Sabatini, and of Muziano and the Cavaliere d'Arpino. Martin, Aalst, to the oeuvre of Frans van de Kasteele of Brussels better known under his Italian name, Francesco da Castello , on the basis of strong affinities with his signed works, notably the S. Michael Archangel in the Museo Diocesano in Orte. Seeks also to refute the attributions to Castello advanced by Claudio Strinati Prospettiva 15 Oct , as well as his interpretation of the artist. Histoire du terme, perspectives de recherche et exemple de Lambert van Noort.
Antwerp archivists and Fromentin, the term romaniste is used to designate 16th c. Italianizing painters first in the Netherlands and then in Spain. Also examines the reasons why these artists have often been unappreciated, especially in Belgium, when in fact they illustrate an interesting phenomenon, the assimilation of a foreign culture.
Using some new attributions, studies the example of Lambert van Noort who, during his stay in Italy, managed, to some extent, to assimilate Florentine culture but progressively lost it following his return to Antwerp. Publishes all the texts that concern him.
Attributes to him the frescoes which he painted first in the Loggetta, then in the Loggia of Raphael, Vasari noting his presence there. Attributes to him the Circumcision Louvre, Paris given at one time to Giulio Romano and at another to Bagnacavallo, in which Bolognese culture is still evident.
Also attributes to him the study for an engraving. Studies the drawings of the Putti Playing Graphische Sammlung, Munich of which he supplied models for tapestries, as he himself says in a letter to Leo X; distinguishes between the originals and the copies. Gives to him the fragments of cartoons for the Scuola Nuova tapestry series Galleria degli arazzi, Vatican which he must have directed in Brussels in collaboration with Flemish artists, and another cartoon fragment, the destination of which remains unknown.
The copy is by Willem van Haecht and is in the Rubenshuis, Antwerp. Anna dei Lombardi, Naples , dating it early s. The Age of Correggio and the Carracci: Emilian painting in the sixteenth and seventeenth centuries. Catalog of an exhibition held at the Pinacoteca nazionale di Bologna, 10 Sept. Pinacoteca nazionale Bologna, U. National Gallery of Art Washington and U. Atti del Congresso internazionale di studi, Urbino-Firenze, aprile Sambucco Hamoud and M. Autour de Pellegrino Tibaldi.
Adriaen De Weerdt en Italie. Scritti in onore di Giuliano Briganti. Peter de Kempeneer en Italie. Also attributes to the artist a Holy Family with the Young S. Michel Coxcie et les romanistes: Michel Coxcie, pictor regis International colloquium, Mechelen, 5 - 6 juni The first artist to use this technique may not have been Heemskerck during his Roman sojourn, but Pieter Coecke.
Attributes a sheet with drawings on both sides in the Vatican Library to the latter and argues that it was executed in Rome ca. Tre pittori fiamminghi nella Domus Aurea. Also traces Posthumus's career in Landshut and Amsterdam L'Adoration des bergers de la scuola nuova: Atti delle giornate di studio, Orte, 12 - 13 novembre Examines his relations with other artists and humanists in the Flemish community in Italy, and discusses his patrons members of the Spanish community, and the Capuchin order.
Analyzes the iconography, style and sources of his Altarpiece of S. Michael Orte, Museo diocesano d'arte; painted in Rome, identifying the buildings in the landscape as the Capuchin churches of Orte, Tivoli and Viterbo.
Roma quanta fuit ou l'invention du paysage de ruines. La tappa emiliana dei pittori fiamminghi e qualche inedito di Josse van Winghe. Son objectif est d'encourager la recherche dans le domaine des relations artistiques entre la Belgique et l'Italie. Reading Van Mander on the Reception of Rome: Il terreno di elaborazione dei generi.
Fiamminghi del Tre e del Quattrocento. Vitruvius, Alberti and Serlio. Architectural treatises in the Low Countries The Rise of the Renaissance Architectural Treatise. Influences romaines sur l'architecture Renaissance des anciens Pays-Bas: Les Granvelle et les Anciens Pays-Bas. Liber Doctori Mauricio Van Durme dedicatus. Actes du colloque international, Leuven, Katholieke Universiteit, octobre De Jonge and G.
Vincidor di Bologna architetto nelle Fiandre. Crocevia e capitale della migrazione artistica: Bologna, Bononia University Press: Gives biographical information on the artists and their patron and discusses the Flemish colony in Rome in the 16th and 17th cs. De Mambro Santos, R. I maestri nordici alla scoperta dell'Italia e dell'antico.
