Os Princípios das Leis Maçônicas – Volume II (Portuguese Edition)


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Liber Librae Do not be rushed to condemn others; as you know that in their place, could you have resisted temptation? And even if it were, why should you belittle the one who is weaker than yourself? Liber Librae Translated. Vale Frater Thor 93! Today is 9 years of the great party of euclydes lacerda de almeida - one of the biggest diffusers of the law of thelema in Valley Frater Thor Translated. Happy Winter Solstice to all, as is tradition follow the issue of magazine , in this number with articles of Qvif H Pan and djedji - members of the abbey het heru content notice - over 18 years!.

Soon, launch of magick tears, magick without tears, commented by Marcelo Ramos Motta, by the label wisdom arcana, we express our full support for the project and indicate the reading. Coming soon at the authors club and Amazon. Liber Librae Do good to others for your own good, not for reward, not for their gratitude, not for compassion. If you are generous, you will not allow your ears to be delighted with expressions of gratitude.

Liber Tzaddi vel Hamus Hermeticus. About the period of student of mysteries and probacionista. Os primeiros passos na Santa Ordem - Como entrar? Frater H fala sobre como ingressar na Santa Ordem da A. O Ser Humano tem o direito de matar esses que quereriam contrariar estes direitos. Traduzido por Marcelo Ramos Motta. Liber Lxxvii " the law of the fort: This is our Law and joy The world. Do that, and no other will say no. There is no God but the human being. The human being has the right to live by his own law - to live in the way he wants to live To work as you want: To play as you want: To rest as you want: To die whenever and as you want.

The human being has the right to eat whatever he wants: To drink whatever you want: To live wherever you want: To move as you please on the face of the earth. The human being has the right to think what he wants: To say what you want: To write what you want: To Draw, paint, plow, embossing, shape, build as you want: To dress as you want. The human being has the right to love as he wants: - " take your plenty and will of love as you please When, where and with whom you want.

The human being has the right to kill those who would want to counter these rights " the slaves will serve. Translated by Marcelo Ramos Motta. Liber Aleph. Think also, o my son, in this image: that if two countries are at peace a man travels between them without obstacle, but if there is war, all the barriers between them are immediately closed, except a few, and these are watched and guarded So that the obstacles are many.

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This then is the case of magic, for if you have put in harmony all the principles within you, you can work easily to transmute a force into its similar on another plan, which is the essential work of our art, but if you are At War inside yourself how can you work? Our Master Hermes trismegistus wrote in the header of his emerald board this word: what is up is like the one below, and what is below is like it is up, for the execution of the miracles of the single substance.

So what if the one below is not like the one on top? If we assume that the day Conegrani has lost is the Tuesday, and that he meant to write Wednesday 26 September, then we arrive at this position: while there is still disagreement as to whether the naum. The events of the Wednesday were orchestrated to make maximum use of the river.

In anticipation of the entry Ippolito had given both the house and gardens a major face-lift, which foreshadows the extraordinary landscap- ing he was to undertake shortly afterwards at Tivoli. The pergola shown in the plan along the street wall of the garden may be a relie of this construction. The two bands of enfants de la ville, mounted and on foot, preceded by the officers who had led them for the entries, made their third appearance of the week, parading in the king's colors. They were presented to him, and they also waited at table during the lunch.

K4v as a second match. The third part of the day's program involved another short trip up- river on the bucentaur from Ainay to the cathedral, escorted by the flo- tilla of other craft; since this coincided with tea-time, and since the king had just played or not played tennis, he was treated to refreshments on board. The fleet arrived at the cathedral landing-stage at 5 pm.

Olschki, , Gardes, Lyon, l'art et la ville Lyon, , But the internai transformations to both the banqueting hall and the Salle Saint- Jean were nothing short of lavish, embracing the work of painters, sculp- tors, and architects. The ceiling was painted with sky and clouds, and the walls were decorated on three sides with a red serge frieze, 3.

The lower part of the wall bore painted rustication, as did the jambs of the three large windows in the west wall. Above the pediment were affixed two gilded putti in half-relief holding up a massive crescent moon, the horns of which reached to the painted sky. On each side of the entrance door stood a gilded terracotta figure 2. Each figure pointed to a third large shield hanging from the architrave which bore the three gold Jleurs de lys of France; each pedestal bore an inscription, inaccurately transcribed in the album.

