Synonyms for variarum or Related words with variarum
Examples of "variarum"
He was the author of "De septuaginta interpretibus" (1661), "De poematum cantu et viribus rhythmi" (1673), and "
observationum liber" (1685).
In 1553 he published the first 25 books of the "
lectionum", followed by another thirteen in 1569 and republished integrally in 1582.
The Padovana is described and illustrated as "gallina patavina", or Paduan hen, by Ulisse Aldrovandi in the second part of his work on ornithology, "Ornithologiae tomus alter cum indice copiosissimo
linguarum" (Bologna, 1600).
His son Isaac (1618–1689), after a career of scholarship in Sweden, became residentiary canon at Windsor in 1673. He was the author of "De septuaginta interpretibus" (1661), "De poematum cantu et viribus rhythmi" (1673), and "
observationum liber" (1685).
See his "Symbolae criticae ad supplendas et corrigendas
N. T. lectionum collectiones" (Halle, 1785, 1793), and his "Commentarius criticus in textum Graecum N. T.", which extends to the end of Mark and discusses the more important various readings with great care and thoroughness (Jena, 1794 if.).
1686, "Botanicum Monspeliense, sive Plantarum circa Monspelium nascentium index. Adduntur
plantarum descriptiones et icones. Cum appendice quae plantas de novo repertas continet et errata emendat." Montpellier. [Flora of Montpellier, or rather a list of the plants growing around Montpellier, with descriptions and plates of several plants added. With an appendix that contains plants newly found and corrects [previously made] errors]
He is best known for his "Antiquitatum
", originally titled the "Commentaria super opera diversorum auctorum de antiquitatibus loquentium" ("Commentaries on the Works of Various Authors Discussing Antiquity") and often known as "the Antiquities of Annius". In this work, he published alleged writings and fragments of several pre-Christian Greek and Latin profane authors, destined to throw an entirely new light on ancient history. He claimed to have discovered them at Mantua.
His imaginary landscapes without a topographical interest are more typically Mannerist in their close observation of nature and dramatic contrasts of light and dark. Their palette is dominated by acid blues and greens and the brushwork is impressionistic. These imaginary landscapes were used by his brother Paul and others as an inspiration for their work. These paintings are now known through a series of prints made by the Dutch engraver Simon Frisius. They were published in 1611 and 1613–14 in two volumes under the title "Topographia
The principal work of Covarruvias is his "
resolutionum ex jure pontificio regio et cæsareo libri IV". He wrote also on testaments, betrothal and marriage, oaths, excommunication, prescription, restitution, etc. Quite distinct in character from his other productions is his numismatic treatise, "Veterum numismatum collatio cum his quæ modo expenduntur", etc. (1594). His complete works have been several times edited, the Antwerp edition (5 vols., 1762) being the best. Among his manuscripts have been found notes on the Council of Trent, a treatise on punishments ("De poenis") and an historical tract, "Catalogo de los reyes de España y de otras cosas", etc.
The interest in Etruscan antiquities and the Etruscan language found its modern origin in a book by a Renaissance Dominican friar, Annio da Viterbo, a cabalist and orientalist now remembered mainly for literary forgeries. In 1498, Annio published his antiquarian miscellany titled "Antiquitatum
" (in 17 volumes) where he put together a fantastic theory in which both the Hebrew and Etruscan languages were said to originate from a single source, the "Aramaic" spoken by Noah and his descendants, founders of Etruscan Viterbo. Annio also started to excavate Etruscan tombs, unearthing sarcophagi and inscriptions, and made a bold attempt at deciphering the Etruscan language.
The publication of his "
Lectionum Libri Tres" (1567), which he dedicated to Cardinal Granvelle, earned him an appointment as a Latin secretary, and a visit to Rome in the retinue of the cardinal. Here Lipsius remained for two years, devoting his spare time to the study of the Latin classics, collecting inscriptions and examining manuscripts in the Vatican. After he returned from Rome, he published a second volume of miscellaneous criticism ("Antiquarum Lectionum Libri Quinque", 1575); compared with the "Variae Lectiones" of eight years earlier, it shows that he had advanced from the notion of purely conjectural emendation to that of emending by collation.
As Abbot of St. Bénigne John had been brought into close relations with the Emperor Henry III (after 1038 also King of Burgundy) and with his spouse, Agnes of Poitiers. After Henry's death his widow placed herself under the spiritual guidance of the abbot, and for her John composed a series of ascetical works. These were entitled the "Liber precum
", "De divina contemplatio Christique amore", "De superna Hierusalem," "De institutione viduae," "De vita et moribus virginum", "De eleemosynarum dispensatione" ("Patrologia Latina" CXLVII, 147 sqq., 445 sqq.).Some letters dealing with incidents in the life of the cloisters are also collected in P.L. loc. cit., 153 sq, notably his 'Letter to a Nun'.
Porcellis' two years in Haarlem probably saw the beginning of his reputation and prosperity. He gained more popularity because of the detail in his paintings, particularly in portraying the Beach View of Haarlem, various of which were found scattered in other European places and palaces, such as Palazzo Venezia in Rome, or in the collection of the Emperor of Germany. In these years Porcellis’ series of twenty etchings, "Verscheyden Stranden en Water Gesichten", was published in Haarlem by Jan Pietersz. Porcellis soon left Haarlem and in 1624 was living in Amsterdam; by 1626 he had moved to Voorburg near The Hague. Around this time, in 1627, a set of twelve prints after Porcellis’s designs were published in Amsterdam by C. J. Visscher, the "Icones
navium hollandicarum", the first ‘iconography’ of ship types since Pieter Bruegel’s in 1565.
Sebastiaen Vrancx started his career in Italy by painting Mannerist cabinet-sized Biblical scenes that are reminiscent of Paul Bril and Jan Brueghel the Elder. After returning to his home country he turned to genre subjects. He created a number of village and city scenes. Some scenes depicted masked persons and may have been based on his experience as a writer for, and actor in, plays produced by the chamber of rhetoric. An example is (At Christie's on 23 - 24 June 2015, Amsterdam lot 45). In this night scene Vrancx was able to capture the effects of moonlight and torchlight. The nocturnal ambiance is made palpable with naturalistic and keenly observed scenes such as the two cats in the centre shown as mere silhouettes and about to attack each other. The composition demonstrates his attention for the attire of the figures, an interest also reflected in Vrancx’ designs for a series of prints by Pieter de Jode I, which depict the dresses of various countries known as the "
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