Il Palazzo Doria Pamphilj al Corso e le sue collezioni. IBA online On the 16thth-c. European paintings landscape, portraits, still life, religious subjects, etc. Il mercato vicino al foro. Rivista di Epigrafia etrusca Studi di Storia antica 1: Ricerche archeologiche nel tempio dei Fabri Navales a Ostia. Dodicesimo Incontro di studio del Comitato per l'Archeologia Laziale.
Roma, Consiglio nazionale delle ricerche. Mercati permanenti e mercati periodici nel mondo romano: Atti degli Incontri capresi di storia economica antica Capri ottobre Les foulons, artisans des textiles et blanchisseurs. Port et porte de Rome antique. Les Artisans dans la ville antique. Poco grano, molti frutti. San Severo novembre San Severo, Archeoclub d'Italia: Les produits vendus au macellum. Alba Fucens en couleurs. Atti del convegno in memoria di Joseph Mertens, Academia Belgica, dicembre Roma negli studi classici del Belgio nell'ultimo decennio Gli Studi Romani nel mondo.
Atti del II ciclo di conferenze su 'Gli studi romani nel mondo' tenuto nell'anno accademico XII dei Corsi superiori di studi romani. La Via Valeria passait au centre de la ville. Bologne, Istituto per la storia di Bologna , pl. Paese e tradizioni degli Etruschi nella Divina Commedia. Castro Enciclopedia dell'Arte antica classica e orientale, Supplemento Roma, Istituto della Enciclopedia italiana: Atti del X Convegno di studi etruschi e italici, Grosseto, Roselle, Vulci, 29 maggio - 2 giugno Sculptures d'Alba Fucens pierre, marbre, bronze.
Classe des Lettres Exposition, Palais des Beaux-Arts de Bruxelles janvier Bruxelles, Palais des Beaux-Arts: Les Annales d'Alba Fucens. Presents a graphic reconstruction of its view of Naples, analyzing the perspective and labeling the major buildings depicted. Analyzes late 16th c. Les campagnes de Description de la zone nord-ouest des remparts et de celle de la terrasse. Scavi di Alba Fucense. Rapporto delle due prime campagne 25 apr.
On the basis of documents identifies the sitter in both works as Giovan Carlo Doria. La Civita di Artena: Roma, L'Erma di Bretschneider. Proceedings of the Boccaccio conference, Louvain, December Leuven, Leuven University Press: Disputes Nicole Dacos's hypothesis that the Marsala tapestries were commissioned by Philip II to symbolize events in the revolt of the Netherlands, suggesting instead that the series was probably a commercial product, purchased by the donor Antonio Lombardo.
Brusselse wandtapijten en Italiaanse Renaissance bij de Gonzaga's. Italiaanse en Brusselse Wandtapijten van de Renaissance. Giulio Romano and Tapestry at the Court of Mantova. Atti del convegno, London, marzo , Mantova, 28 marzo Gesta e trionfo di Scipione. Il restauro degli arazzi dell'Academia Belgica di Roma. Bruxelles - Roma, Institut historique belge de Rome: Bruxelles - Roma, Institut historique belge de Rome.
Le griffon dans la peinture romaine et sur les reliefs en stuc. La peinture murale romaine dans les provinces du nord. La romanisation du Picenum. Pitture romane in Piemonte. Epigrafia romana in area adriatica. Pisa - Roma, Istituti editoriali e poligrafici internazionali: Ascoli Piceno, Offida, Rieti. Roma, L'Erma di Bretschneider: Il nuovo volto di Urbs Salvia: Macerata, Fondazione Cassa di Risparmio di Macerata: Rapporto preliminare sulla terza campagna di scavo Actes du colloque, Bordeaux, juin Gli interventi di due magistrati-benefattori nel i secolo d. IBA online Discusses the illustrated architecture books compiled by Vredeman de Vries, mostly published in Antwerp during the 16th c..
Examines the works that brought Vredeman into contact with Vitruvianism, particularly Pieter Coecke's Inventie der colommen and his translation of Serlio's Libro quarto as Generale reglen der architecturen, Antwerp, ; the medium of graphic reproduction, and the influence of Vignola's Regola delli cinque ordini d'architettura Rome, ; and Vredeman's transformations of classical ornament, which were influenced by traditional decorative arts wrought ironwork, goldsmithing, cabinetwork.
