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Updated: June 9, 2025
"Item: to see that the portico of S. Ambrogio is finished, for which two thousand ducats have been assigned. "Item: to call together all the most skilled architects to hold a consultation, and design a model for the façade of Santa Maria delle Grazie, which shall be of the same height and proportions as the Capella Grande.
Then, fearing to say too much in presence of that lady and those gentlemen, Ambrogio began to moan on his pallet, whilst the Contessina, somewhat upset by the smell of the place, took her departure, after telling the young priest that it would be best for them to leave their alms with the wife downstairs.
As early as 1355 the whole of the fair order represented by Ambrogio was shaken to the foundation, and Siena deserved the words applied to it by De Commines. See Vol. L, Age of the Despots, p. 162, note 2. Rio, perversely bent on stigmatising whatever in Italian art savours of the Renaissance, depreciates this lovely form of Peace. L'Art Chrétien, vol. i. p. 57.
His most important work was a romance entitled "Paolo e Daria," founded on Bramante's discovery of a tomb containing the ashes of these lovers, when the foundations of his new cloisters at S. Ambrogio were being laid in the year 1492.
The subject is of special interest, because this same pattern is repeated in the sleeves of Ambrogio de Predis' portrait of Lodovico's fair young daughter Bianca, which must have been painted about this time, and was probably adopted at the wish of Beatrice, who was fondly attached to her youthful step-daughter.
Ambrogio, Vincenzo's father, accompanied by his daughter, Vincenzina, also waits upon Raimondo and intercedes in his son's behalf, but is sternly refused. Mireille, who has overheard the interview, declares to her father her irrevocable attachment for Vincenzo.
For what could trouble the old man here in San Ambrogio on this, the greatest day of the Community? For to-day Father Ramoni had returned to Rome. Even as Father Tomasso passed the fountain a group of Fathers and novices were gathering around one of the younger priests, who still wore his fereoula and wide-brimmed hat, just as he had entered from Via Paoli.
Ambrogio Borgognone 1506. Below are the apostles and empty tomb; at each side, St. Ambrose and St. Augustine; behind them, St. Cosimo and St. Damian; the introduction of these saintly apothecaries stamps the picture as an ex-voto perhaps against the plague. It is very fine, expressive, and curious. F. Granacci. 1530. The Virgin, ascending in glory, presents her girdle to St.
Once more he and Beatrice were free to devote themselves to the encouragement of learning and poetry, of painting and architecture; to watch Bramante and Leonardo at work, or read Dante and Petrarch together. That winter the altar-piece of the Brera, containing the portraits of the duke and his family, was painted by Zenale or some other Lombard master, for the church of S. Ambrogio in Nemo.
Then Ambrogio Borgognone decorated the roof of nave and apse, and designed the elaborate intarsiatura of these very choir-stalls to which Lodovico alludes in his letter to Isabella d'Este. And then the same Lombard master painted these frescoes and altar-pieces of grave saints and gentle Madonnas, which still adorn the side chapels with their solemn forms and rich golden harmonies.
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