The Bases of DesignG. Bell and Sons, 1902 - 381 páginas |
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Términos y frases comunes
adapt Albert Dürer Alinari Photo ancient anthemion architecture artistic Assyrian beauty BENOZZO GOZZOLI bold border brass British Museum bronze carpet carved Cathedral ceilings Chapel character characteristic church Cimabue clay climate colour construction decorative DESIGNED BY WALTER detail drawing Egyptian emblem expression feeling fifteenth century figures Florence flowers FORD MADOX BROWN FRESCO frieze Giotto Gothic graphic Greek harmonious Hazelford horizontal illustrations influence instance invention Italian Julius Cæsar Kelmscott Press lamp lead light lines Mantegna material mediæval ment method Michael Angelo modern monumental mosaic mouldings nature necessity orna painter painting palmette panel Parthenon pattern pediment perhaps Persian pictorial piece portrait primitive printing Ravenna Renascence rich Roman round arch sculpture seems shield Sistine Chapel sketch South Kensington Museum splendour stone style suggested surface symbolic textiles THIRTEENTH CENTURY tint tion tomb trace treatment tree typical forms variety vault vessel wall WALTER CRANE wood woodcut
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Página 312 - Dante ; and the influence of one great genius on another is strongly exemplified in some of his succeeding works, and particularly in his next grand performance, the frescoes in the church of Assisi. In the under church, and immediately over the tomb of St. Francis, the painter represented the three vows of the Order — Poverty, Chastity, and Obedience ; and in the fourth compartment, the Saint enthroned and glorified amidst the host of Heaven. The invention of the allegories under which Giotto...
Página 300 - Are God and Nature then at strife, That Nature lends such evil dreams So careful of the type she seems, So careless of the single life...
Página 173 - I have no refuge in the world other than thy threshold. My head has no protection other than this porchway. The work of the slave of this holy place, Maksond of Kashan, in the year 946
Página 140 - Nor lawes of men, that common- weales containe, Nor bands of nature, that wilde beastes restraine, Can keepe from outrage and from doing wrong, Where they may hope a kingdome to obtaine : No faith so firme, no trust can be so strong, No love so lasting then, that may enduren long.
Página 306 - E'en in its height of verdure, if an age Less bright succeed not. Cimabue thought To lord it over painting's field; and now The cry is Giotto's,* and his name eclipsed.
Página 328 - In the fifth picture are four elephants adorned with rich garlands of fruits and flowers, bearing on their backs magnificent candelabra, and attended by beautiful youths. In the sixth are figures bearing vases, and others displaying the arms of the vanquished. The seventh picture shows us the unhappy captives, who, according to the barbarous Roman custom, were exhibited on these occasions to the scoffing and exulting populace : there is here a group of female captives of all ages, among them a young...
Página 332 - Supper," which he painted in oil abont 1497 on the wall of the refectory of the Dominican convent of the Madonna delle Grazie...
Página 314 - ... those who came after them. These were Andrea Orcagna, Simone Memmi, and Taddeo Gaddi. The first of these, Andrea Cioni, commonly called ANDREA ORCAGNA, did not study under Giotto, but owed much indirectly to that vivifying influence which he breathed through art. Andrea was the son of a goldsmith at Florence. The goldsmiths of the fourteenth and fifteenth centuries were in general excellent designers and not unfrequently became painters, as in the instances of Francia, Verrochio, Andrea del Sarto,...
Página 325 - ... at length his adopted son. He worked early and late, copying with assiduity the models which were set before him, drawing from the fragments of statues, the busts, the bas-reliefs, ornaments, and vases with which Squarcione had enriched his academy. At the age of seventeen Andrea painted his first great picture for the church of Santa Sofia in Padua (now lost), and at the age of nineteen assisted in painting the chapel of St. Christopher in the Eremitani—here he represented on the vault the...
Página 244 - These archaic pictures represent the angel of St. Matthew, the lion of St. Mark, the bull of St. Luke and the eagle of St. John.