Jardiner c'est facile.

Editions France Loisirs 2000, cm.21x26, pp.192, ill.a col. brochure. Vous avez depuis longtemps envie de vous mettre au jardinage, mais vous ne savez pas très bien par où commencer : faut-il tout prévoir à l'avance, quel est le matériel de base indispensable, peut-on planter n'importe quoi n'importe où, est-il possible d'aménager une surface réduite, etc.? Jardiner, c'est facile a été conçu pour vous. Les techniques, l'outillage, le choix des plantes selon leur forme et leur couleur, le calendrier des travaux, la distribution de l'espace, les dallages... tout est présenté, expliqué pas à pas et illustré de plus de 400 photographies et schémas en couleurs. Vous allez découvrir que, pourvu que l'on soit bien guidé, Jardiner, c'est facile.

Traduz.di Elisabetta Rispoli. Milano, Casa Ed.Il Saggiatore 1967, cm.11,5x17, pp.503, brossura Coll.I Gabbiani,49.

Pubblicaz.quindicinale. Milano, A.Mondadori Ed. 23 novembre 1939, cm.18,5x24,5, pp.80, fascicolo di grande formato, cop.ill.a col. Collez. "I Gialli Economici Mondadori" n.153. A cura di Alberto Tedeschi.

Princeton, Princeton University Press 1997, cm19x25 pp.174, brossura, copertina figurata a colori. Widely acknowledged as a prime manifestation of Florentine humanist culture under Lorenzo de' Medici, Botticelli's Primavera cannot be fully interpreted without considering the poetics that expressed the Laurentian cultural program and, in turn, the Renaissance itself. In this analysis Charles Dempsey examines the poetry written by Lorenzo and his literary clients in order to give definition to the cultural context in which the Primavera was created. A celebration of Love, the painting is shown to incorporate both public and private imaginative realms while embracing the ideal and the actual experiences of the present. The Primavera, depicting Venus as the spirit of Love and springtime, is simultaneously old-fashioned and modern, rooted in International-Style vernacular conventions and evincing a nascent classical vocabulary. After describing the profoundly humanist classical foundation to the invention of the Primavera, Dempsey identifies its genre with rustic song, then relates the painting to the conventions of vernacular love poetry. A close reading of the painting in relation to works by Lorenzo, Politian, Pulci, and other poets working to elevate vernacular expression by infusing native Tuscan with Latin forms suggests how the idea of Love portrayed by Botticelli in the figure of Venus incorporates not only the ancient springtime renovatio mundi but also the actual cultural renovation - the Renaissance - imagined and sponsored by Lorenzo the Magnificent.

Prestel 1995, cm.21,5x33, pp.320 illustrrato a colori. brossura.