Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 4, 2025
To this pile, Vasari tells us, Bartolommeo brought all his studies and drawings which he had made from the nude, and threw them into the flames; so also did Lorenzo di Credi and many others, who were called Piagnoni, among them, no doubt, Sandro Botticelli.
His body was brought from Venice by his pupil Lorenzo di Credi, who adored him, and was buried in S. Ambrogio in Florence. Lorenzo di Credi painted his portrait, which is now in the Uffizi a plump, undistinguished-looking little man.
Fra Angelico and Filippo Lippi, Botticelli and Lorenzo di Credi are the clearest, the sweetest and best of all painters; as I sat for an hour in their company, in the cold great hall of the institution I have mentioned there are shabby rafters above and an immense expanse of brick tiles below, and many bad pictures as well as good it seemed to me more than ever that if one really had to choose one couldn't do better than choose here.
The other pictures here are two sunny panels by Ridolfo Ghirlandaio, high up, with nice easy colouring; No. 92, an Adoration of the Shepherds by Lorenzo di Credi, with a good landscape and all very sweet and quiet; No. 98, a Deposition by Filippino Lippi and Perugino, in collaboration, with very few signs of Filippino; and No. 90, a Resurrection by Raffaellino del Garbo, an uncommon painter in Florence; the whole thing a tour de force, but not important.
Hoc ita verum esse asserit, ut credi possit; retulit hoc Cardinali de Ursinis, multisque praeterea, et omnibus eisdem verbis, ut opinor, non esse haec ab eo conficta. Quid quaeris? Facit assertio sua, et constans vultus, ut credam aliquid. Melius est enim peccare in hanc partem, ex qua tantum lucrum fieri posset, quam esse omnino incredulus.
Thither Baccio carried all the drawings of nudes that he had made by way of studies, and he was followed by Lorenzo di Credi and by many others, who had the name of Piagnoni.
But the rules against statues being erected there being adamant, the site was changed to the campo of SS. Giovanni e Paolo, and Andrea Verrocchio was brought from Florence to prepare the group. He began it in 1479 and died while still working on it, leaving word that his pupil, Lorenzo di Credi, should complete it. But to Verrocchio the real honour.
Some one has said that he seemed to hold Giotto by one hand, and reach forward to Raphael with the other; and considering the pictures which were painted before his time, his works are as wonderful as Raphael's are beautiful. He died in 1429. ANDREA VERROCCHIO, LORENZO DI CREDI, and ANTONIO POLLAJUOLO were all good painters of the Florentine school of the last half of the fifteenth century.
Like Piero di Cosimo, Granacci was a great hand at pageantry, and Lorenzo de' Medici kept him busy. He was not dependent upon art for his living, but painted for love of it, and Vasari makes him a very agreeable man. Here too is Gio. This painter seems to have had the same devotion to his master, Lorenzo di Credi, that di Credi had for his master, Verrocchio.
Certainly one can think of no one else who could have given the picture its quality, which increases in richness with every visit to the gallery; but the workshop of Verrocchio, where Leonardo worked, together with Lorenzo di Credi and Perugino, with Andrea of the True Eye over all, no doubt put forth wonderful things.
Word Of The Day
Others Looking