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Updated: June 13, 2025
Profoundly sad he could be: indeed his own head, in bronze, at the Accademia, might stand for melancholy and bitter world-knowledge; but seldom tender; yet the Madonna and Child in the circular bas-relief in this ground-floor room have something very nigh tenderness, and a greatness that none of the other Italian sculptors, however often they attempted this subject, ever reached.
La mia Accademia un tempo, o mia Ginnasia, E stata volentier ne' miei boschetti; E puossi ben veder l' Affrica e l' Asia: Vengon le Ninfe con lor canestretti, E portanmi o narciso o colocasia; E così fuggo mille urban dispetti: Sì ch' io non torno a' vostri Areopaghi, Gente pur sempre di mal dicer vaghi.
The only trace surviving of these twelve Apostles is the huge blocked-out S. Matteo, now in the courtyard of the Accademia.
Here in the Accademia in the Sala dei Maestri Toscani you may see an altarpiece that has perhaps come to us from his hands, amid much beautiful languid work that is still in the shadow of the Middle Age, or that, coming after him, has almost failed to understand his message, the words of life which may everywhere be found in his frescoes in Assisi, in Florence, in Padua, spoiled though they be by the intervention of fools, the spoliation of the vandals.
Anne," which is in the Accademia at Florence. This artist was born at Lyons. His father was a salesman and an art-training seemed impossible for the young man because the Meissoniers were poor people. Nevertheless, he was so persevering that while still a young man he got to Paris and began to paint in the Louvre.
The master, certainly, of Lorenzo di Credi and Leonardo, and finally of Perugino also, he was a painter as well as a sculptor; and though his greatest work was achieved in marble and bronze, one cannot lightly pass by the Annunciation of the Uffizi, or the Baptism of the Accademia. Neglected for so long, he is at last recognised as one of the greatest of all Italian masters of the Renaissance.
The Renaissance passed it by as in a dream, and although in the work of Perugino you find a wonderful and original painter, a painter of landscape too, it is rather in the earlier men, Ottaviano Nelli, whose beautiful work at Gubbio is like a sunshine on the wall of S. Maria Nuova; Gentile da Fabriano, whose Adoration of the Magi is one of the treasures of the Accademia delle Belle Arti; of Niccolò da Foligno, and of Bonfigli whose flower-like pictures are for the most part in the Pinacoteca at Perugia, than in Perugino, or Pinturicchio, or Raphael, that you come upon the most characteristic work of the school.
From the Accademia it is but a step to S. Marco, across the Piazza, but it is well first to go a little beyond that in order to see a certain painting which both chronologically and as an influence comes before a painting that we shall find in the Museo S. Marco.
He then studied in the Austrian city of Graz with W. A. Remy, whose right name was Dr. Wilhelm Mayer. This able teacher aside from being a learned jurist was also devoted to music and had among his other pupils no less a person than Felix Weingartner. In 1881 Busoni toured Italy and was made a member of the Reale Accademia Filharmonica at Bologna. In 1886 he went to reside at Leipsic.
That the pieces of canvas to which reference is here made were new, and not Titian's original work from the brush, was of course well known to those who saw the work as it used to hang in the Accademia. Crowe and Cavalcaselle give indeed the name of a painter of this century who is responsible for them.
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