8943 books for « la renaissance »Edit

‎Bibliographie internationale de l'Humanisme et de la Renaissance.‎

‎ Droz Droz, Fédération Internationale des Sociétés et Instituts pour l'Etude de la Renaissance, 1986, 781 p., broché, des frottements sur la couverture mais intérieur impeccable.‎

‎uvrage publié sur la recommandation du Conseil International de la Philosophie et des Sciences Humaines, avec le concours du Fonds National Suisse de la Recherche Scientifique, et de l'U.N.E.S.C.O. Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎Les échanges entre les universités européennes à la Renaissance : colloque international organisé par la Société Française d'Etude du XVIe siècle et l'Association Renaissance-Humanisme-Réforme, Valence, 15-18 mai 2002.‎

‎ Droz 2002 2003 Droz, Travaux d'Humanisme et Renaissance, 2003, 403 p., cartonnage éditeur, environ 25x18cm, un petit accroc d'1cm sur le mors du premier plat, bon état et intérieur très propre.‎

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‎ Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎Renaissance d'une Nation. Préface de Joseph Kessel, illustration recto par Marc Chagall.‎

‎ Paris, Afauta1973, sur les presses de l'imprimerie Debladis, coffret réalisé par Tolmer, d'après une maquette de Michelle Casties et Maurice Mathonnière, Le présent album a été conçu sur le thème : Renaissance d'une Nation, et réalisé à l'occasion du 25e anniversaire de l'Etat d'Israël. Il contient un disque, un recueil de Messages, des documents photographiques. Il est illustré d'après un dessin original de Marc Chagall reproduit avec l'aimable autorisation du Maître, dans un luxueux coffret en peau retournée havane, titres dorés sur le dos, avec deux étuis internes ornés d'une plaque de cuivre, l'un contenant le disque, l'autre contenant le livret. Un mors en partie fendu (recollé), frottements sur les coupes et coins, intérieur bon état.‎

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‎ A1. Vote de l'ONUenregistrement original (en anglais) de la séance de vote créant l'État d'Israël - 29 novembre 1947A2. Proclamation d'Indépendance - Discours (en hébreu) de David Ben Gourion - 14 mai 1947traduction française dite par Jean-Louis Barrault+ La "Hatikvah" chantée par les membres du Conseil NationalB1. Discours (en anglais) de Golda Meir, premier ministre d'Israëltraduction française dite par Madeleine RenaudB2. Déclaration (en français) de l'ambassadeur d'Israël à Paris Asher Ben NathanB3. Yerushalaim shel zahav (Jérusalem d'or) - Naomi Shemerchorale de la Grande Synagogue de Paris, direction Maurice BenhamouCommanditaire État d'ISRAËLTitre Renaissance d'une nationAlbum offert aux amis de l'État d'Israël pour son 25ème anniversaire Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎Le temps des génies : Renaissance italienne, 1500-1540.‎

‎ Gallimard Univers des Formes Gallimard, Coll. Univers des Formes, 1974, 462 p., cartonnage éditeur sous jaquette, bon état.‎

‎Le présent ouvrage achève la série La Renaissance Italienne en 4 volumes. Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

‎Museum of Renaissance Music. A History in 100 Exhibits‎

‎, Brepols - Harvey Miller, 2023 Paperback Pages: 532 pages,Size:230 x 280 mm, Illustrations:250 col., 6 musical examples, Language(s):English. ISBN 9782503588568.‎

