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Updated: May 16, 2025
The portrait might be attributed to Raphael, but for the date. This example is, to my mind, superior to the portrait of Baccio Bandinelli in the Musee; the latter is a little hard, while the Templar, being painted upon 'lavagna, or slate, has preserved its freshness of coloring."
But I, sir, I, my friend, I, Merthyr, I said proudly that I would not abandon a beaten country: and I was admired for my devotion. The dear old poet, Agostino, praised me. It stopped his epigrams during a certain time, at least. Colonel Corte admired me. Marco Sana, Giulio Bandinelli admired me. Vast numbers admired me. I need not add that I admired myself.
If any piece of mischief happened which could be fixed upon him with the least plausibility, he bore the blame. Accordingly, when Buonarroti's workshop happened to be broken open, people said that Bandinelli was the culprit.
And if Enea had been maintained and rewarded for his labours by Bandinelli, he would have engraved many other beautiful plates for him.
At this time Bandinelli could not have been more than eighteen. Vasari's story is uncorroborated. Leonardo's battle merely perished, being done in some fugitive medium; and the walls are now covered with the works of Vasari himself and his pupils and do not matter, while the ceiling is a muddle of undistinguished paint.
Antonio da San Gallo, the architect, and Michelangelo, the goldsmith, father of Baccio Bandinelli, supported Giuliano da San Gallo's motion. Then Giovanni Piffero that is, the father of Benvenuto Cellini brought the discussion back to the courtyard of the palace. He thought that in the Loggia the statue would be only partly seen, and that it would run risks of injury from scoundrels.
The first thing he had seen, as he turned into the square, was the back of one of these Bandinelli statues: a great naked man of marble, with a heavy back and strong naked flanks over which the water was trickling. And then to come immediately upon the David, so much whiter, glistening skin-white in the wet, standing a little forward, and shrinking.
The adolescent, the white, self-conscious, physical adolescent: enormous, in keeping with the stark, grim, enormous palace, which is dark and bare as he is white and bare. And behind, the big, lumpy Bandinelli men are in keeping too. They may be ugly but they are there in their place, and they have their own lumpy reality.
But the garden itself seemed to know him, and to give him a tacit recognition; the great, foolish grotto before the gate, with its statues by Bandinelli, and the fantastic effects of drapery and flesh in party-coloured statues lifted high on either side of the avenue; the vast shoulder of wall, covered thick with ivy and myrtle, which he passed on his way to the amphitheatre behind the palace; the alternate figures and urns on their pedestals in the hemicycle, as if the urns were placed there to receive the ashes of the figures when they became extinct; the white statues or the colossal busts set at the ends of the long, alleys against black curtains of foliage; the big fountain, with its group in the centre of the little lake, and the meadow, quiet and sad, that stretched away on one side from this; the keen light under the levels of the dense pines and ilexes; the paths striking straight on either hand from the avenue through which he sauntered, and the walk that coiled itself through the depths of the plantations; all knew him, and from them and from the winter neglect which was upon the place distilled a subtle influence, a charm, an appeal belonging to that combination of artifice and nature which is perfect only in an Italian garden under an Italian sky.
The octagonal choir screens carved in relief by Baccio Bandinelli, whom Cellini hated so scornfully because he spoke lightly of Michelangelo, will not keep you long; but there behind the high altar is an unfinished Piet
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