First published in 1946, A Dictionary of International Affairs is virtually an encyclopaedia. This highly useful reference work is indispensable to all who desire to be well-informed about the world in which they live. The scope of this book is unusually wide. It deals with such varied subjects of the Chaco Dispute, Ogpu, Syndicalism, Freedom of the Seas, Balfour Declaration, etc. It also contains statistics about minerals, agricultural produce, and industrial products. In addition, it provides essential information about erstwhile colonies, islands, and nations. It brings together – in a precise style and compact form – a vast amount of basic and interesting information on almost every conceivable aspect of international affairs. Chief emphasis is given to developments since World War I – particularly to those agreements, concepts, agencies, problems, areas and resources which are of continuing importance.
Campana, a businessman from Rome, formed one of the most important private collections of antiquities of the 19th century yet it has been little studied. This thesis examines Campana's private life, his role as patron of the arts, archaeologist and collector and his trial for fraud, ending in exile.
This richly illustrated publication brings together 93 paintings and 85 drawings from the Royal Collection, and accompanies an exhibition of international importance.
The man whose name is shorthand for all that is ugly in politics was more nuanced than his reputation suggests. Christopher Celenza’s portrait of Machiavelli removes the varnish to reveal not just the hardnosed philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover.
Venice Reconsidered offers a dynamic portrait of Venice from the establishment of the Republic at the end of the thirteenth century to its fall to Napoleon in 1797. In contrast to earlier efforts to categorize Venice's politics as strictly republican and its society as rigidly tripartite and hierarchical, the scholars in this volume present a more fluid and complex interpretation of Venetian culture. Drawing on a variety of disciplines—history, art history, and musicology—these essays present innovative variants of the myth of Venice—that nearly inexhaustible repertoire of stories Venetians told about themselves.