A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century, Volume 3

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J. Murray, 1908 - Painting
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Page 225 - ... Altichiero therefore is the painter of the Crucifixion, which is the most important part, and that nearest the spectator ; but in comparing it with the six lunettes of the north and south sides, it is well to remember that the latter are in better preservation than the former.* To say that the Cappella S. Felice is the noblest monument of the pictorial art of the fourteenth century in North Italy is not an exaggeration.
Page 110 - In his right hand is a knife, in his left a cup for poison, a hegoat lies at his feet. Avarice, pride, and vain-glory flutter over his head, the first a hag with a coffin and hook, the second with a knife and a yoke and red horns on her head, the last a girl with a reed, admiring her attire of gems in a mirror. Right and left of Tyranny sit Fraud, Treason, and...
Page 187 - Oxon., and other neighbouring possessions, at the close of the fourteenth and beginning of the fifteenth century, of whose family see I5p.
Page 110 - The whole of this wall has been injured more than the first one, and damp has removed some of the colour, whilst in other parts the intonaco has fallen out or repainting has taken place. The landscape to the right is in fact new. On the third wall, Ambrogio painted the allegory and consequences of bad government. On the part to the right sits a figure of "Tyranny" in front of a crenelated wall flanked with a high towered gate.
Page 110 - Siena,' and the loop with which it is bound to his chin. This colossal figure represents a man in the ripeness of age, with silvery hair and beard, a baronial cap on his head. Round the cap, as may be clearly seen in similar figures on the book covers of the Biccherna at Siena were the initials CS , CV , now altered by restoring. A mantle, white to the waist and black from that downwards, clothes the figure in the colours of the ' Balzana' or shield of the commune of Siena, and is embroidered and...
Page 102 - PISA. 133 the dead hermit, S. Paul, lying on the ground whilst two lions scratch in the hard ground a rude and shallow grave, the same grand variety of form and type may be discovered. The lions in their strength and elasticity are classical and seem to live; and wherever animal life is depicted the painter is great. A fallen mule, a camel entering a gate, exhibit his knowledge of their natural forms.
Page 109 - Justice, a gentle figure crowned with a diadem, with a flame burning in its centre, and holding in its hand a carpenter's plane inscribed with the word CONCORDIA.
Page 71 - MCCCCLXVII." commemorate the restoration, entrusted to him by the Commune, of Lippo Memmi's five frescoes, which adorn the wall of the Great Hall of the Palazzo Communale, signed, as the inscription runs : "Lippo Memi de Senis me pinxit al tempo di Messer Nello di Messer Mino de Tolomei di Siena, onorevole Potesta e chapitano del Chomune e del popolo della Terra di San Gimignano MCCCXVH.
Page 3 - A barrier, overleaped perhaps by one painter, parted the masters of the rival republics ; and this, to a certain extent, favoured the originality of Siena, which with less independence might have lost herself in imitation, and thus failed of that legitimate influence which she wielded in Italy. She remained second to Florence because she created no rival to Giotto, but otherwise she stood on an equality and contended with her for the palm of excellence, the Sienese Duccio, Ugolino.
Page 210 - VIII. a painting of the fall of Phaethon ; and from him too Filippo, bishop of Ferrara, ordered an image of our Lady and an ensign of S. George which was used in the procession sent out to meet Tiepolo when he came as ambassador from the Venetian republic to Ferrara. Gelasio is there stated to belong to the district of S. George and to have been a pupil in Venice to Teofane of Constantinople, which induced Zanetti to place this Greek at the head of the masters of his school. On the authority of so...

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