Biographical catalogue of the principal Italian painters, with a table of the contemporary schools of Italy, ... Edited by W. R. Wornum

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Page xxii - ... Vinci. 8vo. Paris, 1849. Rio, AF De la Poésie Chrétienne dans son Principe, dans sa Matière et dans ses Formes. Forme de l'Art, Peinture. 8vo. Paris, 1836. Rome. Beschreibung der Stadt Rom, von Ernst Platner, Carl Bunsen, &c. 5 vols. 8vo. with atlas of tables, &c. Stuttgart and Tübingen. 1829-42. Beschreibung Roms. Ein Auszug aus der Beschreibung der Stadt Rom, von Ernst Platner und Ludwig Urlichs. 8vo. Stuttgart and Tübingen, 1842. Rosini, Gio. Storia della Pittura Italiana esposta coi...
Page 196 - ... should be sorry to place the works of a better master, — I mean ceilings and staircases. The New Testament or the Roman History cost him nothing but ultramarine ; that and marble columns and marble steps he never spared.
Page xx - Mündler, 0. Essai d'une Analyse Critique de la Notice des Tableaux Italiens du Musée National du Louvre, &c.
Page xviii - Anecdotes of Painters who have resided or been born in England ; with Critical Remarks on their Productions : intended as a continuation to the Anecdotes of Painting by the late Horace, Earl of Oxford, pp.
Page 200 - ... with something like the awe of preternatural knowledge. In an age of so much dogmatism he first laid down the grand principle of Bacon, that experiment and observation must be the guides to just theory in the investigation of nature. If any doubt could be...
Page 139 - Heliodorus with his fore feet; and he that sat upon him, seemed to have armour of gold. Moreover there appeared two other young men beautiful and strong, bright and glorious, and in comely apparel: who stood by him, on either side, and scourged him without ceasing with many stripes.
Page 200 - If any doubt could be harboured, not as to the right of Leonardo da Vinci to stand as the first name of the fifteenth century, which is beyond all doubt, but as to his originality in so many discoveries, which, probably, no one man, especially in such circumstances, has ever made, it must be on an hypothesis, not very untenable, that some parts of physical science had already attained a height which mere books do not record.
Page 50 - Venus and Cupid ; a Holy Family. Louvre, Coronation of the Virgin. COSSALE, GRAZIO, of Brescia, painted 1594-1612. Venetian School. He painted on a large scale, in the style of Palma Giovane. The churches of Brescia still contain many of his works. In Santa Maria delle Grazie, and Santa Maria de' Miracoli, are the Adoration of the Magi, and the presentation in the Temple ; and in Santi Faustino e Giovita, the Apparition of those Saints in Defence of Brescia. The Brescia guide has the date of 1660...
Page 113 - His imitation of the works of the latter acquired him the appellation of the Lombard Guido. He painted history and portraits. The public buildings of Parma, Cremona, and Piacenza still possess many of his works. The Purification of the Virgin, in San Vincenzo, at Piacenza, is one of his best ; another is the Miracle of St. Peter, at the Beautiful Gate of the Temple, in San Vittore, at Milan. His heads of the Madonnas were much sought after in his time, although they are feeble and mannered, and of...
Page 123 - Golfo neir arte," but met with only ridicule for his pains. Vasari says he denied the immortality of the soul. He died refusing the sacrament, or to confess; he was accordingly buried in a field by the public road, in unconsecrated ground : he was curious to ascertain the fate of a soul that had never confessed. Such is the statement of Gasparo Celio, a Roman painter of the sixteenth century, as coming from Niccolo dalle Pomerance, whose wife was related to Pietro's. Whatever his idiosyncratic peculiarities,...

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