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There is a beautiful example by Giotto, where two lovely angels stand at the head and two at the feet, sustaining the pall on which she lies; another most exquisite by Angelico in the Florence Gallery; another most beautiful and pathetic by Taddeo Bartoli in the Palazzo Publico at Siena.

Taddeo Bartoli, another Sienese, and Martin Schoen, the most poetical of the early Germans, also adopted the olive-symbol; and we find it also in the tabernacle of King Réné, already described. The treatment is clearly devotional and ideal where attendant saints and votaries stand or kneel around, contemplating with devout gratitude or ecstatic wonder the divine mystery.

Serassi reports that in 1614 Clementi Bartoli of Urbino possessed no less than eighty pastoral plays; while by 1700, the year of Fontanini's work on the Aminta, Giannantonio Moraldi is said to hsve brought together in Rome a collection of over two hundred.

Somewhere about 1422, careless Thomas painted his greatest picture which was doomed to destruction too early for us to know much about it; but it was named "San Paolo" and it was painted in the bell-room of the Church of the Carmine in Florence. The figure for his model was an illustrious personage, Bartoli d'Angiolini, who had held many honourable offices in Florence for many years.

Afterwards, also, he made a portrait of Duke Valentino, the son of Pope Alexander VI; which painting, to my knowledge, is not now to be found; but the cartoon by his hand still exists, being in the possession of the reverend and cultured M. Cosimo Bartoli, Provost of S. Giovanni.

Now, while he was working with Bartoluccio and seeking to make progress in his profession, the plague came to Florence in the year 1400, as he himself relates in a book by his own hand wherein he discourses on the subject of art, which is now in the possession of the Reverend Maestro Cosimo Bartoli, a gentleman of Florence.

The fine fresco by Mainardi, in the Baroncelli Chapel, is an instance; and I must cite one yet finer, that by Ghirlandajo in the choir of S. Maria-Novella: in this last-mentioned example, the Virgin stands erect in star-bespangled drapery and closely veiled. We now proceed to other examples of the treatment of the Assumption. Taddeo Bartoli, 1413.

It is the due of those craftsmen who, in order to acquire a name, put themselves to much fatigue in painting, that their works should be placed, not in a dark and dishonourable position, wherefore they may be blamed by those who have no more understanding than this, but in some spot where, through the nobility of the place, through the lights, and through the air, they can be rightly seen and studied by all, as was and still is the public work of the chapel that Taddeo Bartoli, painter of Siena, wrought in the Palazzo della Signoria in Siena.

The life of Saint Francis Xavier, after it had been written by several authors in the Spanish and Portuguese, and by the famous Padre Bartoli in the Italian tongue, came out at length in French, by the celebrated pen of Father Bohours, from whom I have translated it, and humbly crave leave to dedicate it to your patronage.

Bartoli, and more recently Dr Larmor, have shown, in fact, that if these pressures did not exist, it would be possible, without any other phenomenon, to pass heat from a cold into a warm body, and thus transgress the principle of Carnot. It appears to-day quite probable that the X rays should be classed among the phenomena which have their seat in the luminous ether.