Queen Christina of Sweden's Construction of A
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
Alonso De Leon: Pathfinder in East Texas, 1686-1690
East Texas Historical Journal Volume 33 Issue 1 Article 6 3-1995 Alonso De Leon: Pathfinder in East exas,T 1686-1690 Donald E. Chipman Follow this and additional works at: https://scholarworks.sfasu.edu/ethj Part of the United States History Commons Tell us how this article helped you. Recommended Citation Chipman, Donald E. (1995) "Alonso De Leon: Pathfinder in East exas,T 1686-1690," East Texas Historical Journal: Vol. 33 : Iss. 1 , Article 6. Available at: https://scholarworks.sfasu.edu/ethj/vol33/iss1/6 This Article is brought to you for free and open access by the History at SFA ScholarWorks. It has been accepted for inclusion in East Texas Historical Journal by an authorized editor of SFA ScholarWorks. For more information, please contact [email protected]. EAST TEXAS HISTORICAL ASSOCIATION ALONSO DE LEON: PATHfl'INDER IN EAST TEXAS, 1686-1 . ;;; D. I by Donald E. ChIpman ~ ftIIlph W .; . .. 6' . .,)I~l,". • The 1680s were a time of cnSiS for the northern frontle ewSliJrSl1' .Ibrity ..:: (Colonial Mexico). In New Mexico the decade began with a ~e, coor- ~~ dinated revolt involving most of the Pueblo Indians. The Great Rev 2!!V Z~~\(, forced the Spanish to abandon a province held continuously since 1598,"~~':;:"-~ claimed more than 400 lives. Survivors, well over 2,000 of them. retreated down the Rio Grande to El Paso del Rio del Norte. transforming it overnight from a way station and missionary outpost along the road to New Mexico proper into a focus of empire. From El Paso the first European settlement within the present boundaries of Texas. -
Marcacci-Rossi, Reasoning, Metaphor and Science Vol.9 2017
Isonomia – Epistemologica Volume 9 REASONING, METAPHOR AND SCIENCE Volume 1 Il realismo scientifico di Evandro Agazzi Mario Alai (ed.) Volume 2 Complessità e riduzionismo Vincenzo Fano, Enrico Giannetto, Giulia Giannini, Pierluigi Graziani (eds.) Volume 3 Oltre la fisica normale Isabella Tassani (ed.) Volume 4 Mettere a fuoco il mondo Elena Casetta, Valeria Giardino (eds.) Volume 5 Metaphor and Argumentation Francesca Ervas, Massimo Sangoi (eds.) Volume 6 Forecasting the Future Stefano Bordoni, Sara Matera (eds.) Volume 7 Teaching and Learning Mathematics Laura Branchetti (ed.) Volume 8 Animali razionali Pierluigi Graziani, Giorgio Grimaldi, Massimo Sangoi (eds.) Volume 9 Reasoning, Metaphor and Science Flavia Marcacci, Maria Grazia Rossi (eds.) ISONOMIA - Epistemologica Series Editor Gino Tarozzi [email protected] REASONING, METAPHOR AND SCIENCE Edited by Flavia Marcacci Maria Grazia Rossi © ISONOMIA – Epistemologica All rights reserved. ISSN 2037-4348 Scientific Director: Gino Tarozzi Managing Director: Pierluigi Graziani Department of Foundation of Sciences P.za della Repubblica, 13 – 61029 Urbino (PU) http://isonomia.uniurb.it/ Design by [email protected] All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission, in writing, from the publisher. In copertina: Gianni Pilera, I ceppi solitari Table of contents 2 FLAVIA MARCACCI AND MARIA GRAZIA ROSSI Reasoning by Metaphors in Science, Philosophy and Practice ................................ 7 Part 1: The Nature of Metaphors and Their Role in Human Rationality STEFANIA GIOMBINI Μεταφορά. The Figure of Speech before Aristotle ................................................. 25 FRANCESCA ERVAS AND ELISABETTA GOLA From a Ghost to a Sketch: Translating Metaphors in Context .............................. -
The Rubenianum Quarterly
