By John C Van Dyke L H D
An illustrated brown textile variation
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Gal. , Venus, Calumny, Madonnas Uffizi, Pitti, Nat. Gal. ; Ghirlandajo, frescos Sistine Chapel Rome, S. Trinità Florence, S. M. Novella, Palazzo Vecchio, altar-pieces Uffizi and Acad. Florence, Visitation Louvre; Verrocchio, Baptism of Christ Acad. Florence; Lorenzo di Credi, Nativity Acad. Florence, Madonnas Louvre and Nat. Gal. , Holy Family Borghese Gal. Rome; Piero di Cosimo, Perseus and Andromeda Uffizi, Procris Nat. Gal. , Venus and Mars Berlin Gal. UMBRIANS—Ottaviano Nelli, altar-piece S.
There is little known about them except that they worked together in a similar manner. The most of their work has perished, but what remains shows an intellectual grasp equal to any of the age. The Sienna frescos by Ambrogio Lorenzetti are strong in facial character, and some of the figures, like that of the white-robed Peace, are beautiful in their flow of line. -1356), Bartolo di Fredi (1330-1410), and Taddeo di Bartolo (1362-1422), were other painters of the school. The late men rather carried detail to excess, and the school grew conventional instead of advancing.
These two men, Francia and Costa, were the Perugino and Pinturricchio of the Ferrara-Bolognese school, and the most important painters in that school. FIG. —SCHOOL OF FRANCIA. MADONNA AND CHILD. LOUVRE. THE LOMBARD SCHOOL: The designation of the Lombard school is rather a vague one in the history of painting, and is used by historians to cover a number of isolated schools or men in the Lombardy region. In the fifteenth century these schools counted for little either in men or in works. The principal activity was about Milan, which drew painters from Brescia, Vincenza, and elsewhere to form what is known as the Milanese school.