On the other hand, these transformations were also related to the intended audiences of Vredeman's print collections: Documents and illustrates what remains of the garden's original statuary. Antwerpen, Vereeniging van de Antwerpsche Bibliophielen. Une certaine influence de Borromini. Klasse der Schone Kunsten 50 2: Catalogo dell'esposizione, Roma, Gabinetto Nazionale delle Stampe, 28 febbraio - 5 aprile Dai Van Deynen ai De Wael: IBA online Discusses Cavazzoni as a painter, focusing on five small oil paintings on copper: Crucifixion , one in Catanzaro Museo provinciale: Adoration of the Shepherds , and another in a private collection Road to Calvary.
The compositions of three of the five paintings are based upon prints by Cornelis Cort. Rembrandt face to face. Indianapolis, Indianapolis Museum of Art: IBA online Accompanies the exhibition of the so-called Clowes Rembrandt, an early self-portrait painted ca. Resolves the controversy over its attribution to Rembrandt and outlines its provenance. Locates this painting in the tradition of self-portraiture and discusses its specific iconography.
Maps it into Rembrandt's biography. Pseudo-Michele da Carrara o Maestro degli Studioli? Atti dal convegno internazionale, Arezzo-Firenze, 16 - 19 novembre Argues that he was a Franco-Flemish artist who settled first in Ferrara and was active in Rome from ; identifies a group of manuscripts in the Biblioteca medicea-laurenziana, Florence, executed by him for Sozino Benzi; comments on his works for Sixtus IV and Innocent VIII; and notes the frequency and variety of his depictions of studioli. Includes an appendix listing 27 manuscripts with illuminations attributed to him, with their dates, locations and patrons' names, as well as authors of attributions and bibliographic references.
Kunstgeschichte , 20 IBA online Deals with two treatises on sculpture written by artists: Comments on the language, or "grammar," employed by each author to describe statuary, as well as the importance of each work to the establishment of a set vernacular used by subsequent artists and art historians to describe sculpture. Notes the influence of Rubens' travels in Italy, during which he was exposed to myriad ancient sculptures, on his treatise.
Un nuovo tassello per la galleria di Cornelis van der Geest. Painting technique in Venice. Considers the introduction of oil technique into Venetian practice, discounting Vasari's account. Explores works by Giovanni Bellini, asserting the likelihood of his working simultaneously in both tempera and oil before Antonello arrived in the city in Antonello's techniques are considered next, positing that technical examination does not allow an assertion of direct influence from Petrus Christus or Jan van Eyck.
Posits German landscape painting was important as an example of quick painting for Giorgione, Titian, Lotto, and Dosso Dossi. Notes the general standardization of techniques in the 16th c. Considers use of copper as a painting support. Les artistes belges en Italie At twelve Gaspard entered the workshop of Willem van Cleve, and later he went to Venice where he lived until his death in or The fact that around Hans von Aachen tried to enter into apprenticeship with Rem indicates his fame beyond the Alps.
In a letter of 28 Dec Rem complains of the painter David I Ryckaert and mentions also several works which he painted under Ryckaert's name or that he was still to execute for his cousin, Catharina Rem, who was Ryckaert's wife. Gentse bijdragen tot de kunstgeschiedenis. La description des Pays-Bas de Lodovico Guicciardini.
È una delle più note e ammirate commedie del Goldoni, ideata e rappresentata nel , l'anno delle sedici commedie nuove. Originariamente in dialetto, nel. La bottega del caffè (Biblioteca Italiana Zanichelli) (Italian Edition) eBook: Carlo Goldoni: loewen-group.com: Kindle Store.
Actes du colloque international des 28, 29, 30 mars Production and use of tin-glazed wares in late 16th and early 17th century London. Majolica and glass, from Italy to Antwerp and beyond. Veronese, Flanders and France. A new page from Van Dyck's Italian sketchbooks. Paris, Presses Universitaires de France: Also evaluates the influential role of Veronese on Northern art from the later 16th through the early 20th cs.
Catalogue entries with explanatory essays and reproductions of all objects exhibited as well as comparative material. Imitation as a source of greatness. Shopbop Designer Fashion Brands. Delivery and Returns see our delivery rates and policies thinking of returning an item? Atti del X Convegno di studi etruschi e italici, Grosseto, Roselle, Vulci, 29 maggio - 2 giugno Summary catalogue of exhibited works.
