Come si legge la mano. Manuale pratico di chiromanzia.

Roma, ENIT s.d. cm.21,5x27,5, pp.160, num.figg.bn.e col.nt. alcune ripiegg. legatura ed.in mezza tela, cop.fig.a col.

Venezia, Il Cardo 1994, cm.14x21, pp.X-110, 8 ill.bn.ft. brossura Coll.Ricerche.

Pennsylvania The Pennsylvania State University Press 1994, cm.22x28,5, pp.XIII,76, 98 ill.bn.in tavv.ft., legatura editoriale con sopracoperta figurata a colori. Ediz.in lingua inglese. The remarkable evolution of Italian Gothic and Renaissance sepulchral art was initiated, not by the tomb of a pope or a prince but by one made for a saint, Dominic Guzmàn, founder of the Order of Preachers. The tomb was designed by Nicola Pisano in 1264 and built in San Domenico, Bologna, in 1267. Shortly after its construction, monumental tombs appeared everywhere in Italy, characterized by increasingly large-scale, spatially aggressive, architectonic forms with rich sculptural embellishments. This study analyzes the form and structure of this thirteenth-century monument and explores its meaning to Pisano's contemporaries, patrons as well as the public. Anita Moskowitz's discussions of the two major descendants of the Arca di San Domenico—the Arca di San Pietro Martire in Milan by Giovanni di Balduccio and the Arca di Sant' Agostino in Pavia by a follower of Balduccio—as well as the

A cura di Osvaldo Patani. Con uno scritto di Giancarlo Vigorelli. Milano, Officina D'Arte Grafica Lucini 1988, cm.23x28, pp. 88 ill.a colori. brossura sopracoperta rimboccata, custodia. Volume composto in carattere Garamond, stampato nell' Officina D'Arte Grafica Lucini di Milano, su carta a mano di Pescia in 600 esemplari.

Milano Casa editrice Oberdan Zucchi 1935, cm.13x18,5, pp.128, brossura, copertina figurata.