‎ history of Renaissance music told through 100 artefacts, revealing their witness to the priorities and activities of people in the past as they addressed their world through music. SUBJECT(S) Renaissance Music (c. 1400-1600) Material culture Renaissance art history REVIEW(S) "Like a veritable pop-up book, The Museum of Renaissance Music surprises its readers with the multidimensional quality of its content. Presenting a hundred diverse objects organized in different themed rooms, Borghetti and Shephard?s volume offers readers the experience of walking through an imaginary museum where objects ?speak out? their complex web of allusion connecting texts, images and sounds. A veritable tour de force, this book brings history, art history, and musicology together to highlight the pervasive nature of music in Renaissance culture, and does so in a direct and effective manner that can be enjoyed by experts and amateurs alike." Martina Bagnoli, Gallerie Estensi, Modena "With imaginative verve, The Museum of Renaissance Music contributes to a current explosion of material studies whose cacophony remakes our understanding of the Renaissance via ?history by collage,? in this case understanding Renaissance musicking through the spatial affordances of the gallery with its multitude of ?rooms? (travels, psalters, domestic objects, instruments, and much more), rather than through the traditional edited collection. The results are mesmerizing, indispensable." Martha Feldman, University of Chicago "This imaginary museum of Renaissance music, through a collection of one hundred exhibits, returns a proper share of sonority to objects, images, artworks and spaces. A fascinating reference book, offering a transformative vision of music in Renaissance culture, from domestic space to the global dimension." Diane Bodart, Columbia University, New York "The high-quality reproductions together with the knowledgeable commentaries are a treat for the eyes and mind of the reader. An entirely new type of music history book, this wonderful volume will appeal to scholars, music lovers, and students alike." Melanie Wald-Fuhrmann, Max Planck Institute for Empirical Aesthetics, Frankfurt BIO Vincenzo Borghetti is Associate Professor of Music History at the University of Verona. He holds a doctorate in musicology from the University of Pavia-Cremona and in 2007?08 was a fellow of Villa I Tatti, The Harvard University Center for Renaissance Italian Studies in Florence. His research interests are centred on Renaissance polyphony and opera. His essays and articles have appeared in Early Music History, Acta musicologica, Journal of the Alamire Foundation, and Imago Musicae, among other journals, and in several edited collections. In 2019 he was elected to the Academia Europaea. Tim Shephard is Professor of Musicology at the University of Sheffield. He is the co-author of Music in the Art of Renaissance Italy (Harvey Miller, 2020), as well as numerous other books and essays on Italian musical culture in the fifteenth and sixteenth centuries. He currently leads the project ?Sounding the Bookshelf 1501: Musical Knowledge in a Year of Italian Printed Books?, funded by the Leverhulme Trust. SUMMARY This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts?materials, tools, instruments, art objects, images, texts, and spaces?and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings?not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music?s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field. TABLE OF CONTENTS ? I. The Room of Devotions Introduction (Matthew Laube) 1 Silence (Barbara Baert) 2 Virgin and Child with Angels (M. Jennifer Bloxam) 3 Madonna of Humility (Beth Williamson) 4 Virgin Annunciate (Marina Nordera) 5 The Prato "Haggadah" (Eleazar Gutwirth) 6 The Musicians of the Holy Church, Exempt from Tax (Geoffrey Baker) 7 A Devotional Song from Iceland ( rni Heimir Ing lfsson) 8 Alabaster Altarpiece (James Cook, Andrew Kirkman, Zuleika Murat, and Philip Weller) 9 The Mass of St Gregory (Bernadette Nelson) Psalters 10 Bernardino de Sahag n?s "Psalmodia christiana" (Lorenzo Candelaria) 11 The "??????????" of Abgar Dpir Tokhatetsi (Ortensia Giovannini) 12 A Printed Hymnal by Jacobus Finno (Sanna Raninen) 13 "The Whole Booke of Psalmes" (Jonathan Willis) ? II. The Room of Domestic Objects Introduction (Paul Schleuse) 14 Commonplace Book (Kate van Orden) 15 Knife (Flora Dennis) 16 Playing Cards (Katelijne Schiltz) 17 Cabinet of Curiosities (Franz K rndle) 18 Table (Katie Bank) 19 Statue (Laura Moretti) 20 Valance (Katherine Butler) 21 Painting (Camilla Cavicchi) 22 Fan (Flora Dennis) 23 Tapestry (Carla Zecher) Sensualities 24 Venus (Tim Shephard) 25 Sirens (Eugenio Refini) 26 Death and the Maiden (Katherine Butler) 27 Erotokritos Sings a Love Song to Aretousa (Alexandros Maria Hatzikiriakos) ? III. The Room of Books Introduction (Elisabeth Giselbrecht) 28 Chansonnier of Margaret of Austria (Vincenzo Borghetti) 29 The Constance Gradual (Marianne C.E. Gillion) 30 The Bible of Borso d?Este (Serenella Sessini) 31 The Jistebnice Cantionale (Lenka Hl vkov ) 32 The Saxilby Fragment (Lisa Colton and James Cook) 33 "Le Jardin de Plaisance et Fleur de Rh torique" (Jane H. M. Taylor) 34 "Hypnerotomachia Poliphili" (Massimo Privitera) 35 Embroidered Partbooks (Birgit Lodes) 36 "Grande Musicque" Typeface (Louisa Hunter-Bradley) 37 Coat of Arms of Matth us Lang von Wellenburg (Elisabeth Giselbrecht) 38 The Eton Choirbook (Magnus Williamson) 39 "Liber Quindecim Missarum" (Pawe? Gancarczyk) 40 "Les simulachres & histori es faces de la mort" (Katelijne Schiltz) Imagined Spaces 41 The Musical Staff (Jane Alden) 42 Deduit?s Garden (Sylvia Huot) 43 Arcadia (Giuseppe Gerbino) 44 Heaven (Laura ?tef?nescu) ? IV. The Room of Instruments Introduction (Emanuela Vai) 45 Lady Playing the Vihuela da Mano (David R. M. Irving) 46 Double Virginals (Moritz Kelber) 47 Horn from Allg u (Martin Kirnbauer) 48 Inventory after the Death of Madame Montcuyt (Emily Peppers) 49 Girl Playing the Virginals (Laura S. Ventura Nieto) 50 Vihuela (John Griffiths) 51 Bagpipes (John J. Thompson) 52 K s (Kate van Orden) ? V. The Room of Sacred Spaces Introduction (David Fiala) 53 The Basilica of the Santissima Annunziata, Florence (Giovanni Zanovello) 54 Hauptkirche Beatae Mariae Virginis, Wolfenb ttel (Inga Mai Groote) 55 A Sow Playing the Organ (Mattias Lundberg) 56 Ceiling with the Muses and Apollo (Tim Shephard) 57 St Katherine?s Convent Church, Augsburg (Barbara Eichner) 58 Misericord (Fr d ric Billiet) 59 The Chapel of King Sigismund, Wawel Cathedral, Krakow (Pawe? Gancarczyk) 60 The Bell Founder?s Window, York Minster (Lisa Colton) 61 Organ Shutters from the Cathedral of Ferrara (Sophia D?Addio) 62 The Cathedral of St James, ?ibenik (Ennio Stip?evi?) 63 The Funeral Monument of the Princess of boli (Iain Fenlon) ? VI. The Room of the Public Sphere Introduction (Robert L. Kendrick) 64 Street Music from Barcelona (Tess Knighton) 65 African Musicians at the King?s Fountain in Lisbon (Nuno de Mendon a Raimundo) 66 Songs for Hanukkah and Purim from Venice (Diana Matut) 67 A Tragedy from Ferrara (Laurie Stras) 68 A Bosnian Gravestone (Zdravko Bla?ekovi?) 69 Morris Dancers from Germany (Anne Daye) 70 A Princely Wedding in D sseldorf (Klaus Pietschmann) Cities 71 Mexico City ? Tenochtitlan (Javier Mar n-L pez) 72 Dijon (Gretchen Peters) 73 Milan (Daniele V. Filippi) 74 Munich (Alexander J. Fisher) Travels 75 The Travels of Pierre Belon du Mans (Carla Zecher) 76 Aflatun Charms the Wild Animals with the Music of the Arghanun (Jonathan Katz) 77 Granada in Georg Braun?s "Civitates Orbis Terrarum" (Ascensi n Mazuela-Anguita) 78 News from the Island of Japan (Kathryn Bosi) ? VII. The Room of Experts Introduction (Jessie Ann Owens) 79 Will of John Dunstaple, Esquire (Lisa Colton) 80 Portrait Medal of Ludwig Senfl (Birgit Lodes) 81 Zampolo dalla Viola Petitions Duke Ercole I d?Este (Bonnie J. Blackburn) 82 A Diagram from the Mubarak Shah Commentary (Jeffrey Levenberg) 83 Cardinal Bessarion?s Manuscript of Ancient Greek Music Theory (Eleonora Rocconi) 84 The Analogy of the Nude (Antonio Cascelli) 85 The Music Book of Martin Crusius (Inga Mai Groote) 86 The World on a Crab?s Back (Katelijne Schiltz) 87 Juan del Encina?s "Gasaj monos de huz a" (Emilio Ros-F bregas) 88 Josquin de Prez?s "Missa Philippus Rex Castilie" (Vincenzo Borghetti) 89 The Elite Singing Voice (Richard Wistreich) ? VIII. The Room of Revivals Introduction (David Yearsley) 90 Instruments of the Middle Ages and Renaissance (Martin Elste) 91 Dolmetsch?s Spinet (Jessica L. Wood) 92 Assassin?s Creed: Ezio Trilogy (Karen M. Cook) 93 "Christophorus Columbus: Para sos Perdidos" (Donald Greig) 94 A Palestrina Contrafactum ? Samantha Bassler 447 95 St Sepulchre Chapel, St Mary Magdalene, London (Ayla Lepine) 96 The Singing Fountain in Prague (Scott Lee Edwards) 97 Liebig Images of "Die Meistersinger von N rnberg" (Gundula Kreuzer) 98 Das Chorwerk (Pamela M. Potter) 99 "Ode to a Screw" (Vincenzo Borghetti) 100 Wax Figure of Anne Boleyn (Linda Phyllis Austern) Notes on Contributors 477 Bibliography 487‎

‎Antwerp in the Renaissance‎

‎, Brepols - Harvey Miller, 2020 Hardcover, 315 pages ., 19 b/w ill. + 49 colour ill., 4 b/w tables, 178 x 254 mm,. ISBN 9782503588339.‎

‎Antwerp in the Renaissance offers new research results and fresh perspectives on the economic, cultural, and social history of the Antwerp metropolis in the sixteenth century. This book engages with Antwerp in the Renaissance. Bringing together several specialists of sixteenth-century Antwerp, it offers new research results and fresh perspectives on the economic, cultural and social history of the metropolis in the sixteenth century. Recurrent themes are the creative ways in which the Italian renaissance was translated in the Antwerp context. Imperfect imitation often resulted from the specific social context in which the renaissance was translated: Antwerp was a metropolis marked by a strong commercial ideology, a high level affluence and social inequality, but also by the presence of large and strong middling layers, which contributed to the city?s ?bourgeois? character. The growth of the Antwerp market was remarkable: in no time the city gained metropolitan status. This book does a good job in showing how quite a few of the Antwerp ?achievements? did result from the absence of ?existing structures? and ?examples?. Moreover, the city and its culture were given shape by the many frictions, and uncertainties that came along with rapid urban growth and religious turmoil. Bruno Blond and Jeroen Puttevils are colleagues at the Centre for Urban History at the University of Antwerp. The research fields of Blond include the history of transportation, economic growth and social inequality, material culture, retail and consumption of the early modern Low Countries. Puttevils works on the late medieval Low Countries and deals with topics such as mercantile and financial culture, the history of lotteries and how people thought about the future in the past. Table of Contents Antwerp in the Renaissance Bruno Blond and Jeroen Puttevils Sixteenth-Century Antwerp, a Hyper-Market for All? The Case of Low Countries Merchants Jeroen Puttevils Antwerp Commercial Law in the Sixteenth Century: A Product of the Renaissance? The Legal Facilitating, Appropriating and Improving of Mercantile Practices Dave De Ruysscher Brotherhood of Artisans. The Disappearance of Confraternal Friendship and the Ideal of Equality in the Long Sixteenth CenturyBruno Blond and Jeroen Puttevils Sixteenth-Century Antwerp, a Hyper-Market for All? The Case of Low Countries Merchants Jeroen Puttevils Antwerp Commercial Law in the Sixteenth Century: A Product of the Renaissance? The Legal Facilitating, Appropriating and Improving of Mercantile Practices Dave De Ruysscher Brotherhood of Artisans. The Disappearance of Confraternal Friendship and the Ideal of Equality in the Long Sixteenth Century Bert De Munck ?And Thus the Brethren Shall Meet All Together?. Active Participation in Antwerp Confraternities, c. 1375?1650 Hadewijch Masure A Renaissance Republic? Antwerp?s urban militia, ?the military Renaissance? and structural changes in warfare, c. 1566?c. 1621 Erik Swart A Counterfeit Community. Rederijkers, Festive Culture and Print in Renaissance Antwerp Anne-Laure Van Bruaene Literary Renaissance in Sixteenth-Century Antwerp? Herman Pleij Building the Metropolis Krista De Jonge, Piet Lombaerde, and Petra Maclot The City Portrayed. Patterns of Continuity and Change in the Antwerp Renaissance City View Jelle De Rock Trial and error. Antwerp Renaissance art Koenraad Jonckheere Silks and the ?Golden Age? of Antwerp ‎

