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Updated: May 20, 2025
This business, otherwise of no importance in his biography, necessitated the writing of despatches, one of which is interesting, since it acknowledges the receipt of Vasari's celebrated book: "Referring to your three letters which I have received, my pen refuses to reply to such high compliments.
Vasari's account of Titian's early years is substantially the same, but unfortunately opens with the statement that he was "born in the year 1480." This might easily have been a slip of the pen or a printer's mistake for 1488 or 1489, and subsequent passages in the life bear out this supposition.
Let Brian come home, and you will have two sons instead of one." "Rather say that I shall have no son at all," said Mrs. Luttrell, with gathering anger. "If you do this thing I cast you off. I forbid you to give what is your own to Vincenza Vasari's son." "You make it hard for me to act if you forbid me," said Dino, rising and standing before her with a pleading look upon his face.
"Vasari's and Cellini's criticisms of a master they both honestly revered may suffice to illustrate the false method adopted by these mimics of Michelangelo's ideal. To charge him with faults proceeding from the weakness and blindness of the Decadence the faults of men too blind to read his art aright, too weak to stand on their own feet without him would be either stupid or malicious.
While Brian Luttrell was the second son the exchange of children was, after all, of very little consequence. When Richard Luttrell died, the position of things was changed. If he had lived, you would never have heard of Vincenza Vasari's dishonesty. The priests knew that there would be little to be gained by it.
After the middle of July there was nothing much to do and he escaped a good deal by pretending he had to go to lectures for his first examination. The time he got in this way he spent in the National Gallery. He read books about Paris and books about painting. He was steeped in Ruskin. He read many of Vasari's lives of the painters.
Some doubt has been cast upon this story, which may possibly have been evolved on the basis of the peculiar signature. It is at variance with Vasari's statement that Titian held the picture in slight esteem in comparison with his other works.
Harford has transferred much of Vasari's writing to his own pages, but has succeeded in translating or mistranslating all vitality out of it. Mr. Harford has attempted, by giving sketches of the chief characters of Florence and of Rome during Michel Angelo's life, to show some of the personal influences which most affected him.
I mean that he will put it on the ground of Luttrell's own interests not Dino Vasari's, or or yours.... What I propose is that someone should go who knows the story intimately, who knows the relations of all the parties.... If you like to trust me, I will do my best to bring Brian Luttrell home again." "You!" exclaimed Elizabeth. "Oh, Percival, no." "And why not?
Vasari's description moves our laughter with its jargon about "attitudini bellissime e scorti molto mirabili," when the man, in spite of his honest and enthusiastic admiration, is so little capable of penetrating the painter's thought. Mr.
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