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Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. Images are beautiful bright and vivid. No notes or highlighting. See images. Fantastic book.

About the book >.>.> Cranach to portray her this Saxon princess insured that her image would convey her importance. Some fifteen years later in 1544 a woman whose identity is unknown sat for a portrait painter known only as the Master of the 1940s (fig. 2). Although the sitter’s dignity and self-assurance are clearly visible in the features of her face her jewelry is as modest as Magdalene of Saxony’s is osten- tatious. Wearing a black dress enlivened by a finely stitched collar and crisp buttons she shows but one piece of jewelry a ring. Her simple gold band with inset stone indicates her middle-class status as do the painting’s small scale and lack of heraldic devices. As these two portraits only begin to suggest Renaissance men and women paid close atten- tion to jewelry both as a sign of social status and as a signal of cultural knowledge and worldli- ness. This period broadly defined by the years 1400 to 1600 saw dramatic social political and cultural changes in Europe. The artistic and intellectual ferment generated by renewed interest in the art and literature of classical antiquity was especially strong in Italy where the architectural and sculptural remains of the ancient world were visible almost everywhere. The artistic excellence of the sculpture painting and architecture created by such major Italian artists as Michelangelo Raphael and Bramante radiated throughout Europe. Another major development embodied in humanism one of the dominant intellectual movements of the period was the increasing empha- sis on the power of the individual on humanity’s accomplishments rather than on its relationship (LL)