Bøger af Camillo Boito

Questo libro è una guida storica e architettonica sulla cattedrale di Milano, una delle più importanti attrazioni turistiche della città e uno dei migliori esempi di architettura gotica in Italia. Scoprirete in dettaglio la facciata della cattedrale, compresi i disegni originali di Filippo Salveraglio.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. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Questo saggio di Camillo Boito offre una panoramica completa sull'architettura medievale in Italia, analizzandone gli stili e le principali caratteristiche. L'introduzione sullo stile futuro dell'architettura italiana aggiunge un interessante spunto di riflessione.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. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Lionardo E Michelangelo Camillo Boito

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

If I introduce this book by relating how I came to encounter Rudolf Steiner and his work, more than twenty-five years ago, and what decided me not only to make his way of knowledge my own, but also to enter professionally into an activity inspired by his teachings, it is because in this way I can most directly give the reader an impression of the kind of spirit out of which I have written. I am sure, too, that although what I have to say in this chapter is personal in content, it is characteristic of many in our time. When I first made acquaintance with Rudolf Steiner and his work, I was finishing my academic training as an electrical engineer. At the end of the 1914-18 war my first thought had been to take up my studies from where I had let them drop, four years earlier. The war seemed to imply nothing more than a passing interruption of them. This, at any rate, was the opinion of my former teachers; the war had made no difference whatever to their ideas, whether on the subject-matter of their teaching or on its educational purpose. I myself, however, soon began to feel differently. It became obvious to me that my relationship to my subject, and therefore to those teaching it, had completely changed. What I had experienced through the war had awakened in me a question of which I had previously been unaware; now I felt obliged to put it to everything I came across.

""Leonardo e Michelangelo"" (1879) di Camillo Boito ����� un saggio che analizza le opere e le personalit������ di due dei pi����� grandi artisti del Rinascimento italiano: Leonardo da Vinci e Michelangelo Buonarroti. L'autore esplora le differenze e le similitudini tra i due maestri, mettendo in luce i loro contributi all'arte e alla cultura dell'epoca. Il libro ����� considerato un classico della letteratura artistica italiana e rappresenta una fonte preziosa per chiunque sia interessato alla storia dell'arte e alla figura di questi due geni creativi.This Book Is In Italian.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Gite Di Un Artista Camillo Boito Ulrico Hoepli, 1884 Art; Artists

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Un uomo scrive con preoccupazione al proprio medico elencando, con dovizia di dettagli, i sintomi e le caratteristiche della sua strana condizione: una macchia grigia che sembra essere situata sulla parte esterna dell'occhio gli impedisce di vedere con chiarezza, e nel tempo è diventata così fastidiosa da impedirgli di vivere normalmente. La macchia, sostiene l'uomo, è poco visibile di giorno, alla luce del sole, ma diventa più scura via via che sopraggiunge la sera. Di notte, è praticamente tutto ciò che l'uomo riesce a vedere. Ma quando è apparsa per la prima volta? E perché non se ne è più andata, ma anzi ha continuato a crescere nell'ombra? Camillo Boito (1836 – 1914) è stato un critico d'arte, architetto e accademico italiano attivo per tutta la seconda metà dell'ottocento: fu infatti una figura di spicco nel dibattito che animò il mondo intellettuale all'indomani dell'Unità d'Italia.A Milano partecipò al movimento letterario della Scapigliatura, l'equivalente milanese della Bohème parigina, debuttando con due serie di racconti brevi: "Storielle vane" (1876) e "Senso. Nuove storielle vane" (1883).

La contessa Livia decide di raccontare in un diario, che ha intenzione di bruciare subito dopo la stesura, le esperienze da lei vissute tra Venezia e Verona qualche anno prima. Le prime pagine del memoir sono dedicate alla nascita della storia d’amore con Remigio Ruz, conosciuto durante il suo viaggio di nozze. Sullo sfondo delle Guerre d’Indipendenza, le complicate vicende dei due amanti prendono vita, rivelando feroci gelosie e disarmanti tradimenti, fino alla macabra vendetta da parte di Livia...Questa novella è contenuta nella raccolta "Storielle vane".Camillo Boito (1836 – 1914) è stato uno scrittore, architetto e teorico del restauro italiano. Noto principalmente per la sua dedizione alla ricerca di uno "stile nazionale" in seguito all'unificazione dell'Italia, Camillo Boito si contraddistingue per le sue opere di restauro e progettazione, tra cui quella del Palazzo delle Debite di Padova. L'architetto si avvicina inoltre alla Scapigliatura milanese: nella seconda metà dell'Ottocento si dedica alla stesura di opere fortemente influenzate dalle tematiche macabre portate in auge da E.T.A. Hoffmann ed Edgar Allan Poe. Tra i suoi scritti ricordiamo "Senso. Nuove storielle vane", dal quale racconto principale è stato tratto l'omonimo film di Luchino Visconti, oltre a "Il Maestro di setticlavio" e "Gite di un artista".