1459

Giovanni Bellini (active c. 1459; died 1516) was one of the most innovative and influential painters of the Venetian Renaissance and was among the first Italian artists to paint in oil, rather th

Andrea Mantegna (c. 1431–1506) and Giovanni Bellini (active c. 1459; died 1516) each produced groundbreaking paintings, marked by pictorial and technical innovations, that are among the masterpieces o

Giannozzo Manetti (1396–1459) was a celebrated diplomat, historian, philosopher, and humanist scholar of the early Renaissance who mastered ancient Greek and Hebrew as well as classical Latin. In this

Giannozzo Manetti (1396–1459) was a celebrated humanist orator, historian, philosopher, and scholar of the early Renaissance. Son of a wealthy Florentine merchant, he participated actively in the publ

Giannozzo Manetti (1396–1459) was an Italian diplomat and a celebrated humanist orator and scholar of the early Renaissance. Son of a wealthy Florentine merchant, he turned away from a commercial care

Professor Emanuel uses clear presentation to compare and facilitate understanding of two seminal standards, The IEEE Std. 1459 and The DIN 40110-2:2002-11. Through critical analysis of the most impor

Conversations with Shotetsu represents the first attempt to translate and analyze the late medieval poetic miscellany titled Shotetsu monogatari. Written by a disciple of Shotetsu (1381-1459), whom ma

A reissue of the 1974 Columbia U. Press edition of the letters of Florentine humanist Poggius (1380-1459) to his friend de Niccolis regarding the rediscovery of lost classical texts. Translated (from

不久遠的未來，新人類紀元，地球的可利用土地瓷源不過1459萬平方千米，不足聖杯時代土地資源的十分之一。戰爭造成的嚴重熱輻射和熱島效應，讓南北極地的冰川融化成災，海平面的大幅度上升，淹沒了大部分土...

內容介紹：套書推薦古典鋼琴入門自學影音課程(一)~(四) 4本書 + 4片DVD (共340分鐘DVD影片)特價NT$1199 (原價NT$1459) 古典鋼琴入門自學影音課程(一)1. 彈鋼琴的良好姿勢 2. 五線譜在鋼琴上的位置 3. 右手的單音練習 4. 左手的單音練習 5. 雙手的協調練習 6. 圓滑線的彈奏練習 7. 休止符的表現方法 8. 跳音的彈奏練習 古典鋼琴入門自學影音課程(二)

《本草綱目藥物古今圖鑒》是“本草綱目研究集成”從書的子書之一。書中以《本草綱目》中的藥物(古代有藥圖者)為單元，圖文結合，以鑒定諸藥來源為豐旨。全書52章。“總論”4章，介紹古代本草藥圖發展史及相關書籍的概況與特色。“各論”48章，論藥1459種，彙集古代藥圖近20000幅。藥物分類及各章藥物排列與《本草綱同》48卷各論相對應。每藥下分4項：【品圖】大致按時代先後出示相關藥網，再經比較品評，遴選原

《本草綱目藥物古今圖鑒》是“本草綱目研究集成”叢書的子書之一。書中以《本草綱目》中的藥物(古代有藥圖者)為單元，圖文結合，以鑒定諸藥來源為主旨。全書52章。“總論”4章，介紹古代本草藥圖發展史及相關書籍的概況與特色。“各論”48章，論藥1459種，彙集古代藥圖近20000幅。藥物分類及各章藥物排列與《本草綱目》48卷各論相對應。每藥下分4項：【品圖】大致按時代先後出示相關藥圖，再經比較品評，遴選原

