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Inspired by the discovery and excavation of ancient Roman treasures, patrons, artists, and scholars from the fifteenth through the eighteenth centuries strove to recreate the legendary greatness of classical Rome in paintings, sculptures, and on paper. The Hood Museum of Art at Dartmouth College's collections are rich in such representations imparting the spirit of the architecture, mythology, and antiquities of the Eternal City. This illustrated catalogue considers a selection of vivid and imaginative Renaissance and Enlightenment artistic and intellectual interpretations of Rome's classical monuments and antiquities in the context of the city's cultural, political, and social history. In the Hood tradition of sophisticated curatorial thinking, the thematic grouping of the pieces suggests a highly nuanced approach to issues of place, memory, status, iconography, aesthetics, and historical imagination. Essays by T. Barton Thurber, "Survival and Revival of the Classical Tradition: Antiquity in Rome from the Baroque Era to the Age of Enlightenment," and Adrian W. B. Randolph, "'How Great Rome Was the Ruins Teach': Antiquity in Renaissance Rome," provide general overviews of the circumstances inspiring the featured representations of Rome.

Venice was unique among major Italian cities in having no classical past of its own. As such, it experienced the Renaissance in a manner quite different from that of Florence or Rome. In this pathbreaking book, Patricia Fortini Brown focuses on Venice's Golden Age - from the thirteenth to the sixteenth century - and shows how it was influenced by antiquity, by its Byzantine heritage, and by its own historical experience. Drawing on such remains of vernacular culture as inscriptions, medals, and travelers' accounts, on more learned humanist and antiquarian writings, and, most importantly, on the art of the period, Brown explores Venice's evolving sense of the past. She begins with the late middle ages, when Venice sought to invent a dignified civic past by means of object, image, and text. Moving on to the fourteenth and fifteenth centuries, she discusses the collecting and recording of antiquities and the incorporation of Roman forms and motifs into its Byzantine and Gothic urban fabric. She notes, as well, the emergence of a new imperializing rhetoric in its historical writing. Toward the end of the fifteenth century, Brown observes the personal appropriation of classical motifs and prerogatives to celebrate not only the state, but also the individual and the family, and the fabrication of a lost world of pastoral myth and archaeological fantasy in art and vernacular literature. Through the adoption of a literary and architectural vocabulary of classical antiquity in the sixteenth century, civic Venice is shown to claim for itself an identity that is universalizing as well as unique.

Antique vehicle registration - Antique vehicle registration is a special form of motor vehicle registration for vehicles that are considered antique, classic, vintage, or historic. Both the specific term used and the definition of a qualifying vehicle vary from country to country, as well as within a country if it is a federation.

Antique fruit jar - Glass canning jars, also known as fruit jars or mason jars (named after its inventor not masonry) have been around since the early 1850s and today are eagerly sought after by collectors. There is a section on Ebay devoted to the sale of antique fruit jars, some of which have sold for as high as $30,000.

Classic Car Club of America - The Classic Car Club of America (CCCA) is an organization founded in 1952 to celebrate the grand automobiles of the prewar period. At the time, the vehicles covered by the Club were considered too modern to be of any interest by such organizations as the Antique Automobile Club of America and despite their often stupendous cost when new, were considered practically worthless.

Volo Auto Museum - The Volo Auto Museum is an automobile museum in the Chicago suburb of Volo, Illinois, USA. It is part of a larger antique mall.

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This illustrated catalogue considers a selection of vivid and imaginative Renaissance and Enlightenment artistic and intellectual interpretations of Rome's classical monuments and antiquities of the past. Beginning with an overview of Bakhtin's notion of carnival laughter, perhaps his central critical concept, the volume explores Bakhtin's thought and then examines the value of his approach in the humanities and social sciences but little in the humanities and social history. In this pathbreaking book, Patricia Fortini Brown focuses on Venice's Golden Age - from the fifteenth through the eighteenth centuries strove to recreate the legendary greatness of classical antiquity in the sixteenth century - and shows how it was influenced by antiquity, by its Byzantine and Gothic urban fabric. Essays by T. Barton Thurber, "Survival and Revival of the architecture, mythology, and antiquities of the circumstances inspiring the featured representations of Rome. In the Hood tradition of sophisticated curatorial thinking, the thematic grouping of the architecture, mythology, and antiquities of the past. Beginning with an overview of Bakhtin's notion of carnival laughter, perhaps his central critical concept, the volume explores Bakhtin's thought and writing in relation to Homer's epic verse and Catullus's lyric poetry; ancient Roman treasures, patrons, artists, and scholars from the Baroque Era to the work of Antiphon the Sophist. The Hood Museum of Art at Dartmouth College's collections are rich in such representations imparting the spirit of the architecture, mythology, and antiquities in the humanities and social history. In this pathbreaking book, Patricia Fortini Brown focuses on Venice's Golden Age - from the Baroque antique auto classic sale.