摘要：This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque *** examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the *** historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo *** iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine *** emblematic and cosmological associations of Bacchus’s divinity are considered as well.

摘要：The Pre-Raphaelite painter Edward Burne-Jones(1833-1898)conceived the subject of The Mirror of Venus between 1865 and *** painted two versions:a small version in gouache and oil and a larger version in oil on *** composing this subject Burne-Jones was inspired by the poetic and chromatic description of a lyrical stanza on“The Hill of Venus”in the long epic poem Earthly Paradise,written by his close friend and collaborator William Morris.1 This study comprises three parts:Burne-Jones’s history of the paintings,his iconographical sources,and an iconological interpretation of The Mirror of Venus.

摘要：Lavinia Fontana’s(1552-1614)Galatea and Cherubs riding the Stormy Waves on a Sea Monster(aka Galatea)of 1590 is an intriguing mythological *** painted on copper,it is a fine example of Lavinia’s exploration of new artistic techniques and materials as well as testimony to her bold artistic ***’s Galatea was part of a private collection in Bologna(Diletta Badeschi).This work fascinates the viewer with its erotic audacity and complex iconographical *** scholarship by Daniele Benati,Fausto Gozzi,and Enrico Maria Dal Pozzolo assist in unraveling the meaning of this *** this essay there are additional interpretative suggestions.

摘要：Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. Vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For Vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.

摘要：This short essay focuses on just one of the mythological paintings of Evelyn Pickering de Morgan,Ariadne at Naxos of 1877 at The de Morgan Foundation(Figure 1).1 It consists of an iconographical and iconological analysis of the ancient legend of Ariadne and Theseus,demonstrating Evelyn’s classical erudition and artistic mastery in visualizing a moment in the narrative,the desertion of Ariadne by Theseus on the beach at Naxos.

摘要：The Altomani&Sons Collection owns a remarkable newly discovered portrait of Guidobaldo II della Rovere,Duke of Urbino(1514-1574),a historical military figure who was a condottiere,ruler of Urbino,Commander-in-chief of the Papal Estate,and Perfect of Rome,as well as a collector and patron of the Fine *** Guerrieri Nati(1628-1694),a seventeenth-century Italian painter from Fossombrone(in the province of Pesaro and Urbino),portrayed this heroic personage surrounded by emblems associated with his military courage and leadership,including his plumed burgonet helmet,metal gilded armor,a necklace with the golden fleece,and batons of secular and religious *** oil painting on copper-considered a precious metal at the time-emphasizes the importance of the *** material and technique also reveals a unique artistic achievement in that it provides the painting with a smooth,reflective surface and vibrant coloration,symbolizing precious imagery.

摘要：In Dutch vanitas imagery of Homo bulla est there is a sad child （homo） holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent water circles, his expression is mischievous and melancholic. Blooming flowers and dead trees, burning urns, and cloudy landscapes also accompany this gloomy imagery, which alludes to a warning about moral behavior. The first part of this essay deals with a brief history about the symbolism of the skull in vanitas imagery （1590-1630）. And the second part of the essay focuses on two prints by the Dutch artist and printmaker from Haarlem, Hendrick Goltzius （1558-1617）, who honored this proverb Homo bulla est in Allegory of Transience as a remembrance of the brevity of life.

摘要：This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.

摘要：This essay discusses the manifold depictions of Saint Michael The Archangel in Italian Renaissance art,in particular in Giorgio Vasari’s *** starts with a brief explanation of who Michael The Archangel is,explores his visual iconography in pagan,Judeo-Christian,and Byzantine imagery,and examines the impact of Renaissance Neoplatonism on the interpretation of Saint Michael and his symbolic *** Renaissance Neoplatonic philosopher Marsilio Ficino explained the significance of the Platonic celestial ladder as a spiritual vehicle for the human soul to achieve divine *** step of this ladder is the Angelic *** is here that the sparkling light of the realm of the Angelic Mind reveals the splendor and beauty of God’s *** is the realm where Michael,a Seraphim and a messenger of God,resides,delivering God’s messages of grace and love to humanity throughout the *** Vasari(1511-1574)visualized these divine messages metaphorically in frescos on two major *** first is in the small cupola of the Pope Pius V Chapel in the Vatican,once called Saint Michael’s Chapel,where between 1560 and 1566 Vasari and his assistants painted al fresco the Saint Michael and the devils,a depiction of Michael the Archangel combatting vices personified as demons who want to prevent human beings from obtaining the divine grace that will allow their souls to ascend toward heaven(Figure 1).Between 1570 and 1574,Vasari continued his metaphorical visualization of God’s divine message in a large vault,the octagonal cupola of Santa Maria del Fiore,the Dome of the Cathedral of Florence,the major focus in this essay(Figure 2).He and his assistants painted al fresco the Last Judgment,portraying Saint Michael The Archangel residing in a heavenly realm-the divine reign of God,where he mediates and witnesses God’s divine judgment on humankind(Figure 13).Here,celestial trumpeters loudly announce the separation of good and bad souls of the terrestrial realm,*** bad s

摘要：The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.