La corona d'argento.

A cura di Nello e Paolo Vian. Roma, Ediz.di Storia e Letteratura 1989, cm.18x25,5, pp.406, 7 tavv. e 2 ill.bn.ft. brossura sopracop.fig. Coll.Carteggi. Intonso.

Ediz.definitiva con aggiunte e correzioni. Firenze, Vallecchi Ed. 1942, cm.13,5x19,5, pp.262, brossura Coll.Opere di G.P.18.

Todi, 1980, cm.16,5x24, pp.36, 8 tavv.bn.nt. brossura cop.fig. Coll.Res Tudertinae.

Firenze, Vallecchi Ed. 1942, cm.13,5x19,5, pp.200, brossura Coll.Opere di G.P.

A cura di Daniela Rava. Manduria, Lacaita Ed. 1995, cm.14x22, pp.507, brossura cop.fig.con bandelle. Coll.Società e Cultura,8.

Firenze, Sismel Ediz.del Galluzzo 1997, cm.15x23, pp.VIII,266, 12 tavv. ft. brossura copertina figurata a colori. Coll.Micrologus,V. A. Paravicini Bagliani, Premessa - C. Trottmann, «Facies» et «essentia» dans les conceptions médiévales de la vision de Dieu - T. Ricklin, Vue et vision chez Guillaume de Conches et Guillaume de Saint-Thierry - J. P. Torrell, La vision de Dieu «per essentiam» selon Thomas d’Aquin - R. Imbach-F. X. Putallaz, Le terme «imago» chez Thomas d’Aquin - Z. Kaluza, Voir: la clarté de la conaissance chez Nicolas d’Autrecourt - K. Flasch, Nicolaus Cusanus, Vom Sehen Gottes - G. Spinosa, Visione sensibile e intellettuale: semantica della visione medievale - C. Genequand, Vue et vision chez les philosophes et théologiens arabes - L. M. Eldredge, The anatomy of the eye in the Thirteenth Century - G. Federici Vescovini, Vision et réalité dans la perspective au XIVe siècle - A. Sorci, Dalla metafisica della luce alla fisica della luce in Biagio da Parma - K. H. Tachau, «Perspectiva» and «Astrologia» in Late Medieval Thought - G. Stabile, Teoria della visione come teoria della conoscenza. Indice dei nomi - Indice lessicale - Indice dei manoscritti.

London, Barbican Art Gallery, 16 May - 20 July 1986. Catalogue edited by Dr.David Mellor. London, Barbican Art Gallery - Weidenfeld and Nicolson 1986, cm.23x28, pp.256, numerose foto in bn.e alcune a col.nt., brossura, cop.fig. (cop.lievemente ingiallita ma copia ben tenuta).

CONTENTS: --Prefaces . --Historical Background - H. Glykatzi-Ahrweiler --Introduction - A. Kominis --Architecture - Ch. Bouras --Wall Paintings - E. Kollias --Icons - M. Chatzidakis --Church Gold Embroideries - M. Theocharis --Church Silver - Y. Ikonomaki-Papadopoulos --Illuminated Manuscripts - D. Mouriki - N.P. Sevcenko --The Library and the Archive --The Manuscripts - A. Kominis --The Archive of Byzantine Documents - E. Vranoussi --Documents of Byzantine Functionaries - M. Nystazopoulou-Pelekidou --Patriarchal, Monastery and Private Documents - N.O. --Archival Material in Foreign Languages - Chr. Maltezou --The Archive from the Period of Turkish Rule - V. Panayotopoulos --Printed Books - E. Franghiscos. Testo in inglese, bibliografia e indici. Athens, Ekdotike Athenon 1988, cm.25,5,x33, pp.382, centinaia di figure a colori in tavole legatura editoriale in tutta tela, con sopraccoperta figurata a colori in cofanetto. Two major historical events have led to Patmos being called 'the holy island of the Aegean'. The first is the arrival there in A.D. 95 of the Evangelist, Saint John the Theologian, who wrote the Book of Revelation on the island; and the second is the foundation in 1088, at the beginning of the second millenium of the Christian era, of the Monastery of Saint John the Theologian by the monk Christodoulos, armed with three chrysobulls from the Byzantine emperor, Alexios I Comnenos. During the nine centuries of its life, the Monastery on Patmos has assembled and preserved many precious treasures of art and culture, and, along with the Patmian School, it has supplied the Orthodox Church with patriarchs and other enlightened prelates, and the State and the intellectual world with distinguished personalities. Patmos, Treasures of the Monastery contains chapters on the various kinds of works of art housed in the Monastery from the Byzantine and modern Greek popular traditions, and also on the rare manuscripts and valuable editions in the Library, the richest in the Aegean. These chapters, each lavishly illustrated, deal with the architecture of the fortress-like complex of the Monastery, the outstanding wall paintings and icons, the masterpieces of gold-embroidery and church silver, the exquisite miniatures in the manuscripts, and the other treasures in the Library and the archive.