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Updated: May 21, 2025
He looked at Percival's masterful face with interest, and a little suspicion, and answered quietly: "I do not know exactly what evidence will satisfy you, sir. Of course, you will require evidence. I, myself, Bernardino Vasari of San Stefano, can testify that I saw Brian Luttrell in our monastery on the 27th day of November, some days after his reputed death.
The name by which we know him signifies the great Giorgio and was the reward of his personal charm and unusual genius. Very little is known of his life, Vasari being none too copious when it comes to the Venetians. What we do know, however, is that he was very popular, not only with other artists but with the fair, and in addition to being a great painter was an accomplished musician.
Vasari asserts that he remained nearly twelve months in the household of the Cardinal, and that he only executed a drawing of S. Francis receiving the stigmata, which was coloured by a barber in S. Giorgio's service, and placed in the Church of S. Pietro a Montorio. Benedetto Varchi describes this picture as having been painted by Buonarroti's own hand. We know nothing more for certain about it.
In the year 1539, then, having to execute for the Monks of Monte Oliveto, for the head of a great refectory in the Monastery of S. Michele in Bosco without Bologna, three panel-pictures in oils with three scenes each four braccia in length, and a frieze in fresco three braccia high all round with twenty stories of the Apocalypse in little figures, and all the monasteries of that Order copied from the reality, with partitions of grotesques, and round each window fourteen braccia of festoons with fruits copied from nature, Giorgio wrote straightway to Cristofano that he should go from S. Giustino to Bologna, together with Battista Cungi of the Borgo, his compatriot, who had also served Vasari for seven years.
"Hardly to be called his inheritance, I think," said Percival, in a parenthetic way, "if he was the child of one Vincenza Vasari, and not of the Luttrells." "I have my proposals to make," said Dino again lowering his voice. A nervous flush crept up to his forehead: his lips twitched behind the thin fingers with which he had partly covered them: the fingers trembled, too.
She did not like to feel that she was dependent upon others for aid, and, therefore, sat usually in a wheeled chair in her dressing-room, and it was the most easily accessible room from her sleeping apartment. She was in her dressing-room now, and Dino Vasari was with her. Hugo stole quietly through the passage until he reached the door of Mrs. Luttrell's bed-room, which was ajar.
Cimabue gave early proof of an accurate judgment and a clear understanding, and his father designed to give him a liberal education, but instead of devoting himself to letters, says Vasari, "he consumed the whole day in drawing men, horses, houses, and other various fancies on his books and different papers an occupation to which he felt himself impelled by nature; and this natural inclination was favored by fortune, for the governors of the city, had invited certain Greek painters to Florence, for the purpose of restoring the art of painting, which had not merely degenerated, but was altogether lost; those artists, among other works, began to paint the chapel of Gondi, situated next to the principal chapel in S. Maria Novella, where Giovanni was being educated, who often escaping from school, and having already made a commencement in the art he was so fond of, would stand watching these masters at their work the day through."
Now at this time Giorgio Vasari, having returned from Bologna, was executing for Messer Bindo Altoviti the altar-piece of his chapel in S. Apostolo at Florence, but he was not held in much consideration, although he had friendship with Tribolo and Tasso, because certain persons had formed a faction under the protection of the above-named Messer Pier Francesco Riccio, and whoever was not of that faction had no share in the favours of the Court, although he might be able and deserving.
It may be, as Vasari surmises, that this attitude was taken up by the duke in order not to do wrong to the "many noble craftsmen" then practising in his city and dominion.
In his later years he was employed with his friend Vasari in the Palazzo Vecchio, where he painted the frescoes in the smaller Hall of Audience. These are principally scenes from the Life of Camillus. The story of the schoolmaster of Falerii is very spirited, and the Triumph of Camillus varied and pleasing in colouring.
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