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The description for this book, Farnese Gallery, will be forthcoming.

Mimicking the appearance of flattened stones set in concrete, the Merola Tile Farnese Amalfi Grafito 11-1/2 in. x 11-1/2 in. Porcelain Floor and Wall Tile offers a natural look for virtually any space. With a grey background reminiscent of a stony river bottom, this tile has a smooth but slip-resistant surface. Varying stones are printed into the surface, offering a level surface for walking on. This large porcelain slab is rectified, or ground down for precise sizing every time. Great for interior and exterior use, this tile can be used in showers, kitchens, and on patios or fireplaces. Color: Grafito / Low Sheen.

Add a natural touch to your home with the Merola Tile Farnese Amalfi Humo 11-1/2 in. x 11-1/2 in. Porcelain Floor and Wall Tile. Stones of varying sizes are printed in the surface, providing smooth walking and mimicking the look of cut stones set in concrete. The light gray background resembles a river bottom. This tile is ground down to give you precise sizing every time. Designed for both interior and exterior use, it's perfect for kitchens, bathrooms, patios or fireplaces. Color: Humo / Low Sheen.

Mimicking the appearance of flattened stones set in concrete, the Merola Tile Farnese Aventino Crema 11-1/2 in. x 11-1/2 in. Porcelain Floor and Wall Tile offers a natural look for virtually any space. With a light beige background reminiscent of a stony river bottom, this tile has a smooth but slip-resistant surface. Varying stones are printed into the surface, offering a level surface for walking on. Geometric stars are printed across the entire surface, offering a modern look to this otherwise rustic design. This large porcelain slab is rectified, or ground down for precise sizing every time. Great for interior and exterior use, this tile can be used in showers, kitchens, and on patios or fireplaces. Color: Crema / Low Sheen.

Add a natural touch to your home with the Merola Tile Farnese Amalfi Azul 11-1/2 in. x 11-1/2 in. Porcelain Floor and Wall Tile. Stones of varying sizes are printed in the surface, providing smooth walking and mimicking the look of cut stones set in concrete. The light blue background resembles a river bottom. This tile is ground down to give you precise sizing every time. Designed for both interior and exterior use, it's perfect for kitchens, bathrooms, patios or fireplaces. Color: Azul / Low Sheen.

Jacket edges are lightly worn. Spine is tight. Inside is clean and unmarked.

Substantial catalogue of an exhibition 17 December 2010 - 27 April 2011. Includes essays and catalogue entries on the history of the Palazzo and its collections. Text in French. 478 pages, ill. (mostly colour) ; 26 cm. Slight shelf wear to edges, previous owner's signature and date on front free endpaper, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging. Heavy book, will require extra postage for overseas purchase.

Avec la collaboration de M.Hochmann, P.Sénéchal. cm.23x31, pp.408, Coll.Le Palais Farnèse,III,3. Roma, Ecole Française de Rome cm.23x31, pp.408, brossura sovraccop.fig. a col. Coll.Le Palais Farnèse,III,3.

The magnificent frescoes in chapels and town halls across Italy together represent one of the greatest achievements of Renaissance art. Commissioned both by private patrons and by the Church, artists responded with images of matchless beauty. Leading scholars treat the works selected for this series in their artistic and historical contexts; each cycle is illustrated with a complete set of the highest quality color reproductions.

Colorno, Palazzo Ducale, 19 settembre- 29 novembre 1998Num Pagine 241

During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardinal Alessandro Farnese, the wealthy and powerful grandson of Pope Paul III, was the city's most important individual patron of the visual arts. For over fifty years Farnese commissioned buildings and paintings of the highest quality from the major artists active in the city.Using a wealth of hitherto unpublished material, Clare Robertson provides the first thorough reconstruction of Farnese's development and influence as a patron, at the same time, raising important questions about the attitudes and motives of Renaissance patrons and challenging a number of current art-historical assumptions about patronage. She shows how Farnese began his patronage with costly works of decorative art and thus embarked on an extensive campaign of secular commissions from artists such as Titian, Vasari, and Taddeo Zuccaro. His secular patronage culminated with his magnificent villa at Caprarola, designed by Vignola. Only in the 1560s, after some thirty years as a Cardinal, did he turn to commissions for religious works, mainly in response to Counter Reformation pressures and because of his fervent desire to become Pope. The emphasis of his patronage then changed dramatically as he embarked on building an impressive number of new churches, including the Gesu, the most influential church of the late sixteenth century.This handsomely illustrated study of a major artistic figure will be indispensable to students and scholars of sixteenth-century Italy and its art.

