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Updated: May 4, 2025
I can merely say in self-defence that, on the outside, Santa Maria sopra Minerva no more promised an inner beauty than Il Gesu, which is the most baroque church in Rome, without the power of coming together for a unity of effect which baroque churches sometimes have. It is a tumult of virtuosity in painting, in sculpture, in architecture.
IV. Beschreibung der Stadt Rom. On another class of Christian representations the reader may consult Buonarruoti's Osservazioni sopra alcuni frammenti di vetro, ornati di figure.
Though the style of San Luigi dei Francesi is better, more soberly elegant, the only thing that touched him even there was the thought of the heroic or saintly Frenchmen, who sleep in foreign soil beneath the flags. And as he sought for something Gothic, he ended by going to see Santa Maria sopra Minerva,* which, he was told, was the only example of the Gothic style in Rome.
They undertook to pay 200 golden ducats for the work; and Michelangelo promised to finish it within the space of four years, when it was to be placed in the Church of S. Maria sopra Minerva. Metello Varj, though mentioned last in the contract, seems to have been the man who practically gave the commission, and to whom Michelangelo was finally responsible for its performance.
I detain you a moment at the words "scarlet of Cyprus, or camlet." At Florence, the camel's hair would always have reference to the Baptist, who, as you know, in Lippi's picture, wears the camel's skin itself, made into a Florentine dress, such as Villani has just described, "col tassello sopra," with the hood above. Do you see how important the word "Capulet" is becoming to us, in its main idea?
Et mancho se è curato de fare prova de se qua con Done per poterne chiarire el Rmo. Legato che era qua, sebbene S. Extia tastandolo sopra ciò gli ne habia facto offerta. Despatch from the Ferrarese ambassador in Milan, Antonio Costabili, to Duke Ercole, Milan, June 23, 1497. Archives of Modena.
What above all things interests the student of the Renaissance in Filippino's work, is the powerful action of revived classicism on his manner. This can be traced better in the Caraffa Chapel of S. Maria sopra Minerva at Rome and in the Strozzi Chapel of S. Maria Novella at Florence than in the Carmine.
The first block of marble was found to be faulty, so another one had to be carved. The work was not completed until 1521. It is now in the Church of Santa Maria Sopra Minerva at Rome. In 1515 Michael Angelo was still at work on the Tomb, but apprehensive of interruption from Pope Leo. To BUONARROTO DI LODOVICO SIMONI, in Florence.
All the influences of the convent, the sweet, heady incense, the pleading sounds, the sophisticated light and air, the grotesque humours of old gothic carvers, the thick stratum of pagan sentiment beneath all this, Santa Maria sopra Minervam! are indelible in him.
Already in those large black eyes there was something melancholy and brooding, as there is in the eyes of all children who live only with their elders. So that thou didst not go, like the awful Florentine, "Sopra for vanita che par persona," "over thin shadows that mocked the substance of real forms," but rather it was the real forms that appeared as shadows, or vanita. What a digression!
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