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Updated: June 7, 2025
Between Mantua, Goito, and Buscoldo, Mantegna spent the last forty-six years of his life in continual employment, broken only by a short visit to Florence in 1466, and another to Bologna in 1472, and by a longer residence in Rome between the years 1488 and 1490. During the latter period Innocent VIII. was Pope.
His earliest picture is dated 1490: his last 1521 or 1522. Gentile Bellini was his master. Ruskin found Carpaccio by far the most sympathetic Venetian painter. Everything that he painted, even, as I point out later, the Museo Civico picture of the two ladies, he exults in, here, there, and everywhere.
In the year 1490 Lucrezia was the only one of Roderigo's children by Vannozza who remained in Rome. Giovanni Borgia was in Spain, whither he had gone on the death of his brother Pedro Luis, to take posession of the Duchy of Gandia, which the power of his father's wealth and vast influence at the Valencian Court had obtained for that same Pedro Luis. To this Giovanni now succeeded.
Of the eight examples in this gallery the earliest is probably the Dead Christ, presumably painted in 1472. The Demidoff altar-piece is dated 1476. In 1490 Crivelli was knighted by Prince Ferdinand of Capua, and from that date onward he was careful to add to his signature the title Miles as appears in our Madonna and Child Enthroned, with SS. Jerome and Sebastian called the Madonna della Rondine:
Entrance was only over a deep moat spanned by a drawbridge. Jean Cottereau made his acquisition of the domain towards 1490 and immediately planned a new scheme of being for the old fortress which, according to a more esthetic conception, would thus be brought into the class of a luxurious residential chateau.
It was in the year of grace 1490, in the reign of Guidobaldo, Lord of Montefeltro, Duke of Urbino, the year, by the way, of the birth of that most illustrious and gracious lady, Vittoria Colonna. It was in the spring of the year, in that mountain eyrie beloved of the Muses and coveted of the Borgia, that a little boy stood looking out of a grated casement into the calm, sunshiny day.
But we also find "pamphlets and bookys," in a work printed by Caxton in 1490, a hundred years before Shakespeare. Whatever the origin, the common acceptation of the word is plain, signifying a little book, though where the pamphlet ends, and the book begins, is uncertain. The rule of the British Museum Library calls every printed publication of one hundred pages or less, a pamphlet.
Titian, as we call him Tiziano Vecellio, or Vecelli, or Tiziano da Cadore, as he was called by his contemporaries was born in Cadore, a Venetian province. The year of his birth varies according to the biographer. Some say 1477, some 1480, some 1487 or even 1489 and 1490. Be that as it may, he was born in Cadore, the son of a soldier and councillor, Gregorio Vecelli.
The postscript is a sad one. In October of the same year the unhappy prince was attacked in the night and robbed of life and throne by his brother's son; and I myself escaped narrowly, and am now in the deepest misery. A near-despotism, without morals or principles, such as Pandolfo Petrucci exercised from after 1490 in Siena, then torn by faction, is hardly worth a closer consideration.
Anne now in the Royal Academy, and the "Vierge aux Rochers" in the Louvre, which was originally painted between 1490 and 1494 for a chapel in San Francesco of Milan, the church where the great Condottiere Roberto di Sanseverino was piously buried by his sons, after his death in the battle of Trent.
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