‎Libri Paraphraseos. In Posteriora Aristotelis. In Physica. In libros de Anima. In commentarios de Memoria & Reminiscentia. De Somno & Vigilia. De Insomniis. De Diuinatione per Somnum. Interprete Hermolao Barbaro... - [A KEY PUBLICATION OF THE RENAISSANCE]‎

‎[On the final colophon:] Venice, Bartholomeus de de Zanis for Octavianus Scotus, 1499. [at the end of first leaf and of each section: Vale. Venetiis. 1480, except for the second last (de Insoniis, which says: Vale. Venetiis. 1478). Small folio. Nice, elegant late 18th century half calf. Binding with a few traces of wear. A very nice, clean, and fresh copy with just a bit of light dampstaining to upper margin of about 20 leaves. Numerous pretty, woodcut initials throughout. Woodcut printer's devise to colophon. Last leaves with tiny, barely noticeable wormhole. Contemporary handwritten inscription to title-page: ""Ex libris advocati Dunis = 1480"". (1), 115 ff. (pagination erroneous at end: 113, 116, 114). Without final blank.‎

‎The very rare second printing of Ermolao Barbaro's seminal Latin translation of Themistios' paraphrases of Aristotle's ""Posterior Analytics"", ""Physics"", ""De Anima"", ""On Memory"", and ""On Dreams"", a groundbreaking key text of the Renaissance, ""which opened a new period in the interpretation of the Greek philosopher [i.e. Aristotle]"" (Lohr, p. 25). The work was partly responsible for the development of Renaissance Aristotelianism and thus Renaissance thought in general. The combination of the fact that we here have the paraphrases by one of the greatest ancient Greek commentators of the key texts of the most significant philosopher of all times, rendered into Latin by perhaps the most significant translator of the period and printed at the most crucial time for the development of early modern thought, makes this one of the most significant philosophical publications of the Renaissance. There can be no doubt as to the influence that the present publication came to have on the development Renaissance philosophy. ""The publication of Barbaro's translation of Themistius inaugurated a new period in the study of Aristotelian philosophy. In his version of Themistius' ""Paraphrases"" we encounter not simply a translation occasioned by contemporary controversies, as was often the case in the Middle Ages. Rather, Barbaro's version brings together a corpus of the commentaries of Themistius on Aristotelian philosophy: the ""Posterior Analytis"", ""Physics"", ""De anima"" and ""Parva naturalia"". (Lohr, p. 26).The first printing of the work appeared in 1480 (the same year stated at the end of each section in the present edition), and in 1499 this second printing appeared. Both printings are of the utmost scarcity and almost impossible to find. After these two incunable-editions, at least 9 new printings appeared before 1560, bearing witness to the great impact of the text, and in 1570 Hieronymus Scotos printed a new edition. ""With reference to those works of Aristotle which were and remained the center of instruction in logic and natural philosophy [i.e. The Posterior Analytics, Physics, etc.], the most important changes derived from the fact that the works of the ancient Greek commentators became completely available in Latin between the late fifteenth and the end of the sixteenth centuries and were more and more used to balance the interpretations of the medieval Arabic and Latin commentators. The Middle ages had known their works only in a very limited selection or through quotations in Averroes. Ermolao Barbaro's complete translation of Themistius and Girolamo Donato's version of Alexander's ""De Anima"" were among the most important ones in a long line of others. When modern historians speak of Alexandrism as a current within Renaissance Aristotelianism that was opposed to Averroism, they are justified in part by the fact that the Greek commentators, that is, Alexander and also Themistius, Simplicius, and many others, were increasingly drawn upon for the exposition of Aristotle."" (Kristeller, p. 45).""Equally important [as the recovery of Aristotle's ""Mechanics"" and ""Poetics""] for the continued growth of the Peripatetic synthesis was the recovery and diffusion of the Greek commentaries on Aristotle... The most important of the two dozen commentators were Alexander of Aphrodisias, Ammonius, Simplicius, Themistius, and John Philoponus. Of these five, only Alexander and Themistius were Aristotelians..."" (Copenhaver & Schmitt, p.68).Already in the Middle Ages, scholars had been aware of and used commentaries on and paraphrases of the key texts of Aristotle, but their knowledge of this was primarily based on some Latin translations and allusions, fragments, and summaries in the writings of the Muslim philosophers, e.g. Averroes. But with the emergence and translations into Latin of the ancient Greek commentators [Alexander and Themistios being the primary ones] and their paraphrases of Aristotle's texts, the Renaissance came to discover an Aristotle that would influence almost all thought of the period. The ancient Greek commentators not only had a much more thorough knowledge of classical Greek thought than would have been possible for a medieval writer, but they also had access to works that were later lost and through these ancient commentators rediscovered in the Renaissance. By the middle of the 16th century, almost all of these texts had been printed in both Greek and Latin, and these publications were of the utmost importance to the development of almost all Renaissance thought. ""Their recovery, publication, and translation took some time, but almost all circulated in Greek and Latin by the 1530'ies. They do not cover all of Aristotle, but several treat such key texts as the ""Organon"", the ""Physics"", and ""De anima"", thus making them useful ammunition in such controversies as the immortality dispute provoked by Pietro Pomponazzi and his colleagues."" (Copenhaver & Schmitt, p. 69).Among the most important texts in this tradition that influenced all thought of the era, were Themistios' paraphrases of Aristotle's seminal texts, in particular ""De Anima"", ""Posterior Analytics"", and Book Lambda (XII) of the ""Metaphysics"". ""We possess part of his [Themistios'] early work, his ""Paraphrases of Aristotle"", the portion still extant being a somewhat prolix exposition of the ""Later Analytics"", the ""Physics"", the ""De Anima"", and some minor treatises."" His paraphrase of the ""Metaphysics"", Book ""lambda"" [i.e. XII], was translated into Arabic (in century IX), and hence into Hebrew (1255), and Latin (1576)."" (Sandys, I:352).There can be no doubt about the groundbreaking character of Hermolao Barbaro's translation into Latin of almost all of Themistios' paraphrases of Aristotelian texts. Not only was Themistios considered one of the most important renderers of Aristotle's text, but Barbaro was perhaps the most influential translator of the time. His translation of Themistios' paraphrases came to dominate, directly or indirectly, almost all Aristotelian thought of the high Renaissance (from late 15th century) and he was responsible for many of the most important and influential positions on the seminal question of the immortality of the soul that dominated philosophical thought at the time. ""Through the first two-thirds of the fifteenth century, Pomponazzi's predecessors at Padua seem not to have used the ancient commentators, but philosophers of the next generation - most notably Nicoletto Vernia and Agosto Nifo - began to consult them in new translations by Ermolao Barbaro and others. Barbaro's charge that Averroes had lifted his doctrines of the soul from the commentators surely helped excite interest in them."" (Copenhaver & Schmitt p. 69). See: Kristeller, Renaissance Thought and its Sources, 1979" Copenhaver & Schmitt, Renaissance Philosophy, 1992" Charles C. Lohr, ""Latin Translations of the Greek Commentaries on Aristotle"", in: Humanism and Early Modern Philosophy, Edt. byKraye and Stone, 2000.Graesse VII:112 (erroneously stating 1491 in stead of 1499)" Brunet V:778 Hain-Copinger: 15464.‎

‎De Rerum Praenotatione libri novem. Pro veritate religionis/ contra superstittiosas vanitates editi. [Opera aurea & bracteata / Liber imaginatinis]. + Hymni Heroici tres. Ad sanctissimam trinitatem, ad Christum, et ad Virginem Mariam, una cum commenta... - [A MONUMENT OF RENAISSANCE SCEPTICISM]‎

‎Strassburg, Knobloch, 1506-7 + 1511 4to. Bound in one very nice full mottled calf binding from ab. 1800, with five raised bands to richly gilt spine. A bit of wear to extremities. Occasional browning, but all in all very nice and clean. 289 ff (without the white blanks) + (4), xcvi, (7), (4, -index & errata).‎

