Handbook of Painting: The Italian Schools, Volume 2 (Google eBook)

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J. Murray, 1887 - Painting, Italian
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Page 635 - George Inn," St. Martin's, Stamford, but also useful as a record in 'N. & Q.' There is no signature to indicate the writer, but as the handwriting seems to be of the end of the seventeenth or beginning of the eighteenth century, I incline to the belief that it is a note by Kennett himself, to say nothing of his close neighbourhood to the inn in question.
Page 650 - Ъу the name of Eclectics, from their having endeavoured to select and unite the best qualities of each of the great masters, combined with the study of nature ; the other class were distinguished by the name of...
Page 630 - Paolo*, for the abbess. The subjects from ancient mythology, which he executed here, are among his most beautiful works : on the principal wall is Diana returning from the chase, in a car drawn by white stags ; the light drapery of the goddess conceals but little of her perfect and youthful form. On the ceiling is painted a vine-arbour, with sixteen oval openings, in which are charming groups of genii, some with the attributes of the chase horns, hounds, the head of a stag, etc.; some caress...
Page 639 - ... which to admire most, the correctness of drawing, or the grandeur of the conception. As a confirmation of its great excellence, and of the impression which it leaves on the minds of elegant spectators, I may observe, that our great...
Page 424 - ... notice is all that my space allows me to give concerning the life of this great master. I will conclude it with a quotation from Signor Morelli which I take from Sir Henry Layard's recent edition of Kugler's Hand-book of Painting (vol. ii, p. 424). Signor Morelli is quoted as saying: " Gaudenzio Ferrari is inferior to very few of his contemporaries, and occasionally, as in some of those groups of men and women in the great Crucifixion at Varallo, he might challenge comparison with Raphael himself.
Page 652 - La mossa coll' ombrar Veneziano, E il degno colorir di Lombardia. Di Michel Angiol la terribil via, II vero natural di Tiziano, Del Correggio lo stil puro e sovrano', E di un Rafel la giusta simmetria.
Page 591 - ... strictness of expression, nor at forcible development of form, nor even, directly, at ideal beauty, though all these qualities were within his grasp : nevertheless, those excellences which, from his first to his last picture, he sought to attain and often did attain in the highest perfection, were not less high and infinite in nature than those of the other great masters. The austere and glowing force of Giorgione resolves itself in Titian into a free, open, and serene beauty a pleasing and...
Page 475 - Raphael'B own, is simple and beautiful. Mary and Joseph stand opposite to each other, in the centre ; the High Priest, between them, joins their hands ; Joseph is in the act of placing the ring on the Virgin's finger...
Page 647 - Florence ; it contains a multitude of figures, some of most colossal dimensions. A satire of the day concludes with these lines : Poor Florence, alas ! will ne'er cease to complain Till she sees her fine cupola whitewash'd again.
Page 504 - Bernhard van Orley, a pupil of Raphael, who had returned to his native country.

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