93 resultados para 17TH CENTURY
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Engraved throughout. Architectural title leaf includes the arms of Cardinal Alessandro Farnese, to whom the work is dedicated, and the half-length port. of Vignola facing to the viewer's right. Plates are printed on one side of the leaf only, and are arranged in pairs on a verso and the facing recto. The 5 leaves at the end are from the series of 7 "Porte di Michel Angelo." Over 3 of the doorways are inscriptions relating to the Farnese.
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Portrait plate of Francine by Abraham Bosse; other plates by Tavernier after Francine's designs.
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Pt. 1 comprises added engraved title leaf, letterpress pages [1]-11, [12] (the last blank), 75 single-page engraved plates. The engraver was probably Melchior Tavernier, printer of the 1st ed.; see Mauban. Pt. 2 comprises etched title leaf, 9 single-page plates (numbered 1-8, 25), 22 double-page plates (numbered 9-24, 26-31). The etched title leaf is signed Le Pautre (i.e. Jean Le Pautre), and the 31 plates are by Jean Marot, whose signature appear on the 25th; see Mauban.
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Mode of access: Internet.
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Many philosophers, especially in the wake of the 17th century, have favored an inegalitarian view of shape and color, according to which shape is mind-independent while color is mind-dependent. In this essay, I advance a novel argument against inegalitarianism. The argument begins with an intuition about the modal dependence of color on shape, namely: it is impossible for something to have a color without having a shape (i.e. without having some sort of spatial extension, or at least spatial location). I then argue that, given reasonable assumptions, inegalitarianism contradicts this modal-dependence principle. Given the plausibility of the latter, I conclude that we should reject inegalitarianism in favor of some form of egalitarianism—either a subjective egalitarianism on which both shape and color are mind-dependent or an objective egalitarianism on which both shape and color are mind-independent.
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Includes indexes.
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The engravings of the paintings are from many engravers: I. Troyen, N. v. Hoij, L. Vosterman, P. Lisebetius, L. Popels, etc.
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Grand-Ducal Workshops; 1 ft. 3 23/64 in. x 11 1/32 in.; pietre dure mosaic on white marble ground
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Specimens are seen against sea and harbor views.
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Illustrations: allegorical title page and eleven plates, some of them numbered. Four plates depict decorations designed by the architect Orazio Turriani: the colonnade on the Piazza della Spada in Rome, two plates of a triumphal arch, and a fountain structured as a nymphaea. Seven plates depict temporary structures used for fireworks display, including 2 states of plate numbered "70" or "02". The plates are etched by Luca Ciamberlano after Niccolò Tornioli.
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Engraved portrait and title-page within architectural border; woodcut illustrations throughout the text.
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Includes index.
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Signatures: pi² A-C⁴.
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Engraved printer's device on t.p. (compasses), woodcut version on last p. Etched arms of Albrecht, Grand Duke of Austria, to whom with Isabella of Austria his consort the work is dedicated. Bound in before A1 is folded map of Brabant, dated 1599. Ill. are full-length ports. of the dukes of Brabant, with their coats of arms. Head and tail pieces, initials.
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t. 1. Corte na aldea.--t. 2. Primavera.--t. 3. O pastor peregrino.--t. 4. O desenganado.