Raphael And The Villa Farnesina

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ... K must go down very far in ancient literature to find the name and the adventures of Psyche. Apuleius, a writer of the Antoniue period, in his curious and somewhat strange book, the Metamorphoses, tells this marvellous story, and he gives it rather as a fairy tale than as a religious legend. An old woman, half crazy, half tipsy, in order to console a young girl ravished by brigands on her wedding day, tells this tale of another maiden's sorrows and troubles. The writer himself, changed into an ass for the occasion, hears the story, and regrets having no tablets or stylet in order to give an exact account of the pretty fable. This is the substance of the old woman's narration. It begins like all fairy tales: "There was once upon a time a king and a queen. . ." This king and this cpueen had three beautiful daughters; but Psyche, the youngest of the sisters, was by far the most beautiful. Never had so marvellous a creature been seen upon earth. Men came from all countries to admire her; but such was this beauty's perfection, that she inspired admiration rather than love. In her honour the temples of Venus were deserted; but her elder sisters married kings, and no one dared to claim her hand. Psyche mourned greatly over the fatal gift bestowed upon her. Venus, whose temples were deserted, furious that a mortal maiden should thus insult her immortal glory, calls upon her son to chastise this audacious young girl; she orders him to wound her with his arrows, to cause her to love the most hideous among men, the most repugnant, the most horrible to look upon. Cupid sees Psyche, but not to hate her. Instead of avenging; his mother's wrongs, he determines to have her as his wife. The parents consult the oracle, who declares that Psyche is not...

Excerpt from Raphael and the Villa Farnesina Renaissance, which all tourists have visited or have attempted to visit, called the Villa Farnesina. The place where this building stands was once occupied by fine gardens belonging to the Emperor Geta, Of tragic memory. He was co-heir with his brother Caracalla to the empire Of the Caesars. But the Roman empire was not in those days a thing to be owned in common. The association was broken by a fratricide, Of which, perhaps, these very gardens were the scene. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Alexis R. Culotta explores how the Renaissance master’s recombination of visual sources ultimately served as a springboard for artistic innovation for his close associates as they collaborated in the years following Raphael’s death.

The frescoes of Peruzzi, Raphael and Sodoma still dazzle visitors to the Villa Farnesina, but they survive in a stripped-down environment bereft of its landscape, sealed so it cannot breathe. Turner takes you outside that box, restoring these canonical images to their original context, when each element joined in a productive conversation. He is the first to reconstruct the architect-painter Peruzzi's original, well-proportioned, well-appointed building and to re-visualize his lost façade decoration‒erotic scenes and mythological figures who make it come alive and soar upward. More comprehensively than any previous scholar, he reintegrates painting, sculpture, architecture, garden design, topographical prints and drawings, archaeological discoveries and literature from the brilliant circle around the patron Agostino Chigi, the powerful banker who 'loved all virtuosi' and commissioned his villa-palazzo from the best talents in multiple arts. It can now be understood as a Palace of Venus, celebrating aesthetic, social and erotic pleasure.