The History of Painting in Italy: The schools of Florence and Siena

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W. Simpkin and R. Marshall, 1828
 

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Side 85 - Si autem volueris ostia rubricare, tolle oleum lini, quod hoc modo compones. Accipe semen lini et exsicca illud in sartagine super ignem sine aqua. Deinde mitte in mortarium et contunde illud pila donee tenuissimus pulvis fiat, rursusque mittens illud in sartaginem, et infundens modicum aquae, sic calefacies fortiter.
Side 450 - Mei. 1 am unacquainted with that of his master ; and P. della Valle, who saw several of his works, sometimes compares him to the Caracci, at others to Paul Veronese, and to Guercino, much as the eclectic philosophers adopt or change the maxims of the different schools. He commends him for the airs of his heads, and, as one of his best productions, alludes to a fresco in the Casa Bandinelli, with an Aurora in a ceiling, and with several other elegant figures and designs. Francesco di Cristofano Rustici,...
Side 197 - Raffaello, but a painter of no celebrity. While still a youth, he ,was consigned to Pier di Cosimo, a practical colourist, but by no means skilled in drawing or in composition : hence the taste of Andrea in these arts was formed on the cartoons of Vinci and Bo•narruoti ; and, as many circumstances indicate, on the frescos of Masaccio and of Ghirlandaio, in which the subjects were more suited to his mild disposition.
Side 438 - ... pictures of this artist, who died at Rome, with the reputation of an excellent sculptor. I likewise find at Bologna an Agostino Marcucci, of Siena, who is wholly unknown in that place, probably because he was the son of an emigrant. He was a disciple of the Caracci, till a schism arose in that school, when he ranged himself with the foremost adherents of Facini, the leader of the party, and they had the boldness to set up a new academy in opposition to that of the Caracci. He continued to reside...
Side 453 - ... that is doubtless partly owing to changes wrought by time, from an injudicious mixture of colors, for the historian of the cathedral of Siena, in describing his Elijah under the Juniper Tree, in that edifice, commends the force of the coloring, and says it is juicy and natural. Lanzi further says that in private collections, where pictures are better preserved than in churches, we find very beautiful Madonnas by this artist ; and he mentions "a most exquisite Lucretia in the possession of the...
Side 395 - ... equal in genius to Simon.e, he succeeded admirably in imitating his manner, and probably assisted him in many works ; and, aided by his designs, he produced pictures that might have passed for the works of the former, had he not inscribed them with his own name. When he wrought from his own designs, there is a manifest mediocrity in his invention and design, but he is still a good colorist. He sometimes painted in conjunction with Simone, as appears from a picture formerly in the church of S....
Side 200 - Christ, which they think sustains itself more, and has a greater fulness of the veins, than is suitable to a dead body : but this is immaterial in a picture the other parts of which are designed, coloured, and composed, so as to excite astonishment. A Last Supper, if it were not confined to the cloisters of the monastery of S. Salvi, would, perhaps, be equally admired. The soldiers who besieged Florence in 1529, and destroyed the suburbs of the city, undoubtedly admired it : after demolishing the...
Side 198 - Vasari, if he was erroneous in a circumstance relating to one who was his master, and which was written in Florence soon after the death of Andrea, while his scholars, his friends, and even his wife, were still living, an assertion, too, uncontradicted in the second edition, in which Vasari retracted so much of what he had affirmed in the first ? His improvement and his progress from one perfection in art to another was thus not sudden, as has happened to some other artists ; but was gradually acquired...

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