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Updated: June 10, 2025
One other picture which the young painter made for his patron or in this case his patroness, Lucrezia Tornabuoni, Piero's wife is the "Madonna of the Magnificat," No. 1267, with its beautiful children and sweet Madonna, its lovely landscape but not too attractive Child. The two boys are Lorenzo, on the left, and Giuliano, in yellow. One of their sisters leans over them.
Romola, too, walked on, smiling at Piero's innuendo, with a sort of tenderness towards the old painter's anger, because she knew that her father would have felt something like it. For herself, she was conscious of no inward collision with the strict and sombre view of pleasure which tended to repress poetry in the attempt to repress vice.
The young Medici bade him speak, but when he had heard the warning he laughed, and his friends laughed with him. Bibbiena, one of Piero's closest friends, and later to be the subject of one of Raphael's masterpieces, cried aloud in scorn to Cardiere: "Fool! Dost think that Lorenzo gives thee such honor before his own son that he would thus appear to thee rather than to Piero?"
By his guidance and example, no doubt, Signorelli cultivated his natural breadth of conception and of treatment, which give grandeur and impressive solemnity to all his works, besides acquiring the technical excellences of good drawing, solid modelling, and the broad massing of the shadows, which are so characteristic of Piero's own painting.
But if she intended appealing to the Senator, asking of him no less a favour than to take into his house a sick man threatened with arrest, she must at least offer some explanation of her zeal. She did not figure among Piero's disciples, and the Senator was in complete ignorance of the past.
He drew the scattered papers together, but the lines, blurred and confused, carried no meaning; the fragments of broken glass in the little trays beside him were a dull, untranslucent gray, and written all over papers and fragments, in vivid letters that burned into his brain, were those other terrible words of Piero's which he had tried in vain to forget "Thy daughter is dying for this curse."
Seeing his power, others about the Emperor, remembering Piero's low condition, no doubt sought to ruin him; and, as it seems, at last in this they were successful, forging letters to prove that the chancellor trafficked with the Pope. It was a time of danger for Frederick; he was easily persuaded of Piero's guilt, and having put out his eyes, he imprisoned him.
It is, however, odd that no memorial of Piero di Lorenzo de' Medici, who had been drowned at the age of twenty-two in 1503, was required; perhaps it may have been that since it was Piero's folly that had brought the Medici into such disgrace in 1494, the less thought of him the better.
The nearest approach to the style of Piero that remains to us is "The Flagellation," of the Brera, Milan, which, however, already shows signs of a more deeply impressed technical influence, but it was probably under Piero's training that Signorelli developed his broad methods of work, and the grand manner which makes his painting so impressive.
It was to a great extent owing to the prompt action of Tommaso Soderini that the power of the Medici did not pass away at Piero's death, as that of many another family had done in Florence.
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