JACOPO DA See also:

• JACOPO DA PONTORMO (1494-1557)

PONTORMO (1494-1557)  , whose See also:

• FAMILY

family name was Carucci, See also:

• ITALIAN

Italian painter of the Florentine school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Pantormo in 1494, son of a painter of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary ability, was apprenticed to Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, and afterwards took lessons from See also:

• PIERO (1443—1496)

Piero di Cosimo . At the See also:

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

age of eighteen he became a journeyman to See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Sarto, and was remarked as a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of exceptional accomplishment and promise . Later on, but still in See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early youth, he executed, in continuation of Andrea's labours, the " Visitation," in the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister of the Servi in See also:

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

Florence —one of the See also:

• PRINCIPAL

principal surviving evidences of his See also:

• POWERS, HIRAM (1805-1873)

powers . The most extensive See also:

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

series of See also:

• WORKS

works which he ever undertook was a set of frescoes in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Lorenzo, Florence, from the " Creation of Man to the See also:

• DELUGE, THE (through the Fr. from Lat. diluvium, flood, diluere, to wash away)

Deluge," closing with the " Last See also:

• JUDGMENT

Judgment." By this 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, towards 1546, he had fallen under the dangerous spell of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo's See also:

• COLOSSAL

colossal See also:

• GENIUS (from Lat. genere, gignere)

genius and super-human See also:

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

style; and See also:

• PONTORMO, JACOPO DA (1494-1557)

Pontormo, after working on at the frescoes for eleven years, See also:

• LEFT

left them incomplete, and the See also:

• OBJECT

object of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general disappointment and disparagement . They were finished by Angelo See also:

• BRONZINO, IL

Bronzino, but have See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long since vanished under whitewash . Among the best works of Pontormo are his portraits, which include the likenesses of various members of the See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici family; they are vigorous, animated and highly finished . He was fond of new and See also:

• ODD (in middle English odde, from old Norwegian oddi, an angle of a triangle; the old Norwegian oddamann is used of the third man who gives a casting vote in a dispute)

odd experiments both in style of See also:

• ART

art and in method of See also:

• PAINTING

painting . From Da Vinci he caught one of the marked physiognomic traits of his visages, See also:

• SMILES, SAMUEL (1812-1904)

smiles and dimples . At one time he took to See also:

• DIRECT

direct See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation or See also:

• REPRODUCTION

reproduction of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Diirer, and executed a series of paintings founded on the See also:

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

Passion subjects of the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German 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, not only in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, but even in such peculiarities as the treatment of draperies, &c . Pontormo died of See also:

• DROPSY (contracted from the old word hydropisy, derived from the Gr. 154w¢; i Swp, water, and appearance)

dropsy on the 2nd of See also:

• JANUARY

January 1557, mortified at the See also:

• ILL

ill success of his frescoes in S . Lorenzo; he was buried below his See also:

• WORK

work in the Servi .