It appears to be french style as the original artist and the chromolitograph. Do you know any artists who did works of this nature?
I have the Chromolithograph, Correggio's Magdalena from L. Can you give me an estimated value. I have a piece of art by A B Frost. Maybe someone could help me I have a picture that I think is a chromolithograph. The artist signature is either P.
Holiday or C. I am unsure. Any ideas? It is a picture of a Dutch style thatches roofed cottage house. Hi, I have an old scraps album dated It has beautiful and big chromolithographs but the glossy is weared, mayby due to the humidity.
Visible Spirit - Bernini
Do you know how can I restore the glossy of these old scraps? I have a chromolith of the print at the very top of this page.
Anyone know anything more about this one? What's it's worth? Here is the information on the print at the top of the blog: Genre scene by E. Washington: Chas. Taylor and Co, Chromolithograph by Chas.
Crosby, Boston. A charming scene by the Boston chromolithographer, Charles H. This image shows an idyllic lakeside scene with a family on a lake in a row boat, led by their father effecting a Washington-like stance, approaching the grandparents watching from the shore.
Other happy figures complete this wonderful picture of American Victorian life. It has typical "decorative" value for such a print, as explain in the blog about decorative prints. Hi - I have 6 chromolithographs by A. Frost each depicting a golfer. Any idea what they might be worth? I am not aware of Frost chromolithographs.
I do know of some Frost colored golfing prints, but they are dot matrix prints you can see small dots in the image when you look under magnification. Those prints have what we call "decorative" value. How do I clean the print and do you know what the value might be? Do you have any info on the publishing company that you can share?
This print has what we call "decorative" value, meaning that it is worth what someone would pay for a print that looks like it does. It does not have any particular collectors value, but still will have some value as it is a nice print. You have to be very careful cleaning prints as it is easy to damage them.This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.
This file was produced from images generously made available by The Internet Archive. Cristo riposa sopra il tuo braccio come sopra un trono eccelso a governare il creato. Tu, che puoi tutto, abbi misericordia di me!
Misericordia dunque, misericordia di me! Tu, che hai una lacrima per ogni sventura; — tu, che dalla miseria a soccorrere i miseri apprendesti; — tu, che possiedi una consolazione per ogni tribolato, un buon consiglio per ogni traviato, un soccorso per qualunque fallo, una difesa a qualsivoglia colpa, tu sarai sorda solamente per me?
Le laudi dei celicoli ti hanno reso forse molesti i gemiti dei tuoi divoti? Madre del tuo Creatore, ti sarebbe per avventura incresciuta la tua origine terrena? Me misera! In te sola confido. Ho io profferito amore? E se io, disperata ormai di superare la corrente, mi lasciassi sopraffare dalle acque?
Se, anima piena di amarezza, io ardissi fuggire dal tristo carcere del corpo? Se prima della chiamata io disciogliessi le ali fuori della vita, e riparassi sotto il manto del perdono di Dio?
E di vero, non sono io intieramente corrotta? Dio non penetra nei nostri cuori, e non vede come li abbia rosi il peccato? Sia che io rimanga, o che fugga; sia che mi abbandoni, o che resista, Isabella, tu sei dannata Se io non valgo a rompere, voglio mordere almeno questo fato di ferro. Non ho combattuto, e non combatto tuttora? In che peccai, se non mi basta la lena a portare questa croce?
Queste ed altre parole in parte profferiva, in parte mormorava fra i denti una giovane donna bellissima di forme, davanti la immagine della Madonna, opera divina di Frate Angelico. Il quale concetto esteso ad ogni maniera di azioni, sopra modo accoglievano nelle cose di amore. Borea imperversa per lo emisfero e pei mari, e un turbine di gragnuola forte percuote la casa del poeta. Apre Anacreonte la porta, e comparisce un fanciullo, molle di pioggia, e pel dolore allibito: povero fanciullo!
Anacreonte improvviso si sente ferito prima di accorgersi che Amore irridendo abbandonava la sua casa. Forse non crediamo noi, che la prima madre venisse tentata dal serpente? Noi fidiamo troppo, o troppo poco, in noi stessi. Ma noi troppo siamo inferiori, sia nel bene sia nel male, alle angeliche nature. Dove Satana potesse volgere sopra di noi i suoi sguardi di fuoco, non ci tenterebbe ma riderebbe. Ella stramazzava per certo, se il cavaliere era meno pronto a sorreggerla.
