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Updated: June 21, 2025
Trees they sometimes call yellow, as do some ancient writers; but more generally "half-black" or "tree-colour." A beech in full leaf has been described to me as black. "Rosso" does not mean red, but rather dun or dingy; earth is rosso. When our red is to be signified, they will use the word "turco," which came in with the well-known dye-stuff of which the Turks once monopolized the secret.
Thus there was one kind of tarantella which was called "Panno rosso," a very lively, impassioned style of music, to which wild dithyrambic songs were adapted; another, called "Panno verde," which was suited to the milder excitement of the senses caused by green colours, and set to Idyllian songs of verdant fields and shady groves.
If the base be greenstone, basalt, or pitchstone, the rock may be denominated greenstone-porphyry, pitchstone-porphyry, and so forth. The old classical type of this form of rock is the red porphyry of Egypt, or the well-known "Rosso antico." RED QUARTZIFEROUS PORPHYRY is a much more siliceous rock, containing about 70 or 80 per cent of silex, while that of Egypt has only 62 per cent.
The painter commonly known as Rosso Fiorentino was on a visit to Rome, where he studied the Sistine frescoes. They do not appear to have altogether pleased him, and he uttered his opinion somewhat too freely in public. Now he pens a long elaborate epistle, full of adulation, to purge himself of having depreciated Michelangelo's works.
This marble seems to have been the favourite material in which to execute statues of the Faun; for every one who has visited the Vatican Sculpture Gallery and the Museum of the Capitol will remember well the beautiful statues of this mythic being in rosso antico, which are among their chief treasures, and once adorned the luxurious Villa of Hadrian at Tivoli.
But to return to the simple copper-plate engravings; after Marc' Antonio had executed the many works that have been mentioned above, Rosso arrived in Rome, and Baviera persuaded him that he should have some of his works engraved; wherefore he commissioned Gian Jacopo Caraglio of Verona, who was one of the most skilful craftsmen of that day, and who sought with all diligence to imitate Marc' Antonio, to engrave a lean anatomical figure of his own, which holds a death's head in the hand, and is seated on a serpent, while a swan is singing.
To this passage about Michelangelo's pupils we may add the following observation by Vasari: "He loved his workmen, and conversed with them on friendly terms. Among these I will mention Jacopo Sansovino, Rosso, Pontormo, Daniele da Volterra, and Giorgio Vasari.
A picturesque château was perched on a sheer rock overhanging the Vale of Bregaglia and commanding a far flung prospect almost to the brink of Como. On both sides rose the mountain barriers; but toward the east there was an inviting gorge, beyond which the lofty Cima di Rosso flung its eternal snows heavenward. A footpath led in that direction.
Frankly, these works were the product of secondary artists and their pupils. Leonardo da Vinci, too old to do anything more than direct, saw himself succeeded by Del Sarto, Rosso and Primaticcio.
Passed Monte Rosso, which is about 600 feet above the level of the surrounding plain, and is said to have been thrown up during the great eruption of the year 1669, and from which issued that horrible stream of burning lava, which, after destroying the country for the length of fourteen miles, ran into the sea at Catania.
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