‎Scarce first edition of Giovanni Francesco Pico's seminal ""Opera"", issued by Pico himself, in which some of his most important works appear for the first time, e.g. ""De Rerum Praenotatione"", ""De fide ordine"" and the ""Staurostichon"" as well as his translation of Justin the Martyr's ""Admonitio"", here bound with the highly important second edition of the ""Hymni heroici tres"". The present publication occupies a central place in the development of Renaissance thought. Through the ""Opera"" of Pico, skepticism came to play a dominant role in the development of early modern thought. ""Telesio, Bruno, Galileo, and others also employed the same arguments which Pico had brought to the consciousness of Renaissance Europe. Gianfrancesco Pico's skeptical techniques did not die with him, but lived on to produce a tangible, recognizable influence on the intellectual ambience of early modern Europe."" (Schmitt, p. 7). This seminal ""Opera"", published 13 years before the publication of Pico's magnum opus (""Examen Vanitatis"") and 26 years before his death, is of the utmost importance to the development of Pico's thought and to the development of Renaissance thought in general - ""a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philosophy of the Italian Renaissance"" (Schmitt, p. (VII)). The many important works in the present publication are known under the joint title ""Opera aurea & bracteata"" or ""Liber imaginationis"". The publication is made up of 9 parts, all of which were also intended for separate sale (and which all have separate paginations). The works included are: ""De rerum praenotatione etc."", ""De fide et ordine credenda"", ""De morte Christi & propria cogitanda libri tres"", ""De studio divinae & humanae philosophiae, libri duo"", ""De imaginatione"", ""Vita Io. Pici patrui. Eiusdem de uno & ente/ defensio & alia quaepiam"", ""Epistolarum libri quattuor "", the translation of Justini's "" Admonitio "" - together with ""Saurostichon/de mysterijs Germaniae Heroico carmine"" and ""Expositio tex. decreti de con. dis.ii. Hilarii"", and then follows "" Ad lectorum "" - 6 of the works here are FIRST PRINTINGS. The second edition of the ""Hymni heroici"" is of the utmost scarcity. It originally appeared in 1507, but only the second edition also contains Pico's famous poem ""Staurosticon"".This magnificent collection of works by ""the first modern sceptic"" and ""the only serious student of Sextus before the middle of the sixteenth century"" (Copenhaver & Schmitt) constitutes a milestone in Renaissance thought. The seminal work ""De rerum praenotatione"", which appears here for the first time, is among the most important that Pico wrote. It constitutes a fierce attack upon superstition, and a defense of the true religious truths - theories that underpin ALL of his later thought and are of fundamental importance to his later works, including the ""Examen"". ""This is a lengthy work (second in length only to the ""Examen Vanitatis"" among Pico's works) against pretended modes of prophesy. It is of the same genre as Giovanni Pico's work against astrology and is dedicated to the author's cousin and protector, Alberto Pio. It was first printed in the ""opera"" of 1506-07… There is no substantial portion of the work extant in manuscript."" (Schmitt, p. 192). The ""de fide et ordine"", which also appears here for the first time, is likewise one of Pico's significant works, although not as philosophical as the previous work. ""This is a work of medium length, principally theological, but of some philosophical importance. It was dedicated to Pope Julius II in the first printed edition of 1506-07"" (Schmitt, pp. 193-94).The ""Staurostichon"" is Pico's most famous poem, dedicated to Emperor Maximilian. In spite of the few pages it takes up, it has been the subject of much debate and interpretation throughout the centuries. Apparently ""[t]he extant manuscript seems to have been made after the first printed edition [i.e. the present]."" (Schmitt, p. 196).Pico's translation of the ""Admonitio"" (which is no longer attributed to Justin the Martyr) is of great importance. ""The first printing of the translation, which is dedicated to Zanobi Acciaiuoli, was in the ""opera"" of 1506-07. It was often reprinted, remaining a standard translation for most of the sixteenth century."" (Schmitt, p. 200). The four books of Pico's letters are also printed here for the first time. ""In the three editions of the ""Opera"" are printed four books of letters. These were prepared for the edition of 1506-07 and were reprinted with few additions in the later editions. Consequently, it seems that the bulk of Pico's personal letters written after 1505 have not come down to us."" (Schmitt, p. 200). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. Just like his uncle, Gianfrancesco Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle. ""At the very beginning of the 16th century, Gian Francesco Pico, the nephew of Pico della Mirandola, had predicted the final failure of all attempts at reconciliation of the different philosophical movements. Gian Francesco Pico was a thinker of very considerable stature and a follower of Savonarola. There was a touch of tragedy about his personality. For his life was suspended, as it were, between the scaffold of Savonarola and incessant family feuds - in the course of one of which he was finally killed. No wonder that he borrowed from the scepticism of Sextus Empiricus in order to destroy philosophy to make more room for religion."" (Garin, p. 133). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. ""The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later."" (Copenhaver & Schmitt, pp. 240-41). ""No significant use of Pyrrhonian ideas prior to the printing of Sextus' ""Hypotyposes"" has turned up, except for that of Gianfrancesco Pico della Mirandola [...] His writings may seem isolated from the main development of modern skepticism that began with the publication of the Latin translations and modernized formulation of ancient scepticism offered by Michel de Montaigne. However, they represent a most curious use of skepticism that reappears in the early seventeenth century with Joseph Mede and John Dury and the followers of Jacob Boehme and in the early eighteenth century in the writings of the Chevalier Ramsay, the first patron of David Hume, to fortify or justify prophetic knowledge."" (Popkin, p. 20). Gianfr. Pico develops his sceptical arguments to their fullest extent in his ""Examen"" (1520), which is considered his main work. However, the foundation of all these ideas are laid in his earlier works, all the significant of which are present here, in his seminal ""Opera""-collection. Together, they constitute the earliest printed testimonies to the use of scepticism and a premonition of the role that scepticism came to play in Renaissance thought, primarily after the first printings of Sextus in the 1560'ies. ""The revival of ancient philosophy was particularly dramatic in the case of scepticism. This critical and anti-dogmatic way of thinking was quite important in Antiquity, but in the Middle Ages its influence faded [...] when the works of Sextus and Diogenes were recovered and read alongside texts as familiar as Cicero's ""Academia"", a new energy stirred in philosophy"" by Montaigne's time, scepticism was powerful enough to become a major force in the Renaissance heritage prepared for Descartes and his successors."" (Copenhaver & Schmitt, pp. 17-18).""Throughout the early modern period, from Ficino and Pico to Newton and Leibniz, such convictions supported a pattern of historiography that could never have emerged without the humanists, even though it did not preserve their fame for modern times. Other myths of classicism and Christianity outlived the fable of ancient theology because they conflicted less flagrantly with the findings of historyThe purpose of the ancient theology was to sanctify learning by connecting it with a still more ancient source of gentile wisdom that reinforces sacred revelation. Rather than baptize the heathens as Ficino or the older Pico wished, some early modern critics damned them, and one of the most aggressive thinkers of this school was the younger Pico. He saw an impassable gulf between Christian and pagan belief where his uncle had tried to build bridges."" (Copenhaver & Schmitt, p. 337). Schmitt Appendix Section I: nrs. 4, 13, 14, 26, 50"51 Section II: nr.11See:Charles B. Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle. 1967.Copenhaver & Schmitt: Renaissance Philosophy. 1992.Eugenio Garin: Italian Humanism. Philosophy and Civic Life in the Renaissance. Translated by Peter Munz. 1965.Richard H. Popkin: The History of Scepticism. From Savonarola to Bayle. 2003.‎

‎Music in the Art of Renaissance Italy, 1420?1540 Studies in Medieval and Early Renaissance Art History‎

‎, Brepols - Harvey Miller, 2020 Hardback IV+408 pages ., 227 colour ill., 220 x 280 mm. Languages: English. ISBN 9781912554027.‎