Corresponding to the two statues by the entrance were two gilded terracotta figures of women, on the west wall beneath the windows. One statue, clearly Victory, held a crown with a palm frond in it; the other held a white wax torch, which to judge by the Victory column outside, represents one of the cardinal virtues. Milanesi Florence, , and n. Palagi, Di Zanobio Lastricati III, IV. The colonnade was continued on the west wall, where six more columns stood with three arches in between, the entrance door pierced in the middle area.

Above the capitals and arches on ail three walls ran an entablature, 0. If each of the five arches along the side wall was VA braccia wide, and the space between each arch was 1 Vi braccia, this gives us an approx- imate length for the room of Similarly, the width of the room 3 arches comes to 9. Sculpture This architectural framework was filled with statues, which, like those of the antechamber, were mainly the work of the sculpter Zanobi.

Twelve gilded terracotta statues, 2. The six military statues to the right of the spectator, five on the south wall and one on the western entrance wall, could readily be iden- tified by the coat of arms hanging from the pediment above their niche and from accompanying inscriptions. However, the Italian version correctly makes no such claim of ancestry. The first one, Lorenzo de' Medici , although no great warrior, no doubt earned his place as the father of Catherine de' Medici and as a Medici who had married into a French family.

As the father of Cosimo I his place in Florence and Antwerp is more easily explained than in Lyon, where he might seem associated with the imperialist branch of the Medici, were it not for the fact that he had fought both for the papacy and for France against the empire. The inclusion of the third, the fifteenth-century condottiere Filippo Buondelmonti degli Scolari Pippo Spano, , who was also to be celebrated at Antwerp, is clearly uncontroversial because of his heroic struggles against the Turk on behalf of the king of Hungary. The fourth, the Ghibelline Farinata degli Uberti c.

The first three held their books open, the last three closed; the first three wore laurel crowns, the fourth an oak crown; and the last two no crown. As with the military statues, their coats of arms hung from the pediments above. The Italian translation simply calls them togati, men of letters as opposed to the warriors opposite. This gallery of heroes makes a fascinating comparison with the one con- structed for Philip in Antwerp. Lyon is striking in having no religious figures at ail, while Antwerp has Saints Zanobio and Antonio, together with an allegorical figure of Religione.

Galletti Florence, , Grapheus, Spectaculorum in susceptione Philippi Hisp. Divi Caroli V. Antwerpiae aeditorum mirificus apparatus Antwerp: P. Coecke d'Alost, , fol.

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Lyon, 28 Sept. A Igreja pode legitimamente reivindicar ter trocado o significado da palavra usura. Iniciemos a marcha a caminho do triunfo! Fisher, Shield publishing, Inc. Drusi 56; Ovid, Tr.

The women portraying the towns were ail crowned, the maies uncrowned. On the left wall were five more figures representing Fiesole, Arezzo, Pistoia, Prato, and Montepulciano, the first three being a group of crowned women, and the last two a boy and a man, both uncrowned. However, the east wall changes ail this, as do the contents of the room. Klein and H. At the base of each wing was the painted perspective of a large grated window with eponymous lions looking through it, and between the two windows, along the front of the stage, a trompe l'oeil painted staircase, whose lifelikeness misled people into thinking that they could climb it on to the stage.

In the auditorium there were two rows of wall lighting. Starting from the door, the first The chairs for the royal party were placed on this dais set across the theater [0. The king and queen were seated on the top platform; the princes and princesses on the lower. The space between this platform and the stage, about 3.

Thus the arrangement of the seating allowed for a place of honor for the royal couple without unduly restricting the view of those seated on the benches in the orchestra behind them. The only exception might be the motif of the dragons which provided the lighting, a possi- ble allusion to Ippolito's devise, Ab insomni non custodita draco. We are left with an enigma, although with the probability that the whole under- taking was a collaborative effort between the colony and the cardinal. This raises the second question of Florentine political coloring of the spectacle.

This is in sharp contrast to the entry of Philip to Antwerp, where praise was repeatedly heaped on the grand duke. However, the Italian album attributes the idea for putting on a comedy in Lyon to the king himself, who requested it in early July, giving the Florentines the remarkably short space of six weeks to organize the comedy before his planned arrivai in mid-Au- gust.

