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Updated: May 20, 2025
From all that I have heard he was the last man to be jealous of his brother, or to wish any harm to him." "In short, you are quite prepared to look upon him as a héros de roman, and worship him as such when he appears. Possibly you may think there is some reason in Dino Vasari's naive suggestion that you should marry Mr. Luttrell and prevent any division of the property."
At this time Bandinelli could not have been more than eighteen. Vasari's story is uncorroborated. Leonardo's battle merely perished, being done in some fugitive medium; and the walls are now covered with the works of Vasari himself and his pupils and do not matter, while the ceiling is a muddle of undistinguished paint.
Among the "Novelli," there is a quaint tale called "The Fat Ebony Carver," which is interesting to read in this connection. Benedetto da Maiano, one of the "most solemn" workers in intarsia in Florence, became disgusted with his art after one trying experience, and ever after turned his attention to other carving. Vasari's version of the affair is as follows.
Is not that ribbed dome, with its purple mass domineering over the huddled roofs, Brunelleschi's? It is a faithful copy of Vasari's hatching; but no matter. So with the Baptistery, the towers, the grim old corniced palaces, the sdruccioli and gloomy clefts which serve for streets. But you would be wrong. Pisa is the real parent of Pistoja, as indeed she is of Florence-Dante's Florence.
The two columns An ingenious engineer S. Mark's lion S. Theodore of Heraclea The Old Library Jacopo Sansovino The Venetian Brunelleschi Vasari's life A Venetian library Early printed books The Grimani breviary A pageant of the Seasons The Loggetta Coryat again The view from the Molo The gondolier Alessandro and Ferdinando The danger of the traghetto Indomitable talkers The fair and the fare A proud father The rampino.
Even after long years the evil fate still persists, for in 1911 his "Gioconda" was stolen from the Louvre by madman or knave. On the left wall is Uccello's battle piece, No. 52, very like that in our National Gallery: rich and glorious as decoration, but quite bearing out Vasari's statement that Uccello could not draw horses.
Vasari's "Lives of the Painters" was first published in Florence in 1550, and with all its defects and all its inaccuracies, which have afforded so much food for contention among modern critics, it is still the principal source of our knowledge of the earlier history of painting as it was revived in Italy in the thirteenth century.
Near him is a female figure, and the two figures grouped upon the left angle seem to be both female. To some extent these statues bear out Vasari's tradition that the platform in the first design was meant to sustain figures of the contemplative and active life of the soul Dante's Leah and Rachel. This great scheme was never carried out.
It was Dino Vasari who sought me out and told me," said Percival, with some anger. "And did Dino Vasari intend you to keep the matter a secret?" "No. The real fact was, Elizabeth, that I did not altogether believe Vasari's story. I did not in the least believe that Brian Luttrell was living. I thought it was a hoax. Upon my word, I am half-inclined to believe so still.
Claude Phillips, in his Earlier Work of Titian, p. 58, note, objects that Vasari's "giubone di raso inargentato" is not the superbly luminous steel-grey sleeve of this "Ariosto," but surely a vest of satin embroidered with silver. I think we need not examine Vasari's casual descriptions quite so closely; "a doublet of silvered satin wherein the stitches could be counted" is fairly accurate.
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