Locates sources for the studies in the works of Correggio, Raphael and his followers, and prints after them. Nuovi appunti sul Foro di Alba Fucens. Valerio Cianfarani e le culture medioadriatiche. IIIIviri iure dicundo ponendum curaverunt: Alba in excelso locata saxo Obscura incultis Herdonia ab agris. Pavimentazione e rivestimenti parietali in marmo ad Alba Fucens: Polychromy, Religion and Power: The Forum of Alba Fucens. South-western side of the Forum.
Ghiberti sources for Michelangelo. Mannerism versus early Baroque in Central Europe. In Spranger's early Resurrection of , the artist remembered the general style of a Florentine altarpiece by Santi di Tito which he saw shortly before, and quoted one of its figures to create a powerful, yet artful narrative of his own.
This example thus confirms the widely accredited fact that proto- or early Baroque phenomena were inspired by references to the Italian art of the early 16th c. Italia e Belgio all'epoca di Rubens Ipotesi su Rubens Alcune ipotesi sull'origine lombarda del cartone. Il Genio e le Passioni.
Leonardo e il Cenacolo. Precedenti, innovazioni, riflessi di un capolavoro. Catalog of the exhibition held at the Palazzo Reale, Milan, Mar. Milano Firenze, Skira Artificio: Couple mal assorti en joyeuse compagnie. Classe des Beaux-Arts Ser. Entre Flandres, France et Italie. Barocco fra Italia e Polonia. Warszawa, Panstwowe Wydawnictwo Naukowe: Leur oeuvre de restauration. Duquesnoy, ainsi que sur des artistes mineurs: Concerning the ideological position of Baroque artists it is necessary to note that a Baroque theory of art was never developed, while the classicists were furnished with a body of theoretical and conceptual principles developed within their own ambiance.
Bernini's ideas on art are classical in character compared to his sculpture. Conversely, in the restorations which he did in his youth he worked only on Hellenistic sculpture originals and copies , or in the area of classical art which was known as the Baroque of antiquity.
Algardi, on the other hand, restored mainly works in the style of Myron or Phidias the Hermes Loghios and the Athena, both of the Ludovisi collection in the Museo delle Terme, Rome. Maria di Loreto, Rome or the putti in his monuments in S. Cristoforo Stati follows a classicism of the period of Hadrian and Nicolas Cordier follows later Roman art. By tracing poses used by Coxie, the drawing and the related print of the Brazen Serpent can be dated ca. Further study of the poses and composition of the Brazen Serpent reveals that the image functions typologically and has overtones of a Last Judgment.
Giovan Carlo Doria, promotore delle arti a Genova nel primo Seicento. Analyzes the contents of his collection of 15th-early 17th-c. Italian and Flemish painting i. Rubens et ses graveurs: Catalogue de l'exposition, Strasbourg, Palais Rohan Petits appartements , 2 octobre - 20 novembre The Palais Rohan owns nine tapestries of the History of Constantine, series woven from Rubens's designs.
Vasari e Stradano come panegiristi dei Medici. Traces the relationship between the two artists and compares their treatments of material, particularly events in the life of Giovanni delle Bande Nere. Also compares Vasari's conception of his mission in depicting the absolute sovereignty of the rulers whom he served as seen in the Apotheosis of Cosimo I with that of Rubens.
Distinguishes between the excellence of Vasari's highly successful scheme and that perfection, the union of freedom, beauty and love, which can be achieved by panegyric art only when it reflects the understanding that the gods represented are more important than contemporary princes. Imitation as a source of greatness. Rubens, Titian and the paintings of the ancients. Painting and the Inquisition at Venice: Giovanni e Paolo now Gallerie dell'Accademia , Venice, that resulted in the change of title to Feast in the House of Levi; and presents three other cases of the Inquisition's investigation of works of art: Lucia, Verona alleged to represent a monk adoring his mistress in the guise of a saint.
Concludes that Veronese's was a rare case. Appendix with transcriptions of documents. Surveys documentary evidence recording Flemish works in Messina, noting that these were entirely of religious subjects; also surveys a number of surviving paintings by known and unknown masters in the collection of the Museo regionale of Messina, including the altarpiece of S. John the Baptist by Herri Met de Bles. Giambologna's Cappella di Sant'Antonino for the Salviati family: New York, Columbia University. Jacques Bylivelt aan het hof van Florence.