Pintor, "Ego Barlachia recensui," in Giom. We see in the mentions of characters entering at the begin- ning of each act that they were the same ones as in Bibbiena's original, apart from the Nurse who in Lyon is given the name Tiresia; we also learn that the costumes were chosen to reflect Florentine fashion, apart from the Necromancer who was dressed alla Grechesca, and that the cos- tumes were made of rich materials, such as cloth of gold and cloth of silver brocaded with gold. If the five acts of the play were probably unamended, the same cannot be said for the rest of the evening's four hour entertainment.

In the three foUowing intermezzi, each portraying a god in triumphal fiery chariot, the audience saw how Love reconquers the world and brings back concord: first the Earth itself in the chariot of Venus drawn by doves; then the Sea, in the chariot of Neptune drawn by seahorses; and finally the Air, in the chariot of Juno, drawn by peacocks.

História da maçonaria

The performance was concluded with a post- lude and with a song in praise of Love acompanied by viols. Does this mean that Barlacchia played not Calandro himself but an older character like Ruffo or Polinico? On this visit see also M. Verzone Florence, , , cited by Salza, "Domenico Barlacchi," 27; the same source asserts that Miglior Visini had died by , Plaisance, "La politique culturelle," At the opening of proceedings the spectators' first view was of the Florentine piazza, in which the illusion of bustle was created by the use of machines: varions cardboard figures of passers-by, including garden- ers, a sweep, a horseman, and a young couple, were drawn mechanically across the stage.

Gelli involving the god with a chorus of muses: as in Lyon, Apollo sang two songs to the monarch accompanying himself on a lyre. Apollo 's colors were red and gold; the Age of Iron wore silver and tan, with a wolf's head for a helmet, and held a rake and a scythe; the Age of Bronze wore gold and bronze, with a lion's head; the Age of Silver wore pearls as well as silver, and carried loaves as an attribute; and the Age of Gold carried a honeycomb.

Nv; Conegrani, fol. Nv-N2; Conegrani, fol. At the end of each of Acts , F. Again we may suspect that Alamanni and F. Iron was escorted by Cruelty, dressed in green and orange to look reptilian; by Avarice, decked out with purses; and by Envy, in green, eating snakes. Bronze offers to help the king emulate Hercu- les in defeating monsters and conquering the world. Silver offers Henri long life, peace, and offspring. Gold makes the king an offer he can scarcely refuse: peace, honor, justice, faith, and ail the gods coming down to live with him into the bargain.

However, according to Cone- grani, the first version of this interlude involved Apollo judging between the Four Ages and banishing ail but Gold, the Age over which Henri will reign. Her speech, the longest of ail in the interludes, offers to Henri her fealty and that of her com- panions. Justice, Peace, and Religion: the deeds of his reign will surpass those recorded in ancient literature, and he will be rewarded with long life and abundant progeny.

Fauchet, Origine des chevaliers, armoiries et heraux Paris: J. The ves- sels were manned by crews wearing distinctive colors, the first in red, the second in green, among whom were the two bands of gladiators seen earlier in the week, who were now to show their skills in naval combat. The two galleys and their escorts set out from the port des Augustins where they had been built, artillery blazing and musicians blaring. K4; Conegrani, fol. There were three principal move- ments: in the first phase the two fleets engaged in arc formation, led by the galleys, making use of rams and of boarding parties of gladiators; in the second stage each galley disengaged only to be attacked by the opposing pair of escorting frigates, whom they successfully beat off; fi- nally, battle was joined between the two escorts with the galleys in sup- port, and the introduction of light artillery eventually sank one escort of the green fleet.

Dusk was falling and dinner beckoned upstream at the Couvent de l'Observance; the whole armada accompanied the royal bucentaur north- wards and waited for the meal to finish. In the afternoon the king requested a repeat of the combat of gladiators, which he had admired during his own entry to the city, but which had been omitted from the queen's entry. This spectacle lasted until vespers. After the religions service the king and court decided to attend another repeat, a second performance of La Calandra, which had been intended for those who had not found a seat the first time, and who once again found themselves displaced by bluer blood.

