93 resultados para Vigarani, Lodovico, 17th century


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"E.L." was Eruand Lalayean, the moving force within Hayotsʻ Azgayin Ěnkerutʻiwn.

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Includes index.

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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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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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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.