"Vasari" Quotes from Famous Books
 ... a picture by 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 ...
— The Diary of an Ennuyee • Anna Brownell Jameson
... the Imperial flood at the last chapter, I fell headlong into Vasari's Lives of the Painters, in nine volumes. Then I read Motley's Netherlands and the Rise of the Dutch Republic, always terrible and picturesque since I had read it as a boy ...
— A Tramp's Notebook • Morley Roberts
... was very justly summed up by his first biographer, Vasari. After pointing out that in the matter of drawing and composition the artist would scarcely have won a reputation, the writer goes on to say: "To Correggio belongs the great praise of having attained the highest point of perfection in coloring, whether his works ...
— Correggio - A Collection Of Fifteen Pictures And A Portrait Of The - Painter With Introduction And Interpretation • Estelle M. Hurll
... his "Artists of Spain" states that few of Sofonisba's pictures are now known to exist, and that the beautiful portrait of herself, probably the one mentioned by Vasari in the wardrobe of the Cardinal di Monte at Rome, or that noticed by Soprani in the palace of Giovanni Lomellini at Genoa, is now in the possession of Earl Spencer at Althorp. The engraving from this picture, in Dibdin's AEdes Althorpianae, lies ...
— The Atlantic Monthly, Volume 18, No. 107, September, 1866 • Various
... Bologna in 1541 to fill the place of "surintendant des bastiments et architecte de Fontainebleau." Il Rosso-Giovambattista had been a Florentine pupil of Michelangelo, but refused to follow any master, having, as Vasari says, "a certain inkling of his own." Franois I. was delighted with him at first, and made him head of all the Italian colony at Fontainebleau, where he was known as "Maitre Roux." But in two years the king was longing to patronize some other genius, and ...
— Seeing Europe with Famous Authors, Volume 3 • Various
... lived for years in Italy, exploring its remotest corners, and has lately picked up an undoubted Leonardo, which came to light in a farmhouse near Bergamo. It is believed to be one of the missing pictures mentioned by Vasari, and is at any rate, according to the most competent authorities, a genuine and almost untouched ...
— The Early Short Fiction of Edith Wharton, Part 1 (of 10) • Edith Wharton
... the first tradition about this Arnolfo. That his real father was called "Cambio" matters to you not a straw. That he never called himself Cambio's Arnolfo—that nobody else ever called him so, down to Vasari's time, is an infinitely significant fact to you. In my twenty-second letter in Fors Clavigera you will find some account of the noble habit of the Italian artists to call themselves by their masters' ...
— Ariadne Florentina - Six Lectures on Wood and Metal Engraving • John Ruskin
... found Giotto, the shepherd-boy, sketching a ram of his flock upon a stone, is prettily told by Vasari,—who also relates that the elder artist Margheritone died "infastidito" of the successes of the ...
— The Poetical Works of Elizabeth Barrett Browning, Volume IV • Elizabeth Barrett Browning
... greatly indebted to this history, praising it especially for its accuracy. Adriani composed funeral orations in Latin on the emperor Charles V. and other noble personages, and was the author of a long letter on ancient painters and sculptors prefixed to the third volume of Vasari. His Istoria dei suoi tempi was published in Florence in 1583; a new edition appeared also in Florence in 1872. See G. M. Mazzucchelli, Gli Scrittori d' Italia, i. p. 151 (Brescia, ...
— Project Gutenberg Encyclopedia
... a voyage, and a visit to another country and another city, we 'read up,' as we say, before we set sail. Before we start for Rome we read our Tacitus and our Horace, our Gibbon and our Merivale. If it is Florence we take down Vasari and Dante, Lord Lindsay and Mrs. Jamieson, and so on. Now, if Eternity holds for us a new world, with cities and peoples that are all new to us, should we not prepare ourselves for them also? Have you, then, laid in a library for your old age, when, like old Carlton, you will be lying waiting ...
— Samuel Rutherford - and some of his correspondents • Alexander Whyte
... Vasari, who among his many other accomplishments seems to have been the Boswell of his time, compares Leonardo and Michelangelo. He says, "Angelo can do everything that Leonardo can, although he does it differently." Further, he adds, ...
— Little Journeys to the Homes of the Great, Volume 4 (of 14) - Little Journeys to the Homes of Eminent Painters • Elbert Hubbard
... of Bruno and Calendrino, also painters and of an even more witty and merry humour than himself, and as may be seen in his works scattered throughout Tuscany, of no mean judgement in his art of painting." (Lives of the most Excellent Painters by Messer Giorgio Vasari.—"Life of Buonamico Buffalmacco.")] ...
