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They walked out of the Piazza and down to the Lung' Arno, through the corridor of the Uffizzi, where the illustrious Florentines stand in marble under the arches, all reconciled and peaceful and equal at last. Colville shivered a little as he passed between the silent ranks of the statues. "I can't stand those fellows, to-day.
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 at Florence.
Nor is it, perhaps, a mere fancy to imagine that the corolla of an open rose suggested to Botticelli's mind the composition of his best-known picture, the circular "Coronation of the Virgin" in the Uffizzi. That masterpiece combines all Botticelli's best qualities.
It is a picture of the sweet and gentle nature latent within the fiery arraigner of his nation at the bar of God. In contemporary medals the face appears hard, keen, uncompromising, beneath its heavy cowl. But the noblest portrait is an intaglio engraved by Giovanni della Corniole, now to be seen in the Uffizzi at Florence.
Nor was he deficient in tragic power, as the tremendous study for a Lucrece in the Uffizzi collection sufficiently proves. In his drawings he models the form without outline by massive distribution of light and dark. In style they are the very opposite of Lionardo's clearly defined studies touched with the metal point upon prepared paper.
What we chiefly notice, however, in his choice of subjects is a frenzy of murderous enthusiasm, a grimness of imagination, rare among Italian artists. The picture in the Uffizzi of "Hercules and Antaeus" and the well-known engraving of naked men fighting a series of savage duels in a wood, might be chosen as emphatic illustrations of his favourite motives.
There ain't a man living that can do anything with them except with a club, and no man likes to take a club to anything as small as a Dwarf." Lamps of all Kinds and Times. Two Styles: A Tale with a Moral. Uffizzi Robbinson was blessed with a very full rich, tenor voice but a very empty purse and he stood in need of a HOLIDAY.
Franciabigio's and Rosso's frescoes stand beside Del Sarto's in the atrium of the Annunziata at Florence. Pontormo's portraits of Cosimo and Lorenzo de' Medici in the Uffizzi, though painted from busts and medallions, have a real historical value. The "Christ in Limbo" in S. Lorenzo at Florence, and the detestable picture of "Time, Beauty, Love, and Folly," in our National Gallery.
Directly after breakfast she went out with her father, going first of all to French's bank, where Raeburn had to change a circular note. "It is upstairs," he said as they reached the house. "Don't you trouble to come up; you'll have stairs enough presently at the Uffizzi." "Very well," she replied, "I will wait for you here."
"Can you tell me something?" he said to me in a whisper, having touched my shoulder. "The people are so ill-natured I don't like to ask them. Where is it they keep the Medical Venus?" I sent him to the Uffizzi, but I fear he was disappointed. We ourselves, however, on entering Milan had been in quite as much distress as any that he suffered.
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