‎The first detailed survey of the representation of music in the art of Renaissance Italy, opening up new vistas within the social and culture history of Italian music and art in the fifteenth and early sixteenth centuries. Visual representations of music were ubiquitous in Renaissance Italy. Church interiors were enlivened by altarpieces representing biblical and heavenly musicians, placed in conjunction with the ritual song of the liturgy. The interior spaces of palaces and private houses, in which musical recreations were routine, were adorned with paintings depicting musical characters and myths of the ancient world, and with scenes of contemporary festivity in which music played a central role. Musical luminaries and dilettantes commissioned portraits symbolising their personal and social investment in musical expertise and skill. Such visual representations of music both reflected and sustained a musical culture. The strategies adopted by visual artists when depicting music in any guise betray period understandings of music shared by artists and their clients. At the same time, Renaissance Italians experienced music within a visual environment that prompted them to think about music in particular ways. This book offers the first detailed survey of the representation of music in the art of Renaissance Italy, and in the process opens up new vistas within the social and cultural history of Italian Renaissance music and art. The authors formed the team for the three-year project 'Music in the Art of Renaissance Italy, c.1420-1540' at the University of Sheffield, funded by The Leverhulme Trust. Tim Shephard is Senior Lecturer in Musicology at the University of Sheffield and a specialist in music, art and identity at the Italian Renaissance courts. Sanna Raninen is a musicologist interested in the visual and material culture of music in Renaissance Europe. Serenella Sessini is an art historian specialising in Italian domestic art. Laura Stefanescu is an art historian working on Italian Renaissance art from the perspective of sensory perception and religious experience. Table of Contents Preface 0. Introduction 1. Convergence 1.1 Sister Arts? 1.2 Corporeal and Spiritual Senses 1.3 Perspectiva, Harmony, and Beauty 1.4 Istoria, Ethics, and Imitation 1.5 Leonardo and the Paragone 2. Divine Harmonies 2.1 Angels as Musicians2.2 Heaven on Earth 2.3 Returning to Heaven2.4 Angels in the Home 2.5 David and Christ3. Classicisms3.1 Music Among the Liberal Arts3.2 Apollo and the Muses 3.3 Orpheus the Orator3.4 Marsyas and Midas3.5 Bacchus and the Art of Noise4. People 4.1 In the Garden of Venus4.2 Harmonious Marriage4.3 Singing Shepherds4.4 Musica Triumphans 4.5 Portraits 4.6 Ensembles Epilogue Bibliography Review The fruit of a sustained and cutting-edge interdisciplinary collaboration among musicologists and art historians, this book reopens unresolved issues regarding the relationship between music and the visual arts, from both sides. The authors astute analysis and ability to connect a vast array of materials and concepts." Giovanni Zanovello, Indiana University "This richly detailed, wide-ranging book provides a valuable and evocative account of the relationships between musical and visual cultures in Renaissance Italy." Flora Dennis, University of Sussex ‎

‎Annales de l'Est – 8ème série — 64ème année — N° 1 — 2014: Regards croisés sur la Lorraine et le monde à la Renaissance. ‎

‎Nancy, C. R. U. L. H., 2014 ; in-8 (161 x 241 mm), 436 pp., broché, couverture illustrée. Dossier sous la direction de Laurent JALABERT et Jean EL GAMMAL. Actes du Colloque de l’Académie de Stanislas, du vendredi 17 et samedi 18 mai 2013, au Grand Salon de l’Hôtel de Ville, à Nancy. Sommaire: Bernard GUIDOT: Introduction, p. 7./ Édition et littérature: François ROUDAUT: Aperçu sur l'édition en Lorraine au XVIème siècle, p. 21./ François LIVI: L'Europe de la poésie amoureuse au XVIème siècle. Pontus de Tyard (1521-1605), dialogue avec Le Chansonnier de Pétrarque, p. 57./ Pharmacie et médecine: Pierre LABRUDE: Botanique et pharmacie à la Renaissance, p. 73./ Sylvie BAZIN-TACCHELLA: Peste et santé publique à Nancy à la Renaissance, p. 91./ Religions: Cécile HUCHARD: Les Lorrains, étrangers ou Français? Un enjeu polémique des Guerres de religion, p. 107./ Gilbert SCHRENCK: Catherine de Bar et le retentissement de la Conférence de Nancy: le cas d'Agrippa d'Aubigné, p. 121./ Père Jacques BOMBARDIER: L'oeuvre des Jésuites en Lorraine: le rôle de saint Ignace de Loyola, p. 133./ Emblèmes et symboles: Françoise MATHIEU-ARTH: Les masques anglais. Évolution, valeurs, héritages, p. 143./ Paulette CHONÉ: Un outil emblématique pour tous usages: les deux siècles d'or du rabot, p. 157./ La Renaissance et les mentalités: Olivier MILLET: L'idée de Renaissance à la Renaissance: points de vue littéraires lorrains, p. 171./ Laurent LITZENBURGER: Temps de fêtes, temps de prières: les pratiques culturelles liées au climat à Metz (vers 1400-vers 1525), p. 187./ Géographie et environnement: Jean-Claude BONNEFONT: Parcourir la France au temps de la Renaissance, p. 205./ Jean-Pierre HUSSON: Représentations et images des villes de la Renaissance: l'exemple des cartes de Nancy, p. 223./ La Renaissance et les techniques: Philippe WALTER: Pratiques d'atelier et diffusion des savoirs techniques au début du XVIème siècle à Florence (Italie), p. 241./ Yves GALLET: L'architecture gothique en Lorraine à la veille de la Renaissance: l'apport du dessin d'architecture, p. 257./ L’Architecture: Étienne HAMON: Un Lorrain à Paris? L’architecte Jean de Felin (actif 1488-1520) et le dynamisme architectural des années 1500, p. 271./ Pierre SESMAT: Toul, berceau de l’architecture de la Renaissance en Lorraine: invention et milieu (1505-1549), p. 285./ Mélanges: Antoine FERSING: Une naissance de l’impôt. Les aides générales des duchés de Lorraine et de Bar (1580-1608), p. 305./ Laurence GUIGNARD: Contraindre à la vie, une microphysique du pouvoir dans les prisons françaises (2ème moitié du XIXème siècle), p. 339./ Jean EL GAMMAL: Détenir des pouvoirs locaux en France de la fin du XIXème siècle à nos jours, p. 355./ Souvenirs: Jean-Pol EVRARD: Alain Girardot (1939-2013), p. 369./ Thèses: Francis GRANDHOMME: Une figure lorraine: Jules Crevaux (1847-1882) et l’exploration de l’Amérique du Sud, p. 379./ Jacky KOCH: À propos d’une thèse novatrice en castellologie médiévale, p. 385./ Chroniques: Notes bibliographiques, p. 397./ Résumés: Résumés / Abstracts, p. 423. Quelques illustrations en noir et blanc.‎

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‎STUDIES IN THE RENAISSANCE, VOLUME VI (CONTENTS: Egypt and Egyptian Antiquities in the Renaissance, KARL H. DANNENFELDT. Croatian Renaissance, ANTE KADIC. Music: a Book of Knowledge in Renaissance England, GRETCHEN LUDKE FINNEY...)‎

‎The Renaissance Society of America. 1959. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 274 pages. Illustré de photos en noir et blanc hors texte.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎CONTENTS: Egypt and Egyptian Antiquities in the Renaissance, KARL H. DANNENFELDT. Croatian Renaissance, ANTE KADIC. Music: a Book of Knowledge in Renaissance England, GRETCHEN LUDKE FINNEY. Fame, Poetry and the Order of History in the Literature of the English Renaissance, EDWIN B. BENJAMIN. The ‘Angel’ of English Renaissance Literature, DONALD C. BAKER. The Poems of Galeatius Ponticus Facinus, J. F. C. RICHARDS. The Italian League, Francesco Sforza, and Charles vn (1454-1461), VINCENT ILARDI. The Decoration of a i486 Book Wrapper and its Reappearance in 1531, RUDOLF HIRSCH. Fortescue and the Renaissance: a Study in Transition, ARTHUR B. FERGUSON. Agrippa in Renaissance Italy: the Esoteric Tradition, CHARLES G. NAUERT, JR. 'At thy golg first eut of the hous vlysse the saynge thus', CURT F. BÜHLER. Notes on Early Murals in Mexico, MARTIN S. SORIA. The Influence of Thomas Watson on Elizabethan Ovidian Poetry, WALTER F. STATON, JR. Queen Elizabeth I as Oriana, ROY C. STRONG. Milton, Ficino, and the Charmides, JOHN ARTHOS. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Le beau Temps de la Renaissance - Carrefour N° 17-2 - Revue de Réflexion interdisciplinaire ( Directeur Roberto Miguelez ) fondée par la Société de philosophie de l'OutaouaisSommaire: Le "lien" magique de la beauté chez Giordano Bruno ( Lina Bolzoni ) - La beauté physique, le désir érotique et les perspectives des philosophes médecins de la Renaissance ( Donald Beecher ) - L' " accomodement " des arts en France à la Renaissance: lyrisme poétique et expressivité musicale ( Françoit Rouget ) - La beauté des dames vue par elles mêmes ( Colette H. Winn ) - La beauté dans le Miroir de Jhésus Crist crucifié de Marguerite de Navarre ( Brenda Dunn-Lardeau ) - Le Même et l'Autre dans deux recueils de nouvelles de la Renaissance française ( Diane Desrosiers-Bonin ) - Le discours sur les femmes dans les traités de la Renaissance ( Marga Cottino-Jones ) - Les plus belles femmes de la Renaissance: un choix personnel ( Isabelle Tibi ) - Article hors thème: proposition pour une lecture: la Monadologie, mise en echo, ou en miroir, du Parmenide ? ( Christophe Giolito ) ‎