— The Well of Saint Clare • Anatole France
... was at Florence he saw a fine picture by Vasari of the Great duchess Bianca Capello, in the palace of the Marchese Vitelli, whose family falling to decay, and their effects being sold twelve years afterwards, Mr. Mann recollected-Mr. Walpole's having admired that picture, bought and sent ...
— The Letters of Horace Walpole, Volume 2 • Horace Walpole
... superfluous caution that the Duomo of Pisa is not entirely Gothic. Once arrived in the capital of Tuscany, after admitting that Florence is a noble city, our traveller is anxious to avoid the hackneyed ecstasies and threadbare commonplaces, derived in those days from Vasari through Keysler and other German commentators, whose genius Smollett is inclined to discover rather "in the back than ...
— Travels Through France and Italy • Tobias Smollett
... read, such as Cicero's Letters, Suetonius, Vasari's Lives of the Painters, the Autobiography of Benvenuto Cellini, Sir John Mandeville, Marco Polo, St. Simon's Memoirs, Mommsen, and (till we get a better one) Grote's ...
— Reviews • Oscar Wilde
... 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 ...
— Promenades of an Impressionist • James Huneker
... right is the Church of the Knights of St. Stephen, Santo Stefano dei Cavalieri; next to it is the beautiful palace of the Anziani, later the Palazzo Conventuale dei Cavalieri, rebuilt by Vasari. Almost opposite this is a palace under which the road passes, built to the shape of the Piazza; it marks the spot where the Tower of Hunger once stood, where the eagles of the Republic were housed, and where Conte Ugolino della Gherardesca with his sons and nephews was starved to death by ...
— Florence and Northern Tuscany with Genoa • Edward Hutton
... modern Greek preceptors; and his disciple Giotto was considered so natural and original, that his style could not be referred to any existing school, but was called the maniera di Giotto. 'Instead of the harsh outline,' says Vasari, 'circumscribing the whole figure, the glaring eyes, the pointed hands and feet, and all the defects arising from a total want of shadow, the figures of Giotto exhibit a better attitude; the heads have an air of life and freedom, the ...
— Chambers's Edinburgh Journal, No. 432 - Volume 17, New Series, April 10, 1852 • Various
... opinions had greater value in determining historical events; and nowhere was the influence of character in men of mark more notable. In this agitated political atmosphere the wonderful Florentine intelligence, which Varchi celebrated as the special glory of the Tuscan soil, and which Vasari referred to something felicitous in Tuscan air, was sharpened to the finest edge.[1] Successive generations of practical and theoretical statesmen trained the race to reason upon government, and to regard politics as a science. Men of letters were at the same time also prominent ...
— Renaissance in Italy, Volume 1 (of 7) • John Addington Symonds
... artistic style. Brunn, in his history of ancient sculpture, attributes them to the school of Lysippus, a contemporary of Alexander, which Brunn certainly would not have done if he had possessed a good eye for form. Vasari, on the contrary, a surer critic, considered them worthy to be placed beside Michel Angelo's "David"; but it remained for Furtwangler to restore them to their true position as a work of the Periclean age, although copied by Italian sculptors. They must have been the ...
— The Life and Genius of Nathaniel Hawthorne • Frank Preston Stearns
... other buildings. The interior is vast, grand, and impressive, but very cold and gloomy. The choir is octagonal, enclosed by an Ionic colonnade, and corresponds in shape with the dome above, which is double, one dome within another; the inner one is painted with frescoes by Vasari and Zacchero. From the pavement to the top of the cross it is 380 feet. The beautiful Campanile tower is encased with strips of differently coloured marbles, adorned with bas-reliefs and statues. It is 269 feet in height, ...
— Fair Italy, the Riviera and Monte Carlo • W. Cope Devereux
... not a mere adventurer like Guido Vecchio, he was a man of considerable culture, with a love of learning and of the arts. It was, as we shall see, at his earnest solicitation that Dante came to visit him, and if we may believe Vasari it was at the poet's suggestion he invited Giotto to his court. "As it had come to the ears of Dante that Giotto was in Ferrara, he so contrived that the latter was induced to visit Ravenna, where the poet was then in exile, and where Giotto painted ...
— Ravenna, A Study • Edward Hutton |