2016 The Rubenianum Quarterly 1 Announcing project Collection Ludwig Burchard II Dear friends, colleagues and benefactors, We are pleased to announce that through a generous donation the Rubenianum will be I have the pleasure to inform you of the able to dedicate another project to Ludwig Burchard’s scholarly legacy. The project entails imminent publication of the first part of two main components, both building on previous undertakings that have been carried the mythology volumes in the Corpus out to preserve the Rubenianum’s core collection and at the same time ensure enhanced Rubenianum Ludwig Burchard. The accessibility to the scholarly community of the wealth of Rubens documentation. Digitizing the Corpus Rubenianum Ludwig Burchard, launched in 2013 and successfully two volumes are going to press as we extended until May 2016, will be continued for all Corpus volumes published before 2003, speak and will be truly impressive. abiding by the moving wall of 15 years, that was agreed upon with Brepols Publishers, for the Consisting of nearly 1000 pages and over years 2016–18. 400 images, they will be a monumental The second and larger component of the project builds on the enterprise titled A treasure addition to our ever-growing catalogue trove of study material. Disclosure and valorization of the Collection Ludwig Burchard, raisonné of Rubens’s oeuvre and constitute successfully executed in 2014–15. An archival description of Rubenianum objects originating from Burchard’s library and documentation has since allowed for a virtual reconstruction a wonderful Easter present. of the expert’s scholarly legacy. Much emphasis was placed on the Rubens files during In the meantime, volume xix, 4 on Peter this project, while the collection contains many other resources that are of considerable Paul Rubens’s many portrait copies, importance to Rubens research. -
Federal Research Division Country Profile: Bulgaria, October 2006
Library of Congress – Federal Research Division Country Profile: Bulgaria, October 2006 COUNTRY PROFILE: BULGARIA October 2006 COUNTRY Formal Name: Republic of Bulgaria (Republika Bŭlgariya). Short Form: Bulgaria. Term for Citizens(s): Bulgarian(s). Capital: Sofia. Click to Enlarge Image Other Major Cities (in order of population): Plovdiv, Varna, Burgas, Ruse, Stara Zagora, Pleven, and Sliven. Independence: Bulgaria recognizes its independence day as September 22, 1908, when the Kingdom of Bulgaria declared its independence from the Ottoman Empire. Public Holidays: Bulgaria celebrates the following national holidays: New Year’s (January 1); National Day (March 3); Orthodox Easter (variable date in April or early May); Labor Day (May 1); St. George’s Day or Army Day (May 6); Education Day (May 24); Unification Day (September 6); Independence Day (September 22); Leaders of the Bulgarian Revival Day (November 1); and Christmas (December 24–26). Flag: The flag of Bulgaria has three equal horizontal stripes of white (top), green, and red. Click to Enlarge Image HISTORICAL BACKGROUND Early Settlement and Empire: According to archaeologists, present-day Bulgaria first attracted human settlement as early as the Neolithic Age, about 5000 B.C. The first known civilization in the region was that of the Thracians, whose culture reached a peak in the sixth century B.C. Because of disunity, in the ensuing centuries Thracian territory was occupied successively by the Greeks, Persians, Macedonians, and Romans. A Thracian kingdom still existed under the Roman Empire until the first century A.D., when Thrace was incorporated into the empire, and Serditsa was established as a trading center on the site of the modern Bulgarian capital, Sofia. -
The Masterpieces of Titian; Sixty Reproductions of Photographs From
COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world. -
London and Middlesex in the 1660S Introduction: the Early Modern
London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Animal Life in Italian Painting
UC-NRLF III' m\ B 3 S7M 7bS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA PRESENTED BY PROF. CHARLES A. KOFOID AND MRS. PRUDENCE W. KOFOID ANIMAL LIFE IN ITALIAN PAINTING THt VISION OF ST EUSTACE Naiionai. GaM-KUV ANIMAL LIFE IN ITALIAN PAINTING BY WILLIAM NORTON HOWE, M.A. LONDON GEORGE ALLEN & COMPANY, LTD. 44 & 45 RATHBONE PLACE 1912 [All rights reserved] Printed by Ballantvne, Hanson 6* Co. At the Ballantyne Press, Edinburgh / VX-/ e3/^ H67 To ©. H. PREFACE I OWE to Mr. Bernhard Berenson the suggestion which led me to make the notes which are the foundation of this book. In the chapter on the Rudiments of Connoisseurship in the second series of his Study and Criticism of Italian Art, after speaking of the