United States or New Zealand ? Vote for the TOP Country of the Week !
Springer, in his essay, Michael Agnolo in Rome, p. 21, makes out that this large design was not conceived till after the death of Julius. It is difficult to form a clear notion of the many changes in the plan of the tomb, between 1505 and 1542, when Michael Angelo signed the last contract with the heirs of Julius. In the Uffizzi at Florence. See Heath Wilson, plate vi.
A drawing made in red chalk for this "Dream of Constantine" has been published in facsimile by Ottley, in his Italian School of Design. He wrongly attributes it, however, to Giorgione, and calls it a "Subject Unknown." The one in S. Francesco at Rimini, the other in the Uffizzi.
I do not mention this picture as a complete pendant to Botticelli's famous tondo. The faces of S. Catherine and Madonna, however, have something of the rarity that is so striking in that work. I hope to make use of this passage in a future section of my work on the Italian Poetry of the Renaissance. Therefore I pass by this portion of Piero's art-work now. Uffizzi Gallery.
Their portraits, painted by Titian, adorn the Venetian room of the Uffizzi. Of their son, Guidobaldo II., little need be said. He was twice married, first to Giulia Varano, Duchess by inheritance of Camerino; secondly, to Vittoria Farnese, daughter of the Duke of Parma.
At the door of the Uffizzi, in Florence, one is confronted by statues of a man and a woman, noseless, battered, black with accumulated grime they hardly suggest human beings yet these ridiculous creatures have been thoughtfully and conscientiously fig-leaved by this fastidious generation.
Together they wandered through the long corridors of the Uffizzi; together they returned again and again to the Tribune, or traversed that interminable passage across the river which leads to the Pitti Gallery, or roamed about among the old squares and palaces which are haunted by so many memories.
Giorgione, b. 1478; d. 1511. Titian, b. 1477, d. 1576. Tintoretto, b. 1512; d. 1594. Veronese, b. 1530; d. 1588. I cannot, for example, imagine Veronese painting anything like Rubens' two pictures of the "Last Judgment" at Munich. For his sacred types see the "Marriage at Cana" in the Louvre, the little "Crucifixion" and the "Baptism" of the Pitti, and the "Martyrdom of S. Agata" in the Uffizzi.
There is one group, in particular, of six women, so delicately varied in carriage of the head and suggested movement of the body, as to be comparable only to a strain of concerted music. This is perhaps the painter's masterpiece in the rendering of pure beauty, if we except his S. Sebastian of the Uffizzi. We tire of studying pictures, hardly less than of reading about them!
Urbino profited by each mistake of Sigismondo, and the history of this long desultory strife with Rimini is a history of gradual aggrandisement and consolidation for the Montefeltrian duchy. In 1459, Duke Frederick married his second wife, Battista, daughter of Alessandro Sforza, Lord of Pesaro. Their portraits, painted by Piero della Francesca, are to be seen in the Uffizzi.
Next to the Madonna of the Uffizzi, Botticelli's loveliest religious picture to my mind is the "Nativity" belonging to Mr. Fuller Maitland. Poetic imagination in a painter has produced nothing more graceful and more tender than the dance of angels in the air above, and the embracement of the angels and the shepherds on the lawns below. In the Academy of Fine Arts at Venice.
Word Of The Day