Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

This is the fourth volume in an operational and chronological series covering the U.S. Marine Corps’ participation in the Vietnam War. This volume details the change in focus of the III Marine Amphibious Force (III MAF), which fought in South Vietnam’s northernmost corps area, I Corps. This volume, like its predecessors, concentrates on the ground war in I Corps and III MAF’s perspective of the Vietnam War as an entity. It also covers the Marine Corps participation in the advisory effort, the operations of the two Special Landing Forces of the U.S. Navy’s Seventh Fleet, and the services of Marines with the staff of the U.S. Military Assistance Command, Vietnam. There are additional chapters on supporting arms and logistics, and a discussion of the Marine role in Vietnam in relation to the overall American effort.

This new edition of Norbert Tietz's classic handbook presents information on common tests as well as rare and highly specialized tests and procedures - including a summary of the utility and merit of each test. Biological variables that may affect test results are discussed, and a focus is placed on reference ranges, diagnostic information, clinical interpretation of laboratory data, interferences, and specimen types. New and updated content has been added in all areas, with over 100 new tests added. - Tests are divided into 8 main sections and arranged alphabetically. - Each test includes necessary information such as test name (or disorder) and method, specimens and special requirements, reference ranges, chemical interferences and in vivo effects, kinetic values, diagnostic information, factors influencing drug disposition, and clinical comments and remarks. - The most current and relevant tests are included; outdated tests have been eliminated. - Test index (with extensive cross references) and disease index provide the reader with an easy way to find necessary information - Four new sections in key areas (Preanalytical, Flow Cytometry, Pharmacogenomics, and Allergy) make this edition current and useful. - New editor Alan Wu, who specializes in Clinical Chemistry and Toxicology, brings a wealth of experience and expertise to this edition. - The Molecular Diagnostics section has been greatly expanded due to the increased prevalence of new molecular techniques being used in laboratories. - References are now found after each test, rather than at the end of each section, for easier access.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

This is the second volume in a series of chronological histories prepared by the Marine Corps History and Museums Division to cover the entire span of Marine Corps involvement in the Vietnam War. This volume details the Marine activities during 1965, the year the war escalated and major American combat units were committed to the conflict. The narrative traces the landing of the nearly 5,000-man 9th Marine Expeditionary Brigade and its transformation into the ΙII Marine Amphibious Force, which by the end of the year contained over 38,000 Marines. During this period, the Marines established three enclaves in South Vietnam’s northernmost corps area, I Corps, and their mission expanded from defense of the Da Nang Airbase to a balanced strategy involving base defense, offensive operations, and pacification. This volume continues to treat the activities of Marine advisors to the South Vietnamese armed forces but in less detail than its predecessor volume, U.S. Marines in Vietnam, 1954-1964; The Advisory and Combat Assistance Era.

In a garden glade before a grand fountain, surrounded by a musical party, an elegant woman in a lustrous white gown dances as part of a foursome, raising her eyes to the viewer as if extending an invitation to the dance. This is the enticing scene in the J. Paul Getty Museum's painting "Dance before a Fountain" by Nicolas Lancret (1690-1743), an excellent example of the fete galante, a genre that was created and reached the peak of its popularity in France during the first half of the eighteenth century. This monograph seeks to familiarize American audiences with Lancret, a master of this genre, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Francois Boucher, and a favourite of crowned heads across Europe. Mary Tavener Holmes's engrossing text uses this painting as a springboard to reveal a remarkable amount about the painter, his mode of painting, Paris at the time this work was made, eighteenth-century dance, and the world of art patronage and collecting in France and elsewhere in the eighteenth and nineteenth centuries. Lavishly illustrated with comparative paintings by artists such as Watteau, Boucher, Peter Paul Rubens, Jean-Francois De Troy, Jean-Baptiste Oudry, and Hubert Robert, this fascinating peek into a bygone Parisian era is a treat for the eyes and the intellect alike.