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Updated: June 21, 2025
Is not that a greater difference, think you, than one of mere decadence? This 'maniera goffa e sproporzionata' of Vasari is not, then, merely the wasting away of former leonine strength into thin rigidities of death? There is another change going on at the same time, body perhaps subjecting itself to spirit. I will not teaze you with farther questions. The facts are simple enough.
Such as the lines are, I subjoin them for the sake of their attempt to emphasize and illustrate Renaissance feeling: "Vasari tells that Luca Signorelli, The morning star of Michael Angelo, Had but one son, a youth of seventeen summers, Who died.
Vasari described how Titian painted, ottimamente con un braccio sopra un gran pezzo d' artiglieria, the Duke Alfonso, and how he portrayed, too, the Signora Laura, who afterwards became the wife of the duke, che è opera stupenda.
Both Condivi and Vasari relate that, during his apprenticeship to Ghirlandajo, Michelangelo demonstrated his technical ability by producing perfect copies of ancient drawings, executing the facsimile with consummate truth of line, and then dirtying the paper so as to pass it off as the original of some old master.
It seems that on this occasion he also sent Vasari the sonnet composed upon his Lives of the Painters. Though it cannot be called one of his poetical masterpieces, the personal interest attaching to the verses justifies their introduction here: Vasari's official position at the ducal court of Florence brought him into frequent and personal relations with Cosimo de' Medici.
Here much history was made. As to its structure and its architect, Vasari, who later was called in to restore it, has a deal to say, but it is too technical for us. Its peculiarity is that it is one of the largest rooms in existence without pillars. From the foot of the steps to the further wall I make it fifty-eight paces, and thirty wide; and the proportions strike the eye as perfect.
The Duke of Florence, through Vasari, attempted to get at the ideas of Michael Angelo with regard to the Medici Chapel and the entrance to the Laurenziana, but the old man had lost and forgotten the plans, if he had ever made them.
From the Cascine we may either return to Florence along the banks of the river, or cross the river by the vile iron Ponte Sospeso and enter the city again, on the Pitti side, by the imposing Porta S. Frediano. According to Vasari the frescoes of S. Jerome by Ghirlandaio and S. Augustine by Botticelli were done in competition.
At Casa Guidi Browning wrote, among other poems, "Christinas Eve and Easter Day," "The Statue and the Bust" of which I have said something in chapter XIX, and the "Old Pictures in Florence," that philosophic commentary on Vasari, which ends with the spirited appeal for the crowning of Giotto's Campanile with the addition of the golden spire that its builder intended
By the will of God, in the year 1240, we are told by Vasari, GIOVANNI CIMABUE, of the noble family of that name, was born in the city of Florence, to give the first light to the art of painting.
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