By Paco Asensio
All of the greater than sixty eating places and bars featured during this compendium was once rigorously selected for its outstanding inside layout. thousands of colour pictures spotlight the groundbreaking paintings of the world's such a lot amazing architects and architects - their use of startlingly new mixtures of colour and texture to create distinct, usually otherworldly environments. locations coated can be found all through North and South the USA, Europe, and Australia.
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This Bible contains some of the most interesting dynastic imagery to issue from Robert’s Naples, and the circumstances of its creation illustrate how even a “private” text could circulate among influential members of the court. It was long believed that the Bible was commissioned by Niccolò d’Alife, an official of Robert’s administration. His coat of arms appears at the start of the manuscript, and a colophon at the end, on folio 306, asserted that it belonged to him. Since a male figure is depicted presenting the codex to a female figure to the left of the colophon, it would appear that Niccolò gave the Bible to Joanna I, Robert’s successor—probably before her succession, since, as Ferdinando Bologna has observed, the Bible and its illuminations were certainly produced during Robert’s reign.
Giles of Rome, among the most celebrated scholars of the Augustinian order and Gerace; the relevant document is published in Camillo Minieri-Riccio, Saggio di codice diplomatico. Supplementum, vol. 2 (Naples, 1883), 69. Robert also ordered the restoration of synagogues in Gerace, Rossano, and Cotrone in the Regno. Robert’s boast about his kindness to the Jews is quoted by Caggese, Roberto d’Angiò, 1: 309. ,” Archives d’histoire doctrinale et littéraire du moyen âge 21 (1954), 191. 30 Martin Grabmann, Methoden und Hilfsmittel des Aristotelesstudiums im Mittelalter (Munich, 1939), 78–84.
On individual illuminations, see Chapter Six at nn. 92, 121, and Plates 14–16. ” The comment comes from Gabrio de’ Zamorei, a Parmesan lawyer some twenty years younger than Robert who followed the Angevins closely enough to write a poem for Robert’s son’s death in 1328, and made these comments on Robert himself in the early 1370s. See Marco Vatasso, Del Petrarca e di alcuni suoi amici (Rome, 1904), 37–63 for Gabrio’s life and works; the citation appears at 22n. 33 he was associated with two of the greatest composers of the fourteenth century.