The Last KnightThe legendary tales of Emperor Maximilian, the first ruler to employ the new possibilities of book printingThe amazing tales of the knight Theuerdank and his companion, Ehrenhold, comprise the last great epic verse of the late Middle Ages. The courageous knight’s journey to woo his future wife, Mary of Burgundy, and his triumph in battles and other perilous acts of bravery are the focus of this highly embellished "real-life" story of Emperor Maximilian I (1459–1519).A king of Germany before becoming Holy Roman Emperor in 1508, Maximilian was a great patron of the arts and commissioned a trilogy of luxurious illustrated books to immortalize his existence. Theuerdank, the only volume to be published during his lifetime, was composed by Melchior Pfinzing based on Maximilian’s rather fanciful draft. The 118 ornate, gold-adorned woodcuts—one for each chapter—were made by Hans Burgkmair the Elder, Hans Schäufelein, and Leonhard Beck, while the typeface (known as the Theuerdank

在過去的1/4個世紀甚至更漫長的時間裡，這本藝術史的力作一直是探尋人類藝術遺產的經典讀本。從舊石器時代的過去到數字化的當下，每一塊大陸、每一種文化都被涵蓋，本書清晰的表達以及不偏不倚的論述，如同展開了一幅廣闊史詩般的畫卷，纖毫畢現。在本次第7版修訂本裡，當代藝術史家邁克爾•阿切爾詳細敘述了過去20年的當代藝術，娓娓道來，真實地勾勒出我們文化史的最新進展。本書配有1459幅插圖，其中包括714幅彩圖

《功率定義與功率流的物理機制》一書包括7章主要內容和1章附錄，即電能流：物理機制、正弦波形下的單相繫統、非正弦波形下的單相繫統、非正弦單相系統的視在功率分解、正弦波形下的三相繫統、三相非正弦不平衡條件、時變負載的功率定義及附錄。這本書關注電路基本理論的推導，提出了新的功率定義方法，並演變成IEEE Std. 1459-2010，革新了長期以來的傳統電路理論與概念，代表改領域的國際先進水平，值得引進

Latin translations of Greek works have received much less attention than vernacular translations of classical works. This book examines the work of three Latin translators of the Renaissance. The versions of Aristotle made by Leonardo Bruni (1370–1444) were among the most controversial translations of the fifteenth century and he defended his methods in the first modern treatise on translation, De interpretatione recta. Giannozzo Manetti (1396–1459) produced versions of Aristotle and the Bible and he too ultimately felt obliged to publish his own defence of the translator's art, Apologeticus. Desiderius Erasmus (c. 1469–1536) chose to defend his own translation of the New Testament, one of the most controversial translations ever printed, with a substantial and expanding volume of annotations. This book attempts to provide a broad perspective on the development of Latin writing about translation by drawing together the ideas of these three very different translators.

This is a study of marriage litigation (with some reference to sexual offenses) in the archiepiscopal court of York (1300–1500) and the episcopal courts of Ely (1374–1381), Paris (1384–1387), Cambrai (1438–1453), and Brussels (1448–1459). All these courts were, for the most part, correctly applying the late medieval canon law of marriage, but statistical analysis of the cases and results confirms that there were substantial differences both in the types of cases the courts heard and the results they reached. Marriages in England in the later middle ages were often under the control of the parties to the marriage, whereas those in northern France and southern Netherlands were often under the control of the parties' families and social superiors. Within this broad generalization the book brings to light patterns of late medieval men and women manipulating each other and the courts to produce extraordinarily varied results.

Latin translations of Greek works have received much less attention than vernacular translations of classical works. This book examines the work of three Latin translators of the Renaissance. The versions of Aristotle made by Leonardo Bruni (1370–1444) were among the most controversial translations of the fifteenth century and he defended his methods in the first modern treatise on translation, De interpretatione recta. Giannozzo Manetti (1396–1459) produced versions of Aristotle and the Bible and he too ultimately felt obliged to publish his own defence of the translator's art, Apologeticus. Desiderius Erasmus (c. 1469–1536) chose to defend his own translation of the New Testament, one of the most controversial translations ever printed, with a substantial and expanding volume of annotations. This book attempts to provide a broad perspective on the development of Latin writing about translation by drawing together the ideas of these three very different translators.