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Updated: May 23, 2025
However, being restored to health, Francesco was commissioned by Maestro Filippo da Siena, at the instance of Antonio L'Abacco, a master-worker in wood, to paint in fresco in a niche over the door at the back of S. Maria della Pace, a Christ speaking with S. Filippo, and in two angles the Virgin and the Angel of the Annunciation; which pictures, much pleasing Maestro Filippo, were the reason that he caused him to paint the Assumption of Our Lady in the same place, in a large square space that was not yet painted in one of the eight sides of that temple.
In executing it, Antonio L'Abacco, who had charge of the work, acquitted himself very well, having a good knowledge of the matters of architecture, as is proved by the book of the buildings of Rome that he printed, which is very beautiful.
When they had arrived there, Antonio having with him his pupil L'Abacco, Pier Francesco da Viterbo, a very able engineer, and the architect Michele San Michele of Verona, all of them together carried the designs of those fortifications into execution.
Antonio L'Abacco, likewise, has published plates in a beautiful manner of all the notable antiquities of Rome, with their measurements, executed with great mastery and with very subtle engraving by ... Perugino.
This model, which gave Antonio a very great name, was published in engraving after the death of Antonio da San Gallo, together with the ground-plan of the whole edifice, by the said Antonio L'Abacco, who wished to show in this way how great was the genius of San Gallo, and to make known to all men the opinion of that architect; for new plans had been proposed in opposition by Michelagnolo Buonarroti, and out of this change of plans many contentions afterwards arose, as will be related in the proper place.
The above-mentioned model of S. Pietro was finished by L'Abacco a short time after the death of Antonio; and it was found that, in so far as appertained merely to the woodwork and the labour of the carpenters, it had cost four thousand one hundred and eighty-four crowns.
But all that Antonio did to the benefit and advantage of the world is as nothing in comparison with the model of the venerable and stupendous fabric of S. Pietro at Rome, which, planned in the beginning by Bramante, he enlarged and rearranged with a new plan and in an extraordinary manner, giving it dignity and a well-proportioned composition, both as a whole and in its separate parts, as may be seen from the model made of wood by the hand of his disciple, Antonio L'Abacco, who carried it to absolute perfection.
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