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Updated: May 27, 2025
Then, having grown weary of living at Volterra and in the house of that nobleman, as one who was accustomed to being free, he departed and went off to Pisa, where, at the instance of Battista del Cervelliera, he executed two pictures for Messer Bastiano della Seta, the Warden of Works of the Duomo, which were placed in the recess behind the high-altar of that Duomo, beside those of Sogliani and Beccafumi.
And since he applied himself to it with all the earnestness that was in him, it proved that he was afterwards able on any occasion to render an account of the attitudes, muscles, and movements of those figures, and of the reasons that had caused Buonarroti to depict certain difficult postures; in doing which he would speak slowly and sententiously, with great gravity, so that a company of able craftsmen gave him the name of Aristotile, which, moreover, sat upon him all the better because it appeared that according to an ancient portrait of that supreme philosopher and confidant of Nature, Bastiano much resembled him.
"You are mad, Bastiano; we have not been able ever since the morning to get near Vico, and have been obliged to keep tacking about; your skill and strength have been able to do nothing against this frightful hurricane which has driven us back to this point." "It is the first time you have ever refused to go with me," remarked the young man.
But dear beyond all the others to Ridolfo was a disciple of Lorenzo di Credi, who was also with Andrea del Ceraiolo, called Michele, a young man of an excellent nature, who executed his works with boldness and without effort. This Michele, then, following the manner of Ridolfo, approached him so closely that, whereas at the beginning he received from his master a third of his earnings, they came to execute their works in company, and shared the profits. Michele looked upon Ridolfo always as a father, and loved him, and also was so beloved by him, that, as one belonging to Ridolfo, he has ever been and still is known by no other name but Michele di Ridolfo. These two, I say, loving each other like father and son, executed innumerable works in company. First, for the Church of S. Felice in Piazza, a place then belonging to the Monks of Camaldoli, they painted in an altar-piece Christ and Our Lady in the air, who are praying to God the Father for the people below, where some Saints are kneeling. In S. Felicita they painted two chapels in fresco, despatching them in an able manner; in one is the Dead Christ with the Maries, and in the other the Assumption of Our Lady, with some Saints. For the Church of the Nuns of S. Jacopo delle Murate they executed an altar-piece at the commission of Bishop de' Bonafè of Cortona: and for the Convent of the Nuns of Ripoli another altar-piece with Our Lady and some Saints. For the Chapel of the Segni, below the organ in the Church of S. Spirito, they painted, likewise in an altar-piece, Our Lady, S. Anne, and many other Saints; for the Company of the Neri a picture of the Beheading of S. John the Baptist; and for the Monachine in Borgo S. Friano an altar-piece of the Annunciation. In another altar-piece, for S. Rocco at Prato, they painted S. Rocco, S. Sebastian, and between them Our Lady; and likewise, for the Company of S. Bastiano, beside S. Jacopo sopra Arno, they executed an altar-piece containing Our Lady, S. Sebastian, and S. James; with another for S. Martino alla Palma. And, finally, they painted for S. Alessandro Vitelli a S. Anne in a picture that was sent to Citt
The first figure on the right represents the painter Baldovinetti; next to him, with his hand on his side, Ghirlandajo himself; the third, with long black hair, is Bastiano Mainardi, who painted the Assumption in the Baroncelli Chapel, in the Santa Croce; and the fourth, turning his back, is David Ghirlandajo.
The first work that he executed on his own account was an altar-piece for the Chapel of S. Bastiano in the Church of S. Salvadore, in which he acquitted himself very well. But then, having heard of the death of his father, he returned to Ferrara, where for a time he did nothing save some portraits and works of little importance.
But they seldom reached the last verse of their song; at every sound they stopped short, threw down their triangles and their mandolines, and took flight like scared nightingales. One only had courage enough or passion enough to brave the mockery; this was Bastiano, the most formidable diver of that coast.
When Pietro Perugino, by that time an old man, was painting the altar-piece of the high-altar of the Servites at Florence, a nephew of Giuliano and Antonio da San Gallo, called Bastiano, was placed with him to learn the art of painting.
The portrait of Raffaellino was copied from a drawing that belonged to Bastiano da Monte Carlo, who was also his disciple, and who, for a man with no draughtsmanship, became a passing good master.
Giovan Battista, then, was born in San Marino on the 27th of September, 1506, to Bartolommeo Bellucci, a person of passing good family in that place; and after he had learned the first rudiments of the humanities, when eighteen years of age, he was sent by that same Bartolommeo, his father, to Bologna, to attend to the pursuit of commerce under Bastiano di Ronco, a merchant of the Guild of Wool.
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