Parlate; io per amor vostro mi chiamo parato a tutto, ma parlate una volta Ahi misero me! E quale vi ha bisogno, Isabella, che voi favelliate?Bozzetti and Modelli. HE modern Bernini revival may be said to date from a great exhibition of his work held in Rome at the turn of the present century.
On that occasion Stanislau Fraschetti, a Venturi disciple, produced the weighty volume which has remained fundamental to Bernini research ever since.
The quantities of documentary and broadly historical data the work contains, however, do not disguise a pervasive flaw; Fraschetti rather disapproved of Berninis art, or at least his perception of it was obscured by the lingering theoretical prejudices of an earlier age.
This was the objection raised, and probably somewhat overstated, by the great Riegl, whose lectures on Baldinuccis Vita, published posthumously, reflect a much deeper and more sympathetic insight. In the rich bibliography on Bernini which has accumulated since that time, two contributions are outstanding. Years of meticulous labour in the labyrinthine archives of Rome, actually only begun and never wholly published, resulted ultimatelyin the Kunstttigkeit unter Urban VIII of Oskar Pollak.
Devoted entirely to the documents of artistic production in Rome under Urban VIII, these two volumes provided the historian of Roman Baroque art, and of Bernini in particular, with a foundation in fact of paradigmatic breadth and reliability. In addition to presenting much new material, both visual and documentary, this was the first really comprehensive attempt to understand Berninis art through the medium of his preparatory studies.
Professor Wittkowers new monograph on Berninis sculpture thus appears against a somewhat lopsided historiographical setting.
For while considerable development was taking place on the Continent, Bernini had hardly been introduced to the English-speaking public, scholarly or otherwise.
One cause of this situation, and a formidable obstacle in the way of its correction, was the traditional Anglo-Saxon penchant for reticence and understatement in aesthetic matters; a laudable sentiment in some respects perhaps, but profoundly unberninesque. To meet the challenge, a neat summary and sound exposition, in English, was very much in order.
It required however, an author possessing at least one very special characteristic absolute mastery of the truly formidable body of available information. Needless to say, such individuals are exceedingly rare; indeed, Wittkower may well be the only living example. Publication of any work by Wittkower has come to be recognized as an important event in the realm of art history.
Isabella Orsini, duchessa di Bracciano
All factors have combined to make this especially true on the present occasion. The books arrangement follows a pattern by now well-established in the Phaidon monographs. There is a brief text, a more elaborate catalogue raisonn, and a copious body of illustrations which includes large plates as well as smaller supplementary figures.
The text is barely forty-three pages long; when we consider that it has to interpret the sculptural production of an artist whose career covered two generations, the extraordinary difficulties of the undertaking become apparent.
The author has chosen to divide the material into typological groups, such as religious imagery; tombs and chapels, etc. The reader is thereby spared the flood of monuments with which he would be faced in a purely chronological treatment; such a treatment would only mislead him in any case, since simultaneous undertakings, often widely divergent in character, were the rule rather than the exception in Berninis studio.
But most important, the typological plan illustrates the constancy of certain kinds of problems throughout Berninis development. And since Wittkower conceives of Bernini as the great revolutionary, the destroyer of barriers par excellence, he can the more readily describe which barriers were destroyed in each category, and by what means.
His formal analyses are confined mainly to the first. He is thus ever-cognizant of the uninitiated, for whom he also defines with refreshing lucidity the peculiar visual and ideological terms in which Berninis art must be understood. The first chapter concerns Berninis juvenilia. Discussion of these works is always crucial, since in them Bernini perpetrated his very first revolution; namely, that of resurrecting, before he was twenty-five, the entire moribund tradition of Roman sculpture.
The need for a new general account of Berninis youthful development has been rendered urgent in recent years by the researches of Italo Faldi, in the Borghese collection of the Vaticans Archivio Segreto; these findings have necessitated several conspicuous modifications in the canonical chronology of the Borghese figures.
The most notable change involves the David; instead ofas had been thought since Venturis day, it must actually have been made ca.See what's new with book lending at the Internet Archive.
Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest. Sign up Log in.
Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Full text of " Rime di Francesco Petrarca " See other formats Google This is a digitai copy of a book that was prcscrvod for gcncrations on library shclvcs bcforc it was carcfully scannod by Google as pari of a project to make the world's books discoverablc online.
It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subjcct to copyright or whose legai copyright terni has expired.
Whether a book is in the public domain may vary country to country. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. Marks, notations and other maiginalia present in the originai volume will appear in this file - a reminder of this book's long journcy from the publisher to a library and finally to you. Public domain books belong to the public and we are merely their custodians.
Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to prcvcnt abuse by commercial parties, including placing lechnical restrictions on automated querying. We encouragc the use of public domain materials for these purposes and may be able to help.
Please do not remove it. Do not assume that just because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other countiies. Whether a book is stili in copyright varies from country to country, and we cani offer guidance on whether any specific use of any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner anywhere in the world.Born in Florence, ; died at Ravenna, Italy, 14 September, His own statement in the "Paradiso" xxii, that he was born when the sun was in Gemini, fixes his birthday between 18 May and 17 June.
He was the son of Alighiero di Bellincione Alighieri, a notary belonging to an ancient but decadent Guelph family, by his first wife, Bella, who was possibly a daughter of Durante di Scolaio Abati, a Ghibelline noble. A few months after the poet's birth, the victory of Charles of Anjou over King Manfred at Benevento 26 February, ended the power of the empire in Italy, placed a French dynasty upon the throne of Naples, and secured the predominance of the Guelphs in Tuscany.
Dante thus grew up amidst the triumphs of the Florentine democracy, in which he took some share fighting in the front rank of the Guelph cavalry at the battle of Campaldino 11 June,when the Tuscan Ghibellines were defeated by the forces of the Guelph league, of which Florence was the head. This victory was followed by a reformation of the Florentine constitution, associated with the name of Giano della Bella, a great-hearted noble who had joined the people.
By the Ordinances of Justice all nobles and magnates were more strictly excluded from the government, and subjected to severe penalties for offences against plebeians. To take any part in public life, it was necessary to be enrolled in one or other of the "Arts" the guilds in which the burghers and artisans were banded togetherand accordingly Dante matriculated in the guild of physicians and apothecaries. On 6 July,he spoke in the General Council of the Commune in favour of some modification in the Ordinances of Justice after which his name is frequently found recorded as speaking or voting in the various councils of the republic.
Already Dante had written his first book, the "Vita Nuova", or "New Life", an exquisite medley of lyrical verse and poetic prose, telling the story of his love for Beatrice, whom he had first seen at the end of his ninth year. Beatrice, who was probably the daughter of Folco Portinari, and wife of Simone de' Bardi, died in June,and the "Vita Nuova" was completed about the year Dante's love for her was purely spiritual and mystical, the amor amicitiae defined by St.
Thomas Aquinas: "That which is loved in love of friendship is loved simply and for its own sake". Its resemblance to the chivalrous worship that the troubadours offered to married women is merely superficial. The book is dedicated to the Florentine poet, Guido Cavalcanti, whom Dante calls "the first of my friends", and ends with the promise of writing concerning Beatrice "what has never before been written of any woman". It is doubtful whether Dante was among the pilgrims who flocked to Rome.
Florence was in a disastrous condition, the ruling Guelph party having split into two factions, known as Bianchi and Neri, "Whites" and "Blacks", which were led by Vieri de' Cerchi and Corso Donati, respectively. Roughly speaking, the Bianchi were the constitutional party, supporting the burgher government and the Ordinances of Justice; the Neri, at once more turbulent and more aristocratic, relied on the support of the populace, and were strengthened by the favour of the pope, who disliked and mistrusted the recent developments of the democratic policy of the republic.
The discovery of a plot on the part of certain Florentines in the papal service 18 April and a collision between the two factions, in which blood was shed 1 Maybrought things to a crisis. On 7 May Dante was sent on an unimportant embassy to San Gemignano. Shortly after his return he was elected one of the six priors who for two months, together with the gonfaloniere, formed the Signoria, the chief magistracy of the republic. His term of office was from 15 June to 15 August.
Together with his colleagues. Guido Cavalcanti had been among the exiled Bianchi; having contracted a fatal illness at Sarzana, he was allowed, together with the rest of his faction, to return to Florence, where he died at the end of August. This, however, was after Dante's term of office had ended. Enraged at this partial treatment, Corso Donati, in understanding with his adherents in Florence, appealed to the pope, who decided to send a French prince, Charles of Valois, with an armed force, as peacemaker.
