A Passage in the Life of Perugino Potts


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Leaves From Leah's Diary []. The Evil Genius []. The Guilty River []. Percy and the Prophet []. The Nun's Story of Gabriel's Marriage []. Love's Random Shot []. The Law and the Lady [].

Antonina Or, The Fall of Rome []. Medhurst and the Princess []. The Queen of Hearts []. The Poisoned Meal []. The Twin Sisters []. Blow Up With the Brig! A Sailor's Story [].

More by Wilkie Collins

The Devil's Spectacles []. The Lawyer's Story of a Stolen Letter [].

Cosway and the Landlady []. Policeman and the Cook []. A Fair Penitent [].


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The First Officer's Confession []. Yet positing a connection between these three occupations was not straightforward, especially in the case of architecture. He shows the almost dizzying number of precedents Bramante called upon in order to create his architectural designs, and in particular the importance of early Christian models and as well as Gothic prototypes. Angeliki Pollali in the next essay also questions the notion that the High Renaissance should be seen as a climax of a sort of simplified notion of classical revival.

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Bury points out that Perugino and other artists such as Pintorricchio were still much sought-after in the first decade of the Cinquecento. Not only was Vasari writing thirty years or so after the fact, in a rather different set of cultural circumstances hugely affected by the increased pace and effectiveness of Catholic Reform, but his views were not accepted by all his contemporaries, some of whom did not see a decisive break in the production of art at the turn of the sixteenth century. This is not, however, to suggest that these borrowings from the past were always ideologically neutral, that there were not problems in using, for example, an antique statue of Venus as a model for a virgin saint.

A major theme in the chapters here is the multiplicity of influences and precedents used by High Renaissance artists and architects — notably Bramante, Raphael, and Michelangelo. I would suggest that not only was this — as David Hemsoll suggests — a deliberate methodological strategy, but it is one that is key to understanding the maniera moderna, or High Renaissance style, as a whole. Through acknowledging conflation, as opposed to idealized classicism, as the model for this group of artists, it is possible to see how High Renaissance and Mannerism are fundamentally facets of the same approach to visual citation and appropriation that, arguably, became increasingly self- referential as time went on.

It is easy to see why this approach to the use of eclectic models might have become prized in the early s. The artistic idiom associated with Leonardo and particularly Raphael became appropriated elsewhere in Europe and, increasingly, around the world, where new syntheses were made that incorporated local visual traditions. Once we disassociate High Renaissance imagery from a narrative of inevitable culmination pinned to artistic genius, we are better able to consider the ideology underpinning these changes in the visual arts.

If true beauty was in the service of the Catholic Church, it is no wonder this style was so closely linked with European missionary and colonial ventures in the early modern period. I think it is an acceptable — even useful — term for a cultural movement, but has to be used with caution. Our narrative of culmination in the early sixteenth century, then, has roots in the way some contemporaries made sense of the events they lived through.

This narrative, however — and the artistic approach associated with it — was only one facet of a complex and fragmented cultural world. Notes 1 With thanks to Angeliki Pollali for this poem. Thanks also to David Rosenthal, Carol Richardson, and Stephen Bowd who have read drafts, suggested ideas and suffered me talking about the subject of this essay for far too long. Freedberg , Hall a , Burke a , Hall , 14; an idea reprised in M.

The Complete Short Stories of Wilkie Collins

See particularly Findlen and Gouwens ; Molho ; Grieco et al. Martin ; Celenza a ; Lasansky , A. George Du Maurier. George Silverman's Explanation. George Eliot. Bartleby, the Scrivener. Herman Melville. Honor O'callaghan. Mary Russell Mitford. Castle Rackrent [Christmas Summary Classics].

Maria Edgeworth. Sherlock Holmes: The Veiled Lodger. Sir Arthur Conan Doyle. The Familiar. James Payn. My First Book. Charles Maturin. Hints on Etiqette.

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Lewis Carroll. John Leech's Pictures of Life and Character.

Van Eyck & Perugino

The Judge's House. Bram Stoker.

Uncle Peter. Elizabeth Gaskell. A Christmas Tree. Who Was She. Bayard Taylor. An Old Woman's Tale.

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The Drunkard's Dream. Joseph Sheridan le Fanu. Biographical Notes on the Pseudonymous Bells. Charlotte Bronte. The Last Heir of Castle Connor.

A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts
A Passage in the Life of Perugino Potts

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