Stephanie c leone (16 risultati)

Hardcover. Condizione: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee. Copithorne, Kaitlynn (illustratore). …

Paperback. Condizione: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Paperback. Size: 8.75x11.5 inches, 329pp., illus. Crease to the spine, some pencil underlining on less than ten pages still a good sound copy.

Softcover. Condizione: Very Good. First Edition. Softcover in illustrated wraps. First edition. Very good condition. Crease on rear cover and light wear along edges. Published conjunction with a 2010 conference of the same name at Boston College. Essays by various scholars. Sparsely illustrated, with a section of color plates at end. 4to. 329 pp. The second item is a 1993 softcover book by Eduard A. Safarik published in Florence by Scala for the Societa Arti Doria Pamphilj. Text is in English, plates are in color. 4to. 47 pp. Fine condition. The total packed weight of the books is six pounds and will require additional postage if shipped outside the U.S. …

Paperback. Size: 8.25x10.75 inches. 445pp., bibliography, index. As new, clean, tight & bright condition.

Paperback. Condizione: Very Good+. Light cover crease else fine ; 4to 11" - 13" tall.

Brossura. Condizione: come nuovo. prima edizione. Brighton, McMullen Museum of Art, 2011. Cm. 29x23, pp. 329. Tav. 15 a colore a piena pagina n.t. Numerose ill. in bianco e nero n.t. Br. Atti di conferenza tenuta a Boston College, Ottobre 15-16, 2010.

Paperback. Condizione: Like New. LIKE NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

hardcover. Condizione: New. 1st.

Hardback. Condizione: New.

Condizione: New.

Buch. Condizione: Neu. Neuware - The piazza Navona is one of the most celebrated urban spaces in Rome and perhaps Europe. Despite its lasting fame, neither the uninitiated nor the specialist has been fully privy to the history of its remarkable transformation from a medieval field to a magnificent Baroque piazza. The ambititions of a single family, The Pamphilj, engendered this remarkable change. Pope Innocent X (1644-55) sought to proclaim his family's identity through a building program, including the monumental palace, church of S. Agnese in Agone, Collegio Innocenziano, and Gianlorenzo Bernini's Fountain of the Four Rivers and Fountain of the Moor. The Pamphilj endowed the entire urban space with its indelible presence. Although the Palazzo Pamphilj was the catalyst for the single most important building program in mid-seventeenth-century Rome, its history has been largely neglected, and misconceptions have hindered an accurate understanding of the monument and its place in early modern architecture. Presenting a fundamentally revised history, this book argues in favor of a collaborative process of execution, in two distinct phases (1634-38, 1645-50), involving three architects (Francesco Peperelli, Girolamo Rainaldi, Francesco Borromini), two patrons (Innocent X and his sister-in-law Olimpia Maidalchini), and an architectural revisor (Virgilio Spada). The history of the palace is presented as inextricably linked to the social milieu of the early modern papal court and the development of piazza Navona and the city. From the vicissitudes of this story arise broader issues: building as identity, architecture and social ritual, artistic collaboration, women patrons, and collective memories of sites. Stephanie Leone teaches Art History at Boston College. Her primary field of research concerns seventeenth-century domestic architecture in Rome.…

Hardback. Condizione: New.

Paperback. Condizione: New. In September 1644 the election of Pope Innocent X Pamphilj catapulted his family to the height of Roman society. From that moment on, the Pamphilj became active patrons of the arts, which were harnessed as the visual expression of the family?s new identity.This volume presents the proceedings of the conference The Pamphilj and the Arts: Patronage and Consumption in Baroque Rome, which washeld at Boston College in October of 2010. Set within the social, religious, and cultural context of Rome, this research examines from the perspectives of art history, history, theology, musicology, and literary studies the patronage of three generations of the family: Innocent X; Prince Camillo Pamphilj and his wife, Princess Olimpia Aldobrandini; and Cardinal Benedetto Pamphilj. The papers consider, in particular, the life, character, and influential role of Cardinal Benedetto Pamphilj in shaping the visual arts, music, and literature of late Baroque Rome from his elevation as cardinal in 1681 to his death in 1730.…

Rilegato. Condizione: nuovo. Pages: 376 p.Illustrations:199 b/w, 10 col.Language(s):English. Publication Year:2008. Brepols. ISBN: 978-1-905375-07-3. Hardback --- Summary The piazza Navona is one of the most celebrated urban spaces in Rome and perhaps Europe. Despite its lasting fame, neither the uninitiated nor the specialist has been fully privy to the history of its remarkable transformation from a medieval field to a magnificent Baroque piazza. The ambititions of a single family, The Pamphilj, engendered this remarkable change. Pope Innocent X (1644-55) sought to proclaim his family's identity through a building program, including the monumental palace, church of S. Agnese in Agone, Collegio Innocenziano, and Gianlorenzo Bernini's Fountain of the Four Rivers and Fountain of the Moor. The Pamphilj endowed the entire urban space with its indelible presence. Although the Palazzo Pamphilj was the catalyst for the single most important building program in mid-seventeenth-century Rome, its history has been largely neglected, and misconceptions have hindered an accurate understanding of the monument and its place in early modern architecture. Presenting a fundamentally revised history, this book argues in favor of a collaborative process of execution, in two distinct phases (1634-38, 1645-50), involving three architects (Francesco Peperelli, Girolamo Rainaldi, Francesco Borromini), two patrons (Innocent X and his sister-in-law Olimpia Maidalchini), and an architectural revisor (Virgilio Spada). The history of the palace is presented as inextricably linked to the social milieu of the early modern papal court and the development of piazza Navona and the city. From the vicissitudes of this story arise broader issues: building as identity, architecture and social ritual, artistic collaboration, women patrons, and collective memories of sites.…

Hardcover. Condizione: new. Hardcover. The piazza Navona is one of the most celebrated urban spaces in Rome and perhaps Europe. Despite its lasting fame, neither the uninitiated nor the specialist has been fully privy to the history of its remarkable transformation from a medieval field to a magnificent Baroque piazza. The ambititions of a single family, The Pamphilj, engendered this remarkable change. Pope Innocent X (1644-55) sought to proclaim his family's identity through a building program, including the monumental palace, church of S. Agnese in Agone, Collegio Innocenziano, and Gianlorenzo Bernini's Fountain of the Four Rivers and Fountain of the Moor. The Pamphilj endowed the entire urban space with its indelible presence. Although the Palazzo Pamphilj was the catalyst for the single most important building program in mid-seventeenth-century Rome, its history has been largely neglected, and misconceptions have hindered an accurate understanding of the monument and its place in early modern architecture. Presenting a fundamentally revised history, this book argues in favor of a collaborative process of execution, in two distinct phases (1634-38, 1645-50), involving three architects (Francesco Peperelli, Girolamo Rainaldi, Francesco Borromini), two patrons (Innocent X and his sister-in-law Olimpia Maidalchini), and an architectural revisor (Virgilio Spada). The history of the palace is presented as inextricably linked to the social milieu of the early modern papal court and the development of piazza Navona and the city. From the vicissitudes of this story arise broader issues: building as identity, architecture and social ritual, artistic collaboration, women patrons, and collective memories of sites. Stephanie Leone teaches Art History at Boston College. Her primary field of research concerns seventeenth-century domestic architecture in Rome. Presenting a fundamentally revised history, this book argues in favor of a collaborative process of execution, in two distinct phases (1634-38, 1645-50), involving three architects (Francesco Peperelli, Girolamo Rainaldi, Francesco Borromini), two patrons (Innocent X and his sister-in-law Olimpia Maidalchini), and an architectural re This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…