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Ascanio is a grand opera in five acts and seven tableaux by composer Camille Saint-Saëns. The opera's French libretto, by Louis Gallet, is based on the 1852 play Benvenuto Cellini by French playwright Paul Meurice which was in turn based on the 1843 historical novel by Alexandre Dumas, père. The name was changed to Ascanio to avoid confusion with the Berlioz opera Benvenuto Cellini. The opera premiered on March 21, 1890, at the Académie Nationale de Musique in Paris, in costumes designed by Charles Bianchini and sets by Jean-Baptiste Lavastre and Eugène Carpezat (acts I; II, scene 2; and III), Auguste Alfred Rubé and Philippe Chaperon and Marcel Jambon (act II, scene 1).

Romances of Alexandre Dumas: Agénor de Mauléon. -v.3. Ascanio.-v.4. The brigand. Blanche de Baulieu.-v.5. The horoscope. The black tulip.-v.6-7. The two Dianas.-v.8-9. The Duke's page.-v.10. Marguerite de Valois.-v.11.La dame de Monsoreau.-v.12. The forty-five.-v.13-14. The three musketeers.-v.15-16. Twenty years after.-v.17-22. Vicomte de Bragelonne.-v.23. The war of women.-v.24. Sylvandire.-v.25.Chevalier d'Harmental.-v.26. the regent's daughter.-v.27-28. Olympe de Clèves.-v.29-31. Memoirs of a physician.-v.32-33. The queen's necklace.-v.34-35. Ange Pitou.-v.36-39. Comtesse de Charny.-v.40. Chevalier de Maison Rouge.-v.41. Companions of Jehu.-v.42-43. The Whites and the Blues.-v.44-45. She-wolves of Machecoul.-v.46-48. The Count of Monte-Cristo.-v.49. Black.-v.50. Tales of the Caucasus. M. de Chauvelin's will. The woman with the velvet necklace

Alexandre Dumas

Published: 1898

Total Pages: 478


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The fame and influence of Michelangelo Buonarroti (1475–1564) were as immediate as they were unprecedented. It is not surprising, therefore, that he was the only living artist Giorgio Vasari included in the first edition of Lives of the Most Excellent Painters, Sculptors and Architects, published in 1550. Revised and expanded in 1568, Vasari’s monumental work comprises more than two hundred biographies; for centuries it has been recognized as a seminal text in art history and one of the most important sources on the Italian Renaissance. Vasari’s biography of Michelangelo, the longest in his Lives, presents Michelangelo’s oeuvre as the culminating achievement of Renaissance painting, sculpture, and architecture. He tells the grand story of the artist’s expansive career, profiling his working habits; describing the creation of countless masterpieces, from the David to the Sistine Chapel ceiling; and illuminating his relationships with popes and other illustrious patrons. A lifelong friend, Vasari also quotes generously from the correspondence between the two men; the narrative is further enhanced by an abundance of colorful anecdotes. The volume’s forty-two illustrations convey the range and richness of Michelangelo’s art. An introduction by the scholar David Hemsoll traces the textual development of Vasari’s Lives and situates his biography of Michelangelo in the broader context of Renaissance art history.
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