Le stanze di Rafaello [di] Arduino Colasanti. 1910 [Leather Bound]

by Raphael

This edition features a leather binding on the spine and corners, adorned with gold leaf printing on the rounded spine. Additional customizations are available upon request, such as full leather binding, gold screen printing on the cover, colored leather options, or custom book colors. Reprinted in 2018 from the original edition published many years ago [1910], this book is presented in black and white with a sewn binding to ensure durability. It is printed on high-quality, acid-free, natural shade paper, resized to meet current standards, and professionally processed to maintain the integrity of the original content. Given the age of the original texts, each page has been meticulously processed to enhance readability. However, some pages may still have minor issues such as blurring, missing text, or black spots. If the original was part of a multi-volume set, please note that this reprint is a single volume. We hope you understand these limitations and appreciate our efforts to preserve this valuable piece of literary history. We believe this book will be of great interest to readers keen on exploring our rich cultural heritage and are pleased to bring it back to the shelves. We welcome your feedback and suggestions. Italian, 102. Full leather binding is available for an additional $25 beyond the price of the standard leather-bound edition. {Folio edition also available.} Complete Le stanze di Rafaello [di] Arduino Colasanti. 1910 [Leather Bound] by Raphael,

102 pages, Leather Bound

Published January 1, 2018

About the author

Raphael Sanzio, usually known by his first name alone (in Italian Raffaello (April 6 or March 28, 1483 – April 6, 1520) was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period.

Raphael was enormously productive and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican. He was extremely influential in his lifetime, but after his death the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when his more serene and harmonious qualities were again regarded as the highest models.

His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.