Goudsmeden en steensnijders in dienst van de eerste groothertogen van Toscane. Alphen aan den Rijn: Francesco I e Ferdinando I mecenati di orefici e intagliatori di pietre dure. Arti del principato mediceo. Firenze, Studio per Edizioni Scelte: Francesco was an impassioned patron of a Late Mannerist type, who took great personal interest in the artists' workshops in the Uffizi Florence ; he attracted many from elsewhere, such as the goldsmith Jacopo Bilivert from Delft, the Fleming Hans Domes, the Milanese gem-cutters Ambrogio and Stefano Caroni, and Giorgio Gaffuri who, with his family, made the lapis lazuli vases that were decorated with settings by the goldsmiths.
Ferdinando I, on the other hand, was a typical Counter-Reformation prince, whose patronage was primarily intended to express his position as protector of religion, the arts, and the sciences: Lorenzo, Florence, in pietra dura mosaic. Important goldsmiths under Ferdinando's patronage were Egidio Leggi and the Netherlandish goldsmith Leonard Zaerles, who had been in Ferdinando's service in Rome and worked for him now in Frankfurt. In Florence, goldsmith's work was reduced to mediocrity after the deaths of the important artists mentioned above.
Le mura di cinta della Civita di Artena. Un parco archeologico alla Civita di Artena. L'enceinte et la Porte Nord. Productions, usages et valeurs en Etrurie. Actes de la Table Ronde d'Etruscologie, Nantes, mai La cinta muraria - Il grande terrazzamento Artena. Etrurie et Italie du Sud. Veio, Caere, Tarquinia, Vulci. Pisa - Roma, Istituti editoriali e poligrafici internazionali. Topographie und Architektur; Siedlungsareal; Etruskische Umfassungsmauer. Nuove scoperte archeologiche Review of several excavations that have taken place - or at least have been published - in the last half-decade underlines the development in our understanding of a category of monument inseparable from the history and features of the Etruscan centers.
Veii ; Tarquinia ; Volterra ; Castellina del Marangone ; and others.
Le vin, nectar des dieux. Riflessioni sui dati archeologici. Pisa - Roma, Fabrizio Serra Editore: Etruria e Italia preromana. Studi in onore di Giovannangelo Camporeale. La voix des supporters. Bruxelles, Institut royal du patrimoine artistique: L'Etrurie et l'Ombrie avant Rome. Actes du colloque international Louvain-la-Neuve, Inscriptiones originis incertae, Vocabulaire latin et terminologie actuelle. Folia electronica classica 23, La fortuna critica dei primitivi fiamminghi a Genova.
Nuove considerazioni sul disegno architettura del Gabinetto dei disegni e delle stampe degli Uffizi. Jacopo Tintoretto nel quarto centenario della morte. Atti del convegno internazionale di studi, Venezia, 24 - 26 novembre Points out that it corresponds to the facade of a complex of houses built by the Flemish merchant Paolo d'Anna, between Fondamenta dei Cereri and Fondamenta delle Procuratie Venice.
Rocco and his connection with Tintoretto. Omaggio a Leopoldo de' Medici. I of the catalogue is devoted to drawings, and contains essays by Paola Barocchi and Gloria Chiarini de Anna describing and documenting the formation of Leopoldo's drawing collection. The selected drawings date from the 13thth cs. Bramante und der Norden.
Atti del Congresso internazionale, Milano-Urbino-Roma, Identifies the former as probably Flemish, midth c. Quattro Coronati commissioned from a Flemish workshop in for their altar in the cathedral of Milan; suggests that the original sketch for the design was produced in Lombardy, accounting for its Italian character. Arazzi lombardi, italiani e fiamminghi a Como nell'epoca dei vescovi Trivulzio.
Le arti nella diocesi di Como durante i vescovi Trivulzio. Atti del convegno, Como, settembre Per gli arazzi del Regio Ducal Palazzo di Milano: Palazzo Reale di Milano. Il progetto per il museo della Reggia e contributi alla storia del Palazzo. Milano, Comune di Milano: Flemish weavers in Italy in the sixteenth century.
Flemish tapestry weavers abroad: Renaissance tapestry and Italian patronage. Flemish tapestry in European and American collections. Studies in honour of Guy Delmarcel. Un nouveau Rubens au Louvre: Dated to late s. Contributo alla storia dei rapporti fra scienza e arte figurativa nel seicento toscano. Rassegna d'arte 16 2: His 'undergrowth stories' with reptiles lying in wait or catching butterflies are represented with great scientific accuracy.
