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Updated: June 20, 2025
These events taking place in the city, induced all the dependencies of the Florentine state to throw off their yoke; so that Arezzo, Castiglione, Pistoia, Volterra, Colle, and San Gemigniano rebelled. Thus Florence found herself deprived of both her tyrant and her dominions at the same moment, and in recovering her liberty, taught her subjects how they might become free.
This figure, worm-eaten and ruined as it is, is in our possession, treasured in memory of him. At Arezzo, for the Abbey of the Black Friars, he made a head of Christ in dark tints a very beautiful work.
This not giving as much satisfaction as the first pictures, he caused the two last that were wanting to be painted by Giorgio Vasari of Arezzo; and they were placed at the two doors beside the corner-walls of the main façade of the church.
I fell in with this line of argument, which seemed to me unanswerable, because I was not then aware that the shorter way to Siena from Padua was by Arezzo. I was now to learn that it was very possible, in a country where all classes save one were poor, to do away with the standard which obtains all over the civilised world, and to measure men, not by what they have, but by what they are.
As perhaps did that Petronius whom Nero called his Arbiter, the master of his revels; and the notorious ribald of Arezzo, dreaded and yet dear to the Italian courtiers. I name not him for posterity's sake, whom Henry VIII. named in merriment his vicar of hell.
At Castello della Pieve he painted an altar-piece in oils of the Visitation of Our Lady, with some Saints about her, and in an altar-piece that was painted for the Pieve a San Stefano he depicted the Madonna and other Saints; which two works Lappoli executed much better than the others that he had painted up to that time, because he had been able to see at his leisure many works in relief and casts taken in gesso from the statues of Michelagnolo and from other ancient works, and brought by Giorgio Vasari to his house at Arezzo.
The first works of Luca were in S. Lorenzo at Arezzo, where he painted the Chapel of S. Barbara in fresco in the year 1472; and he painted for the Company of S. Caterina, on cloth and in oil, the banner that is borne in processions, and likewise that of the Trinit
He did not remain long under his tuition, having contrived to offend Lucrezia in some way. He painted a great many frescoes at Arezzo, where he lived in his youth with his paternal uncle Don Antonio. Don Miniato Pitti, prior of the convent of Monte Oliveti, near Siena, next employed him to adorn the portico of his church.
The David is exactly the same figure as in the Arezzo altar-piece, to which, besides, there is a great resemblance in all the faces, and in the hard coarse manner in which the draperies are treated. The picture, however, lacks the rugged strength which makes the Arezzo picture, with all its shortcomings, so impressive, and only in the nude figures is the old power unimpaired.
Writing to Poggio Bracciolini, Bruni tells a story how, while travelling through the country of Arezzo, he met a train of oxen dragging heavy waggons piled with marble columns, statues, and all the necessary details of a sumptuous sepulchre. He stopped, and asked what it all meant.
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