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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ... K must go down very far in ancient literature to find the name and the adventures of Psyche. Apuleius, a writer of the Antoniue period, in his curious and somewhat strange book, the Metamorphoses, tells this marvellous story, and he gives it rather as a fairy tale than as a religious legend. An old woman, half crazy, half tipsy, in order to console a young girl ravished by brigands on her wedding day, tells this tale of another maiden's sorrows and troubles. The writer himself, changed into an ass for the occasion, hears the story, and regrets having no tablets or stylet in order to give an exact account of the pretty fable. This is the substance of the old woman's narration. It begins like all fairy tales: "There was once upon a time a king and a queen. . ." This king and this cpueen had three beautiful daughters; but Psyche, the youngest of the sisters, was by far the most beautiful. Never had so marvellous a creature been seen upon earth. Men came from all countries to admire her; but such was this beauty's perfection, that she inspired admiration rather than love. In her honour the temples of Venus were deserted; but her elder sisters married kings, and no one dared to claim her hand. Psyche mourned greatly over the fatal gift bestowed upon her. Venus, whose temples were deserted, furious that a mortal maiden should thus insult her immortal glory, calls upon her son to chastise this audacious young girl; she orders him to wound her with his arrows, to cause her to love the most hideous among men, the most repugnant, the most horrible to look upon. Cupid sees Psyche, but not to hate her. Instead of avenging; his mother's wrongs, he determines to have her as his wife. The parents consult the oracle, who declares that Psyche is not...
Alexis R. Culotta explores how the Renaissance master’s recombination of visual sources ultimately served as a springboard for artistic innovation for his close associates as they collaborated in the years following Raphael’s death.
The frescoes of Peruzzi, Raphael and Sodoma still dazzle visitors to the Villa Farnesina, but they survive in a stripped-down environment bereft of its landscape, sealed so it cannot breathe. Turner takes you outside that box, restoring these canonical images to their original context, when each element joined in a productive conversation. He is the first to reconstruct the architect-painter Peruzzi's original, well-proportioned, well-appointed building and to re-visualize his lost façade decoration‒erotic scenes and mythological figures who make it come alive and soar upward. More comprehensively than any previous scholar, he reintegrates painting, sculpture, architecture, garden design, topographical prints and drawings, archaeological discoveries and literature from the brilliant circle around the patron Agostino Chigi, the powerful banker who 'loved all virtuosi' and commissioned his villa-palazzo from the best talents in multiple arts. It can now be understood as a Palace of Venus, celebrating aesthetic, social and erotic pleasure.
In this beautifully illustrated study of intellectual and art history, Dorothy Johnson explores the representation of classical myths by renowned French artists in the late eighteenth and early nineteenth centuries, demonstrating the extraordinary influen