Artículos relacionados a A guide to the mediaeval room and to the specimens...
A guide to the mediaeval room and to the specimens of mediaeval and later times in the gold ornament room; with fourteen plates and a hundred and ninety-four illustrations - Tapa blanda
Sinopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...whereas the classical artist severely restricted the number of persons represented. Among the better-known engravers of the period are, in addition to Giovanni delle Corniole already mentioned, Michelino, working for Leo X, Giovanni Bernardi di Castel-Bolognese (d. 1555), for Clement VII, Valerio Belli (II Vicentino), for Clement VII and Paul III, and Matteo del Nassaro (d. 1546), who was in the service of Francis I. The last-named formed a French school to which Olivier Codore and others belonged. In the seventeenth century the lavish use of engraved gems for personal adornment diminished. The engraver's art declined, and in comparison with those of the Renaissance the gems of this century are feeble and negligent in execution. But from the middle of the eighteenth Fig. 110.--Cameo by Aleasandro Cesati (II Grechetto), 1538-1561. century there was a great revival, due to an increased appreciation of Greek and Roman antiquities and to such events as the discovery of Herculaneum; and this improved condition of affairs lasted well into the nineteenth century, not coming to an end until about 1840, when the art of engraving gems almost died out. The great characteristic of this period is its extremely close imitation of the antique. So accurate is this imitation, and so well is the spirit of the model often rendered in the best work, that gems of eighteenth-century origin have been mistaken for works of the Augustan age, the style of which they reproduce. The models of which the artists now availed themselves were statues and busts as well as ancient gems; and the work was often signed with the real or supposed name of an antique engraver. Sometimes the imitator signed with his own name in Greek characters: thus the members of the Pichler family sign their gems...
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Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 Excerpt: ...whereas the classical artist severely restricted the number of persons represented. Among the better-known engravers of the period are, in addition to Giovanni delle Corniole already mentioned, Michelino, working for Leo X, Giovanni Bernardi di Castel-Bolognese (d. 1555), for Clement VII, Valerio Belli (II Vicentino), for Clement VII and Paul III, and Matteo del Nassaro (d. 1546), who was in the service of Francis I. The last-named formed a French school to which Olivier Codore and others belonged. In the seventeenth century the lavish use of engraved gems for personal adornment diminished. The engraver's art declined, and in comparison with those of the Renaissance the gems of this century are feeble and negligent in execution. But from the middle of the eighteenth Fig. 110.--Cameo by Aleasandro Cesati (II Grechetto), 1538-1561. century there was a great revival, due to an increased appreciation of Greek and Roman antiquities and to such events as the discovery of Herculaneum; and this improved condition of affairs lasted well into the nineteenth century, not coming to an end until about 1840, when the art of engraving gems almost died out. The great characteristic of this period is its extremely close imitation of the antique. So accurate is this imitation, and so well is the spirit of the model often rendered in the best work, that gems of eighteenth-century origin have been mistaken for works of the Augustan age, the style of which they reproduce. The models of which the artists now availed themselves were statues and busts as well as ancient gems; and the work was often signed with the real or supposed name of an antique engraver. Sometimes the imitator signed with his own name in Greek characters: thus the members of the Pichler family sign their gems...
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