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Updated: June 3, 2025
Once again, in the later days at Rome, Raphael recurred to the pastoral Madonna type of this Florentine period, and painted the picture known as the Casa Alba Madonna. We have again the same smiling landscape and the same charming children, but a Virgin of an altogether new order.
The term which he had thus set approached before Raphael had thought of it, when he was reminded by the cardinal of his promise; and being as he ever was just and upright, he would not depart from his word, and therefore accepted a niece of the cardinal himself for his wife.
Among much that is worthless, there is one very impressive Descent from the Cross by Juan de Juni, of which that excellent Mr. Madoz says "it is worthy to rank with the best masterpieces of Raphael or Mengs;" as if one should say of a poet that he was equal to Shakespeare or Southey. We walked through the cloisters and looked at the tombs.
In the Sistine Madonna, Raphael carried this form of composition to the highest perfection. So simple and apparently unstudied is its beauty, that we do not realize the masterliness of its art. We seem to be standing before an altar, or, better still, before an open window, from which the curtains have been drawn aside, allowing us to look directly into the heaven of heavens.
John's are the university galleries, with their display of the Pomfret Marbles and Raphael and Michel Angelo's paintings and drawings, and behind this building is Worcester College, founded in 1714 by Sir Thomas Cookes. Its gardens contain a lake. Pembroke College is opposite Christ Church, and was founded in 1624 in honor of the Earl of Pembroke, then the chancellor of the university.
I think, nay, I am almost sure, they are not less richly gifted than the pupils of Raphael; and they reach the same point as the pupils of M. Galimard. Is it their fault? No. I accuse but the medium into which their birth has cast them. It may be, that if they were at Paris, they would produce masterpieces.
As he sat down again in front of the fire, his eyes travelled slowly over the walls; over the stipple engravings of Bartolozzi, over the rich mezzotints of Valentine Green and John Raphael Smith, over the bewitching face of Lady Hamilton as it shone back at him from the prints of John Jones, of Cheesman, of Henry Meyer.
Lord Elgin bankrupted himself in order to supply the British Museum its crowning glory, and for this he achieved the honor of getting himself poetically damned by Lord Byron. Monarchies, like republics, are ungrateful. Lord Elgin defended himself vigorously against the charge of Paganism, just as Raphael had done three hundred years before.
He was notably the warm friend of his fellow-painters both at home and abroad, with the exception of Michael Angelo. A drawing of his own, which Raphael sent, in his kindly interchange of such sketches, to Albert Dürer, is, I think, preserved at Nüremberg.
Few artists ever felt and expressed this atmosphere better than Giorgione, the painter of the first of our Venetian pictures. He was one of the great artists of the Renaissance who died young, ten years before Raphael, but their greatness is scarcely comparable.
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