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Excerpt from Raphael and the Villa Farnesina Renaissance, which all tourists have visited or have attempted to visit, called the Villa Farnesina. The place where this building stands was once occupied by fine gardens belonging to the Emperor Geta, Of tragic memory. He was co-heir with his brother Caracalla to the empire Of the Caesars. But the Roman empire was not in those days a thing to be owned in common. The association was broken by a fratricide, Of which, perhaps, these very gardens were the scene. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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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...
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.
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.
Excerpt from The Masters of Raffaello (Raphael Sanzio) In Giorgio Vasari's Life of Raffaello occur these words: - "Giovanni began to instruct him in the first principles of painting, perceiving that he was much inclined to that art, and finding him to be endowed with a most admirable genius; few years had passed, therefore, before Raffaello, though still a child, became a valuable assistant to his father in the numerous works which the latter executed in the State of Urbino. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Oxford Handbook of Monsters in Classical Myth presents forty chapters about the unique and terrifying creatures from myths of the long-ago Near East and Mediterranean world, featuring authoritative contributions by many of the top international experts on ancient monsters and the monstrous. The first part provides original studies of individual monsters such as the Chimaera, Cerberus, the Hydra, and the Minotaur, and of monster groups such as dragons, centaurs, sirens, and Cyclopes. This section also explores their encounters with the major heroes of classical myth, including Perseus, Jason, Heracles, and Odysseus. The second part examines monsters of ancient folklore and ethnography, encompassing the restless dead, blood-drinking lamiae, exotic hybrid animals, the so-called dog-headed men, and many other unexpected creatures and peoples. The third part covers various interpretations of these creatures from multiple perspectives, including psychoanalysis, colonialism, and disability studies, with monster theory itself evident across the entire volume. The final part discusses reception of these ancient monsters across time and space--from the Middle Ages to the Renaissance to modern times, from Persia to Scandinavia, the Caribbean, and Latin America-and concludes with chapters considering the use and adaptation of ancient monsters in children's literature, science fiction, fantasy, and modern scientific disciplines. This Handbook is the first large-scale, inclusive guide to monsters in antiquity, their places in literature and art across the millennia, and their influence on later literature and thought.