The other chapters not mentioned above are: Bruno Figliuolo, "Humanistic Historiography in Naples and Its Influence in Europe (1450-1550)"; Johannes Helmrath, "On Imitating Enea: Enea Silvio Piccolomini
as 'Apostle' of Humanism.
54) This was the experience of Enea Silvio Piccolomini
Il sistema delle dediche"; Janika Pall, "The Practice of chreia at the Academia Gustavo-Carolina (1690-1710) in Dorpat (Tartu)"; Klara Pajorin, "Janos Vitez ed Enea Silvio Piccolomini
alla nascita della retorica umanistica in Ungheria"; Jan Papy, "Lipsian Style and Swedish 18th-Century Politics?
To be sure, major artists have entries, and there is an essay on Visual Arts and Literature which ranges from Dante to Arte povera and new expressionism, highlighting links such as those between Botticelli, Poliziano, and Neoplatonism, but an Enea Silvio Piccolomini
without mention of Pienza or Pinturicchio is greatly diminished, as is a Federigo da Montefeltro without reference to Piero's portrait; the Dominicans, Franciscans, and Jesuits should be given credit for their artistic patrimony, and the few lines given to Cosimo (under Medici) ignore that artistic legacy that still attracts visitors to Florence.
Portrat und historisch-geographische Legitimation der humanistischen Elite Italiens"; Bruno Figliuolo, "Die humanistische Historiographic in Neapel und ihr Einfluss auf Europa (1450-1550)"; Johannes Helmrath, "Vesitigia Aeneae imitari Enea silvio Piccolomini
ala 'Apostel' des Humanismus.