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Titian (continued)
WITH the Assumption, finished in 1518 for the Church of the Frari, Titian rose to the very highest among Renaissance painters. The Glorious S. Mary was his theme, and he concentrated all his efforts on the realisation of that one idea. The central figure is, as it were, a collective rather than an individual type.
Titian (continued)
WHILE Titian was executing portraits of the Doges, of Aretino and of Isabella of Portugal, and of himself and his daughter Lavinia, he was also striking out a new line in the ceiling pictures for the Church of San Spirito, which have since been transferred to the Salute.
Palma Vecchio And Lorenzo Lotto
AMONG the many who clustered round Titian's long career, Palma attained to a place beside him and Giorgione which his talent, which was not of the highest order, scarcely warranted. But he was classed with the greatest, and influenced contemporary art because his work chimed in so well with the Venetian spirit.
Sebastian Del Piombo
IT was very natural that Rome should wish for works of the masters of the new Venetian School, but the first-rate men were fully employed at home. All the efforts made to secure Titian failed till nearly the end of his career. On the other hand, Venice was full of less famous masters following in Giorgione's steps.
Bonifazio And Paris Bordone
SOME uncertainty has existed as to the identity of the different members of the family of Bonifazio. All the early historians agree in giving the name to one master only. Boschini, however, in 1777 discovered the register of the death of a second, and a third bearing the name was working twenty years later.
Painters Of The Venetian Provinces
IT has become usual to include in the Venetian School those artists from the subject provinces on the mainland, who came down to try their luck at the fountain-head and to receive its hall-mark on their talent. The Friulan cities, Udine, Serravalle, and small neighbouring towns, had their own primitive schools and their scores of humble craftsmen.
Paolo Veronese
PAOLO VERONESE, though perhaps he is not to be placed on the very highest pinnacle of the Venetian School, must be classed among those few great painters who rose far above the level of most of his contemporaries and who brought in a special note and flavour of his own. His art is an independent art, and he borrows little from predecessors or contemporaries.
Tintoretto
IT does not seem likely that many new discoveries will be made about Tintoretto's life. It was an open and above-board one, and there is practically no time during its span that we are not able to account for, and to say where he was living and how he was occupied.
Tintoretto (continued)
THE first portion of the vast building that was finished was the Refectory, but in examining the scheme, it is perhaps more convenient to leave it to its proper place, which is the climax. Before beginning, Tintoretto must have had the whole thing planned, and we cannot doubt that he was influenced by the Sixtine Chapel and recalled its plan and significance.
Bassano
WE wonder how many of those sightseers who pass through the Ante-Collegio in the Ducal Palace, and stare for a few moments at Tintoretto's famous quartet and at Veronese's Rape of Europa, turn to give even such fleeting attention to the long, dark canvas which hangs beside them, Jacob's Journey into Canaan, by Jacopo da Ponte, called Bassano.
The Interim
MANY of the churches and palaces of Venice and the adjoining mainland, and almost every public and private gallery throughout Europe, contain pictures purporting to be painted by Titian, Tintoretto, Veronese, and others of that famous company.
Tiepolo
The name of Tiepolo brings before us a whole string of illustrious personages - doges and senators, magnificent procurators and great captains - but we have nothing to prove that the artist belonged to a decayed branch of the famous patrician house. Born in Castello, the people's quarter of Venice, he studied in early youth with that good draughtsman, Lazzarini.
Pietro Longhi
His serene, painstaking observation is never distracted by grossness and violence. The Venetians of his day may have been — undoubtedly were—effeminate, licentious, and decadent, but they were kind and gracious, of refined manners, well-bred, genial and intelligent, and so Longhi has transcribed them.
Canale
WHILE Piazetta and Tiepolo were proving themselves the inheritors of the great school of decorators, Venice herself was finding her chroniclers, and a school of landscape arose, of which Canale was the foremost member. Giovanni Antonio Canale was born in Venice in 1697, the same year as Tiepolo.
Francesco Guardi
Francesco Guardi was a son of the Austrian Tyrol, and his mountain ancestry may account, as in the case of Titian, for the freshness and vigour of his art. Both his father, who settled in Venice, and his brother were painters. His son became one in due time, and the profession being followed by four members of the family accounts for the indifferent works often attributed to Guardi.
