Vasari Sentence Examples

Vasari eulogizes Mantegna for his courteous, distinguished and praiseworthy deportment, although there are indications of his having been not a little litigious in disposition.

The arches of this period are There is every reason to doubt Vasari's statement that Pisanello was a pupil of Andrea del Castagno.

In the square behind the church is a colonnade designed by Vasari.

Among the natives of Arezzo the most famous are the Benedictine monk Guido of Arezzo, the inventor of the modern system of musical notation (died c. 1050), the poet Petrarch, Pietro Aretino, the satirist (1492-1556), and Vasari, famous for his lives of Italian painters.

If we may trust Vasari - but it is difficult to suppose that he was entirely correct - the exceeding value which Francia set on Raphael's art brought him to his grave.

His most important publication is his edition of Vasari's works in nine volumes, with copious and valuable notes (Florence, 1878-1885).

The elder Pliny's anecdotes of Greek artists supplied Vasari with the subjects of the frescoes.

The occasion of this journey has been erroneously stated by Vasari.

According to Vasari,Ahe first paintings of this artist were in the Certosa of Florence; none such exist there now.

If the story (first told by Vasari) is true - that this appointment was made at the suggestion of Angelico only after the archbishopric had been offered to himself, and by him declined on the ground of his inaptitude for so elevated and responsible a station - Eugenius, and not (as stated by Vasari) his successor Nicholas V., must have been the pope who sent the invitation and made the offer to Fra Giovanni, for Nicholas only succeeded in 14 4 7.

This predella was highly lauded by Vasari; still more highly another picture which used to form an altarpiece in Fiesole, and which now obtains world-wide celebrity in the Louvre - the "Coronation of the Virgin," with eight predella subjects of the miracles of St.

Vasari's account of this invention, given in his lives of Pollaiuolo and Maso Finiguerra, is very interesting, but he is wrong in asserting that Maso was the first worker in niello who took proofs or impressions of his plates.

An important work of this sort, described at length by Vasari and wrongly ascribed by him to Maso Finiguerra (q.v.), still exists in the Opera del Duomo at Florence.

According to Vasari the angel kneeling on the left, with a drapery over the right arm, was put ire by Leonardo, and when Verrocchio saw it his sense of its superiority to his own work caused him to forswear painting for ever after.

The unfinished and decayed painting remained for some fifty years on the wall, but after 1560 was covered over with new frescoes by Vasari.

The richness of colouring on which Vasari expatiates has indeed flown, partly from injury, partly because in striving for effects of light and shade the painter was accustomed to model his figures on a dark ground, and in this as in his other oil-pictures the ground has to a large extent come through.

It is indeed doubtful whether Leonardo himself ever completed the MS. treatise (or treatises) on painting and kindred subjects mentioned by Fra Luca Pacioli and by Vasari, and probable that the form and order, and perhaps some of the substance, of the Trattato as we have it was due to compilers and not to the master himself.

Della Casa, Bembo, Vasari, &c. It was he who completed the magnificent Farnese palace in Rome.

The present account is quite masterly in every respect and Vasari get remarkably fine results.

This is a quite splendid piece and the Vasari Singers do it full justice.

Amongst the secular buildings may be mentioned the royal palace; the archiepiscopal palace; the palace of the order of St Stephen, built by Niccola Pisano and reconstructed by Vasari; the Upezzinghi (formerly Lanfreducci) palace, built of Carrara marble in 1590; the Lanfranchi, Agostini and other palaces; the university (1472); a large hospital (1258); and fine market halls.

According to Vasari, Marcantonio, in copying Diirer's series of the Little Passion on wood, had imitated the original monogram, and Darer, indignant at this fraud, set out for Italy in order to protect his rights, and having lodged a complaint against Marcantonio before the signory of Venice, carried his point so far that Marcantonio was forbidden in future to add the monogram of Darer to copies taken after his works.