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Updated: May 25, 2025


The weighty chapter in Alberti's Treatise on Painting, lib. iii. cap. 5, might be used to support this paragraph. Quercia, born 1374; Ghiberti, 1378; Brunelleschi, 1379; Donatello, 1386. They are engraved in the work cited above, Le Tre Porte, seconda Porta, Tavole i. ii. The bas-reliefs of S. Petronio were executed between 1425 and 1435.

How the Roman burghers may have felt upon this point we gather from a sentence of Leo Alberti's, referring to the administration of Nicholas: 'The city had become a city of gold through the jubilee; the dignity of the citizens was respected; all reasonable petitions were granted by the Pontiff. There were no exactions, no new taxes. Justice was fairly administered.

The language in which this alternation of passion and disgust for study is expressed, bears on it the stamp of Alberti's peculiar temperament, his fervid and imaginative genius, instinct with subtle sympathies and strange repugnances. Flying from his study, he would then betake himself to the open air.

It might bring it nearer to Milton, as Dante brought Keats. Witness his revision of Hyperion. Wherein, then, is the use? Why, it is in the art of it. I will convict you out of Alberti's own mouth, or his biographer's, for he spake it truly.

Florence's Bois de Boulogne Shelley The races The game of Pallone SS. Ognissanti Botticelli and Ghirlandaio Amerigo Vespucci The Platonic Academy's garden Alberti's Palazzo Rucellai Melancholy decay Two smiling boys The Corsini palace The Trinit

"Oh, dear me! my lady, all in black?" said Micheline, pointing to the tight-fitting black satin worn by the English beauty. "Yes, my dear Princess; mourning," replied Lady Harton, with a vigorous shake of the hands. "Ball-room mourning one of my best partners; gentlemen, you know Harry Tornwall?" "Countess Alberti's cavalier?" added Serge. "Well?" "Well! he has just killed himself."

At the beginning of his reign Ercole had sent to Florence to borrow Alberti's Treatise on Architecture from Lorenzo de' Medici, and had carried out his improvements on the principles advocated by the Renaissance architect.

Or take Alberti's famous church at Rimini; it is but a great piece of architectural veneering, nothing that meets the eye doing any real constructive duty, its exquisite decoration no more closely connected with the building than the strips of damask and yards of gold braid used in other places on holidays.

For, believe it or not, of that kind were Delia Robbia's enrichments, Ghirlandajo's frescos, Raphael's Madonnas, and Alberti's broad marble churches: of that kind and of no other; on a level with the painted lady smiling out of a painted window at Airolo, whose frozen lips assure the traverser of the Saint Gothard that he has passed the ridge and may soon smell the olives.

Of Alberti's extraordinary sensitiveness to all such impressions many curious tales are told. The sight of refulgent jewels, of flowers, and of fair landscapes, had the same effect upon his nerves as the sound of the Dorian mood upon the youths whom Pythagoras cured of passion by music. He found in them an anodyne for pain, a restoration from sickness.

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