Kugler's Hand-book of Painting: The Schools of Painting in Italy, 1. daļaJ. Murray, 1851 |
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Academy Adoration allegorical altar altarpiece Andrea angels antique Apostles appears apsis arch architecture artist ascribed Baptist beauty belong Berlin Museum Bologna Byzantine Byzantine art Campo Santo cathedral centre chapel character Christ Christian church Cimabue colour composition conception contemporary D'Agincourt decoration Domenico drapery especially excellent executed expression feeling Fiesole fifteenth century Filippino Lippi Florence Florentine four saints fourteenth century Francesco Francis fresco gallery Ghirlandajo Giotto Giovanni Giovanni Bellini gold ground graceful hand heads Holy imitation influence Italian Italy later Lorenzo Luca Signorelli Madonna enthroned manner Maria Masaccio master miniatures mode mosaics Naples Paduan painted painters peculiar period Perugia Perugino Peter Pietro Pisa Pope portraits Raphael Ravenna remarkable repre representation represented Rome Rumohr sacristy Sandro Botticelli Saviour scenes scholars side Siena Sienese single figures Sistine Chapel specimens style subjects symbols tendency tion trace tribune Uffizj Vasari Vatican Venetian Venetian school Venice Virgin wall
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3. lappuse - Behold, my servant shall deal prudently, he shall be exalted and extolled, and be very high. As many were astonied at thee, (his visage was so marred more than any man, and his form more than the sons of men...
14. lappuse - But thou, Beth-lehem Ephratah, though thou be little among the thousands of Judah, yet out of thee shall he come forth unto me that is to be ruler in Israel; whose goings forth have been from of old, from everlasting.
124. lappuse - A dame, to whom none openeth pleasure's gate More than to death, was, 'gainst his father's will, His stripling choice : and he did make her his, Before the spiritual court, by nuptial bonds, And in his father's sight : from day to day, Then loved her more devoutly.
3. lappuse - Thus it is said, concerning the man of sorrows, that many were astonished at him, his visage was so marred more than any man, and his form more than. the sons of men:
124. lappuse - Non era ancor molto lontan dall' orto, di' e' cominciò a far sentir la Terra Della sua gran virtude alcun conforto. Che per tal donna giovinetto in guerra Del padre corse, a cui, com...
124. lappuse - But not to deal Thus closely with thee longer, take at large The lovers' titles Poverty and Francis. Their concord and glad looks, wonder and love, And sweet regard gave birth to holy thoughts...
124. lappuse - 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 has represented the...
24. lappuse - In the larger Basilicas, where a transept is introduced before the recess, it is divided from the nave by a large arch, called the arch of triumph; in this case the subjects from the Apocalypse were generally represented on the arch.
195. lappuse - Boy, the figures appear in perfect reality before the spectator. Moreover, we find a style of drapery freed from the habitual type-like manner of the earlier periods, and dependent only on the form underneath, at the same time expressing dignity of movement by broad masses and grand lines. Lastly, we...
153. lappuse - Coronation of the Virgin, on the same wall, over the door of the second chapel, is also by this artist : little more than the design is now visible, in which, however, a grand and enthusiastic character is still to be recognised.