American Men Of Mind - Men Of Mind
IN the companion volume of this series, Men of Action, the attempt was made to give the essential facts of American history by sketching in broad outline the men who made that history discoverers, pioneers, presidents, statesmen, soldiers, and sailors—and describing the part which each of them played.
American Men Of Mind - Writers Of Prose
IT is true of American literature that it can boast no name of commanding genius—no dramatist to rank with Shakespeare, no poet to rank with Keats, no novelist to rank with Thackeray, to take names only from our cousins oversea—and yet it displays a high level of talent and a notable richness of achievement.
American Men Of Mind - Writers Of Verse
POETRY, says the Century dictionary, is that one of the fine arts which addresses itself to the feelings and the imagination by the instrumentality of musical and moving words; and that is probably as concise a definition of poetry as can be evolved. For poetry is difficult to define.
American Men Of Mind - Painters
IF background and tradition are needed for literature, they are even more needed for art, and it is curiously worth noting that the background and traditions of England did not serve for her child across the sea. In both literature and art, so far as vital and significant achievement is concerned, the young nation had to find itself.
American Men Of Mind - Sculptors
IF background and tradition are needed for painting, how much more are they needed for sculpture! America was settled by a people entirely without sculptural tradition, for, in the early seventeenth century, British sculpture did not exist.
American Men Of Mind - The Stage
THE golden age of American acting was not so very long ago. Most white-haired men remember it, and love to talk of the days of Booth and Forrest and Charlotte Cushman. Joseph Jefferson, the last survivor of the old régime, died just the other day, and to the very end showed the present generation the charm and humor of Bob Acres and Rip Van Winkle.
American Men Of Mind - Scientists And Educators
TO give even the briefest account, within the limits of a single chapter, of the lives of note-worthy American scientists and educators is, of course, quite beyond the bounds of possibility. All that can be done, even at best, is to mention a few of the greatest names and to indicate in outline the particular achievements with which they are associated.
American Men Of Mind - Philanthropists And Reformers
THIS has been a country celebrated for its great fortunes, and the makers of some of those for-tunes will be considered in the chapter dealing with men of affair;; but many who have been grouped under that heading might well have been included under this, since, for the most part, the richest men have been the freest in their benefactions.
American Men Of Mind - Men Of Affairs
ALMOST from the first years of her existence America has been known chiefly as a commercial nation, as a nation noted for her men of affairs, rather than for her artists and men of letters.
American Men Of Mind - Inventors
IT is a curious fact that the men to whom the world owes most generally get the least reward. The genius in art or letters is seldom recognized as such until long after he himself has passed away—his life is usually embittered by derision or neglect.
Public Speaking - How To Get Material For The Speech
Josh Billings somewhere makes a remark to the effect that there ain't no use in knowin' so many things that ain't so. It may well be that there is no use of talking so much when one has nothing to say. But, on the other hand, there are many things in this world that are so, and that are worth knowing and telling. The bottom thing in a speech is subject matter.
Public Speaking - How To Build The Speech
The next move after the search for materials is the putting together of the speech. Indeed, while the quest for ideas is still on foot, and the couriers of thought are posting over land and sea — prying into the deeps and gazing into the starry heights — one sturdy, stay-at-home workman of the mind is busy laying out plans for the building that is soon to rise.
Public Speaking - How To Win And Hold An Audience
Darius Green was the first American birdman. His flying machine was a marvel. He selected and brought together his materials with great care. In the drawing up of his plans and the building of his machine he revealed rare genius.
Public Speaking - How To Win And Hold An Audience (continued)
Form of DeliveryAt the crucial moment when you rise to begin your speech a good deal will depend upon the form of delivery you have decided on. Of course many high school speeches are written, committed, and recited from memory.
Public Speaking - How To Utter The Speech
It is not enough to have something to say and to be able to put it into English; one must know how to say it in the most telling way. The secret of success in expression lies in hard work. In good speaking the voice and body unite in conveying thought and feeling to the audience.
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