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Updated: June 13, 2025
This Sienese style thoroughly Tuscan, though different from that of Florence exercised an important influence over the schools of Umbria, and gave a peculiar quality to Perugian painting. Through Piero della Francesca, a native of Borgo San Sepolcro, the Florentine tradition was extended to Umbria and the Roman States.
In the "Crucifixion," the group at the foot of the Cross is arranged much like those of the San Sepolcro, Urbino, and Cortona pictures, but it is half lost in the confusion of a crowd of mounted soldiers. The impressive silence and solemnity of these earlier "Piet
While he was making these and some other similar works, the walls of Borgo a San Sepolcro were ruined by an earthquake, and Niccolò was sent for to the end that he might make as he did with good judgment a design for a new wall, which turned out much better and stronger than the first.
Morelli places this Tondo as a late work, but the soft and harmonious colour, as well as the poetic feeling, seem to belong to this period, before the painting of the Orvieto frescoes, if not even earlier. Lastly, in this group must be placed the Standard of Borgo San Sepolcro, painted for the Confraternity S. Antonio Abbate, now in the Municipio.
While the affair of the Borgo San Sepolcro was in progress, Niccolo Piccinino was supposed to have marched toward Rome; other accounts said La Marca, and hence the legate and the count's forces moved toward Perugia to relieve La Marca or Rome, as the case might be, and Bernardo de Medici accompanied them.
The choir contains a very fine set of stalls, made in 1394 by "Maestro Giovanni quondam Giacomo da Borgo San Sepolcro in Venezia," at a cost of 456 ducats of gold. They used to be in front of the altar, but were moved in 1808 when the new altar was put up. In the Cappella del Crocifisso is a large Carpaccio, an allegory of the militant and triumphant Church, with a row of portrait figures.
He was a pupil and disciple of Piero dal Borgo a San Sepolcro, and greatly did he strive in his youth to imitate his master, and even to surpass him; and the while that he was working with Piero at Arezzo, living in the house of his uncle Lazzaro Vasari, as it has been told, he imitated the manner of the said Piero so well that the one could scarcely be distinguished from the other.
Among the many disciples that Giulio had while he was executing these works, such as Bartolommeo da Castiglione, Tommaso Papacello of Cortona, and Benedetto Pagni of Pescia, those of whom he made the most particular use were Giovanni da Lione and Raffaello dal Colle of Borgo a San Sepolcro, both of whom assisted him in the execution of many things in the Hall of Constantine and in the other works of which we have spoken.
While Raffaello dal Colle of Borgo San Sepolcro, who was a disciple of Giulio Romano and helped him to paint in fresco the Hall of Constantine in the Papal Palace at Rome, and the apartments of the Te in Mantua, was painting, after his return to the Borgo, the altar-piece of the Chapel of SS. Gilio e Arcanio (in which, imitating Giulio and Raffaello da Urbino, he depicted the Resurrection of Christ, a work that was much extolled), with another altar-piece of the Assumption for the Frati de' Zoccoli without the Borgo, and some other works for the Servite Friars at Citt
On the 5th of August his seneschal, Giovann' Andrea, of Borgo San Sepolcro, brought him a bowl of chicken-broth, after drinking which he exclaimed to one of his attendants, 'I have been poisoned, and the man who did it is Giovann' Andrea. The seneschal was taken and tortured, and confessed that he had mixed a poison with the broth.
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