characteristic features in the painting of human beings by which authorship " may be determined, he says : We turn to the animals that the painters, of the Renaissance habitually intro- duced into pictures, the horse, the ox, the ass, and more rarely birds. They need not long detain us, because in questions of detail all that we have found to apply to the human figure can easily be made to apply by the reader to the various animals. I must, however, remind him that animals were rarely petted and therefore rarely observed in the Renaissance. Vasari, for instance, gets into a fury of contempt when describing Sodoma's devotion to pet birds and horses." Having from my schooldays been accustomed to keep animals and birds, to sketch them and to look vii ANIMAL LIFE IN ITALIAN PAINTING for them in painting, I had a general recollection which would not quite square with the statement that they were rarely petted and therefore rarely observed in the Renaissance. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Key to the People and Art in Samuel F. B. Morse's Gallery of the Louvre
15 21 26 2 13 4 8 32 35 22 5 16 27 14 33 1 9 6 23 17 28 34 3 36 7 10 24 18 29 39 C 19 31 11 12 G 20 25 30 38 37 40 D A F E H B Key to the People and Art in Samuel F. B. Morse’s Gallery of the Louvre In an effort to educate his American audience, Samuel Morse published Descriptive Catalogue of the Pictures. Thirty-seven in Number, from the Most Celebrated Masters, Copied into the “Gallery of the Louvre” (New York, 1833). The updated version of Morse’s key to the pictures presented here reflects current scholarship. Although Morse never identified the people represented in his painting, this key includes the possible identities of some of them. Exiting the gallery are a woman and little girl dressed in provincial costumes, suggesting the broad appeal of the Louvre and the educational benefits it afforded. PEOPLE 19. Paolo Caliari, known as Veronese (1528–1588, Italian), Christ Carrying A. Samuel F. B. Morse the Cross B. Susan Walker Morse, daughter of Morse 20. Leonardo da Vinci (1452–1519, Italian), Mona Lisa C. James Fenimore Cooper, author and friend of Morse 21. Antonio Allegri, known as Correggio (c. 1489?–1534, Italian), Mystic D. Susan DeLancy Fenimore Cooper Marriage of St. Catherine of Alexandria E. Susan Fenimore Cooper, daughter of James and Susan DeLancy 22. Peter Paul Rubens (1577–1640, Flemish), Lot and His Family Fleeing Fenimore Cooper Sodom F. Richard W. Habersham, artist and Morse’s roommate in Paris 23. -
Interim Report for the Nine Months Ended 30 September 2018
INTERIM REPORT FOR THE NINE MONTHS ENDED 30 SEPTEMBER 2018 WorldReginfo - 5f88dd37-92fd-461f-8920-6d30ec0168ca CONTENTS 1. INTRODUCTION ........................................................................................................................ 3 2. OWNERSHIP AND ORGANISATIONAL STRUCTURE ............................................................ 3 3. MACROECONOMIC ENVIRONMENT ....................................................................................... 8 4. OPERATING RESULTS ........................................................................................................... 10 5. FINANCIAL POSITION ............................................................................................................ 29 6. OUTLOOK ................................................................................................................................ 33 7. OTHER INFORMATION ........................................................................................................... 35 8. PRINCIPAL RELATIONS WITH THE AUTHORITIES ............................................................. 45 9. CONSOLIDATED FINANCIAL STATEMENTS AT AND FOR THE NINE MONTHS ................. ENDED 30 SEPTEMBER 2018 ........................................................................................................ 47 10. DECLARATION OF THE MANAGER RESPONSIBLE FOR FINANCIAL REPORTING ....... 52 11. APPENDIX ...............................................................................................................................