J. (2017). The academization of art: A practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Chapter Nine Conceptions and Practices of disegno in Artistic Treatises and Academies 9.1. Artists as intellectuals: authorship of artistic treatises Shortly after the foundation of the Accademia del Disegno and the Accademia di San Luca, several of their members composed theoretical texts, in which the concept of disegno occupied a central place.