GIORGIO See also:

• GIORGIO VASARI (1511-1571)

VASARI (1511-1571)  , See also:

• ITALIAN

Italian painter and architect, whose See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main distinction, however, rests on his valuable See also:

• HISTORY

history of Italian See also:

• ART

art, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AREZZO (anc. Arretium)

Arezzo on the 3oth of See also:

• JULY

July 1511 . At a very See also:

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

early See also:

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

age he became a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Guglielmo da Marsiglia, a very skilful painter of stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass, to whom he was recommended by his own kinsman, the painter Luca See also:

• SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli . At the age of sixteen he went to See also:

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

Florence, where he studied under See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo and See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Sarto, aided by the patronage of the See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici princes . In 1529 he visited See also:

• ROME
• ROME (Roma)

Rome and studied the See also:

• WORKS

works of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael and others of his school . The paintings of See also:

• VASARI, GIORGIO (1511-1571)

Vasari were much admired by the rapidly degenerating See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; but they possess the smallest amount of merit, being in the main feeble parodies of the powerful works of Michelangelo . Vasari was largely employed in Florence, Rome, See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, Arezzo and other places . Many of his pictures still exist, the most important being the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall and See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling paintings in the See also:

• GREAT

great See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of the Palazzo Vecchio in Florence, and his frescoes on the See also:

• CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola of the See also:

• CATHEDRAL

cathedral, which, however, were not completed at the 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 of his See also:

• DEATH

death . As an architect he was perhaps more successful: the loggia of the Uffizi by the See also:

• ARNO (anc. Arnus)
• ARNO, ARN

Arno, and the See also:

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

long passage connecting it with the Pitti See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, are his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief works . Unhappily he did much to injure the See also:

• FINE

fine See also:

• MEDIEVAL

medieval churches of S . Maria Novella and See also:

• SANTA

Santa Croce, from both of which he removed the See also:

• ORIGINAL

original See also:

• ROOD (O.E. rod, a stick, another form of " rod, O.E. rodd, possibly cognate with Lat. rudis, a staff)

rood-See also:

• SCREEN (usually, but very doubtfully, connected with Lat. scrinium, a box for holding books, from scribere, to write; a connexion with Ger. Schranke, barrier, has been suggested)

screen and See also:

• LOFT (connected with " lift," i.e. raised in the air; O. Eng. lyft; cf. Ger. Luft; the French term is grenier and Ger. Boden)

loft, and remodelled the retro-See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir in the degraded taste of his time . Vasari enjoyed a very high repute during his lifetime and amassed a considerable See also:

• FORTUNE, ROBERT (1813-188o)

fortune . He built himself in 1547 a fine See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in Arezzo, and spent much labour in decorating its walls and vaults with paintings .

He was elected one of the municipal See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council or priori of his native See also:

• TOWN

town, and finally See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to the supreme See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of gonfaloniere . He died at Florence on the 27th of See also:

• JUNE

June 1571 . Personally Vasari was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of upright See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, See also:

• FREE

free from vanity, and always ready to appreciate the works of others: in spite of the narrow and meretricious taste of his time, he expresses a warm admiration of the works of such men as See also:

• CIMABUE, GIOVANNI (1240 to about 1302)

Cimabue and See also:

• GIOTTO

Giotto, which is very remarkable . As an art historian of his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country he must always occupy the highest See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank . His great See also:

• WORK

work was first published in 1550, and after-wards partly rewritten and enlarged in 1568, bearing the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title belie Vile de' See also:

• PIN (a doublet with " pen " from Lat. pinna, feather, pinnacle, which is said to contain the same root as irirvs, pine tree, and properly to mean a sharp point or end)

pin eccellenti pittori, scultori, ed architettori . It was dedicated to Cosimo de' Medici, and was printed at Florence by the Giunti; it is a small See also:

• QUARTO

quarto illustrated with many See also:

• GOOD, JOHN MASON (1764-1827)

good woodcut portraits . This editio princeps of the See also:

• COMPLETE

complete work is usually See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound in three volumes, and also contains a very valuable See also:

• TREATISE

treatise on the technical methods employed in all branches of the arts, entitled Le Tre Arti del discgaao, cioe architeltura, pittura, e scoltura . His See also:

• BIOGRAPHIES

biographies are written in a very pleasant See also:

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

style, interspersed with amusing stories . With a few exceptions Vasari's See also:

• JUDGMENT

judgment is acute and unbiased . And though See also:

• MODERN

modern See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism—with all the new materials opened up by See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research—has done valuable work in upsetting a good many of his traditional accounts and attributions, the result is a tendency very often to under-estimate Vasari's accuracy and to multiply hypotheses of a rather speculative character . The work .in any See also:

• CASE
• CASE, JOHN (d. 1600)

case remains a classic, however it may be supplemented by the more See also:

• CRITICAL (in alphabetical order of authors)

critical research of modern days . Vasari gives a See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch of his own See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography at the end of his 'Vite, and adds further details about himself and his See also:

• FAMILY

family in his lives of Lazzaro Vasari and See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Salviati .

The best edition of Vasari's works is that published at Florence by See also:

• MILANESI, GAETANO (1813-1895)

Milanesi (1878-1882), which embodies the valuable notes in the earlier edition by Le See also:

• MONNIER, MARC (1827-1885)

Monnier (1846) ; another, by Venturi, was begun in 1896 . ' The Lives has been translated into See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and See also:

• ENGLISH

English (by Mrs See also:

• FOSTER, GEORGE EULAS (1847– )
• FOSTER, JOHN (177o-1843)
• FOSTER, MYLES BIRKET (1825-1899)
• FOSTER, SIR CLEMENT LE NEVE (1841-1904)
• FOSTER, SIR MICHAEL (1836-r9o7)
• FOSTER, STEPHEN COLLINS (1826-1864)

Foster, See also:

• LONDON

London, 185o) .