‎ 1 vol in-8 broché - N° 17-2 de 1995 - 145 pages - Editions Legas ( Canada ) - Revue de Réflexion interdisciplinaire ( Directeur Roberto Miguelez ) fondée par la Société de philosophie de l'Outaouais‎

‎Bon état ‎

‎Renaissance. Histoire de France au seizième siècle. - [INVENTING THE ""RENAISSANCE""]‎

‎Paris, 1855. 8vo. Very nice contemporary diced half calf with gilt spine. Cracks to upper and lower hinges, and inner front hinge weak, but overall a very nice copy. A bit of brwning and soiling to first and last leaves and dampstaining to inner margin of first ab. 20 leaves. (10), CLX, 334 pp‎

‎First edition of this seminal work - the third in Michelet's series of ""The History of France"" - in which he coins the term ""Renaissance"" and uses it for the period of the sixteenth century as an historical period in its own right.The humanists of the period that we now call the Renaissance had a strong sense of being and doing something that was very different from that of the centuries before them"" they clearly thought of themselves as living in and creating a new epoch, re-inventing and re-using the classical Greek and Roman values. Once again they gave birth to the humanistic arts, literature, philosophy, painting, sculpting, etc. It is not a new invention of later times to view this historical epoch as something new and still something different, something worthy of the term ""Re-birth"", acknowledging both the source from which inspiration was drawn as well as the achievements of the new era.Thus, Michelet is not the first to understand what went on in this period, but still he changed our concept of it for ever - he invented the term which has not only determined this perioed ever since, but which has also been used to explain and understand all that went on in this most crucial period for modern man. It is in the present work by Michelet that he uses for the first time the noun ""Renaissance"" for this epoch and lets it refer to the discovery of world and of man in the 16th century. He not only lets the term refer to the artistic or scholarly part of the period, he lets it refer to the entire complex of changes that were taking place in this period, and he thus gives birth to the period as that of the mind and spirit of man, instead of just that of painting and learning. Michelet's work appeared at a time that allowed for it to exercise the greatest of influence. From the end of the 16th century until the middle of the 18th century, the history of the Renaissance was a field that barely existed. Only with Voltaire was some focus put on this period that we ever since Michelet have called the ""Renaissance"". Only with Michelet are we given the vocabulary to sum up this period and to describe it properly and in detail. When he publishes his work in 1855, historians and thinkers are ready to view this period as something in itself and as something worth noticing. That which Michelet thus began is that which Burchardt takes up in his ""Cultur der Renaissance in Italien"" (1860), in which ""Renaissance"" is finally characterized as the birth of modern humanity. Both Michelet and Burckhardt believed that modern, secular man is a product of the ""Renaissance"".""The terms ""restauratio"" or ""resttitutio"" had been applied by fourteenth-century Italian humanists to the revival of ancient languages and literatures, that of ""rinascita"" by Ghiberti and Vasari to the new blossoming art and architecture. In the eighteenth century Voltaire and Gibbon first saw the Italian civilization of the fourteenth to sixteenth centuries as an entity and as a determining factor in the whole course of European history. Michelet (324) in 1855 first used the term ""renaissance"" for this period as an historical epoch in its own right. Burckhardt, an admirer of both Voltaire and Gibbon, supplied the final synthesis."" (Printing and the Mind of Man, p. 211) ‎

‎Renaissance Artists and Antique Sculpture. A Handbook of Sources.New, Revised and Updated Edition ‎

‎, brepols, 2011 581 p., 530 b/w ill., 185 x 270 mm,Languages: English, Hardback with dusjacket. fine condition ! ISBN 9781905375608.‎

‎This publication offers a new, revised edition of a work that was hailed, when it first appeared, as the most useful art-historical reference book to have been published in recent decades It is a Handbook of Sources, documenting and illustrating the most significant antique works of art known to Renaissance artists. More than 500 illustrations show Greek and Roman statues, mythological and historical reliefs as well as triumphal arches together with Renaissance drawings, engravings, bronzes and paintings to demonstrate how and where these classical monuments were discovered and recorded, and how they were copied, adapted, combined and transformed into the style and iconography we now recognize as Renaissance art. The authors, Professor Phyllis Bober and Dr Ruth Rubinstein, based their selection on the Census of Antique Works of Art and Architecture known in the Renaissance, begun at the Warburg Institute in London as a reference catalogue, but continuously extended thereafter and now transferred into a modern web-based database system accessible on the internet. The auhors arranged their illustrative material and their encyclopaedic catalogue thematically, giving full descriptions and history of each antique work, listing Renaissance representations and adaptations, and citing relevant literature. In addition, the myths and legends featured in the classical works are retold briefly in each case to help the reader follow the narrative particularly in the many sarcophagus reliefs reproduced. Although the book has been reprinted twice since its first appearance, only minor revisions had until now been included. Sadly, neither author has lived to see the present publication, but corrections and additions to the Catalogue and the Appendices continued up to the time of their deaths, and Ruth Rubinstein spent the last decade of her life preparing this second edition with substantial catalogue revisions and significant additions to the Bibliography. In addition to Phyllis Bober's introductory essay, which considers the cultural impact of classical Antiquity on Renaissance masters, the handbook also includes two important Appendices: an annotated Index of Renaissance Artists and Sketchbooks, and a descriptive and illustrated Index of Renaissance Collections. ‎

‎STUDIES IN THE RENAISSANCE, VOLUME VII (CONTENTS: Recent Trends in the Economic Historiography of the Renaissance, WALLACE K. FERGUSON. The Renaissance and Historians of Science, HARCOURT BROWN. Three Interpretations of the French Renaissance...)‎

‎The Renaissance Society of America. 1960. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 240 pages. Illustré de quelques reproductions en noir et blanc dans et hors texte.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎CONTENTS: Recent Trends in the Economic Historiography of the Renaissance, WALLACE K. FERGUSON. The Renaissance and Historians of Science, HARCOURT BROWN. Three Interpretations of the French Renaissance, HENRY HORNIK. Some Unpublished Letters of the Italian Renaissance (from the Collection of Harold C. Bodman), WILLIAM H. J. KENNEDY. The Medieval 'Cycle' as History Play: an Approach to the Wakefield Plays, E. CATHERINE DUNN. A Humanist’s Image of Humanism: the Inaugural Orations of Bartolommeo della Fonte, CHARLES TRINKAUS. A Florentine Prison: Le Carceri delle Stinche, MARVIN E. WOLFGANG. The 'Taste for Tudors' since 1940, LACEY BALDWIN SMITH. An Aspect of the Renaissance in Gavin Douglas' Eneados, LOUIS BREWER HALL. Thomas More’s Use of the Dialogue Form as a Weapon of Religious Controversy, RAINER PINEAS. Spenser's House of Care: a Reinterpretation, John M. STEADMAN. The Meaning of Strawberries in Shakespeare, Lawrence J. ROSS. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎La Renaissance en Italie et en France à l'époque de Charles VIII‎

