994 resultados para Louis XVI, King of France, 1754-1793
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v.l La Gaule. Les invasions. Charlemagne.--v. 2. Tableau de la France. Les Croisades.--v. 3. Philippe-Auguste et Saint Louis.--v. 4. Etienne Marcel.--v. 5. Armagnacs et Bourguignons.--v. 6. Jeanne d'Arc.--v. 7. Charles VII.--v. 8. Louis XI.--v. 9. La Renaissance.-- v. 10. La réforme.--v. 11. Guerres de religion.--v. 12 La ligue et Henri IV.--v. 13. Henri IV et Richelieu.--v. 14. Richelieu et la fronde.--v. 15. Louis XIV et la Révocation de l'édit de Nantes.--v. 16. Louis XIV et le duc de Bourgogne.--v. 17. La régence.--v. 18. Louis XV.--v. 19. Louis XV et Louis XVI.
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Mode of access: Internet.
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Mode of access: Internet.
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Mode of access: Internet.
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Authorities agree that the first part of the work, published in Paris 1684, was written by Marana. The remainder has been ascribed to different Englishmen, among them Dr. Robert Midgley and William Bradshaw. It is probable however that Midgley simply edited the English translation, made by Bradshaw, of the original Italian manuscript. cf. ESTC.
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Text in English and Latin, and English and French, in parallel columns.
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Mode of access: Internet.
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Series title also at head of t.-p.
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In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.
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At the close of the Wars of the Roses, a new dynasty was founded by a man lacking a prince’s education; moreover, his weak claim to the throne of England gave rise to a set of serious problems. These two crucial, interrelated elements are central in Francis Bacon’s biographical account of Henry VII. The literal road leading Richmond from exile to victory in Bosworth Field, in 1485, is eventually transformed into a metaphoric path that prefigures the long, deep process of learning undertaken during his 24-year reign. This fundamental process carried out by the king will be approached mainly through the passages focused on the Lambert Simnell/Perkin Warbeck affairs, the most difficult probelms the monarch had to face in a time and in a kingdom of many uncertainties. The Simnell/Warbeck menaces embodied Henry Tudor’s greatest dilemmas, continually emphasised in Bacon’s work – the essence of legitimacy and the essence of royalty.
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Num lote de 10 vespas, estilopizadas, gentilmente cedidas para estudo pelo Dr. R. L. Araujo, de S. Paulo, os A. A., identificaram 5 espécies do gênero Xenos Rossius (Família Stylopidae): Xenos bohlsi Hoffmann, descrita do Paraguai e Xenos bonairensis Brèthes, descrita da Argentina, e 3 consideradas novas, que são aqui descritas.
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Pediculosis seems to have afflicted humans since the most ancient times and lice have been found in several ancient human remains. Examination of the head hair and pubic hair of the artificial mummy of Ferdinand II of Aragon (1467-1496), King of Naples, revealed a double infestation with two different species of lice, Pediculus capitis, the head louse, and Pthirus pubis, the pubic louse. The hair samples were also positive for the presence of mercury, probably applied as an anti-pediculosis therapy. This is the first time that these parasites have been found in the hair of a king, demonstrating that even members of the wealthy classes in the Renaissance were subject to louse infestation.
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In the early 1900s, the wolf (Canis lupus) was extirpated from France and Switzerland. There is growing evidence that the species is presently recolonizing these countries in the western Alps. By sequencing the mitochondrial DNA (mtDNA) control region of various samples mainly collected in the field (scats, hairs, regurgitates, blood or tissue; n = 292), we could (1) develop a non-invasive method enabling the unambiguous attribution of these samples to wolf, fox (Vulpes vulpes) or dog (Canis familiaris), among others; (2) demonstrate that Italian, French and Swiss wolves share the same mtDNA haplotype, a haplotype that has never been found in any other wolf population world-wide. Combined together, field and genetic data collected over 10 years corroborate the scenario of a natural expansion of wolves from the Italian source population. Furthermore, such a genetic approach is of conservation significance, since it has important consequences for management decisions. This first long-term report using non-invasive sampling demonstrates that long-distance dispersers are common, supporting the hypothesis that individuals may often attempt to colonize far from their native pack, even in the absence of suitable corridors across habitats characterized by intense human activities.