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In contrast to the role traditionally fulfilled by secular rulers, the pope has been perceived as an individual person existing in a body subject to decay and death, yet at the same time a corporeal representation of Christ and the Church, eternity and salvation. Using an array of evidence from the eleventh through the fifteenth centuries, Agostino Paravicini- Bagliani addresses this paradox. He studies the rituals, metaphors, and images of the pope's body as they developed over time and shows how they resulted in the expectation that the pope's body be simultaneously physical and metaphorical. Also included is a particular emphasis on the thirteenth century when, during the pontificate of Boniface VIII (1294-1303), the papal court became the focus of medicine and the natural sciences as physicians devised ways to protect the pope's health and prolong his life. Masterfully translated from the Italian, this engaging history of the pope's body provides a new perspective for readers to understand the papacy, both historically and in our own time.
A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less
This volume explores the ways in which the aesthetics of public art were affected by the social, political, and cultural changes of the Enlightenment.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Classical Archaeologists, art historians and artists consider the Role of the Artist' in the rediscovery of the past.
This is the first full and detailed commentary on the second book of Tibullus' elegies since K.F. Smith's edition of 1913. It takes into account every significant advance in scholarship since then on Tibullus, elegy in general. The book provides an authoritative Latin text, based on the definitive Oxford Classical Text, an Introduction covering such topics as the chronology of Book II, its completeness and construction, and the main characters of the poems; and a comprehensive Commentary discussing all aspects of linguistic and literary interest in the poems: the problems of reference and the interpretation for instance, as well as notes on diction, style, themes, and metre. There are also introductory essays on each poem, discussing the background situation, genre, and main models. A critical appendix looks at all the textual points that substantially affect the understanding and appreciation of the elegies, a structural appendix explores the structure of the individual poems, and there are full indices.
Drawing on some 2,000 sources, this is a remarkable history of the French Revolution told through the study of images of the body as they appeared in the popular literature of the time.
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