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Carlo Crivelli - Later Works
By the year 1475 we may consider that Crivelli had perfected his art. Though we shall find plenty of signs of progress up to the end of his career, it is not untrue to say that there was little left for him to learn. His ideals had been fixed, and his methods had been tested. All traces of the elementary stage have disappeared.
Carlo Crivelli - His Influence
WITH such strongly-marked individuality of style it might have been expected that Crivelli would leave a school of imitators behind him. As a matter of fact we know by name only two painters who worked in dependence on him, and their dated pictures are not later than the latest of Crivelli's.
Luca Della Robbia
TILL half-a-century ago, travellers and art students visiting Italy seem to have overlooked all but the greatest works of Luca della Robbia, passing by the minor works unobserved, and not even mentioning them in their notes. But his fame, after slumbering for ages, has now again revived to claim some of its former glory.
Luca Della Robbia - Biographical
DOCUMENTS relating to the Florentine family of della Robbia enable us to state that Luca the sculptor was born in 1400, in the house of his fore-fathers in Via S. Egidio. In 1446, with his brother Marco and his nephew Andrea, he removed to a house in Via Guelfa, in which he resided until his death.
Luca Della Robbia - Dated And Authenticated Works
WE may divide the della Robbia sculpture into three classes—first, those of which no repetitions are found, as they were expressly ordered from the fabbrica by congregations and families. On most of these we shall find the coats of arms or devices of those by whom they were commissioned.
Luca Della Robbia - Works In The National Museum, Florence
THE bas-relief, No. 10, can, without doubt, be ascribed to Luca della Robbia. The Holy Virgin is represented holding her left hand on the head of the Infant Saviour, who is attired in a very short tunic. The figure of the Madonna has slightly deteriorated, but the hands and other details are very beautiful.
Luca Della Robbia - Unauthenticated Works In Florence
IN the Church of SS. Apostoli there is a tabernacle in the chapel of the Accajuoli family that many authors assign to Luca, among them Bocchi, Del Migliore, Padre Richa, Domenico Moreni, Gargiolli, Van Rumohr, Bulgarini, Fantozzi, and Rio, the last named describing it as follows...
Luca Della Robbia - Works In Private Families
Palazzo della Stufa, Piazza. S. Lorenzo.—We have no documents to prove that this medallion was wrought by Luca della Robbia, but it speaks for itself. A splendid frame of fruit and flowers encircles the arms of the della Stufa family. There are in few private collections any bas-reliefs that can equal the beauty of this one.
Luca Della Robbia - Doubtful Works Near Florence
Convent of S. Marco. — A graceful and lovely relief of the Madonna and Child, which Milanesi, Perkins, Barbet de Jouy, and Leader Scott have noted as a genuine work of Luca, and one in his purest style. Castle of Vincigliata. — Leader Scott, to whom we owe such careful studies in archæology, ascribes to Luca a small statuette in the possession of Mr. Temple Leader, and describes it as follows...
Luca Della Robbia - Doubtful Works In Various Towns Of Italy
Aquila (Abruzzi). Church of S. Bernardino.—Few historians and critics have mentioned this altar-piece of Robbia ware, which Charles Perkins attributes to Luca, and which, according to Leosini, was brought from Florence by Oliva Vetusti for their family chapel. In the lower part the Lord is represented rising from the tomb, with saints on each side, and soldiers sleeping on the ground.
Luca Della Robbia - Works At Private And Public Sales
Four bas - reliefs were catalogued at the sale at the Palace of S. Donato (near Florence), belonging to Prince Demidoff, as remarkable works of Luca della Robbia and sold as genuine. They were as follows: No. 374. Bust of S. Jerome.—A circular medallion, in high relief, enwreathed in a garland of fruit. It represented S. Jerome preaching.
Luca Della Robbia - Works In England
SOUTH KENSINGTON MUSEUM - No. 438.—Bas-relief, Adoration of the Magi, formerly a portion of a predella. It has every characteristic of Luca's hand. It came from the Soulanges Collection. The figures are white on a blue ground.
Luca Della Robbia - Works In Berlin And Paris
BERLIN MUSEUMNo. 113. - Unglazed pointed lunette. This is of terra-cotta, but neither glazed nor coloured, and no doubt it was never completed. Notwithstanding the authority of recent writers, it is with the greatest reserve that we must attribute any of the stuccos of the Berlin Museum to Luca della Robbia.
Luca Della Robbia Work And Position In Italian Art
THE position of Luca della Robbia in Italian Art is one of great eminence, but it is not easy to compare his works with those of his immediate contemporaries, as he occupies a position quite removed from them. It is one which he himself created, and which he alone could fill.
Luca Della Robbia - Chronological List Of Works
1431-40 Two gilded figures for the grand cornice of the Cantoria...
