Leonardo Da Vinci: Artist, Thinker and Man of Science, 第 1 卷W. Heinemann, 1898 - 256 頁 |
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第 1 到 5 筆結果,共 14 筆
第 viii 頁
... Ambrosiana , Milan ) 208 I. 2 . COLOURED AND TINTED PLATES PORTRAIT OF LEONARDO DA VINCI , by Himself . ( Royal Library , Turin . ) Frontispiece THE ANGELS FROM VERROCCHIO'S PICTURE OF THE ( 6 BAPTISM OF CHRIST . " ( The Angel on the ...
... Ambrosiana , Milan ) 208 I. 2 . COLOURED AND TINTED PLATES PORTRAIT OF LEONARDO DA VINCI , by Himself . ( Royal Library , Turin . ) Frontispiece THE ANGELS FROM VERROCCHIO'S PICTURE OF THE ( 6 BAPTISM OF CHRIST . " ( The Angel on the ...
第 xi 頁
... Ambrosiana , Milan . ) A SHEET OF SKETCHES . ( Bonnat Collection , Paris ) . STUDY FOR A STANDING FIGURE . ( Library ... Ambrosiana , Milan . ) . 228 ENGRAVING OF INTERLACED ORNAMENT , INSCRIBED " ACADEMIA LEONARDI VINCI . ” ( The ...
... Ambrosiana , Milan . ) A SHEET OF SKETCHES . ( Bonnat Collection , Paris ) . STUDY FOR A STANDING FIGURE . ( Library ... Ambrosiana , Milan . ) . 228 ENGRAVING OF INTERLACED ORNAMENT , INSCRIBED " ACADEMIA LEONARDI VINCI . ” ( The ...
第 3 頁
... or four masterpieces on which he concentrated his powers ; the unknown Princess of the Ambrosiana , Isabella d'Este , the Belle Ferronière , and It A the Gioconda . How was it that all the B 2 THE GENIUS OF LEONARDO 3.
... or four masterpieces on which he concentrated his powers ; the unknown Princess of the Ambrosiana , Isabella d'Este , the Belle Ferronière , and It A the Gioconda . How was it that all the B 2 THE GENIUS OF LEONARDO 3.
第 118 頁
... Ambrosiana represents Galeazzo . 2 See the Raccolta Milanese of 1756 ( last page ) .— Burchard , Diarium , ed . Thuasne , vol . ii . p . 499 . 3 See Richter , vol . ii . pp . 6 , 15 , 17. Lomazzo has left us a very exact portrait of ...
... Ambrosiana represents Galeazzo . 2 See the Raccolta Milanese of 1756 ( last page ) .— Burchard , Diarium , ed . Thuasne , vol . ii . p . 499 . 3 See Richter , vol . ii . pp . 6 , 15 , 17. Lomazzo has left us a very exact portrait of ...
第 132 頁
... Ambrosiana in favour of this conscientious , but uninspired master ! Sensibly inferior to Ambrogio is his contemporary , Bernardino dei Conti , who worked , approximately , from 1499 to 1522. He has been credited , among other things ...
... Ambrosiana in favour of this conscientious , but uninspired master ! Sensibly inferior to Ambrogio is his contemporary , Bernardino dei Conti , who worked , approximately , from 1499 to 1522. He has been credited , among other things ...
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常見字詞
Accademia Adoration Ambrogio Ambrosiana Andrea angel architect artist ASCRIBED TO LEONARDO Beatrice d'Este beauty Beaux Arts Bellincioni Bianca Maria Sforza Bonnat Collection Bramante brilliant bronze Caradosso cartoon century Certosa Christ colour composition contemporary draperies Duke ENGRAVING equestrian statue executed famous figures Filippino Florence Florentine florins Francesco Sforza fresco Galichon Gallery genius Geymüller Gian Galeazzo Giovanni grace hand head Herr Müller-Walde Institut de France Italian Italy Jahrbuch der kg Kunstsammlungen L'Art Last Supper Leonardo da Vinci less Lodovico il Moro Lodovico Sforza Lomazzo Lombardy Lorenzo Lorenzo di Credi Louvre Madonna Magi Mantegna manuscripts master masterpiece Medici Michelangelo Milan monument Morelli Pacioli painter painting Paris Pavia Perugino picture Piero portrait pupil Raphael Renaissance Richter Rocks Rome Santa Maria sculptor Signor sketch STATUE OF FRANCESCO TRATTATO DELLA PITTURA Uffizi Uzielli Valton Vasari Vatican Library Venice Verrocchio Vigevano Virgin Visconti Windsor Library young youth
熱門章節
第 143 頁 - I can equal anyone in architecture, in constructing public and private buildings, and in conducting water from one place to another. I can execute sculpture, whether in marble, bronze, or terra-cotta ; and in painting I can do as much as any other, be he who he may.
第 115 頁 - Ch'ora in pace a consiglio con lui siede, Or armato con lui spiega i colubri ; E sempre par d' una medesma fede , O ne' felici tempi o nei lugubri: Nella fuga lo segue, lo conforta Nell' afflizion, gli é nel periglio scorta.
第 188 頁 - Another, turning with a knife in his hand, upsets a glass upon the table ; another rests his hands upon the table and looks ; another gasps in amazement. Another leans forward to look at the speaker, shading his eyes with his hand ; another, drawing back behind the one who leans forward, looks into the space between the wall and the stooping disciple.
第 242 頁 - ... take for its head that of a mastiff or setter, for its eyes those of a cat, for its ears those of a porcupine, for its nose that of a greyhound, with the eyebrows of a lion, the temples of an old cock and the neck of a water-tortoise.
第 28 頁 - Due giovin par d'etate e par d'amori Leonardo da Vinci e'l Perusino, Pier della Pieve ch'e un divin pittore.
第 142 頁 - Having, most illustrious lord, seen and duly considered the experiments of all those who repute themselves masters in the art of inventing instruments of war, and having found that their instruments differ in no way from such as are in common use, I will endeavour, without wishing to injure anyone else, to make known to your Excellency certain secrets of my own, as briefly enumerated here below :
第 188 頁 - One, in the act of drinking, puts down his glass, and turns his head to the speaker. Another, twisting his fingers together, turns to his companion, knitting his eyebrows. Another, opening his hands and turning the palms towards the spectator, shrugs his shoulders, his mouth expressing the liveliest surprise.
第 142 頁 - I have a way of constructing very light bridges, most easy to carry, by which the enemy may be pursued and put to flight. Others also of a stronger kind, that resist fire or assault, and are easy to place and to remove. I know ways also for burning and destroying those of the enemy. 2. In case of investing a place, I know how to remove the water from ditches, and to make various scaling ladders, and other such instruments. 3. Item : If, on account of the height or strength of position, the place...
第 20 頁 - Romans who always imitated each other and so their art constantly declined from age to age. After these came Giotto, the Florentine, who— not content with imitating the works of Cimabue, his master— being born in the mountains and in a solitude inhabited only by goats and such beasts, and being guided by nature to his art, began by drawing on the rocks the movements of the goats of which he was keeper.
第 218 頁 - A head of a gipsy girl. A head with a hat on. A representation of the Passion, a cast. A head of a girl with her hair gathered in a knot. A head with the brown hair dressed.