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Updated: June 17, 2025
With this art which produced works like Desiderio da Settignano's Carlo Marsuppini and Benedetto da Maiano's Pietro Mellini, is intimately connected the art of the great medallists of the Renaissance Pasti, Guacialotti, Niccolò Fiorentino, and, greatest of all, Pisanello.
The house was crowded to the ceiling, and the Emperor and Empress arrived some time before the hour of beginning on the night of "Les Huguenots." Everywhere the lorgnette was turned could be seen the faces of notabilities like Meyerbeer, Auber, Benedict, Berlioz, Alboni, Mme. Viardot, Mario, Tamburini, Vivire, Théophile Gautier, Fiorentino, and others.
M. Duponchel, the manager of the Opéra in Paris, hastened to London to hear Alboni sing, and immediately offered her an engagement. In October, 1847, she made her Parisian début. Her first appearance in concert was with Alizard and Barroilhet. "Many persons, artists and amateurs," said Fiorentino, "absolutely asked on the morning of her début, Who is this Alboni? Whence does she come? What can she do?" And their interrogatories were answered by some fragments of those trifling and illusory biographies which always accompany young vocalists. There was, however, intense curiosity to hear and see this redoubtable singer who had held the citadel of the Royal Italian Opera against the attraction of Jenny Lind, and the theatre was crowded to suffocation by rank, fashion, beauty, and notabilities on the night of her first concert, October 9th. When she stepped quietly on the stage, dressed in black velvet, a brooch of brilliants on her bosom, and her hair cut
Buonamico di Cristofano detto Buffalmacco pittore Fiorentino, il qual fu discepolo d' Andrea Tafi, e come uomo burlevole celebrato da Messer Giovanni Boccaccio nel suo Decamerone, fu come si sa carissimo compagno di Bruno e di Calendrino pittori ancor essi faceti e piacevole, e, come si può vedere nell' opere sue sparse per tutta Toscana, di assai buon giudizio nell' arte sua del dipignere.
The poison with which the painter Rosso Fiorentino destroyed himself was evidently a powerful acid, which it would have been impossible to administer to another person without his knowledge. The secret use of weapons, especially of the dagger, in the service of powerful individuals, was habitual in Milan, Naples, and other cities.
A host of painters, "the Giottesques," as we may call them, followed: Puccio Capanna, Buffalmacco, Francesco da Volterra, Stefano Fiorentino, the grandson of Giotto, Giottino, and Spinello Aretino, all of whom were painting about the middle of the fourteenth century in Giotto's manner but without his genius, or any true understanding of his art.
IN this chapter I am going to tell you in a few words the story of one of Shakespeare's plays called The Merchant of Venice. It is founded on an Italian story, one of a collection made by Ser Giovanni Fiorentino. The merchant of Venice was a rich young man called Antonio. When the story opens he had ventured all his money in trading expeditions to the East and other lands.
To Jacopo of Volterra we owe piquant sketches of members of the Curia in the time of Sixtus IV. Vespasiano Fiorentino has often been referred to already, and as a historical authority a high place must be assigned to him; but his gift as a painter of character is not to be compared with that of Machiavelli, Niccolo Valori, Guicciardini, Varchi, Francesco Vettori, and others, by whom European historical literature has probably been as much influenced in this direction as by the ancients.
Tommaso Stefano, called II Giottino, the son and scholar of Stefano Fiorentino, was born at Florence in 1324. According to Vasari, he adhered so closely to the style of Giotto, that the good people of Florence called him Giottino, and averred that the soul of his great ancestor had transmigrated and animated him.
On the morning after her second performance, she was seated in her hotel on the Boulevard des Italiens, reading the feuilletons of Berlioz and Fiorentino with a kind of childish pleasure, unconscious that she was the absorbing theme of Paris talk.
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