‎Ouvrage publié sous la direction et avec le concours de M. Paul d'Albert de Luynes et de Chevreuse, Duc de Chaulnes 388 gravures dans le texte et 38 planches tirées à part volume grand in-4, 270x190, reliure demi-maroquin bleu nuit à coins, petit frottement , intérieur très frais, très bel exemplaire. 560pp. P. Firmin-Didot, 1885 Le livre "La Renaissance en Italie et en France à l'époque de Charles VIII" a été écrit par Eugène Müntz, un historien de l'art français du XIXe siècle. Publié en 1885, cet ouvrage se concentre sur la période de la Renaissance en Italie et en France, en mettant l'accent sur le règne de Charles VIII de France, qui a régné de 1483 à 1498. Le livre explore les développements artistiques, culturels et historiques de la Renaissance, en se concentrant sur les échanges artistiques et intellectuels entre l'Italie et la France à l'époque de Charles VIII. Il examine comment les idées, les artistes et les influences italiennes ont été importées en France, et comment cela a contribué à la diffusion des idéaux et des styles de la Renaissance dans le pays. Eugène Müntz analyse les œuvres d'art, les artistes et les événements clés de cette période, tout en replaçant ces développements dans leur contexte historique et social. Il étudie également les mécènes, les cours royales et les cercles intellectuels qui ont favorisé l'épanouissement de la Renaissance en France. "La Renaissance en Italie et en France à l'époque de Charles VIII" est considéré comme une référence importante dans le domaine de l'histoire de l'art et de l'histoire culturelle de la Renaissance. Il offre une perspective éclairante sur les échanges artistiques entre l'Italie et la France à cette époque cruciale de l'histoire européenne.‎

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‎Pyrrhoniarum hypotyposeon libri III, Quibus in tres philosophiae partes feuerissime inquiritur. Libri magno ingenii acumine, variaque doctrina referti: Graecè nunquam, Latinè nunc primum editi, Interprete Henrico Stephano. - [INAUGURATING THE SCEPTICAL REVOLUTION OF THE RENAISSANCE]‎

‎(Geneva), Henricus Stephanus (Estienne), H. Fugger (typogr.) 1562. 8vo. Near contemporary full calf with richly gilt spine. All edges of boards gilt. Wear to extremities and hinges, but overall tight and fine. Old owner's name to title-page and a stamp to blank margin (""Teres etque Rotundus"")). A few early underlinings. Two leaves with a damp stain, otherwise unusually nice and clean. Title-page slightly soiled. Woodcut printer's device to title-page and woodcut initials. 288 pp.‎

‎The very rare hugely influential first edition of one of the single most important printings in the history of Western thought, namely the very first appearance in print of any of Sextus Empiricus' works, his great ""Hypotyposes"". This seminal printing inaugurated a new era in the history of Western thought. Together with the second edition of the work (by Hervet, 1569, with which the ""Adversos Mathematicos"" also appeared), the first appearance of Sextus Empiricus' work profoundly influenced the thought of Bruno, Montaigne, Descartes, as well as many other pivotal thinkers of the modern era, and caused Sextus to be viewed as ""the father of modern philosophy"".""The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later."" (Copenhaver & Schmitt, pp. 240-41). Apart from being of seminal importance to the development of modern thought, the work is of the utmost scarcity and constitutes one of the rarest of all Estienne books. ""The first printed edition was by Henri Estienne (Stephanus) in 1562 of Sextus' ""Hypotyposes"". A second printed Latin edition of the ""Hypotyposes"" plus ""Adversus Mathematicos"" appeared in 1569. The text of the ""Hypotyposes is that of Estienne, the translation of ""Adversus Methematicos"" was done by French counter-reformer and theologian, Gentian Hervet... The Greek text was not published until 1621 by the Chouet brothers."" (Popkin, p. 18).Having been almost completely neglected throughout the entire Middle Ages and the early Renaissance, the first printing of Sextus' work in 1562 is almost solely responsible for the inauguration of a new skeptical era that came to profoundly influence almost all thinking of the centuries to follow. ""As the only Greek Pyrrhonian sceptic whose works survived, he came to have a dramatic role in the formation of modern thought. The historical accident of the rediscovery of his works at precisely the moment when the skeptical problem of the criterion had been raised gave the ideas of Sextus a sudden and greater prominence than they had ever before or were ever to have again. Thus, Sextus, a recently discovered oddity, metamorphosed into ""le divin Sexte"", who, by the end of the seventeenth century, was regarded as the father of modern philosophy. Moreover, in the late sixteenth and seventeenth centuries, the effect of his thoughts upon the problem of the criterion stimulated a quest for certainty that gave rise to the new rationalism of René Descartes and the ""constructive skepticism"" of Pierre Gassendi and Martin Mersenne."" (Popkin, p. 18).The discovery and dissemination of these foundational texts was nothing less than a epiphany. Scepticism was immediately absorbed into Renaissance thinking and quickly became a dominant strand of thought. ""The revival of ancient philosophy was particularly dramatic in the case of scepticism. This critical and anti-dogmatic way of thinking was quite important in Antiquity, but in the Middle Ages its influence faded [...] when the works of Sextus and Diogenes were recovered and read alongside texts as familiar as Cicero's ""Academia"", a new energy stirred in philosophy"" by Montaigne's time, scepticism was powerful enough to become a major force in the Renaissance heritage prepared for Descartes and his successors."" (Copenhaver & Schmitt, pp. 17-18). ""No discovery of the Renaissance remains livelier in modern philosophy than scepticism"". (Copenhaver & Schmitt, p. 338). ""The revived skepticism of Sextus Empiricus was the strongest single agent of disbelief"". (ibid., p. 346). Our knowledge of ancient scepticism comes almost solely from Sextus, who is introduced to the Renaissance in 1562 with this first printing of any of his works. From then on, skepticism grew rapidly, determining the course of much modern thought.""Ancient Scepticism had a number of followers in the renaissance, especially in the sixteenth century, when the writings of Sextus became more widely known. [...] Scepticism in matters of religion is by no means incompatible with religious faith, as the example of Augustine may show"" consequently this position had many more followers during the sixteenth century than is usually realized. The chief expression of this sceptical ethics is found in some of the essays of Montaigne, and in the writings of his pupil, Pierre Charon."" (Kristeller, p. 36).Adams: 1027. See:Kristeller: ""Renaissance Thought II. Papers on Humanism and the Arts"", 1965.Popkin: ""The History of Scepticism. From Savonarola to Bayle"", 2003.Copenhaver & Schmitt: ""Renaissance Philosophy"", 1992.‎

‎Die Cultur der Renaissance in Italien. - [FOUNDING THE HISTORICAL STUDY OF THE RENAISSANCE - PMM 347]‎

‎Basel, 1860. 8vo. A little later green half cloth with a recent printed paper title-label to spine. Brownspotting to some leaves. Some underlinings and maginal annotations, all in pencil. Near contemporary annotations/description pasted on to verso of dedication-leaf. (4), 576 pp.‎

‎The scarce first edition of Burckhardt's main work, the groundbreaking work on the culture of the Renaissance, which helped found the historical study of this previously much overlooked era. "" ""The most penetrating and subtle treatise on the history of civilization"", in Lord Acton's words, ""a mere essay"", as Burckhardt himself called it, ""The Civilization of the Renaissance in Ittaly"" has, for more than a century, determined the general conception of thirteenth- to fifteenth-century Italy."" (PMM p. 210)This classic of Renaissance historiography is of the greatest importance to the development of the history of the Renaissance and of history of art and culture in general. More specifically, Burckhardt here establishes the fact that the Renaissance came first in developing the human individuality to the highest degree. He places the earliest signs of ""the modern European Spirit"" in Florence, which was a great contributing factor to the comprehension of this city as representing one of the highlights of European culture.The Swiss historian of art and culture, Jacob Chrisoph Burckhardt (1818-1897), contributed seminally to the historiography of these two fields. He is considered the discoverer of the Renaissance, and with his main work he founded the study of thirteenth- to fifteenth-century Italy and thereby the historical study of the Renaissance, the society of which he dealt with all aspects of. In general, Burckhardt's works all constitute an original historical approach to the study of art, culture, social institutions etc. As a highly respected scholar of Greek civilization, Burckhardt, with his original historiographical approach, was highly admired by Nietzsche, who also attended his lectures. The two kept in contact and corresponded frequently. Like Nietzsche, Burckhardt was a great admirer of Schopenhauer, and he greatly opposed the Hegelian interpretations of history.""... as in the case of other great historians such as Gibbon, Ranke, Macaulay, no criticism of details can detract from the powerful spell which Burckhardt's book has exercised upon such widely different writers as Ruskin, Nietzsche and Gobineau, as well as upon innumerable lovers of the most magnificent period of European history."" (PMM).Printing and the Mind of Man 347.‎

‎Crossing Boundaries. Issues of Cultural and Individual Identities in the Middle Ages and the Renaissance,‎

‎Turnhout, Brepols, 1999 Hardback, XII+283 p., 15 b/w ill., 2 b/w tables, + 2 music scores, 160 x 240 mm. ISBN 9782503508184.‎

