See also:

• PIERO (1443—1496)

PIERO DI COSIMO (1462-1521)  , the name by which the Florentine painter Pietro di Lorenzo is generally known . He was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

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

Florence about 1462, and worked in the bottega of Cosimo See also:

• ROSSELLI, COSIMO (1439—c. 1507)

Rosselli (from whom he derived his popular name) . Other influences that can be traced in his See also:

• WORK

work are those of Filippino See also:

• LIPPI

Lippi, Luca See also:

• SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli, and Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, and, as has been recently suggested by See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor R . Muther, that of See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo See also:

• VAN

van der Goes, whose Portinari See also:

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

altar-piece (now at the Spedale of S . Maria Novella in Florence) helped to See also:

• LEAD
• LEAD (pronounced iced)

lead the whole of Florentine See also:

• PAINTING

painting into new channels . From him, most probably, he acquired the love of landscape and the intimate knowledge of the growth of See also:

• FLOWERS, ARTIFICIAL

flowers and of See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• LIFE

life . The See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Hugo van der Goes is especially apparent in the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Shepherds," at the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum . He had the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of a fertile fantastic See also:

• IMAGINATION

imagination, which, as a result of a See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• ROME
• ROME (Roma)

Rome in 1482 with his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, Rosselli, became: directed towards the myths of classic antiquity . He proves himself a true 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 of the See also:

• RENAISSANCE, THE

Renaissance in such pictures as the " See also:

• DEATH

Death of Procris," at the See also:

• NATIONAL

National See also:

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

Gallery, the " See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars and See also:

• VENUS

Venus," at the Berlin Gallery, the " See also:

• PERSEUS

Perseus and See also:

• ANDROMEDA

Andromeda " See also:

• SERIES (a Latin word from serere, to join)

series, at the Uffizi in Florence, and the " See also:

• HYLAS

Hylas and the See also:

• NYMPHS

Nymphs " belonging to Mr See also:

• BENSON, EDWARD WHITE (182g—1896)
• BENSON, FRANCIS ROBERT (1858— )
• BENSON, FRANK WESTON (1862— )
• BENSON, GEORGE (1699–1762)

Benson . If, as we are told by See also:

• VASARI, GIORGIO (1511-1571)

Vasari, he spent the last years of his life in gloomy retirement, the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change was probably due to See also:

• SAVONAROLA, GIROLAMO (1452-1498)

Savonarola, under whose influence he turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention once more to religious See also:

• ART

art . The " Immaculate Conception," at the Uffizi, and the " See also:

• HOLY

Holy See also:

• FAMILY

Family," at See also:

• DRESDEN

Dresden, best illustrate the religious fervour to which he was stimulated by the stern preacher . With the exception of the landscape background in Rosselli's See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of the " See also:

• SERMON (Lat. sermo, a discourse)

Sermon on the See also:

• MOUNT, WILLIAM SIDNEY (1807-1868)

Mount," in the Sistine See also:

• CHAPEL

Chapel, we have no See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of any fresco work from his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush .

On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, he enjoyed a See also:

• GREAT

great reputation as a portrait painter, though the only known examples that can be definitely ascribed to him are the portrait of a See also:

• WARRIOR

warrior, at the National Gallery, (No . 895), the so-called " Bella Simonetta," at See also:

• CHANTILLY

Chantilly, the portraits of Giuliano di See also:

• SAN

San Gallo and his See also:

• FATHER

father, at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, and a See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a youth, at See also:

• DULWICH

Dulwich . Vasari relates that See also:

• PIERO (1443—1496)

Piero excelled in designing pageants and triumphal processions for the See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure-loving youths of Florence, and gives a vivid description of one such procession at the end of the See also:

• CARNIVAL (Med. Lat. carnelevarium, from taro, tarns, flesh, and levare, to lighten or put aside; the derivation from valere, to say farewell, is unsupported)

carnival of 1507, which illustrated the See also:

• TRIUMPH (triumphus)

triumph of death . Piero di Cosimo exercised considerable influence upon his See also:

• FELLOW

fellow pupils See also:

• ALBERTINELLI, MARIOTTO (1474-1515)

Albertinelli and Bartolommeo della Porta and was the master of See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Sarto . Examples of his work are also to be found at the Louvre in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, the Harrach and See also:

• LIECHTENSTEIN

Liechtenstein collections in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, the See also:

• BORGHESE

Borghese Gallery in Rome, the Spedale degli Innocenti in Florence, and in the collections of Mr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BURKE
• BURKE, ROBERT
• BURKE, SIR JOHN BERNARD (1814–1892)
• BURKE, WILLIAM (1792–1829)

Burke and See also:

• COLONEL (derived either from Lat. column, Fr. colonne, column, or Lat. corona, a crown)

Colonel See also:

• CORNWALLIS, CHARLES CORNWALLIS
• CORNWALLIS, SIR WILLIAM (1744-1819)

Cornwallis See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West in See also:

• LONDON

London . A " Magdalen" from his brush was added to the National Gallery of Rome in 1907r See Piero di Cosimo, by F . Knapp (See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle, 1899) ; Piero di Cosimo, by H . Haberfeld (See also:

• BRESLAU (Polish Wraclaw)

Breslau, 1901) .