Tuscan Sculptors, Their Lives, Works and TimesLongman, 1864 - 180 pages |
Other editions - View all
Common terms and phrases
adorned Agostino altar Andrea Andrea Orcagna Andrea Pisano angels antique Antonio Arca arch architect architectural Arnolfo artists Baptistry Bartolomeo bas-reliefs beautiful Benedetto Bishop Bologna bronze Brunelleschi building bust Campo Santo Cardinal century chapel Charles of Anjou Christ Christian church of San Civitali Conradino Croce death decorated died Domenico Donatello door drapery Duomo Duomo at Siena Etruscan façade figures Florence Florentine font Francesco Ghiberti Giovanni Pisano Gothic Greek head Italian Italy Jacopo John Lionardo Loggia Lorenzo Luca della Robbia Lucca Madonna and Child marble Matteo Medici Michael Angelo Michelozzo Milan modelled monument Naples Niccola Pisano niches Orcagna ornaments Orvieto painted palace Palazzo Paolo Perugia Pietro pilasters Pisa Pistoja Plate Pollajuolo Pope pulpit Quercia relief representing Ricci Roman Rome Rossellino saint San Michele Sansavino sarcophagus scholar sculptured Siena Sienese statue of St statuettes Strozzi style tabernacle terra-cotta tomb Tuscan Uffizi Vasari Venice Verocchio Vide Virgin
Popular passages
Page xxviii - It was begun about the end of the fifth, or the beginning of the sixth century...
Page 150 - Ch' ogni lingua divien tremando muta, E gli occhi non ardiscon di guardare. Ella sen va, sentendosi laudare, Benignamente d'umiltà vestuta; E par che sia una cosa venuta Di cielo in terra a miracol mostrare.
Page lvi - Renaissance in the end of the twelfth and the beginning of the thirteenth century...
Page 108 - ... is no effort at deceptive imitation of pressure. — It is understood as a pillow, but not mistaken for one. The hair is bound in a flat braid over the fair brow, the sweet and arched eyes are closed, the tenderness of the loving lips is set and quiet ; there is that about them which forbids breath ; something which is not death nor sleep, but the pure image of both.
Page 264 - Tristan,' represented by MS. No. 103 of the Bibliotheque Nationale and by several printed texts of the end of the fifteenth and beginning of the sixteenth centuries, copies of which are in the British Museum.
Page 184 - I can do anything possible to man,' he wrote to Lodovico Sforza, 'and as well as any living artist either in sculpture or painting.
Page 54 - the highest mark of prudence in a people of noble origin is to proceed in the management of their affairs so that their magnanimity and wisdom may be evinced in their outward acts, we order Arnolfo, head-master of our commune, to make a design for the restoration of S. Reparata in a style of magnificence which neither the industry nor power of man can surpass...
Page 214 - Now they were both righteous before God, walking in all the commandments and ordinances of the Lord blameless. And they had no child, because Elizabeth was barren, and both were far advanced in their days.
Page 126 - I strove to imitate Nature to the utmost, and by investigating her methods of work to see how nearly I could approach her. I sought to understand how forms strike upon the eye, and how the theoretic part of sculptural and pictorial art should be managed. Working with the utmost diligence and care, I introduced into some of my compositions as many as a hundred figures, which I modelled upon different planes, so that those nearest the eye might appear larger, and those more remote smaller in proportion.
Page 254 - It is very carefully modelled ; the flesh parts are well treated, and the drapery is disposed in natural folds. It has almost the effect of a corpse laid out for burial before the altar, and produces a striking effect.