"Vasari" Quotes from Famous Books
 ... the wolves of heresy. In the centre of the composition are introduced various portraits. These were thought for a long time to represent Cimabue (in a white night-cap), Petrarch (in long petticoats), Laura (in short ones), and various other celebrities. Vasari is the original authority [Footnote: Vite da Vasari, ed. Lemonnier, 1846. Sim. and Lippo Memmi, p. 90, and notes.] for this opinion, which has ceased to be entertained by cognoscenti. It is also no longer believed that the pictures are the work of Taddeo Gaddi and ...
— The Atlantic Monthly, Vol. I, No. 1, Nov. 1857 • Various
... Michel Angelo, considered a chef-d'oeuvre, which hangs in the Tribune, to the right of the Venus: now if all the connaisseurs in the world, with Vasari at their head, were to harangue for an hour together on the merits of this picture, I might submit in silence, for I am no connoisseur; but that it is a disagreeable, a hateful picture, is an opinion which fire could not melt out of me. In spite of Messieurs les Connaisseurs, and Michel ...
— The Diary of an Ennuyee • Anna Brownell Jameson
... "Patchwork," or "Applique" ("inlaid" and "onlaid"). Vasari calls it "Di commesso," and says that Botticelli invented it for the use of Church banners, as being much more effective than any other style of work, or even than painting, as the outlines remained firm (non si stinguano), and were not affected by the weather (as in painted ...
— Needlework As Art • Marian Alford
... made several years previously an ineffectual attempt to set on foot a project for the recovery of the lost treasure. Here was a new vein of inquiry, which Mr. Wilde followed up with his usual energy and sagacity. He soon satisfied himself, by reference to Vasari, and to the still more ancient and decisive authority of Filippo Villari, who lived shortly after the poet, that Giotto, the friend and contemporary of Dante, did undoubtedly paint his likeness in the place indicated. Giotto died ...
— The Crayon Papers • Washington Irving
... to the left, an Entombment by Fiammingo; having examined these two masterpieces at leisure, he will take you to each end of the transverse cross, and will show you—on one side a picture by Salviati, on slate, and on the other a work by Vasari; then, pointing out in melancholy tones a copy of Guido's Martyrdom of St. Peter on the high altar, he will relate to you how for three centuries the divine Raffaelle's Transfiguration was worshipped in that spot; ...
— Celebrated Crimes, Complete • Alexandre Dumas, Pere
... had kept his word, and justified the confidence which from the first Lodovico Sforza placed in him. According to Vasari and the biographer of the Magliabecchiana, who wrote about 1540, Leonardo originally attracted the Moro's notice by the surpassing charm with which he played on a silver lyre of his own invention, and afterwards fascinated him by his conversation. But from the moment of ...
— Beatrice d'Este, Duchess of Milan, 1475-1497 • Julia Mary Cartwright
... traveller's facilities, is the early Attic deme-life—its picturesque, intensely localised variety, in the hollow or on the spur of mountain or sea-shore; and with it many a relic of primitive religion, many an early growth of art parallel to what Vasari records of artistic beginnings in the smaller cities of Italy. Colonus and Acharnae, surviving still so vividly by the magic of Sophocles, of Aristophanes, are but isolated examples of a widespread manner of life, in which, amid many provincial peculiarities, the first, ...
— Greek Studies: A Series of Essays • Walter Horatio Pater
... appear alive. He was a pupil and disciple of Piero dal Borgo a San Sepolcro, and greatly did he strive in his youth to imitate his master, and even to surpass him; and the while that he was working with Piero at Arezzo, living in the house of his uncle Lazzaro Vasari, as it has been told, he imitated the manner of the said Piero so well that the one could scarcely be ...
— Lives of the Most Eminent Painters Sculptors and Architects - Vol. 04 (of 10), Filippino Lippi to Domenico Puligo • Giorgio Vasari
... sweet cruel pains of love. Richard Strauss closely patterns after Wagner in his Salome, there is the head of a dead man, and there is the same dissolving ecstasy. Both men play with similar counters—love and death, and death and love. And so Rodin. In Pisa we may see (attributed by Vasari) Orcagna's fresco of the Triumph of Death. The sting of the flesh and the way of all flesh are inextricably blended in Rodin's Gate of Hell. His principal reading for forty years has been Dante and Baudelaire. The Divine Comedy and Les Fleurs du Mal are the key-notes in this white ...
— Promenades of an Impressionist • James Huneker
... goldsmith, too, and was never in after life ashamed of his profession, for he often signed his works Francesco Francia Aurifex. Francia was a very skilful workman in niello, and in enamels. In fact, to quote the enthusiastic Vasari, "he executed everything that is most beautiful, and which can be performed in that art more perfectly than any other master had ever done." Baccio Baldini, also, was a goldsmith, although a greater portion of his ability was turned in the direction of engraving. His pupil Maso Finniguerra, ...
— Arts and Crafts in the Middle Ages • Julia De Wolf Addison
... not. Though I believe some people suppose that they were descended from the Aragonese family of Atares. Now that we know Alexander VI, let us take a glance at his court. It has often been said, and is no doubt taken from Vasari's book, that in the Borgia Apartment Pinturicchio painted Pope Alexander VI adoring the Virgin represented under the likeness of his beloved, Julia Farnese. The critic must have been confused, because none of these madonnas recalls the face of Giulia la bella, ...
— Caesar or Nothing • Pio Baroja Baroja
... in art, from Aristotle and Pliny, from Winkelman and Vasari to Reynolds and Fuseli, has sought to instruct the painter that Nature is not to be copied, but EXALTED; that the loftiest order of art, selecting only the loftiest combinations, is the perpetual struggle of Humanity to approach the gods. The great ...
— Zanoni • Edward Bulwer Lytton |
