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Updated: June 21, 2025
Vasari, as he will not assume the name of Brian Luttrell until he has seen you. He will, of course, be in secular dress. "I have now made you master of all necessary facts. If I have done so under protest, it is no concern of yours. I earnestly recommend you to give up your residence in Scotland, and to return, at any rate until this matter is settled, to San Stefano.
The architect of this strange and secular building, more like a palace than a church, is unknown. Vasari, as I have said, speaks of Taddeo Gaddi; others again have thought it the work of Orcagna himself; while Francesco Talenti and his son Simone are said to have worked on it. The question is to a large extent a matter of indifference.
He received for this work 400 ducats, and carried it out in eighteen months." The sculptor who had spoiled this block of marble is called "Maestro Simone" by Vasari; but the abundant documents in our possession, by aid of which we are enabled to trace the whole history of Michelangelo's David with minuteness, show that Vasari was misinformed.
The chapels in the left transept are less interesting, except perhaps to students of painting in its early days. In the chapel at the end we find Donatello's wooden crucifix which led to that friendly rivalry on the part of Brunelleschi, the story of which is one of the best in all Vasari.
The latest criticism seeks to deprive him of every single existing picture he is believed to have painted; those mentioned by Vasari which have perished may be considered equally unauthentic, but, as before mentioned, his account of them gives us as well as anything else the story of the beginnings of the art.
"Remember poor Kitty," said Elizabeth. "I will spare her as much as possible, but I will not spare him. Do you know, Vivian, that he tried to murder Dino Vasari? There is not a blacker villain on the face of the earth. And to think that all this time my mother has been at his mercy!" "His mother!" ejaculated Mr.
Then there is that immortal gossip Vasari, a very biassed critic and not too nice to his contemporaries. He need not indulge in what is called the woad argument; we sha'n't go back to the early Britons for our authorities. Let us come to Sir Joshua Reynolds, whose Discourses are invaluable and also to be taken well salted; he was encrusted with fine old English prejudices.
Vasari, writing in the spring of 1562, informs Michelangelo concerning the Academy of Design founded by Duke Cosimo de' Medici, and of the Duke's earnest desire that he should return to Florence in order that the sacristy at S. Lorenzo may be finished. "Your reasons for not coming are accepted as sufficient.
The work was completed by 1508, and became the most celebrated of all the artist's creations. The Fondaco still stands to-day, but, alas! a crimson stain high up on the wall is all that remains to us of these great frescoes, which were already in decay when Vasari visited Venice in 1541. Other work of the kind all long since perished Giorgione undertook with success.
In any case, in Vasari's text the evidence is two to one in favour of 1489-90 as the right date, and thus we come to the agreeable conclusion that our two oldest authorities, Dolce and Vasari, are at one in fixing Titian's birth between 1488 and 1490 in other words, about 1489.
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