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Maria Hayward 《Textile history》2018,49(1):129-130
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文艺复兴时期佛罗伦萨的婚姻特点 总被引:5,自引:1,他引:4
佛罗伦萨是欧洲文艺复兴的发源地和文化中心,本文通过分析文艺复兴时期佛罗伦萨的婚姻与宗教及教会、阶级集团、财富、城乡地区、鼠疫和婚外性行为的关系。来揭示社会转型时期佛罗伦萨的婚姻状况。据此全面理解文艺复兴时期的社会变化及时代特征。 相似文献
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文艺复兴早期的佛罗伦萨经济之考察 总被引:1,自引:0,他引:1
佛罗伦萨的城市强大是其成为文艺复兴发祥地的根本原因。该城的经济强大表现在两方面首先,14世纪初佛罗伦萨的资本主义经济崛起。本文定量分析了毛织业所创造的巨额财富,这构成为文艺复兴运动产生的物质基础。其次,新兴资产阶级——市民阶级经济实力的增长,他们以此为基础发起了文艺复兴运动。14—15世纪的佛罗伦萨经济极易受到外来因素的影响,城市经济几经起伏。经济的变化不定,使得市民产生忧患意识,市民人文主义得以发展壮大。 相似文献
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Early Renaissance Production Recipes for Naples Yellow Pigment: A Mineralogical and Lead Isotope Study of Italian Majolica from Montelupo (Florence)
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L. Chiarantini F. Gallo V. Rimondi M. Benvenuti P. Costagliola A. Dini 《Archaeometry》2015,57(5):879-896
The Naples Yellow pigment was apparently used for the first time by the Egyptians, as a glass‐colouring agent. Also known in the Mesopotamian and Roman cultures, the recipe was lost in Western Europe between the fourth and the 16th centuries ad . The recipe for the production of lead antimonate recently discovered in the ‘Codice Calabranci’ (second half of the 15th century) at Montelupo, a small town near Florence (Italy) known for its large‐scale ceramic production, possibly represents the very first evidence of the reintroduction of Naples Yellow in Western Europe after a long period of absence. The major‐element composition of the lead antimonate pigment in the Montelupo ceramics of the 15th and 16th centuries is in accordance with the ‘Codice Calabranci’ recipes. Lead isotope analyses indicate that the lead used to produce the yellow pigments and the underlying glaze of the Montelupo majolica did not come from the Tuscan mining districts, but was possibly imported via Venice from more distant lead sources in Turkey. 相似文献
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Zanier G 《Journal of the history of ideas》1987,48(3):509-519
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Timothy Kircher 《European Legacy》2015,20(5):435-449
AbstractThe essay explores humanism’s modernity by inquiring into the way the fifteenth-century humanist cultural program posited moral values and, at the same time, contributed to a sense of moral confusion. While Niccolò Niccoli, Pier Paolo Vergerio, and Leonardo Bruni associated ethical enlightenment with learning and even social acclaim, Leon Battista Alberti criticized these assumptions not only for their susceptibility to political manipulation but also for their failure to cultivate the attributes they promised: virtue, and by extension happiness and tranquillity. The tensions in humanist culture between conformity and dissent, rational certainty and sense of mutability, generated the creative energy that we, as moderns, have come to attribute to this culture. 相似文献