During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardinal Alessandro Farnese, the wealthy and powerful grandson of Pope Paul III, was the city's most important individual patron of the visual arts. For over fifty years Farnese commissioned buildings and paintings of the highest quality from the major artists active in the city.Using a wealth of hitherto unpublished material, Clare Robertson provides the first thorough reconstruction of Farnese's development and influence as a patron, at the same time, raising important questions about the attitudes and motives of Renaissance patrons and challenging a number of current art-historical assumptions about patronage. She shows how Farnese began his patronage with costly works of decorative art and thus embarked on an extensive campaign of secular commissions from artists such as Titian, Vasari, and Taddeo Zuccaro. His secular patronage culminated with his magnificent villa at Caprarola, designed by Vignola. Only in the 1560s, after some thirty years as a Cardinal, did he turn to commissions for religious works, mainly in response to Counter Reformation pressures and because of his fervent desire to become Pope. The emphasis of his patronage then changed dramatically as he embarked on building an impressive number of new churches, including the Gesu, the most influential church of the late sixteenth century.This handsomely illustrated study of a major artistic figure will be indispensable to students and scholars of sixteenth-century Italy and its art.

The Hero of Italy examines a salient episode in Italy's Thirty Years' War with Spain and France, whereby the young duke Odoardo Farnese of Parma embraced the French alliance, only to experience defeat and occupation after two tumultuous years (1635-1637). Gregory Hanlon stresses the narrative of events unfolding in northern Italy, examining the participation of the little state in these epic European events. The first chapter describes the constitution of Cardinal Richelieu's anti-Habsburg alliance and Odoardo's eagerness to be part of it. A chapter on the Parman professional army, based on an extraordinary collection of company roster-books, sheds light on the identity of over 13,000 individuals, soldier by soldier, the origin and background of their officers, the conditions of their lodgings, and the good state of their equipment. Chapter three follows the first campaign of 1635 alongside French and Savoyard contingents at the failed siege of Valenza, and the logistical difficulties of organizing such large-scale operations. Another chapter examines the financial expedients the duchy adopted to fend off incursions on all its borders in 1636, and how militia contingents on both sides were drawn into the fighting. A final chapter relates the Spanish invasion and occupation which forced duke Odoardo to make a separate peace. The volume includes a detailed assessment of the impact of war on civilians based on parish registers for city and country. The application of the laws of war was largely nullified by widespread starvation, disease and routine sex-selective infanticide. These quantitative analyses, supported by maps and tables, are among the most detailed anywhere in Europe in the era of the Thirty Years' War.

The magnificent frescoes in chapels and town halls across Italy together represent one of the greatest achievements of Renaissance art. Commissioned both by private patrons and by the Church, artists responded with images of matchless beauty. Leading scholars treat the works selected for this series in their artistic and historical contexts; each cycle is illustrated with a complete set of the highest quality color reproductions.

The Hero of Italy examines a salient episode in Italy's Thirty Years' War with Spain and France, whereby the young duke Odoardo Farnese of Parma embraced the French alliance, only to experience defeat and occupation after two tumultuous years (1635-1637). Gregory Hanlon stresses the narrative of events unfolding in northern Italy, examining the participation of the little state in these epic European events. The first chapter describes the constitution of Cardinal Richelieu's anti-Habsburg alliance and Odoardo's eagerness to be part of it. A chapter on the Parman professional army, based on an extraordinary collection of company roster-books, sheds light on the identity of over 13,000 individuals, soldier by soldier, the origin and background of their officers, the conditions of their lodgings, and the good state of their equipment. Chapter three follows the first campaign of 1635 alongside French and Savoyard contingents at the failed siege of Valenza, and the logistical difficulties of organizing such large-scale operations. Another chapter examines the financial expedients the duchy adopted to fend off incursions on all its borders in 1636, and how militia contingents on both sides were drawn into the fighting. A final chapter relates the Spanish invasion and occupation which forced duke Odoardo to make a separate peace. The volume includes a detailed assessment of the impact of war on civilians based on parish registers for city and country. The application of the laws of war was largely nullified by widespread starvation, disease and routine sex-selective infanticide. These quantitative analyses, supported by maps and tables, are among the most detailed anywhere in Europe in the era of the Thirty Years' War.