Henri II modified the uniform originally prescribed by Louis XI, and it was worn for the first time at the meeting, now comprising white shoes and breeches, a full-length gold-bordered cos- tume of cloth of silver split down the side, worn with the collar of the order, a black cap, and a hood of crimson velvet embroidered in gold. Rubys, Histoire, In imitation of the knights' costume, the queen and ladies were wearing white or cloth of silver. But the Scottish connection, uppermost in the king's mind as the mar- riage was negotiated between the dauphin and Mary queen of Scots, was further accentuated by the nomination to the order of Saint-Michel of three prominent Scots nobles: Archibald Douglas, earl of Angus, gover- nor of Edinburgh, and high chancellor of Scotland; Archibald Campbell, earl of Argyll, chancellor of Scotland; and Gabriel Gordon, earl of Huntly.

For this service ail dressed in black capes and hoods, and the whole court attended, including the ladies and the diplo- matie corps, with the exception of the Portuguese ambassador who had quarrelled with his English counterpart, Nicholas Wotton, over prece- dence. The day was completed by a final river-battle and firework display.

Accounts of the Entry inscriptions and in the suppression of vernacular material in writing up his album.

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Although it was not yet an established practice in France to publish accounts of major royal entries— scarcely any entries made during Henri's tour were printed — it was clear from an early stage that this visit to Lyon would be recorded in print. The normal practice would be for a local printer to produce a brief bulletin as a rush job in order to profit from the short-term market created by the publicity of the entry.

Simancas K. Alv; Saulnier, However, since the key to financial success in such newsletters was topicality and speed of publication, it is highly unlikely that they appeared more than a few weeks after the entry at most.

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But nothing very substantial is omitted from the events of the parade for the king's entry, except for the combat of the gladiators which no diplomatie witness mentions either. The author of Le grand triumphe was no humanist, and although he valiantly recorded some of the inscriptions, his Latin is at times faulty; similarly he shows limited interest in the architecture or the icon- ography.

Cooper, Rabelais et l'Italie Geneva: Droz, , , A factor to be taken into account is the long delay, four months, in producing an officiai account: even Rabelais' account of the Sciomachie, which had to be sent from Rome to Lyon for printing, still appeared within six weeks. If the consulat was intending to produce an album, why wait two months before commis- sioning it, leaving the field open to rivais against whom they then felt obliged to take drastic action?

Normally the printer would expect to recoup through sales, and the sub- vention may well indicate the importance ascribed by the consulat to the prestigious appearance of the album. Salomon's illustrations can be classified into four groups: military, architectural with background and without background, and naval. The first group includes the two cuts fols. C4, Dv associated with the parade, portraying the two captains of the enfants de la ville. Each eut is the same size x 99 mm. Both designs were to influence the illustrators of the Paris entry.

A second group of cuts comprises the monuments which Salomon sets against a background. An obvious example is the engraving of the obelisk fol. D4 , portrayed in a tree-covered landscape with a marked 2' Ibid. Mortimer Cambridge, Mass. H3v , which is the same size x mm. The third monument in a setting is of the port at Saint-Jean fol.

T , smaller in size x 99 mm. The portai de Pierre- Seize, for instance fol. E2 , among the smallest of the prints x 99 mm. This contrasts with the much larger x mm. By contrast, on the similarly sized trophy at the Griffon fol. F3; x 99 mm. The fountain at Saint Paul fol. F4v is a small x mm. On the other hand, in the much larger x mm. The monument to Occasio fol. H2 , among the largest of the illustrations x mm.

Occasions column and her globe fail to stand out, and the rendering of the statue and of the herms is unsure. Among ail the illustrations of monuments, the perspective of the Change fol. G4; x mm. The round temple was to become a favorite with Salomon, and appears in numerous later engravings, notably the bibHcal ones. It might again be felt, however, that the architecture and the perspective are more expertly handled than the statuary in this engraving.

Arte Maçonica de Carmen-Lara

The last group of woodcuts comprises the pictures of the three ships fols. Lv, L2, L2v; ail x 99 mm. The figures of the gladiators are quite successfuUy rendered in bellicose pose. It is striking to observe which parts of the visit Salomon illustrated, and which he left out. Unlike the later Rouen entry, no attempt is made to portray groups of figures in the parade, with only the two captains being singled out, possibly because Salomon had sketches for the design of their costumes. Of ail Ippolito d'Este's initiatives, only the victory column and the port Saint-Jean appear: since the consulat were paying for the pictures, it is perhaps not surprising that their achievements should be privileged.