Piazza Di S. Marco
WE have considered the Church of S. Mark as the type and the flower of Byzantine Venice; we have taken the Palace of the Doge as the perfect symbol of the Gothic city; we shall now turn to the great Piazza, which in its various parts contains them both, as the type and indeed the sum of the Venice of the Renaissance.
Sestiere Di Castello
THE city of Venice has been divided since the twelfth century into six parts, sestieri, three to the north of the Grand Canal, called Castello, S. Marco, and Cannaregio, and three to the south, called S. Croce, S. Polo, and Dorsoduro. The largest of these divisions which endure till the present day is Castello, which embraces all the north-eastern part of the city.
Sestiere Di S. Marco
THIS is, as it were, the central division of the three sestieri which lie to the north of the Grand Canal. It has to the east the Iargest of all, the sestiere of Castello, and to the west that of Cannaregio. The Sestiere di S. Marco really comprises all that great promontory of the city which thrusts itself southward from the north into the Grand Canal.
Sestiere Di Cannaregio
THE Sestiere di Cannaregio includes all that part of Venice to the north of the Grand Canal between the railway station and SS. Giovanni and Paolo and S. Giovanni Crisostomo. Here we have a great district, through which passes the Cannaregio and in which of old the Ghetto stood, but which is today, I suppose, the part of Venice least frequented by the stranger...
Sestieri Di S. Croce And S. Polo
THE Sestiere di S. Croce, in which we find ourselves at the Fondaco dei Turchi, now the Museo Civico, on the south of the Grand Canal, includes none of the great and important buildings on this side of Venice, which as a whole, it will be remembered, is divided, as is that part of the city to the north of the Grand Canal...
Sestiere Di Dorsoduro
FROM the church and Scuola di S. Rocco we pass acnoss the Rio della Frescada into the Sestiere di Dorsoduro which roughly comprises that part of Venice which lies between the Fondamenta delle Zattere on the Canal della Giudecca and the Grand Canal. Going this way, we first come upon the Church of S. Pantaleone in its Campo.
Academy - Venice
THE Venetian School of Painting which, with its great masters of the sixteenth century, occupies so famous a place in the history of Art, was not only very much later in its development than any other school in Italy, but was essentially different both in its condition and in its intention from any of them.
Islands Of The Giudecca And S. Giorgio Maggiore
THERE is nothing, I think, that is so effectual in luring us back to Venice again and again as the remembrance of those delicious hours in early morning before the sun has southed, in the quiet afternoons that pass so slowly and so noiselessly in a city whose streets are the sea...
The Lido, S. Lazzaro, S. Servolo, And S. Elena
IF there be one excursion which is invariably made by all visitors to Venice, it is that to the Lido, which, however, as it is generally undertaken by steamboat and for the purpose either of bathing or of watching others bathe, is scarcely worth the trouble of the journey. Yet the Lido, as it is called, is very well worth a visit if it be rightly seen.
Islands Of S. Michele And Murano
TO leave Venice behind, with all its curious bustle and air of business, its rushing steamers and pushing tourists, becomes, I think, ever more and more the need of the traveller who has lingered with her perhaps too long, perhaps not long enough, for his content. But you will not leave her behind if you go to the Giudecca, and certainly you will not do so by going to the Lido.
Islands Of Burano, Torcello, And S. Francesco Del Deserto
THE journey to Murano is very easily made even by gondola between the cool of the day and sunset, but that to Burano, Torcello, and S. Francesco del Deserto is somewhat more formidable. This group of islands, the most beautiful and the most interesting in the whole length of lagoons, lies some seven miles or so to the northeast of Venice.
To Chioggia
IF the journey to Burano and Torcello gives one the best chance of seeing the lagoon and the great marshy islands that together form so characteristic a part of the Veneto and so sure a defence of Venice against any enemy from the mainland, the journey to Chioggia allows one to examine the great lidi and sandbanks.
To Treviso
THERE is a weariness of the sea. Yes, for all the fading beauty of Venice, the pure delight of the lagoons, the silence and loneliness of the islands, in time one grows weary of them, and is homesick for the hills ; one remembers the long roads that lead on for ever in the sunshine, one regrets the vineyards and the gardens of olives...
Castelfranco And Bassano
THE road from Treviso to Castelfranco is a pleasant way enough in the springtime when the tender green of the new leaf gives the great world of the plain an almost vivid radiance, which it soon loses in the monotonous richness of early summer, the dust and drought of July.
Padua
MANY DOMED Padua, as I like to remember Shelley called it, stands like a curious great casket away from the Brenta to the south of it, still largely surrounded by it; old walls, a place still only half awakened by the hurry of the modern world. All sorts of things are to be found in Padua frescoes, for instance, such as exist nowhere else in all the Veneto...
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