princeton nj 1973 princeton univ press bollingen series xcii (1 resultados)

Hardcover. Condición: Fine. Dust Jacket Included. 1st Edition. red full cloth hardcover 4to ~ 4º (quarto ~ 8"x10"). large "coffee table" book. dustwrapper in protective plastic book jacket cover. fine cond. binding square & tight. covers clean. edges clean. contents free of markings. price clipped dustwrapper in vg+ / near fine cond. spine a little suntanned, minor soiling on rear, scratchy spot on rear from old label. not torn. nice clean copy. no library markings, store stamps, stickers, bookplates, no names, inking, underlining, remainder markings etc~. first edition. first printing (nap). b&w photo illustrated frontis. & title pg. xxiii+278p. 3 b&w plates. 163 b&w illustrations. index of monuments. general index. archaeology. ancient history. art history. religion. ancient mystery schools. ancient literature. ~ These essays are a by~product of discoveries made in Samothrace in 1949~1950 in the excavation conducted by the authors on behalf of the Institute of Fine Arts of New York University. Discovery of blocks of a frieze sketched by Cyriacus of Ancona in 1444 and of the fact that the Victory of Samothrace formed part of a monumental fountain stimulated these studies on the revival of the antique. Cyriacus' visit to the island and his characteristic intellectual procedure are re~examined in the introductory essay. It is followed by investigation of the monumental and literary sources underlying Mantegna's Parnassus~the first detailed and comprehensive analysis of this famous painting. The author suggests that its unique theme and imagery reflect the use of a limited number of ancient sculptures and texts easily available to the artist and his patrons, Isabella d'Este and Gian Francesco Gonzaga, and that, cast in heraldic and astrological terms intelligible to contemporaries, its content alludes to their marriage and subsequent patronage of the arts, especially music, at the Court of Mantua. The last essay reveals the transformation of the iconographic type of the ancient ship~fountain from the simple commemoration of naval victory, exemplified by the Victory of Samothrace, first to the symbolic images of the divinely~directed Ship of the Roman State, later to the Ship of the Church. The pagan Navicella on the Caelian, revived as a symbol of the Roman Church, was succeeded, in turn, by playful ship~fountains at Frascati and Tivoli and the richly allusive Barcaccia and Galera of Rome until, in the seventeenth century, the type became an allegorical paraphrase of the age of exploration.