We find Dante, inprominent among the ruling Bianchi in Florence. On 19 June, in the Council of the Hundred, he returned his famous answer, Nihil fiat, to the proposed grant of soldiers to the pope, which the Cardinal of Acquasparta had demanded by letter.
After 28 September he is lost sight of. He is said to have been sent on a mission to the pope at the beginning of October, but this is disputed. Corso Donati and his friends returned in triumph, and were fully revenged on their opponents. Dante was one of the first victims. On a trumped-up charge of hostility to the Church and corrupt practices, he was sentenced 27 January,together with four others, to a heavy fine and perpetual exclusion from office.
On 10 March, together with fifteen others, he was further condemned, as contumacious, to be burned to death, should he ever come into the power of the Commune. At the beginning of April the whole of the White faction were driven out of Florence. A few years before his exile Dante had married Gemma di Manetto Donati, a distant kinswoman of Corso, by whom he had four children.
He never saw his wife again; but his sons, Pietro and Jacopo, and one of his daughters, Beatrice, joined him in later years. At first, he made common cause with his fellow-exiles at Siena, Arezzo, and Forli, in attempting to win his way back to Florence with the aid of Ghibelline arms. Dante's name occurs in a document of 8 June, among the exiled Bianchi who at San Godenzo in the Apennines were forming an alliance with the Ubaldini to make war upon the Florentine Republic; but, in a similar agreement signed at Bologna on 18 June,he no longer appears among them.The staff were very courteous and it was … More pleasant to see them working with a smile throughout.
Having had the Carbonara before, I tried the Amatriciana and the traditional Tiramisu'. Must say, the Pistacchio Tiramisu' was also delicious eeeh! The pasta served as should be 'al dente' and we look forward to try the other dishes on your menu!
After many years living in Rome this lovely place brought me straight back home! Tasty, authentic dishes, good … More wine, great service, definitely worth a visit! Beautiful restaurant in a small street with inside and outside dining. It was buzzing with atmosphere. Good … More range on the menu both food and drink. The carbonara and tiramisu were to die for. Food was divine Anna was such a friendly and helpful waitress. If you want good plate of pasta this is the best place to go.
So glad I got to go here for dinner, was recommended to me by friends and did not disappoint. I am a massive fan … More of Roman dishes and the owner is from Roma and I had one of the best carbonaras dishes I've ever had.
Thank you so much. Especially Anna!!
Very well served this morning by Zero Sei. Trattoria Romana. We recieved a warm welcome by the owner and … More explained in detail about his Italian Specialities. The best Italian food on the Island If you still have room, go for tiramisu, the coffee one if you are a fan and pineapple if your are explorer; Enjoy, Buon Appetito!
Unforgettable dining experience! Fausto very kindly squeezed us in on a busy Friday, when we were struggling to … More find somewhere we wanted to eat, and it ended up being one of the best meals we've had - and we LOVE our eating out. Beautiful setting, enchanting service, and impeccable Italian cuisine - simple, quality ingredients, brought together in an expertly authentic way. Delicious wine, expertly recommended for taste and not price tag. It was truly magical.Bridget Toomey - James Toomey Biographies.
Biographies of Bridget Toomey-James Toomey are sorted by first and last name. Browsing for particular individuals may provide desirable results with your family search. Look carefully for spelling variations, particularly as you go farther back in time.
All biographies are collaborative profiles managed by the community. This genealogy database is made available for free so that everyone can discover the ancestors in their family tree. Bridget Toomey. Bridie Toomey. Brown Gordon Toomey. Bruce A Toomey. Bruce M Toomey. Bruce Macedmond Toomey. Bruce W Toomey. Buford W Toomey. Bunk Toomey. Burnet Leo Toomey. Burton W Toomey. C E Toomey.
C J Toomey. C M Toomey. C P Toomey. C R Toomey. C Toomey. Camille M. Schexnayder Toomey. Camille P Toomey. Carl E Toomey. Carl Edward Toomey. Carl J Toomey. Carl P Toomey. Carl Toomey. Carl W Toomey. Carlton Toomey. Carmel M Toomey.