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. Florence and her treasures. a fresco, in which we can discern Leonardoda Vincis influence. Note the Saviours countenance instinctwith the tenderness of Fra Bartolommeos art. No. 102. Francesco Libertini (da Bachiacca). TheMagdalen. A brilliant piece of colour by this talented pupil of Perugino,and Franciabigio, from whom he acquired the delicacy ofhis technique. Note the Magdalens spikenard, a jar still inuse in Tuscany for spices. No. 236. Filippino Lippi. Allegorical Scene. The artist has selected two passages from Ecclesiasticus toillustrate in the fanciful manner of his day the unwisdom

. Florence and her treasures. a fresco, in which we can discern Leonardoda Vincis influence. Note the Saviours countenance instinctwith the tenderness of Fra Bartolommeos art. No. 102. Francesco Libertini (da Bachiacca). TheMagdalen. A brilliant piece of colour by this talented pupil of Perugino,and Franciabigio, from whom he acquired the delicacy ofhis technique. Note the Magdalens spikenard, a jar still inuse in Tuscany for spices. No. 236. Filippino Lippi. Allegorical Scene. The artist has selected two passages from Ecclesiasticus toillustrate in the fanciful manner of his day the unwisdom Stock Photo
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Reading Room 2020 / Alamy Stock Photo

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2CEN99D

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7.2 MB (365.2 KB Compressed download)

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1578 x 1584 px | 26.7 x 26.8 cm | 10.5 x 10.6 inches | 150dpi

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. Florence and her treasures. a fresco, in which we can discern Leonardoda Vincis influence. Note the Saviours countenance instinctwith the tenderness of Fra Bartolommeos art. No. 102. Francesco Libertini (da Bachiacca). TheMagdalen. A brilliant piece of colour by this talented pupil of Perugino,and Franciabigio, from whom he acquired the delicacy ofhis technique. Note the Magdalens spikenard, a jar still inuse in Tuscany for spices. No. 236. Filippino Lippi. Allegorical Scene. The artist has selected two passages from Ecclesiasticus toillustrate in the fanciful manner of his day the unwisdom ofmisplaced trust. Jesus, the son of Sirach, exclaims (xn.13), Who will pity a charmer that is bitten with a serpent.The inscription finds an explanation in the passage (xxv.15), There is no wrath above the wrath of an enemy. The landscape with a contemporary view of the city ofFlorence is interesting. No. 256. Fra Bartolommeo. Holy Family. This interesting work is a quasi-replica of the picture inthe Corsini Gallery at Rome,. .MADONNA AND CHILDFrom the painting by Fra Filipfo Lippiin the Pitti Palace A 20J THE PITTI GALLERY 205 No. 345. Francesco Granacci. Holy Family. This charming composition, one of the artists best paintings,was formerly ascribed to Baldassare Peruzzi. The delicatecolour almost rivals the transparency of fresco painting. No. 341. Att. Eusebio di San Giorgio. Adoration ofthe Magi. This charming composition, formerly ascribed to Pin-turicchio and to Fiorenzo di Lorenzo, is characteristic ofUmbrian art, in the skilful grouping of brilliantly cladmultitudes within a restricted space, against a beautifullandscape. The giraffe, first seen in Italy about 1488,furnishes an approximate date, and the Vitelli coat-of-armsan indication of the ownership for this interesting work. No. 343. FlLlPPO LlPPl. The Virgin and Child. This admirable painting, almost the first example of thecircular form within which the Florentine artists contrivedthe representation of an entire

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