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Updated: May 20, 2025
The church of S. Sigismondo, outside Cremona, is very interesting for the unity of style in its architecture and decoration. The Pulpits of Pisa and Ravello Having tried to characterise Niccola Pisano's relation to early Italian art in the second chapter of this volume, I adverted to the recent doubts which have been thrown by very competent authorities upon Vasari's legend of this master. Messrs.
At least the most beautiful save in the statues of Donatello; for, of course, Donato was the greatest craftsman that had ever lived; and Domenico spoke of him as, in Vasari's day, men were to speak of Michelangelo.
The following passages from Vasari's and Condivi's Lives deserve attention by those who approach the study of Buonarroti's drawings.
As men of a school, they are to be summed under the general name of 'Byzantines; their work all alike showing specific characters of attenuate, rigid, and in many respects offensively unbeautiful, design, to which Vasari's epithets of "goffa, e sproporzionata" are naturally applied by all persons trained only in modern principles.
Let me give up this estate to Brian, and make him happy with the woman that he loves. When he is married to Elizabeth you shall never see my face again." "This is your proposition?" said Percival, after a little pause. "Yes." "If I give up Elizabeth" he forgot that he had not meant to call her by her Christian name in Dino Vasari's presence "you will give up your claim to the property?" "Yes."
There are the niches spoken of by Condivi, with Vasari's conquered provinces prostrate at the feet of winged Victories. These are flanked by the terminal figures, against which, upon projecting consoles, stand the bound captives. At the right hand facing us, upon the upper platform, is seated Moses, with a different action of the hands, it is true, from that which Michelangelo finally adopted.
Vasari's story of the Prior's head serving for that of Judas is related with less colour, but probably more truth, in the Discourses of G. B. Giraldi, who says that when Leonardo had finished the painting with the exception of the head of Judas, the friars complained to the Duke that he had left it in this state for more than a year.
Taking, then, Vasari's statement in conjunction with the silence of Fontana, Poleni, and other early writers, and duly observing the care with which the proportions of the dome have been preserved, I think we may safely conclude that Michelangelo himself abandoned the third or semi-spherical vault, and that the cupola, as it exists, ought to be ascribed entirely to his conception.
Apart from tradition, very few ascertained facts are known to us as to Giorgione's life. The date of his birth is conjectural, there being but Vasari's unsupported testimony that he died in his thirty-fourth year. Now we know from unimpeachable sources that his death happened in October-November 1510, so that, assuming Vasari's statement to be correct, Giorgione will have been born in 1477.
Whatever want of exact truth there may be in the story as related by Vasari's story of the discovery of oil painting, there is no doubt that Hubert Van Eyck succeeded in preparing so transparent a varnish that he could apply it without disadvantage to all colours.
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