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You will find his pictures in the Ducal Palace, in the Academy, and a fine series in San Sebastiano, which represents legendary scenes in the life of St. Sebastian. Go to Santa Maria Formosa and look at Palma Vecchio's St. Barbara, his masterpiece. You will also find several of this artist's pictures in the Academy worth looking at. His style at its best is grand, as in the St.

The Piazza della Signoria has such riches that one is in danger of neglecting some. The Palazzo Vecchio, for example, so overpowers the Loggia de' Lanzi in size as to draw the eye from that perfect structure. One should not allow this to happen; one should let the Palazzo Vecchio's solid nobility wait awhile and concentrate on the beauty of Orcagna's three arches.

The Palazzo Vecchio's ground floor is a series of thoroughfares in which people are passing continually amid huge pillars and along dark passages; but our way is up the stone steps immediately to the left on leaving the courtyard where Verrocchio's child eternally smiles, for the steps take us to that vast hall designed by Cronaca for Savonarola's Great Council, which was called into being for the government of Florence after the luckless Piero de' Medici had been banished in 1494.

Then, for the first time, he looked upon the face of this woman who had burdened his dreams. The face was not like any he had conjured. It seemed to him that Vecchio's Paola Vecchio's Barbara had stepped down from her frame: beauty, tranquil, flawless beauty. A minute passed; he was incapable of speech, he could only look. "Well?" she said, in the same expressionless tone.

Oh so white, oh so soft, oh so sweet is she?" But all the same, having a bonnet on, she is distinctly less like Palma Vecchio's St. Catherine, to which in my talk with Frank I compared her, than she was bareheaded this morning at breakfast. Who in the annals of history ever heard of a saint in a bonnet?

Other graves in the church are those of Cronaca, the architect of the Palazzo Vecchio's great Council Room, a friend of Savonarola and Rosselli's nephew by marriage; and Verrocchio, the sculptor, whose beautiful work we are now to see in the Bargello. It is said that Lorenzo di Credi also lies here, and Albertinelli, who gave up the brush for innkeeping.

We return to Palma Vecchio's grand composition, 1399, The Adoration of the Shepherds, which under a false signature, once passed for a Titian. 1135, Holy Family, with SS. Sebastian and Catherine, is a form of composition known as a Santa Conversazione, which Palma brought to its ultimate perfection. The official catalogue of 1903 persists in ascribing it to Giorgione.

Strange as it may seem, the sullen artisan bore, too, a secret grudge against Rienzi, for not having seen and selected him from a crowd of thousands on the day of his triumphal entry. Such are the small offences which produce deep danger to the great! The artisans still held their meetings, and Cecco del Vecchio's voice was heard loud in grumbling forebodings.

I am afraid you will think me very stupid, but I really am quite at sea." "Do you mean to say," cry I, reddening with mortification, "that you forget that you do not remember that St. Catherine of Palma Vecchio's in the Dresden Gallery that I always pointed out to you as having such a look of Barbara? Well, you have a short memory!"

That is a most loving and splendid tribute for one man to pay another. Not long after Giorgione died, and Titian took up his unfinished work, doing it as well as his own. There was a brilliant and mature artist called Palma Vecchio, in Venice, and Titian painted in his studio, where he saw and loved Vecchio's daughter, Violante.