By John Kitto; Alvan Bond; Charles H Hitchcock; Edward Kimpton; Robert Sears
Read or Download An Illustrated History of the Holy Bible Being a Connected Account of the Remarkable Events and Distinguished Characters Contained in the Old and New Testaments, and in Jewish History During the Four Hundred Years Intervening between the Time Of Malachi a PDF
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Extra resources for An Illustrated History of the Holy Bible Being a Connected Account of the Remarkable Events and Distinguished Characters Contained in the Old and New Testaments, and in Jewish History During the Four Hundred Years Intervening between the Time Of Malachi a
But his intellectual interests were more extensive than Bellini's and owed more than a little to Humanism: for instance, he copied motifs from ancient sarcophagi and used Greek characters in his medals. One of his drawings indicates that he took an interest in perspective. He was unequalled as a medallist. But he stands out from his Gothic forerunners chiefly because of his gift and taste for design. Perhaps it was his work as a medallist which sharpened his sense of the relations between spaces and masses and showed him how to heighten silhouettes.
37 INTERNATIONAL GOTHIC The Gothic approach COLOGNE SCHOOL. PRESENTATION AT THE TEMPLE, c. 1330. WALLRAF-RICHARTZ MUSEUM, COLOGNE master bertram. Christ's entry into jerusalem (panel from alterpiece of Christ's passion), c. 1379. HANOVER museum to pictorial best illustrated by the tapestries, stained-glass windows, polychrome Statues and, especially, illuminations of the age, rather art is than the frescoes or painted panels, which developed late. In the field of easel-painting distinctions between local or national schools are often artificial; in the fourteenth century artistic centres influenced and moulded each other to an unparalleled extent, owing to the Like of the Courts.
Ginestarre de cardôs, I 2th CENT. MUSEO DE BELLAS ARTES DE CATALONA, BARCELONA on three main processes. Firstly, there was true or Italian fresco painting, in which the colours were — on a fresh, damp applied a fresco coat of plaster, that is to say. This plaster, composed of slaked lime and fine sand, absorbed the colours, and then dried hard, acquiring the strength of stone. Though very resistant and durable, the painting had to be executed swiftly, with no possibility of retouching. A few examples are to be found in France, at Auxerre (crypt of St Germain, ninth century) and at Berzé (crypt of the Château-des-Moines).