The Bases of Design

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G. Bell and Sons, 1902 - Decoration and ornament - 381 pages
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Page 314 - Dante ; and the influence of one great genius on another is strongly exemplified in some of his succeeding works, and particularly in his next grand performance, the frescoes in the church of Assisi. In the under church, and immediately over the tomb of St. Francis, the painter represented the three vows of the Order — Poverty, Chastity, and Obedience ; and in the fourth compartment, the Saint enthroned and glorified amidst the host of Heaven. The invention of the allegories under which Giotto...
Page 302 - Are God and Nature then at strife, That Nature lends such evil dreams So careful of the type she seems, So careless of the single life...
Page 175 - I have no refuge in the world other than thy threshold. My head has no protection other than this porchway. The work of the slave of this holy place, Maksond of Kashan, in the year 946
Page 142 - Nor lawes of men, that common- weales containe, Nor bands of nature, that wilde beastes restraine, Can keepe from outrage and from doing wrong, Where they may hope a kingdome to obtaine : No faith so firme, no trust can be so strong, No love so lasting then, that may enduren long.
Page 308 - E'en in its height of verdure, if an age Less bright succeed not. Cimabue thought To lord it over painting's field; and now The cry is Giotto's,* and his name eclipsed.
Page 330 - In the fifth picture are four elephants adorned with rich garlands of fruits and flowers, bearing on their backs magnificent candelabra, and attended by beautiful youths. In the sixth are figures bearing vases, and others displaying the arms of the vanquished. The seventh picture shows us the unhappy captives, who, according to the barbarous Roman custom, were exhibited on these occasions to the scoffing and exulting populace : there is here a group of female captives of all ages, among them a young...
Page 334 - Supper," which he painted in oil abont 1497 on the wall of the refectory of the Dominican convent of the Madonna delle Grazie...
Page 316 - ... those who came after them. These were Andrea Orcagna, Simone Memmi, and Taddeo Gaddi. The first of these, Andrea Cioni, commonly called ANDREA ORCAGNA, did not study under Giotto, but owed much indirectly to that vivifying influence which he breathed through art. Andrea was the son of a goldsmith at Florence. The goldsmiths of the fourteenth and fifteenth centuries were in general excellent designers and not unfrequently became painters, as in the instances of Francia, Verrochio, Andrea del Sarto,...
Page 327 - ... at length his adopted son. He worked early and late, copying with assiduity the models which were set before him, drawing from the fragments of statues, the busts, the bas-reliefs, ornaments, and vases with which Squarcione had enriched his academy. At the age of seventeen Andrea painted his first great picture for the church of Santa Sofia in Padua (now lost), and at the age of nineteen assisted in painting the chapel of St. Christopher in the Eremitani—here he represented on the vault the...
Page 246 - These archaic pictures represent the angel of St. Matthew, the lion of St. Mark, the bull of St. Luke and the eagle of St. John.

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