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And many more have been drawn and engraved since Rosso's death; among many other works, all the stories of Ulysses, and, to say nothing of the rest, vases, chandeliers, candelabra, salt-cellars, and a vast number of other suchlike things made in silver after designs of Rosso.

Franciabigio's and Rosso's frescoes stand beside Del Sarto's in the atrium of the Annunziata at Florence. Pontormo's portraits of Cosimo and Lorenzo de' Medici in the Uffizzi, though painted from busts and medallions, have a real historical value. The "Christ in Limbo" in S. Lorenzo at Florence, and the detestable picture of "Time, Beauty, Love, and Folly," in our National Gallery.

The rapid thaw that would set in during the forenoon might clear the roads before sunset. Next day, walking would be practicable; to-day it meant wading. He looked through the Orlegna gorge, and caught the silvery sheen of the Cima di Rosso's snow capped summit. Hardly a rock was visible. The gale had clothed each crag with a white shroud.

That design of Rosso's passed afterwards into the hands of Giorgio Vasari, and from him to the very reverend Don Vincenzio Borghini, Director of the Hospital of the Innocenti in Florence, who has it in his book of drawings by various painters.