A2r-v, Lyon, 1 March ; his name was misprinted and corrected in the Harvard copy. The Visino family came from Gorizia. The famous polygraph Francesco Maurolico has also been suggested, but he appears scarcely to havc stirred from Messina. Giovio, Dialogo dell'imprese militari et amorose Lyon: G. Francesco e Simon Mazzei;" cf. Baudrier, Brucioli Lyon: G.

It would, howev- er, be far from correct to describe F. However, F, M. K3 , and about the trees in Diana's grove and the nymphs' costumes fol. For the sake of clarity, he came up with Italian analogies, comparing the Saint-Michel costume to "le grammagle si portano in la Sicilia" fol. L4 , the Saint-Paul double arch to the porta dei Leoni in Verona fol. H4 and the balustrade of the Temple of Honor and Virtue to the rooftop gardens of Naples fol.

M's version fols. G4, Kv. He indulges repeatedly in elaborate stylistic embellish- ment, both topical and erudite. E3v, "Quos ego super terras. The amendments made by F. Avril for J de Roigny, , fol. Saulnier, that this work was restored to its rightful author, although Saulnier persists in denying it any literary merit. Histoire, , giving the wrong dates.

Cramoisy, , Rigollet, , Accounts of the Entry pride and national aspirations. Similarly, if it was intended to mollify the attitude of the royal exchequer towards municipal finances then it was again a failure, with the members of the consulat landing up in prison for debt within weeks of the king's departure, and with the Lyonnais being burdened with additional taxes for years to come in order to help recover the costs. Since there was no royal personage, there was no need for an entry, but the festival centered on the storming of a fort, which had happened at Beaune and would reappear in Paris; the contents were also more military and chi- valric than Lyon and included material from the Roman carnival.

The only direct iconographie parallel in this con- nection between Lyon and Rouen is the Lyonnais frieze of the elephant- led triumph of Alexander, echoed in Rouen in that of Heureuse For- tune. Their arch at Saint-Denis also imitated the Lyonnais taste for fake antiquities by including a stretch of ruined wall fol. The very original double arch at Saint-Paul also influenced the design of the one in front of the Palais de Justice fol. Neither Paris nor Rouen takes the free-standing victory columns over from Lyon, although they are incorporated in Paris into the H-shaped arch fol.

Last among the architectural fea- tures is the perspective, which was imitated in Paris in Jean Cousin's loggia dedicated to Lutetia, where a large painted backdrop was set in a three-dimensional framework with a figure placed in front — in Lyon a pair of actors, in Paris a statue of Lutetia fol. Another similar per- spective was used in the entry of Charles IX to Paris. Q2v-Q4v ; and, strikingly, the construction at the abbey of Saint-Ouen of a jeu de paume for the king's use fol. Some of the military material from Lyon survived into the later entries. The Afterglow fort.

C2r-v, Dr-v , and even a textual parallel in the reappearance in Antwerp of the inscription Fama super aethera notus fol.

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Similarly, in a renewed pursuit of Tuscan Lehensraum, an array is presented of cities under grand-ducal sway, namely those sculpturally embodied in Lyon, in exactly the same order, Pisa, Volterra, Cortona, Borgo San Sepolcro, Castrocaro, Fiesole, Arezzo, Prato, Montepulciano, with the omission of Pistoia after Arezzo , and with the addition at the end of Villanova, Pescia, and Empoli fol. Among later similar events in Antwerp we note the ludus gladiatorius fol.

P-P2 , and the advertising of the cost to the city of the whole entry 26, florins. The album of F. There were to be several more entries and festivities in Lyon during " S. Simancas, MS K. Coeck [], fol. Saugrain, Aneau, Picta poesis Lyon: M. Bonhomme, , Vital de Valous, The Ferrarese ambassador had warned of this outcome while Ippolito was gaily spending his 10, ducats, most of which would go up in smoke: lo assicuro alla Ex.

AA , no. Michel, Abbreviations Alvarotto: G. Alvarotto, Dispacci, Archivio di Stato, Modena. AS: Archivio di Stato. Baudrier: H. Bibliographie lyonnaise. Lyon: A. Brun, BL: British Library. Brooke: J. CAH: M. Baudouin-Matuszek and A.

Catalogue des actes de Henri IL Vols. Paris: Centre national de la recherche scientifique, Conegrani: G. Dandino: G. Dandino, dispatches in J. Re di Francia Henrico secondo di questo nome fatta nella nobile et antiqua Citta di Lyone a luy et a la sua serenissima consorte Chaterina alli 2L di Sep- temb. GiambuUari: P. Florence: B.

