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Updated: June 20, 2025
The Palazzo Giovanelli A lovely picture A superb innovator Pictures for houses The Tempest Byron's criticism Giorgione and the experts Vasari's estimate Leonardo da Vinci The Giorgionesque fire A visit to Castel Franco The besieging children The Sacristan A beautiful altar-piece Pictures at Padua Giorgiones still to be discovered.
Hence, perhaps, Vasari's vapid talk about "stravaganti attitudini," "divine figure," "scorticamenti," and so forth as if the soul of figurative art were in such matters. The science of Michael Angelo, which in his own mind was sternly subordinated to thought, had already turned the weaker heads of his generation.
Doubts having been raised as to the precise spot, a search was made in the Pantheon in 1833, and Raphael's bones were found; the situation agreeing exactly with Vasari's description of the place of interment. On the 18th of October, in the same year, the relics were reinterred in the same spot with great solemnities.
Many writers have appeared, who deny the above statement of Vasari; but Lanzi, who carefully investigated the whole subject, finds no just reason to claim for his countrymen priority of the invention, or to doubt the correctness of Vasari's statement in the main.
He tried hard to make Brian accompany him on his next expedition, but failed. Both strength and energy were wanting to him at this time. Mr. Colquhoun's answers to Brian's communications were short, and, to the young-man's mind, unsatisfactory. "At the time when Mrs. Luttrell first made the statement that she believed you to be Vincenza Vasari's son, her mind was in a very unsettled state.
Every possible effect of light and obscurity makes the strange vistas yet more weird, and, now and then, there is a feeling of standing upon the vast, rounding slope of some planet that shines at one's feet, then gradually falls away into the surrounding blackness. The famous "oaken chain" of Vasari's life of Brunelleschi is there, bolted together in successive beams.
Full particulars will be found in Crowe and Cavalcaselle's often-quoted work. Vasari's many manifest errors and disconcerting transpositions in the biography of Titian do not predispose us to give unlimited credence to his account of the strained relations between Giorgione and our painter, to which this particular business is supposed to have given rise.
The man seems to have been a madcap artist, combining with his love for his profession a taste for fine clothes, and what was then perhaps rarer in people of his sort, a great partiality for living creatures of all kinds. The darker shades of Vasari's picture have been purposely omitted from these pages.
For this emancipation of the art, all craftsmen owe him an infinite and everduring debt of gratitude, since he at one blow broke down the bands and chains which barred the path they trod in common." If I am right in thus interpreting an unusually incoherent passage of Vasari's criticism, no words could express more clearly the advent of Barocco mannerism.
About this time two plans were set on foot for erecting monuments to Michelangelo's memory. The scheme started by the Romans immediately after his death took its course, and the result is that tomb at the SS. Apostoli, which undoubtedly was meant to be a statue-portrait of the man. Vasari received from Lionardo Buonarroti commission to erect the tomb in S. Croce. The correspondence of the latter, both with Vasari and with Jacopo del Duca, who superintended the Roman monument, turns for some time upon these tombs. It is much to Vasari's credit that he wanted to place the Piet
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