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not open the sealed virginity” 35 —and that at the same time converts her into a fountain overflowing with water—to wit, a dispenser of graces which, unlike Egyptian waters (i.e., worldly pleasures), do provide eternal life. 36 So, these three symbols—the sealed fountain, the well of living waters

In: Applied Emblems in the Cathedral of Lugo
Author: Alessia Alberti

the only prints by Brambilla that carry captions in Latin, and they are published here for the first time. They include a large print divided into eleven sections featuring a portrait of Saint Nicholas of Tolentino in prayer surrounded by scenes from his life (appendix no. 32). In the framed scenes

In: Lomazzo’s Aesthetic Principles Reflected in the Art of his Time
Author: Amy Golahny

/canvas, 222 × 168.5 cm. London, National Gallery A parallel development from active to static postures in the work of Guercino and Rembrandt may reflect general trends, but is specific to each artist. According to Sybille Ebert-Schifferer, Guercino’s shift is motivated by an interest in analogies

In: Rembrandt — Studies in his Varied Approaches to Italian Art
Author: Amy Golahny

’s transformation of the Apollo into Cocq and Ruytenbach is motivated by his ironical approach to this model, and a humor that subverts the ideal into the actual and present. 4 Furthermore, referencing the archer god for the militia leaders, who were after all gentlemen and guardsmen, may give another layer of

In: Rembrandt — Studies in his Varied Approaches to Italian Art

1479 Magrini had established himself within the upper echelons of Lucchese society, living in a substantial property in the city’s main piazza, and with the status and influential connections to seek the patronage of an altar in one of the city’s most important churches. He must have acquired rights to

In: Filippino Lippi

–1956), is a case in point. He was motivated to produce the work as a tribute to the art and creative persona of Auguste Rodin (1840–1917), whose works had greatly influenced him. It has been pointed out that the piece reveals Takamura’s efforts to emulate the French master’s artistry in handling the

In: Finding Lost Wax
Author: Pamela M. Jones

Baronio (1538–1607), and Robert Bellarmine (1542–1621). Each book is hundreds of pages long and treats a single life; there are no collected lives of this group. It is noteworthy that all the authors consistently emphasize that the individual’s exemplarity rested partly on his desire not to be elevated

In: A Companion to the Early Modern Cardinal

Bohr claimed, as did Høffding also, that the nature of living organisms could not be explained only in terms of a mechanical description. Moreover, it is worth mentioning Høffding’s ante litteram complementarity view on life and nature. T HE C ENTRALITY OF THE P RINCIPLE OF U NITY IN H ØFFDING ’ S P

In: Nuncius
Author: Rebecca Zorach

animalis ), inheres in all natural entities, including the “nothing” that is a snowflake. This force is both individual (within a given life form such as a specific plant or crystal) and shared among them: natural things belong, he writes, to “one and the same universal faculty inherent in the earth,” a

In: Nuncius
Author: Arlette David

× ? 1.1.5 Royal Horses The horses, paired as a team to the chariot, are major actors in the royal journey scenes, highlighted by positioning, motion markers, relief depth, color, accessories, and size, the King’s horses being the largest living bodies in the pictures

In: Renewing Royal Imagery