LORENZO DI See also:

• LORENZO DI CREDI (1459-1537)

CREDI (1459-1537)  , See also:

• ITALIAN

Italian artist, whose surname was Barducci, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . He was the least gifted of three artists who began See also:

• LIFE

life as journeymen with See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Verrocchio . Though he was the See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion and friend of Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci and See also:

• PERUGINO, PIETRO (1446-1524)

Perugino, and closely allied in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style to both, he had neither the See also:

• GENIUS (from Lat. genere, gignere)

genius of the one nor the facility of the other . We admire in Da Vinci's heads a heavenly contentment and smile, in his technical See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution See also:

• GREAT

great See also:

• GLOSS, GLOSSARY

gloss and smoothness of finish . See also:

• CREDI, LORENZO DI (1459-1537)

Credi's faces disclose a smiling beatitude; his See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments have the See also:

• POLISH

polish of See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel . But Da Vinci imparted life to his creations and modulation to his See also:

• COLOURS, MILITARY

colours, and these are qualities which hardly existed in Credi . Perugino displayed a well-known See also:

• FORM (Lat. forma)

form of tenderness in heads, moulded on the See also:

• MODELS

models of the old Umbrian school . Peculiarities of See also:

• MOVEMENT

movement and attitude become stereotyped in his compositions; but when put on his mettle, he could still exhibit See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion, pathos . Credi often repeated himself in Perugino's way; but being of a pious and resigned spirit, he generally embodied in his pictures a feeling which is yielding and See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle to the See also:

• VERGE (Lat. virga, a rod)

verge of coldness . Credi had a respectable See also:

• LOCAL

local practice at Florence . He was consulted on most occasions when the See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of his profession was required on public grounds, e.g. in 1491 as to the fronting, and in 1498 as to the See also:

• LANTERN (an adaptation of the Fr. lanterne from Lat. lanterna or laterna, supposed to be from Gr. Aa urritp, a torch or lamp, Aaµaew, to shine, cf. " lamp "; the 16th- and 17th-century form " lanthorn " is due to a mistaken derivation from " horn," as a m

lantern of the Florentine See also:

• CATHEDRAL

cathedral, in 1504 as to the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place due to See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo's " See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David." He never painted frescoes; at rare intervals only he produced large ecclesiastical pictures . The greater See also:

• PART

part of his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time was spent on easel pieces, upon which he expended See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute and patient labour .

But he worked with such See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry that See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of his Madonnas exist in See also:

• EUROPEAN

European galleries . The best of his See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces is that which represents the Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child with See also:

• SAINTS, BATTLE OF THE

Saints in the cathedral of See also:

• PISTOIA
• PISTOIA, SYNOD OF

Pistoia . A See also:

• FINE

fine example of his easel rounds is in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of See also:

• MAINZ (Fr. Mayence)

Mainz . Credi rivalled Fra Bartolommeo in his See also:

• ATTACHMENT

attachment to See also:

• SAVONAROLA, GIROLAMO (1452-1498)

Savonarola; but he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt no inclination for the retirement of a monastery . Still, in his old See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and after he had outlived the perils of the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of Florence (1527), he withdrew on an See also:

• ANNUITY (from Lat. annus, a year)

annuity into the See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of See also:

• SANTA

Santa Maria Nuova, where ha died . The See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, has two pictures of the Virgin and Child by him .