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Updated: June 28, 2025
Michael Angelo formed no school in the strict sense of the word. Yet his influence was not the less felt on that account, nor less powerful than Raphael's in the same direction. During his manhood the painters Sebastian del Piombo, Marcello Venusti, and Daniele da Volterra, had endeavoured to add the charm of oil-colouring to his designs; and long before his death, the seduction of his mighty mannerism had begun to exercise a fatal charm for all the schools of Italy. Painters incapable of fathoming his intention, unsympathetic to his rare type of intellect, and gifted with less than a tithe of his native force, set themselves to reproduce whatever may be justly censured in his works. To heighten and enlarge their style was reckoned a chief duty of aspiring craftsmen; and it was thought that recipes for attaining to this final perfection of the modern arts might be extracted without trouble from Michael Angelo's masterpieces. Unluckily, in proportion as his fame increased, his peculiarities grew with the advance of age more manneristic and defined; so that his imitators fixed precisely upon that which sober critics now regard as a deduction from his greatness. They failed to perceive that he owed his grandeur to his personality; and that the audacities which fascinated them, became mere whimsical extravagances when severed from his terribilit
This charming portrait was presented to Ottaviano de' Medici, with that of Pope Clement VII., copied from Sebastian del Piombo, and is now in the Louvre. Bugiardini's works always take the style of other masters. There is a Madonna in the Uffizi, and one in the Leipsic Museum, both in Leonardo's style, with his defects exaggerated.
My French friend did not, I suppose, examine it very carefully, at any rate he believed he was again before the raising of Lazarus by Sebastian del Piombo; he paused before it, and had his fit of admiration over again: then turning to me he said, "Ah! you would understand this picture better if you were a Catholic." I did not tell him of his mistake.
These words roused no expression of hatred on the part of the two brothers. "Ha! you are no longer Corsicans!" cried Piombo, with a sort of despair. "Farewell. In other days I protected you," he added, in a reproachful tone. "Without me, your mother would never have reached Marseille," he said, addressing himself to Bonaparte, who was silent and thoughtful, his elbow resting on a mantel-shelf.
We must return from this digression and resume the events of Michelangelo's life in 1525. The first letter to Sebastiano del Piombo is referred to April of that year. He says that a picture, probably the portrait of Anton Francesco degli Albizzi, is eagerly expected at Florence.
"What will Mademoiselle Piombo say to that?" asked a young girl of Mademoiselle Matilde Roguin, the lively oracle of the banking group. "She's not a girl to say anything," was the reply; "but fifty years hence she'll remember the insult as if it were done to her the night before, and revenge it cruelly. She is a person that I, for one, don't want to be at war with."
Ginevra would have made a noble woman had her mother been capable of guiding her studies, of enlightening her mind, and bringing into harmony her gifts of nature; her defects came from the fatal education which the old Corsican had found delight in giving her. After marching up and down the room for some time, Piombo rang the bell; a servant entered.
The adherents of Sangallo resented it very naturally, and the "Setta Sangallesca" became his bitter enemies. The Pope himself was dissatisfied with Sangallo, and the design for the cornice was thrown open to competition. Perino del Vaga, Sebastiano del Piombo, Giorgio Vasari, and Michael Angelo all competed.
"But," he continued, in a honeyed tone, "Monsieur le baron, on such occasions our duties are preceded by efforts at conciliation Deign, therefore, to have the goodness to listen to me It is in evidence that Mademoiselle Ginevra di Piombo attains this very day the age at which the law allows a respectful summons before proceeding to the celebration of a marriage in spite of the non-consent of the parents.
Ricketts gives the Pitti "Concert" and the Caterina Cornaro to Titian without a tremor. Our own National Gallery "S. Liberate" is not mentioned by some at all; the Paris "Concert Champêtre," in which most of the judges believe so absolutely, Signor Lionello Venturi gives to Piombo. The Giovanelli picture and the Castel Franco altar-piece alone remain above suspicion in every book.
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