‎The essays collected here cover a range of topics and periods, and have in common the concept of boundaries, which is defined according to discipline, and movement through boundaries. The essays collected here have in common the concept of boundaries, which is defined according to discipline, and movement through boundaries. The essays cover a range of topics and periods. The first section consists of literary approaches to boundaries, ranging widely in subject matter from Norman drama to sixteenth-century goodnight ballads. The second section includes mainly historical studies of such topics as social mobility in Geoffrey of Monmouth's twelfth-century History of the Kings of Britain, post-1453 Byzantine identity, and Milanese Renaissance musical genres. Individually and as a group, the essays contribute fresh insights into well-known and some less familiar works of the Middle Ages and the Renaissance. Contributions include: Linda Georgianna, 'Geoffrey of Monmouth's Historia regum Britanniae: lessons in self-fashioning for the bastards of Britain'; Robert L.A. Clark, 'Eve and her audience in the Anglo-Norman Adam'; John Damon, 'Seinte Cecile and Cristes owene knyghtes: violence, resignation, and resistance in the Second Nun's Tale'; Elaine R. Miller, 'Linguistic identity in the Middle Ages: the case of the Spanish Jews'; Emily Steiner, 'Medieval documentary poetics and Langland's authorial identity'; Patricia Marby Harrison, 'Religious rhetoric as resistance in Early Modern goodnight ballads'; Jami Ake, 'Mary Wroth's willow poetics: revising female desire in Pamphilia to Amphilanthus'; Annabel Patterson, '"The human face divine": identity and the portrait from Locke to Chaucer'; Jonathan Harris, 'Common language and the common good: aspects of identity among Byzantine emigres in Renaissance Italy'; Nolan Gasser, 'Beata et venerabilis Virgo: music and devotion in Renaissance Milan'; Elspeth Whitney, 'Sex, lies, and depositions: Pierre de Lancre's vision of the witches' sabbath'; Laura Hunt Yungblut, '"Straungers and aliaunts": the "un-English" among the English in Elizabethan England'. New.‎

‎Politics of Exclusion in Early Renaissance Florence ,‎

‎Turnhout, Brepols, 2007 Hardback, XIV+298 p., 160 x 240 mm. ISBN 9782503523897.‎

‎No previous work has examined political exclusion in Early Renaissance Florence or its significance for the transition from Florentine popular government to oligarchy. Between the fourteenth and the first half of the fifteenth century, political exclusion became a normal feature of political life, regardless of the type of political regime; it was an essential instrument by which new governments consolidated their control over the city and the countryside in one of the largest and most powerful cities of Early Renaissance Europe. Exclusion from the Republic of Florence... separation from friends and family, business and property, coupled with the degradation of public humiliation... engendered a new outlook on life. In Early Renaissance Florence, excluded citizens across social classes became common outlaws, no different for common criminals prosecuted for heresy, blasphemy, gambling, or sexual deviance. By investigating these practices and attitudes of Early Renaissance Florence, this book shows the dark side of Renaissance republicanism: its fear of political dissent in any form and its means to crush it at all costs. This study of the other side of Renaissance republicanism presents a new and crucial chapter in Renaissance history. Languages : English. ‎

‎STUDIES IN THE RENAISSANCE, VOLUME III (Contents: The Rise of Secular Drama in the Renaissance, Leicester Bradner. A Rhetorical Pattern in Renaissance and Baroque Poetry, J.G. Fucilla. Freedom and Determinism in Renaissance Historians, M.P. Gilmore...)‎

‎The Renaissance Society of America. 1956. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 184 pages.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Contents: The Rise of Secular Drama in the Renaissance, Leicester Bradner. A Rhetorical Pattern in Renaissance and Baroque Poetry, Joseph G. Fucilla. Freedom and Determinism in Renaissance Historians, Myron P. Gilmore. Sir Thomas More’s Life of Pico della Mirandola, Stanford E. Lehmberg. Seyssel, Machiavelli, and Polybius vi: the Mystery of the Missing Translation, J. H. Hexter. Holbein’s Pictures of Death and the Reformation at Lyons, Natalie Zemon Davis. The Scale of Man, Edgar C. Knowlton. Lipsius and the Art of Letter-Writing, E. Catherine Dunn. Samuel Daniel’s Method of Writing History, Rudolf B. Gottfried. A Note on Religio Medici and some of its Critics, Joan Bennett. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Bibliographie internationale de l'Humanisme et de la Renaissance - Fédération internationale de Sociétés et Instituts pour l'étude de la Renaissance - Ouvrage publié sur la recommandation du Conseil International de la Philosophie et des Sciences Humaines avec le concours du Fonds National de la Recherche Scientifique et de l'U.N.E.S.C.O. XVIII Travaux parus en 1982‎

‎ in-8 broché - 1986 - 781 pages - Ed. Librairie Droz, Genève‎

‎bon état ‎

‎Panofsky Erwin. Renaissance And Renaissance In Western Art. In English (ask us i‎

‎Panofsky Erwin. Renaissance And Renaissance In Western Art. In English (ask us if in doubt)/Panofsky Erwin. Renaissance And Renascences In Western Art.Renaissance and Renaissance in Western Art Stockholm Almquist Wiksel Gebers Forlag AB 1960 388 p.. SKUalbb06eebe596e5b42f.‎

‎"Series: Renaissance Culture. Book in Renaissance Culture (2002); Humanistic Thou"‎

‎Series: Renaissance Culture. Book in Renaissance Culture (2002). Humanistic Thought of the Italian Renaissance (2004). Theatre and Theatre in Renaissance Culture (2005). Francesco Petrarca and European Culture (2007). Images of Love and Beauty in Renaissance Culture (2) In Russian (ask us if in doubt)/Seriya: Kul'tura Vozrozhdeniya. Kniga v kul'ture Vozrozhdeniya (2002 g.). Gumanisticheskaya mysl' ital'yanskogo Vozrozhdeniya (2004 g.). Teatr i teatral'nost' v kul'ture Vozrozhdeniya (2005 g.). Franchesko Petrarka i evropeyskaya kul'tura (2007 g.). Obrazy lyubvi i krasoty v kul'ture Vozrozhdeniya (2 Moscow Nauka. 2002-2010. 270 p. SKUalb93f85219da269075.‎

‎Future of the Middle Ages and the Renaissance. Problems, Trends, and Opportunities for Research,‎

‎Turnhout, Brepols, 1999 Hardback, XVI+194 p., 160 x 240 mm. ISBN 9782503508054.‎

‎This volume contains a selection of essays, reflecting a broad range of interests in medieval and Renaissance studies, yet focusing on problems, trends, and opportunities for research. This volume, containing a selection of essays from ACMRS's 1996 conference, reflects a broad range of interests in medieval and Renaissance studies. Although most of the eleven essays address western European topics, one essay deals with Byzantine political and theological histroy, and one touches on Arabic poetry in medieval Sicily. The chronological range is also broad, extending from the seventh to the twentieth century and including topics from an early Byzantine polemicist to the recent growing interest in medievalism, and from critical readings of early texts to implications of computer technology for future manuscript study. In some significant ways the volume continues earlier discussions of the state of the profession, such as those in William D. Paden (ed.), The Future of the Middle Ages, and John Van Engen (ed.), The Past and Future of Medieval Studies. More generally, this second volume in the ASMAR series extends the theme of the first, Reinventing the Past, and makes fresh contributions to the scholarship on a number of problems. If the current volume provides a reliable gauge for the future of medieval and Renaissance studies, we are on the verge of new beginnings, increasingly outward-looking, reexamining and redefining old boundaries to reach a new and sharpened understanding of the past. The contributions are: 'A panel discussion among Leslie J. Workman, T.A. Shippey, Allen J. Frantzen, Richard J. Utz, William D. Paden, and Arthur F. Kinney'; Marcia L. Colish, 'Re-envisioning the Middle Ages: a view from intellectual history'; Judith Barad, 'The ontology of animal rights'; Pamela Clements, 'Shape-shifting and gender-bending: Merlin's last laugh at silence'; Joan Grenier-Winthur, 'Lectio multiplicior, lectio potior: On the form and impact of electronic hypermedia editions'; L.S.B. MacCoull, 'George of Pisidia, Against Severus: in praise of Heraclius'; Karla Mallette, 'Arabic and Italian lyric in medieval Sicily'; Richard. New.‎