000			02754cam a22003133u 4500
001			8523
003			UtSlPG
005			20260610133223.0
006			m
007			cr n
008			260607r2005||||utu|||||o|||||||||||||| d
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aN _aPR
100	1		_aRuskin, John, _d1819-1900
245	1	0	_aVal d'Arno : _bTen Lectures on the Tuscan Art Directly Antecedent to the Florentine Year of Victories; Given Before the University of Oxford in Michaelmas Term, 1873
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2005
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2005-07-01
505	0		_aNicholas the Pisan -- John the Pisan -- Shield and apron -- Parted per pale -- Pax vobiscum -- Marble couchant -- Marble rampant -- Franchise -- The Tyrrhene sea -- Fleur de lys.
508			_aText file produced by Tiffany Vergon, ckirschner and the Online Distributed Proofreading Team The HTML file produced by David Widger
520			_a"Val d'Arno" by John Ruskin is a collection of lectures focusing on Tuscan art, delivered during the late 19th century. The book explores the influence of prominent artists from Tuscany, particularly emphasizing the works of Niccola Pisano and his son Giovanni Pisano, as well as the political and cultural contexts surrounding their artistry. Through detailed analysis, Ruskin illustrates how the artistic expressions during this period both reflected and shaped the social and economic conditions of the time. At the start of the text, Ruskin introduces the historical importance of a significant event in Florence that took place six hundred twenty-three years prior—marking a shift in political power away from the feudal system towards greater freedoms and governance by the people. He sets the stage for a discussion of various Tuscan artists, commencing with Niccola Pisano, suggesting that an understanding of these figures is essential for appreciating the broader implications of their work. Ruskin briefly outlines the evolving relationships between political powers, particularly the Church and Imperial authority, and their reflections in the structures and sculptures of the time, indicating an intricate connection between art, governance, and community identity. This opening prepares the reader for a deeper examination of the implications of Tuscan art within its historical narrative. (This is an automatically generated summary.)
534			_nOriginal publication data not identified
653			_aArt -- Italy -- Tuscany
856	4	0	_uhttps://www.gutenberg.org/ebooks/8523
999			_c50505 _d50505