Mona Lisa ('the eyes follow you round the room'), for example, has certainly been damaged by its over exposure and The Hay Wain barely survives its endless biscuit tin projection as the essence of Englishness.
I do not know whether the Italian title of this book (Vita di casa) is an allusion to Mario Praz and his autobiography La casa della vita (Milan, 1958), but it would be fitting. In that book Mario Praz guides the reader through his Roman house and tells his life during the tour.
Reflecting the place of the Bible as the bedrock of medieval culture, biblical imagery was ubiquitous in medieval England, yet it has not hitherto been the subject of a comprehensive modern monograph. Such precedents as there were – notably M. R. James’s The Apocalypse in Art (London: British Academy, 1931) and F. Wormald’s ‘Bible Illustration in Medieval Manuscripts’, in G. W. H.
Some books enlighten and disappoint at the same time. This is how I felt having read Oleg Tarasov’s book. Originally Tarasov’s doktorskaia dissertatsiia (the second PhD), the book was first published in Russian and has now been painstakingly translated by Robin Milner-Gulland and lavishly published by Reaktion Books.
The narrow streets of ancient Naples are like the bottoms of chasms that meet at right angles.
Robert Hooke (1635–1703) is a pivotal figure in the intellectual life of seventeenth-century Europe. In the study to hand, Michael Cooper intends to ‘rectify some of the neglect and misunderstandings about Hooke by examining his work in London as City Surveyor after the Great Fire and relating this to his work in science’ (p. 2).
Throughout my reading of Professor Parry’s new book I was distracted by a low, angry, buzzing noise. On reflection, I realized it was the sound of Hugh Trevor-Roper spinning in his grave. The scale of the chasm between the two authors can scarcely be exaggerated.
The later 16th century in Italy was a period of 'mental stagnation' wrote G. R. Elton.(1) This highly questionable statement apparently set in motion the entire research project from which the present group of essays emerged (p. 76, n. 64); they contest its validity.
In recent years Ashgate Publishing has become one of the most dominant forces in the field of early modern studies, and the recent appearance of the impressive volume edited by Michael Hunter of Birkbeck College entitled Printed Images in Early Modern Britain: Essays in Interpretation (2010) is a case in point.
In his New Year’s address for 2012 the British Prime Minister sought to rally a demoralized people saddled with debts, recession, and unemployment in the face of a continuing policy of wholesale transfer of assets from public to private, by reminding them of the forthcoming Olympic Games and the Queen’s Jubilee.