At the same time these naturalistic elements are assembled in arbitrary compositions: This kind of culture had already been very clearly revealed in paintings by Flemish and Dutch painters and also in Aldovrandi's scientific researches; it informed those scholarly collectors who saw in the Wunderkammer a summary of the three kingdoms of nature. In the great assemblages of the Wunderkammer as well as in the manneristic assemblages of Arcimboldi scientific research often becomes a capriccio.
In Florence interest in such culture had been lively since the 16th c. Such artists as Jacopo Ligozzi served as intermediaries between the researches of the naturalists and the work of the painters, ceramists and silversmiths who used subjects derived from the Wunderkammer. In the years Otto Marseus van Schrieck worked in Florence for Leopoldo de' Medici, remaining in touch with his Florentine patrons after his return to Holland as is proved by some of his works dated and now in the Medici collections. His style of painting accorded with the cultural requirements of his Medici patrons who were interested in Northern painting as well as in the inquiry into Nature and its representations.
The characteristics of Marseus's inquiry into Nature and his naturalistic representations conform to the cultural trends of the Accademia: In his paintings, however, fidelity to truth in the representation of animals and plants contrasts with the arbitrary combination of unrelated elements. Those visual inventories aim at encyclopedic completeness but reflect an abstract and symbolic process which follows the tradition of the Wunderkammer painting. The 'new science' and the mannerist capriccio, the use of the microscope and an old moralizing symbolism are all present in Marseus's paintings.
IBA online Studies the renovation and decoration of the piano nobile of the Palazzo Taverna di Monte Giordano, Rome, commissioned by Pietro Gabrielli, on the basis of documents, including Pietro's correspondence with his brother Angelo. Observes that Pietro who had studied with Carlo Fontana designed parts of the architectural renovations, and ideated the painted decoration by Bonaventura Lamberti, Daniel Seiter, Gian Girolamo Bonesi, and others and furnishings.
Also focuses on Pietro's collecting and patronage of landscape and genre painting of animals, bambocciate, etc. Suggests that Pietro was both an art connoisseur and a savvy investor. Includes transcriptions of documents. Van Dyck and Virginio Cesarini: Dates the portrait ca. Concludes that the paintings Fugger acquired from Paolo Fiammingo frequently were workshop replicas. Analyzes the importance of landscape for Paolo Fiammingo.
Vincent Adriaenssen detto il Manciola. Flemish painter of battle scenes who also worked in Paris and Rome. Then, reviews evidence for the painter's oeuvre, assigning to him frescoes at Palazzo Borghese and Palazzo Colonna in Rome and others previously attributed to Francesco Allegrini e. Artena, Piano della Civita. La villa romana del Piano della Civita ad Artena.
Atti del Convegno, Roma, gennaio Nuovi dati dalle campagne di scavo del Atti del convegno, Roma, 18 - 20 novembre La tecnica pittorica dei primitivi fiamminghi. A technical approach to a presumed Memling's diptych: Original work and some Italian copies. Nuovi studi su Paolo Veronese. Also discusses the acquisition of paintings of Veronese by the duke of Buckingham, Thomas Howard, earl of Arundel, and the duke of Hamilton; and briefly mentions Dutch and Flemish merchant collectors of his works.
Studi di storia dell'arte in memoria di Mario Rotili. Sulla fortuna del "Gerolamo" mediceo del Van Eyck nell'arte fiorentina del Quattrocento. Da Tito Firenze Atmosfera friendly, piatti tipici toscani e immancabile la chianina che qui chiamano "ciccia". La Beppa Fioraia Firenze Famoso per i taglieri con prodotti tipici toscani: Carne di alto livello e piatti toscani.
Antica Macelleria Cecchini Panzano in Chianti Alle porte di Firenze, l'antica bottega e gli artigiani della carne toscana. Trattoria Mario Firenze Autentica cucina toscana in un ambiente semplice e accogliente. Pane e Vino Firenze In un ex spazio industriale una versione riattualizzata della cucina locale. Alle Murate Firenze Il meglio della cucina toscana tra gli affreschi con "il vero volto di Dante".
Enoteca Pinchiorri Firenze L'esperienza unica di un ristorante e una cantina tra le migliori del mondo. Accademia Della Crusca Firenze Un punto di riferimento per la tutela e l'evoluzione della lingua italiana. Your recently viewed items and featured recommendations.
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