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166 GALLERY OF ILLUSTRIOUS ITALIAN WOMEH...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
Ii.—Female Artists. By An Italian.
It is tliat lie failed in his attempt to possess her on less honorable terms . The grief to which she was thus abandoned , gradually preyed upon
her vital energies , and she died February 14 th , 1530 . " With this happy poor loving passion girl . " , " writes One of Vasari her ch , " efs everything d _' _ceuvre is succeeded a Potiphar save ' s wife her , un in
breathes fection bas-relief of ; from the it is the drawing difficult whole , to the say face ease which and of is person the most pose . to , be Vasari or admired the , thoug emotion —the h little per that
delicacy given to and praise purity the of works the quattrocentisti of this epoch , calls which this still a retained most lovel the y
picture , sculptured with womanly grace , _, and more than admirable-The existence of this great artist was saddened not only by
unrequited love , but by narrow professional jealousy . Amico Albertini , a strange and restless man , and many other artists , soon commenced
a crusade against her . Even her alto-relief did not have its proper labors place on thereon the fagade It , and is still Properzia had d no in heart the church to continue in what her preserve
. , is called the Revered Chamber , with another work of hers , representing the Queen of Sheba in the presence of Solomon . In
the Church of S . Petronio she also sculptured other figures , after the desiof Triboloand in the eleventh chapel of the same
marvellousl Basilica , gns by the scul side tured of Trib , in b olo as ' - s relief " Ascension . For the " she Madonna has left of two Baracano angels ,
work in the and large y fi chapel p of , she S . Rocco ornamented and S the . Sebastiano pillars with . This arabesque work , gures
Bolognini pronounces to be in the highest taste . Properzia also d some elegant copper-platesand many of her pen and ink
engrave , etchings from [ Raphael ' s works have met with the highest praise . She was buried in the Hospital della Morte , according to her last
will . In the interval between Francia , who , in the Bolognese school ,
had embodied the highest grade of Christian art , and the Caracci , painting ( which at Venice and Koinewith Titian and Michel
, Angelo , reflected the last rays of the fast waning ideal ) visibly lost . its greatness , because inspiration was declining , and artists
unconto sciousl close y felt Francia that an who epoch in s in everal the history of his works of civilization equals Rap was hael about , was
Succeeded . by Bagnacavallo , , a student of Raphael , inferior to Giulio Romano and Perino del Vaga in drawingbut not in grace and
, a color student ; by Innocenzo of Raphael of , Imola who , , a says pupil Lanzi of Franci , was a superior himself , and both also to
Francia and Bagnacavallo , in erudition , in majesty and in precision ; France and by Primaticcio The successors , who * after of these a short three residence masters in were Bologna far , inferior went to
. men , yet were the representatives of art in Bologna down to the era of the Caracciwe speak of SabbatiniSammachini , and
_Fonta-na . According ; to Rosini , the first named , deserves praise for
beauty of color , for grace , and correctness of form _; and Agostino
166 Gallery Of Illustrious Italian Womeh...
166 GALLERY OF ILLUSTRIOUS ITALIAN WOMEH .
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Citation
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English Woman’s Journal (1858-1864), Nov. 1, 1858, page 166, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01111858/page/22/
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