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Updated: June 28, 2025
To them, their daughter Ginevra was more precious than the wealth of the whole world. When, therefore, in May, 1814, the Baron di Piombo resigned his office, dismissed his crowd of servants, and closed his stable door, Ginevra, quiet, simple and unpretending like her parents, saw nothing to regret in the change.
Vasari says Fra Sebastiano del Piombo prepared the wall for Michael Angelo, and secretly had it grounded for oil painting, no doubt hoping himself to be employed in the work, as oil was his special medium. Michael Angelo was very wroth with his old friend for this, and declared that oil painting was an art only fit for women and crazy fellows.
How far Piombo departed from Giorgione's spell and came under the other may be seen in our National Gallery by any visitor standing before No. 1 his "Raising of Lazarus". Very little of the divine chromatic melody of Castel Franco there! Having no india-rubber he corrected his errors either with a penknife or a dirty thumb.
It is probable that he then formed the friendship with Cavalieri, which played so important a part in his personal history. A brisk correspondence carried on between him and his two friends, Bartolommeo Angelini and Sebastiano del Piombo, shows that he resided at Florence during the summer and early autumn of 1533.
Howells S. Giovanni Crisostomo Piombo and Giorgione A Sacristan artist Marino Faliero's house SS. Apostoli and Tiepolo Venetian skittles A broad walk Filled in canals The Rialto Bridge S. Giacomo di Rialto The two Ghettos The Rialto hunchback Vegetables and fruits The fish market Symmetrical irony S. Giovanni Elemosinario A busy thoroughfare Old books The convivial gondoliers.
"Ah ca!" said Piombo, as they left the table, "your mother has called my attention to the fact that for some weeks you have stayed much longer than usual at the studio. It seems that painting is more to you than your parents " "Oh, father!" "Ginevra is preparing some surprise for us, I think," said the mother.
There is a noble and striking portrait of the old Venetian admiral, Andrea Doria, by Sebastian del Piombo, and some other portraits and busts of the family. In the whole immense range of rooms I saw but a single fireplace, and that so deep in the wall that no amount of blaze would raise the atmosphere of the room ten degrees.
He would never make me unhappy!" "Comparisons already!" cried Piombo, in a terrible voice. "No, I can never endure the idea of your marriage. If he loved you as you deserve to be loved he would kill me; if he did not love you, I should put a dagger through him." The hands of the old man trembled, his lips trembled, his body trembled, but his eyes flashed lightnings.
"The next day I visited the National Gallery of pictures, as yet but small, but containing some of the finest pictures in England. Among them is the celebrated 'Raising of Lazarus' by Sebastian del Piombo, for which a nobleman of this country offered to the late proprietor sixteen thousand pounds sterling, which sum was refused. I visited also Mr.
Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastian del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase.
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