摘要：Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.

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：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：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：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：Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,Vasari was viewed by humanists as a *** Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of Vasari,characterized him as the first art historian.3 By virtue of Rud’s text,Vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without Vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,Vasari visualized these creative activities and honored his Aretine artis