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The Roman Collegia
This volume maintains that contemporary events, ideologies, and institutions have shaped scholarly work on the ancient Roman collegia, a group of institutions known principally from epigraphic and legal sources. It traces the origins of thinking on the subject from the creation of the Corpus Inscriptionum Latinarum through the political and social movements of the 19th and 20th centuries in Western Europe. The bulk of the book focuses particularly on the intersection of scholarship and economic theory in Fascist Italy, as the collegia were analysed by the Istituto di Studi Romani, incorporated into the Mostra Augustea della Romanità, and ultimately championed by the Minister of National Education, Giuseppe Bottai, in 1939.
Giambattista Tiepolo, 1696-1770 : [Venice, Museum of Ca' Rezzonico, from September 5 to December 9, 1996] : The Metropolitan Museum of Art, New York, [from January 24 to April 27, 1997]
Published in conjunction with an exhibit which opened in Venice in 1996 and at the Metropolitan Museum of Art in New York during the first part of 1997. The exhibit organizers aimed to show Tiepolo as one of the presiding geniuses of the European imagination. In essays and entries on every work shown, the text illuminates his formation; his mastery of mythological and poetic subjects; his religious pictures; his excursions into portraiture and studies of ideal heads; and the process by which he proceeded from initial ideas--small- scale sketches--to large canvases and frescoes. Beautifully produced, the volume makes a stunning impact, and will have to suffice for those who can't make it to the exhibit itself. Distributed by Abrams. 10x12"Annotation copyrighted by Book News, Inc., Portland, OR
Augusto Augurio
Studies in Roman Law and Religion offered to Jerzy Linderski on his seventieth birthday. Contents Praefatio Introduction: Doctus vir et perfectus magister; Dissertationes inaugurales et theses magistrales auspiciis Jerzy Linderski confectae; A bibliothecis; Jerzy Linderski: Bibliographia generalis Frances Hickson-Hahn: The Politics of Thanksgiving Timothy J. Moore: Confusing the Gods: Plautus, Cistellaria 512-527 Christopher Michael McDonough: The Pricing of Sacrificial Meat: Eidolothuton, the Ara Maxima, and Useful Misinformation from Servius Hans-Friedrich Mueller: Nocturni coetus in 494 BC M. Panciera: Livy, conubium, and Plebeians' Access to the Consulship Michael Johnson: A Witticism of Antoninus Caracalla? Jonathan S. Perry: In honorem Theodori Mommseni: G. B. de Rossi and the collegia funeraticia Daniel J. Gargola: The Ritual of Centuriation Tadeusz Mazurek: The decemviri sacris faciundis: Supplication and Prediction C. F. Konrad: Vellere signa.
The Glory of Venice
Venice, home of Tiepolo, Canaletto, Piranesi, Piazzetta, and Guardi, was the most artistic city of 18th-century Italy. This beautiful book examines the whole range of the arts in Venice during the period, including paintings, pastels and gouaches, drawings and watercolors, prints and illustrated books and sculpture. Beautifully illustrated.
Language and Learning in Renaissance Italy
Language was the Italian humanists’ stock-in-trade, rhetoric their core discipline. In this volume Professor Monfasani collects together his most important articles on these subjects. One group of these, including two review essays, focuses specifically on the humanist Lorenzo Valla and on his philosophy of language. The third section of the book opens out the coverage of Italian Renaissance cultural history and includes studies of several new texts - among them a description of the decoration of the Sistine Chapel, and a call for press censorship - and of the religious culture of mid-15th-century Rome. Le langage était l’instrumet de base des humanistes italiens, la rhétorique leur di...
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The Chamber Cantatas of Antonio Vivaldi
Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.
