File:Italian cities (1903) (14589996609).jpg

Identifier: italiancities01blas (find matches)
Title: Italian cities
Year: 1903 (1900s)
Authors: Blashfield, Edwin Howland, 1848-1936 Blashfield, Evangeline Wilbour, d. 1918
Subjects: Art -- Italy Cities and towns -- Italy Italy -- Description and travel
Publisher: New York : Scribner's
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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ace; the oldFlorentines return to their old places. The mostindifferent traveller cannot help seeing them, be heever so blind. If we take some of these characters of Eomola and look for their counterparts in another art, witha little patience we shall find them all. GhirlandajowiU show us many of them, he who, if he did notpaint the walls of Florence, as he wished, portrayedthe world that moved within those walls. In the choirof Santa Maria Novella the artist painted the storiesof the blessed Virgin and Saint John the Baptist,but he has taken his pictures from contemporary hfe;he has painted his friends and neighbors, not ideal-ized into cold abstractions, but real men and womenwith keen, subtle faces, acute and critical, yet notunkindly, sharpened by shop-keeping and the tra-montana, but ennobled by wide culture and capableof kindling into enthusiasm. Many of them areugly in line and modelling, bony and flaccid at 236 FLORENCE SANTISSIMA TRINITA GHIRLANDAJO HEAD OF A YOUTH (FRAGMENT)
Text Appearing After Image:
IN FLORENCE WITH ROMOLA once, with an occasional quite abnormal develop-ment of cheeks and chin. But character can domuch to beautify the most ill-favored. Each ofthese figures is a definite personahty, clearly anddistinctly marked, invaluable to the student ofhistory, with no softening of hues or angles, a por-trait straight from life. Here we are face to facewith the old Florentines. On the right is a group of humanists : Politian, whose juvenile ugliness was not less signal thanhis precocious scholarship; Marsilio Ficino, broughtup as a Platonist from his cradle, and whose mindwas, perhaps, a little pulpy from that too exclusivediet, both spare and small, with pale faces; Cristo-foro Landino, white-haired and worn, in black gownand barret. Behind them, among a group of grave,gray-haired men, is a figure handsome and majesticenough for Komolas godfather, Bernardo del Nero.On the panel directly opposite is Tito, known inFlorence as II Bello, in dark mantle and red cap,looking at us o

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