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More "Novella" Quotes from Famous Books
 ... brothers of Giovanni, who was father of Benvenuto and piper also. The stalls in S. Miniato, Florence, were made in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the highest point reached by Florentine intarsia is shown by the stalls of S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's designs. There are 40 stalls and 30 different ornamental fillings; the capitals, pilasters, and frieze are inlaid, the rest carved; the execution of figures, scrolls, leaves, and ornamental forms is as ...
— Intarsia and Marquetry • F. Hamilton Jackson
... under Fortune's feet; Greek, this, and by a trained workman;—dug up in the temple of Neptune at Corfu;—and here, a Florentine portrait-marble, found in the recent alterations, face downwards, under the pavement of Sta. Maria Novella; both of them first-rate of their kind; and both of them, while exquisitely finished at the telling points, showing, on all their unregarded surfaces, the rough furrow of the fast-driven chisel, as distinctly as the edge of ...
— Aratra Pentelici, Seven Lectures on the Elements of Sculpture - Given before the University of Oxford in Michaelmas Term, 1870 • John Ruskin
... whole of that part which is now called Beyond the Arno, and the chief church of the district gives it the name of Santo Spirito. The other three, which embrace all that is called This side the Arno, also take their names from their chief churches, and are the Quarters of Sta. Croce, Sta. Maria Novella, and San Giovanni. Each of these four quarters is divided into four gonfalons, named after the different animals or other things they carry painted on their ensigns. The quarter of Santo Spirito includes the gonfalons of the Ladder, the Shell, ...
— Renaissance in Italy, Volume 1 (of 7) • John Addington Symonds
... Giovanni, surnamed Cimabue, of the family, noble in those times, of Cimabue. He, while growing up, being judged by his father and by others to have a beautiful and acute intelligence, was sent, to the end that he might exercise himself in letters, to a master in S. Maria Novella, his relative, who was then teaching grammar to the novices of that convent; but Cimabue, in place of attending to his letters, would spend the whole day, as one who felt himself led thereto by nature, in drawing, on books and other papers, ...
— Lives of the Most Eminent Painters Sculptors and Architects - Volume 1, Cimabue to Agnolo Gaddi • Giorgio Vasari
... the card which bore the poet's address, and, hastening to his room near the Piazza Novella, he wrote a note asking permission for a young American to call and pay his respects to Mr. and Mrs. Browning, but wrote it in terms which, however warm, would yet permit it to be put aside if it seemed impertinent, or if, for any reason, ...
— From the Easy Chair, vol. 1 • George William Curtis
... reception of the valuable manuscripts collected from Cosmo and Lorenzo the Magnificent, and which had been dispersed during the troubles of 1494. He was at Florence when the Academy of Santa Maria Novella, of which he was a member, proposed to have transported from Ravenna to Florence the ashes of Dante, and addressed the noble supplication to the Pope which has been preserved by Gore, signed by the most illustrious names of the time, and among others that of Michelangelo, ...
— The Great Events by Famous Historians, Vol. 8 - The Later Renaissance: From Gutenberg To The Reformation • Editor-in-Chief: Rossiter Johnson
... fresco is a portrait, the history of which so strikingly illustrates the relation of the arts to religion on the one hand, and to life on the other, in the age of the Renaissance, that it cannot be omitted. At the end of his fourth Novella, having related the life of the Contessa di Cellant, Bandello says: 'And so the poor woman was beheaded; such was the end of her unbridled desires; and he who would fain see her painted to the life, ...
— Sketches and Studies in Italy and Greece • John Addington Symonds
... "Meeting of Jacob and Rachel" at Dresden deserve the name. Allegories of deep and problematic meaning, the key whereof has to be found in states of the emotion rather than, in thoughts, delighted him. He may be said to have invented the Venetian species of romance picture, where an episode in a novella forms the motive of the painting.[278] Nor was he deficient in tragic power, as the tremendous study for a Lucrece in the Uffizzi collection sufficiently proves. In his drawings he models the form without outline by massive distribution ...
— Renaissance in Italy Vol. 3 - The Fine Arts • John Addington Symonds
... company than thou, O Florence, couldst offer him.' It even happened that a man once took away unpunished the lights from the altar on which the crucifix stood, and set there by the grave, with the words, 'Take them; thou art more worthy of them than He, the Crucified One! ' (Franco Sacchetti, Novella 121.) ...
— The Civilization of the Renaissance in Italy • Jacob Burckhardt
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