The Tazza Farnese is one of the most admired objects from classical antiquity. A libation bowl carved from banded agate, it features Medusa's head on its outside and, inside, an assembly of Egyptian gods. For more than two millennia, these radiant figures have mesmerized emperors and artists, popes and thieves, merchants and museum goers.In this, the first book-length account of this renowned masterpiece, Marina Belozerskaya traces its fascinating journey through history. That it has survived at all is a miracle. The Tazza's origins date back to Ptolemaic Egypt where it likely enhanced the power and prestige of Cleopatra. After her defeat by Emperor Augustus, the bowl began an amazing itinerary along many flashpoints in world history. It likely traveled from Rome to Constantinople. After that city's sack by crusaders in 1204, it returned west to inspire the classical revival at the court of Holy Roman Emperor Frederick II at Palermo. The Tazza next graced Tamerlane's court at Samarqand, before becoming an obsession of Renaissance popes and princes. It witnessed the rediscovery of Pompeii and Herculaneum, the turbulent aftermath of the French Revolution, and the birth of the modern Italian state. Throughout its journey, the Tazza aroused the lust of Greek, Roman, Byzantine, and Mongol rulers, consoled a heart-broken duchess, inspired artists including Botticelli and Raphael, tempted spies and thieves, and drew the ire of a deranged museum guard who nearly destroyed it. More than a biography of the world's most cherished bowl, Medusa's Gaze is a vivid and delightful voyage through history.

Catalogo della mostra aperta presso i Musei Capitolini - Palazzo Caffarelli dal 19 maggio al 10 settembre 2017 La mostra che inauguriamo ai Musei Capitolini porta all'attenzione del pubblico quello stupefacente periodo, uno dei pi?? fecondi della cultura romana, che vide alla fine del Quattrocento il tessuto dell'??lite culturale e politica attraversato da un grande fermento umanistico, propugnato dagli intellettuali, ma fortemente controllato da una Curia romana che interpreta s?? stessa come nuova Atene. Il filo conduttore dell'esposizione ?? il tentativo di riconoscere nelle lettere e nelle arti dell'epoca quella memoria della Roma antica, repubblicana e imperiale, sulla base della quale la Chiesa andava delineando il proprio "rinascimento" politico e religioso. I protagonisti della mostra, gi?? indicati nell'intrigante titolo "Pintoricchio pittore dei Borgia. Il mistero svelato di Giulia Farnese", sono Bernardino di Betto, detto il Pintoricchio (Perugia c. 1454 - Siena 1513), uno degli artisti pi?? estrosi del nostro Rinascimento, "occhio di gazza" come lo defin?? magistralmente Lionello Venturi gi?? nel 1913, e il neoeletto papa Alessandro VI (Rodrigo Borgia, 1492-1503), notis-sima e controversa figura di pontefice che ebbe, tuttavia, tra i suoi meriti quello di richiamare a Roma l'artista umbro a decorare il suo nuovo appartamento in Vaticano. Il Pintoricchio fu un artista protagonista del suo tempo capace di affrontare tutti i nodi centrali della pittura italiana del Quattrocento. Si ciment??, infatti, proponendo nuove soluzioni precorritrici di promettenti sviluppi, nella prospettiva lineare, nella pittura di paesaggio, nella pittura di storia, nella pittura di volte e soffitti, nello studio dell'antico. In tutti questi campi il Pintoricchio si dimostra spigliato, originale e anticonvenzionale; usando la felice espressione di Claudio Strinati, Bernardino di Betto ... La descrizione continua sul sito www.gangemieditore.it

cm.23x28, pp.XXII,445, 626 ill.in bn.ft., Collection de l'Ecole Française de Rome,71. Romea, Ecole Française de Rome, Palais Farnèse cm.23x28, pp.XXII,445, 626 ill.in bn.ft., brossura, cop.fig.con bandelle. Collection de l'Ecole Française de Rome,71. brossura, cop.fig.con bandelle.

cm.17x24, pp.XII,681, Bibliothèque des Ecoles françaises d'Athènes et de Rome, Fasc.306. Roma, Ecole Française de Rome, Palais Farnèse cm.17x24, pp.XII,681, legatura ed.cartonata, cop.fig. Allo stato di nuovo. Bibliothèque des Ecoles françaises d'Athènes et de Rome, Fasc.306. legatura ed.cartonata, cop.fig. Allo stato di nuovo.

Locked up in the Farnèse tower, Fabrice del Dongo communicates with the Sanseverina via light signals, using the alla Monaca alphabet to transmit the message in code. Using the logic of philosophical, poetic, and political encoding, this work undertakes a socio-critical reading of the Stendhalian text.