Giunta, Giustiniano: F. AS Venice. Francia, 4 Grapheus: C. Scribonius Grapheus. Spectaculorum in susceptione Philippi Hisp. Antwerp: P. Coecke d'Alost, Tricou Lyon: Imprimerie Audinienne, Paris: for B. Lyon: J. Crespin, McFarlane: L D. Binghamton: MRTS, McGowan: M. Amsterdam: Theatrum Orbis Terrarum Ltd. Rolle: F.

Saulnier: V. Paris: C. Klincksieck, Tervarent: G. Attributs et symboles dans l'art profane Dictionnaire d'un langage perdu. Droz, Bibliography I. Events Leading up to the Entry Vauzelles, J. Cres- pin, Bonardi and A. Da Carpi, ]. Degli Agostini, N. La sontuosa intrata di Carlo V. Blado, ]. Paris: R. Estienne, []. Berardier, D. Paris: J. La magnifica et triumphale entrata del Christianiss. BN, Lb' Paris: for A.

Langelier, Paris: G. Paris: no printer, BN, WH3A. Diplomatie Sources Alvarotto, G. Conegrani, G. AS Mantua, Gonzaga, Dandino, G. Dispatches in J. Giustiniano, F. AS Venice, Arch. Panciatichi, B. Letter in AS Florence, Mediceo, Saint-Mauris, J. Dispatches in Arch. Lyon: Imprimerie Audinienne, Paradin, G. Histoire de nostre temps, Gld-lZ. Gazeau, Rubys C. Lyon: B.

Nugo, Gryphius, Paris, Godefroy, F. Paris: S. Cramoisy, Colonia, D. Lyon: F. Rigollet, Delaroche, Paris: Mercure de France, Paris: Fayard, Brooke, J. Cloulas, L Henri IL Graham, V. Grenoble: Presses universitaires de Grenoble, Saulnier, V. Diane de Poitiers et le mythe de Diane. Paris: Presses Uni- versitaires de France, Courboin, F. Paris: M. Le Garrec, Davis, N. University of Toronto Press, Dobbins, F. Music in Renaissance Lyons. Oxford: Clarendon Press, Henkel, A. Stuttgart: F. Metzler, Joukovsky, F. Il Rinascimento a Lione. Rome: Edizioni dell'Ateneo, McGowan, M. Rolle, F.

Rondot, N. Lyon, Jondorf, eds. Intellectual Life in Renaissance Lyon. Cam- bridge: Cambridge French Colloquia, Tervarent, G. Travaux d'Humanisme et Renais- sance Geneva: E. Padua: Antenore, Mitchell, B. Paris: Centre national de la recher- che scientifique, III: Relazioni artistiche; il linguaggio architettonico.

Florence: L. Olschki, Moncallero, G. Solerti, A. Florence, Bryant, L. Geneva: Librairie Droz, Chartrou, J. Paris: Presses Universitaires de France, Cooper, R. Cambridge: Cambridge French Colloquia, Gluck, D. Paris: Centre national de la recherche scientifique, , , Travaux d'Humanisme et Renaissance Kernodle, G. Chicago: University of Chicago Press, Landwehr, J. McAllister Johnson, W. McCrary, R. McFarlane, I. Pariset, E. Tricou, G. Catalogue des actes de Henri II. Baumgartner, F. Henry II King of France Durham: Duke University Press, Cloulas, I.

Henri II.

Dante… Bruno, Vico… Joyce

Knecht, R. Lon- don: Longman, Modem Studies of Lyon Baudrier, H. Histoire de Lyon. Le Coteau: Horvath, Bibliographie critique de l'Histoire de Lyon Lyon: A. Rey, Rome, Edizioni dell'Ateneo, Gardes, G. L'exemple de Lyon. Lyon, l'art et la ville. Gascon, R. Lyon et ses marchands. Gerig, J. Kleinclausz, A. Lyon: P. Masson, Pacifici, V.

Le plan de Lyon vers Lyon: Archives Municipales, Tricou, J. Et par Cp ttioyeii y eut meilleur Qrdire, qu'on n euft. Apres le5 trovs Lieutenatz non mojns braues,que leurs Capitaines, ayantz leurs Tabonns 6: Fitires. En la trovfiefmc bande tro v.