"Brunelleschi" Quotes from Famous Books
 ... up the cathedrals, after all: Santa Maria del Fiore, with Brunelleschi's dome, which Michel Angelo wouldn't copy and couldn't beat; Milan, aflame with statues, like a thousand-tapered candelabrum; Tours, with its embroidered portal, so like the lace of an archbishop's robe; even Notre Dame of Paris, ...
— Atlantic Monthly, Volume 8, Issue 45, July, 1861 • Various
... fifteenth century are more than mere forerunners of the great masters of its close, and often reach perfection, within the narrow limits which they chose to impose on their work. Their sculpture shares with the paintings of Botticelli and the churches of Brunelleschi that profound expressiveness, that intimate impress of an indwelling soul, which is the peculiar fascination of the art of Italy in that century. Their works have been much neglected, and often almost hidden away amid the frippery of modern decoration, and we come with some ...
— The Renaissance: Studies in Art and Poetry • Walter Horatio Pater
... composition. There are two classes of artists: geniuses and men of talent. Of geniuses in literature, one can count the names on his fingers; most authors are simply men of talent. Talent learns to do by doing, and by observing how others have done. When Brunelleschi left Rome for Florence, he had closely observed and had drawn every arch of the stupendous architecture in that ancient city; and so he was adjudged by his fellow citizens to be the only man competent to lift the dome of their ...
— English: Composition and Literature • W. F. (William Franklin) Webster
... Renaissance carvers are content with any kind of boss full of seed, but insist on such boss {104} or bursting globe as some essential part of their ornament;—the bean-pod for the same reason (not without Pythagorean notions, and some of republican election) is used by Brunelleschi for main decoration of the lantern of Florence duomo; and, finally, the ornamentation gets so shapeless, that M. Violet-le-Duc, in his 'Dictionary of Ornament,' loses trace of its origin altogether, and fancies the later forms were derived from ...
— Proserpina, Volume 1 - Studies Of Wayside Flowers • John Ruskin
... this government gave to Europe the entire cycle of Christian art, properly so called, and every highest Master of labour, architectural, scriptural, or pictorial, practised in true understanding of the faith of Christ;—Orcagna, Giotto, Brunelleschi, Lionardo, Luini as his pupil, Lippi, Luca, Angelico, Botticelli, and ...
— Val d'Arno • John Ruskin |
