Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 16, 2025
Salvator Rosa was fond of splendor and ostentatious display. He courted admiration from whatever source it could be obtained, and even sought it by means to which the frivolous and the vain are supposed alone to resort. He is described, therefore, as returning to Rome, from which he had made so perilous and furtive an escape, in a showy and pompous equipage, with "servants in rich liveries, armed with silver hafted swords, and otherwise well accoutred." The beautiful Lucrezia, as "sua Governante," accompanied him, and the little Rosalvo gave no scandal in a society where the instructions of religion substitute license for legitimate indulgence. Immediately on his arrival in Rome, Salvator fixed upon one of the loveliest of her hills for his residence, and purchased a handsome house upon the Monte Pincio, on the Piazza della Trinit
On the 20th I went out in a side-car with Winterton to look for positions in the hills above Marostica. Reconnaissances of the back lines were now to be discontinued, a sign, we hoped, of diminishing apprehension and an improving military situation. At San Trinit
For S. Pancrazio, in Florence, Mariotto painted a semicircular picture of the Visitation of Our Lady. For S. Trinit
She went down the steps of Trinit
Andrea Orcagna was born about 1308. He was a man of almost universal genius, but his altarpiece in S. Maria Novella is nearly all that remains to us of his painting, and splendid though it be, has been perhaps spoiled by a later hand than his. In the Accademia here there is a Vision of St. Bernard (No. 138), faint, it is true, but still soft and charming in colour, while in the Uffizi there is in the corridor an altarpiece with St. Matthew in the midst that is certainly partially his own. Nothing at all remains to us of the work of Starnina, the master of Masolino, and thus we lose the link which should connect the art of Giotto and the Giottesques with the art of Masolino and Angelico. It was about the same time as Starnina was painting in the chapel of S. Girolamo at the Carmine that Lorenzo Monaco was working in the manner of Agnolo Gaddi. His work is beautiful by reason of its delicacy and gentleness, but it is so completely in the old manner that Vasari gives his altarpiece of the Annunciation now here in the Accademia (No. 143) to Giotto, praising that master for the tremulous sweetness of Madonna as she shrinks before the Announcing Angel just about to alight from heaven. It is a very different scene you come upon in his altarpiece in S. Trinit
In the restlessness of pain he then threw himself on the edge of the bed, and placed his head on the bosom of Lucrezia, who sat supporting and weeping over him. His afflicted son and friend took their station at the other side of the couch, and stood in mournful silence watching the issue of these sudden and frightful spasms. At that moment a celebrated Roman physician, the Doctor Catanni, entered the apartment. He felt the pulse of Salvator, and perceived that he was fast sinking. He communicated his approaching dissolution to those most interested in the melancholy intelligence, and it struck all present with unutterable grief. Baldovini, however, true to his sacred calling, even in the depth of his human affliction, instantly despatched the young Agosto to the neighboring Convent della Trinit
Another very considerable factor in the development of Venetian painting was the influence of GENTILE DA FABRIANO (c. 1360-1430), who settled in Venice in the latter part of his life, and there formed the closest intimacy with Antonio Vivarini. The remarkable Adoration of the Kings in the Berlin Museum was until lately given to Gentile, though it is now catalogued as the work of Antonio. Of Gentile's education little is known, and of the numerous works which he executed at Fabriano, in Rome and in Venice very few have survived. From those that exist, however, we can form an estimate of his talents and of the difference between his earlier and later styles. To the first belong a fresco of the Madonna in the Cathedral at Orvieto, and the beautiful picture of the Madonna and saints which is now in the Kaiser Friedrich Museum at Berlin. Also the fine Adoration of the Kings, inscribed with his name and the date 1423, formerly in the sacristy of S. Trinit
We have just been discussing Benedetto da Maiano the sculptor. If we turn to the left on leaving S. Trinit
It is interesting to note that Ghirlandaio in his S. Trinit
A second temple in the same style was dedicated to Ceres as the large one was to Neptune, on whose dominion they looked, and who was the tutelar deity of Paestum, and so called from one of his Greek names. The fane of Ceres is finished with the greatest accuracy and beauty of proportion and taste, and in looking upon it I forgot all the unpleasant feelings which at first oppressed me. The third was not a temple, but a Basilica, or species of town-house, as it was called, having a third row of pillars running up the middle, between the two which surrounded the sides, and were common to the Basilica and temple both. These surprising public edifices have therefore all a resemblance to each other, though also points of distinction. If Sir William Gell makes clear his theory he will throw a most precious light on the origin of civilisation, proving that the sciences have not sprung at once into light and life, but rose gradually with extreme purity, and continued to be practised best by those who first invented them. Full of these reflections, we returned to our hospitable Miss Whyte in a drizzling evening, but unassassinated, and our hearts completely filled with the magnificence of what we had seen. Miss Whyte had in the meanwhile, by her interest at La Trinit
Word Of The Day
Others Looking