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Eighteen towers and five gateways garnish the long extent of the inclosing wall; two of the gateways are interesting; that of the Saviour built by Pietro Solario in 1491, and that of the Trinity by Christopher Galloway in the Seventeenth Century. Here, among the churches are those of the Assumption and of St.
Petersburg, attributed by late critics to the little-known painter, Bernardino de' Conti. The Madonna's face, her hair drawn smoothly over her temples, has a beautiful matronliness. Still another is the Madonna of the Green Cushion, by Solario, in the Louvre.
It would, however, be hard to persuade us that Leonardo had any hand in this portrait, excellent though it be, which seems rather by Beltraffio, Solario, or another of the Milanese masters; 1602, Bacchus, is another doubtful Leonardo. 1488, L. of 1597, is an admirable work by Sacchi: Four Doctors of the Church with symbols of the Evangelists.
The Sultan could only regret that he had not sooner ordered the execution of the sentence. While these things were going on the faithful Sherasmin, who had not accompanied Huon in his last adventure, but had learned by common rumor the result of it, came to the court in hopes of doing something for the rescue of his master. He presented himself to the Sultan as Solario, his nephew.
The Sultan could only regret that he had not sooner ordered the execution of the sentence. While these things were going on the faithful Sherasmin, who had not accompanied Huon in his last adventure, but had learned by common rumor the result of it, came to the court in hopes of doing something for the rescue of his master. He presented himself to the Sultan as Solario, his nephew.
The two years' sojourn of Solario in France at the invitation of the Cardinal of Amboise, of Da Vinci at the solicitation of Louis XII., and the foundation of the school of Fontainebleau in 1530 by Rosso (1496-1540), Primaticcio (1504-1570), and Nicolo dell' Abbate (1512-1571), mark the eclipse of whatever schools of French painting were then existing; for the grand manner and dramatic power of the Italians, fostered by royal patronage, carried all before them. This room possesses by Rosso, known as Maître Roux, 1485, a Piet
The massive mahogany pew-doors were elaborately carved and surmounted by small crosses; the tall, arched windows were of superb stained glass, representing the twelve apostles; the floor and balustrade of the altar, and the grand Gothic pillared pulpit, were all of the purest white marble; and the capitals of the airy, elegant columns of the same material, that supported the organ gallery, were ornamented with rich grape-leaf moulding; while the large window behind and above the pulpit contained a figure of Christ bearing his Cross a noble copy of the great painting of Solario, at Berlin.
Goethe describes with delight a picture by Correggio, in which the attention of the Child seems divided between the bosom of his mother, and some fruit offered by an angel. He calls this subject "The Weaning of the Infant Christ." Correggio, if not the very first, is certainly among the first of the Italians who treated this motif in the simple domestic style. Others of the Lombard school followed him; and I know not a more exquisite example than the maternal group by Solario, now in the Louvre, styled La Vierge
One cannot exactly derive any of Giorgione's genius from Leonardo, but the fame of the great Lombardy painter was in the air, and we must remember that his master Verrocchio, after working in Venice on the Colleoni statue, had died there in 1488, and that Andrea da Solario, Leonardo's pupil and imitator, was long in Venice too.
N deg. 896. John. SOLARIO is another worthy pupil of LEONARDO. This very capital picture belonged to the collection of the crown, and was purchased by Lewis XIV. N deg. 928. An excellent picture from Versailles. N deg. 929. A remarkably fine production. N deg. This picture is worthy of the pencil of RAPHAEL. It is not yet exhibited. N deg. 52. Remus and Romulus.
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