Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 13, 2025
The same master has painted six very beautiful altar-pieces in oils, one of which is on the altar of the Madonna in S. Francesco della Vigna, the second on the high-altar in the Church of the Servites, the third is with the Friars Minors, the fourth in the Madonna dell'Orto, the fifth at S. Zaccheria, and the sixth at S. Moisè; and he has painted two at Murano, which are beautiful and executed with much diligence and in a lovely manner.
Michelozzo only designed it; the sculpture was done by Pagno di Lapo Portigiani, whose Madonna is over the tomb of Pope John by Donatello and Michelozzo in the Baptistery. Among the altar-pieces are two by Perugino; but of Florentine altar-pieces one can say little or nothing in a book of reasonable dimensions. There are so many and they are for the most part so difficult to see.
It is a well-composed scene, full of animation, and broad in treatment, and is fortunately in a good state of preservation. The altar-pieces to which all this series of predelle belong are unknown. We will now consider the fine Standard, painted in 1494 for the church of Santo Spirito in Urbino.
In early art, that is, up to the end of the fifteenth century, Joachim and Anna, the parents of the Virgin, never appear except in the series of subjects from her life. In the devotional groups and altar-pieces, they are omitted. St.
In a word, he humanized the altar-pieces and the cloister frescoes upon which he worked. In this way the painters rose above the ancient symbols and brought heaven down to earth. By drawing Madonna and her son like living human beings, by dramatizing the Christian history, they silently substituted the love of beauty and the interests of actual life for the principles of the Church.
POUSSIN is the greatest painter of the French school. His compositions bear much resemblance to those of RAPHAEL, and to the antique: though they have not the same naivete and truth. His back-grounds are incomparable; his landscapes, in point of composition, superior even to those of CLAUDE. His large altar-pieces are the least beautiful of his productions.
These altar-pieces, when finished, were publicly exhibited together in the Consistory, and were vastly extolled, both the one and the other; and although the works of Raffaello had no equals in their perfect grace and beauty, nevertheless the labours of Sebastiano were also praised by all without exception.
With regard to the large altar-pieces of his later period in which several Saints are assembled round the Madonna, it is to be observed that Raphael has contrived to place them in reciprocal relation to each other, and to establish a connection between them; while the earlier masters either ranged them next to one another in simple symmetrical repose, or disposed them with a view to picturesque effect.
Not long, indeed, after these events, he sought to obtain the commissions for two altar-pieces that were to be painted in Arezzo, one for the Church and Company of S. Rocco, and the other for the high-altar of S. Domenico; but he did not succeed, for the reason that both those pictures were allotted to Giorgio Vasari, whose designs, among the many that were made, gave more satisfaction than any of the others.
In course of time, and aided by obstinate industry and unflinching perseverance, his talent attracted the attention and commanded the respect even of those who had at first sneered at him as a home-made artist. He received numerous orders for altar-pieces and other church pictures, and laboured incessantly. One picture, in particular, engaged his closest attention.
Word Of The Day
Others Looking