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Updated: May 10, 2025
The heads have a good deal of character, and some may be portraits of the architect's assistants. The same motif occurs round the square-headed door of S. Francesco alle Scale, Ancona. The construction of the semi-domes and of the roofs shows that Giorgio was a competent constructor; but the inventive and beautiful treatment of the decoration of the choir shows him as something more.
Whereupon, since like always draws to like, he so contrived that he became the friend of Giorgio, by means of M. Marco da Lodi, a gentleman of the above-named Cardinal of Cortona, who showed to Giorgio a portrait, which much pleased him, by the hand of Francesco, who a short time before had been placed to learn painting with Giuliano Bugiardini.
On the high altar of the church which belongs to the Abbey of Classe, for example, there is one from his hand of tolerably large size, representing the Raising of Lazarus with many figures . Opposite to this work in the year 1548 Giorgio Vasari painted another for Don Romualdo da Verona, the abbot of that place.
In 1460, Giorgio returned to Sebenico, but in 1464 and 1465 was at Ragusa, where he helped in building the Torre Menze, and in restoring the palace of the Rectors. The next year he was at Pago, improving and enlarging the courtyard of the bishop's palace. It was the Bishop of Ossero, who thought he was going to obtain the removal of the see to Pago, but failed to do so.
The Cardinal di San Giorgio was blamed in this affair by many, for the work was seen by all the craftsmen of Rome, and all, equally, considered it most beautiful; they thought that he ought not to have deprived himself of it for the sake of two hundred scudi, although it was modern, as he was a very rich man.
Then, thinking that he would never return, he sold the little that he possessed there by way of patrimony to Leonardo Ricciarelli, his nephew, who, having been with him in Rome, and having learned very well how to work in stucco, afterwards served Giorgio Vasari for three years, in company with many others, in the works that were executed at that time in the Palace of the Duke.
The gates and walls that enclosed this original city remained visible down to the period of the empire: the sites of two of the former, the Porta Romana near S. Giorgio in Velabro, and the Porta Mugionis at the Arch of Titus, are still known to us, and the Palatine ring-wall is described by Tacitus from his own observation at least on the sides looking towards the Aventine and Caelian.
The unseen powers which he had offended by refusing to bring a priest to a dying woman were lifting up their voice against him. She was dead. With admirable and human consistency he referred everything to himself. She had been a woman of good counsel always. And the bereaved old Giorgio remained stunned by his loss just as he was likely to require the advice of his sagacity.
He ransomed and protected in his house the wife and the daughter of that Giorgio Santacroce who had murdered the Cardinal's father by night, when the Cardinal himself was an infant in arms, more than forty years earlier; and he helped some of his friends to escape by a chimney from the room in which they had been confined and tortured into promising a ransom they could not pay.
Lives of the most Excellent Painters, by Giorgio Vasari. “Life of Spinello.” Andrea Tafi, painter and worker-in-mosaic of Florence, had a wholesome terror of the Devils of Hell, particularly in the watches of the night, when it is given to the powers of Darkness to prevail.
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