This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900. Excerpt: ... ANALYSIS OF THE LOMBARD SCHOOL The Lombard School of painting is not, like that of Florence or Siena, a school of indigenous growth, but is rather the result (as has been happily remarked) of a series of art invasions." If we look at any map of Northern Italy, we shall see that the river Adda to the east fences off from the Milanese the cities of Bergamo, Brescia, and Cremona, all cities which we have (v. Part II.) noticed to come strongly within the attraction of Venetian art; while to the south of Pavia the Po limits a district which is bounded on the west by the frontiers of Piedmont, and to the north by the Alps. All this district is to be included within our account of the art of the Lombard School, whose more diffused influence reaches eastwards beyond these limits, not only to the towns I have mentioned, Brescia, Crema, and Cremona, but even as far sometimes as Modena and Parma. An early Giottesque tradition of art appears at Milan (Giotto himself seems to have been working here in 1335), in connection with which may be noticed a certain Giovanni Da Milano (about 1370), a pupil of Taddeo Gaddi; here, too, I may mention such early artists as Casella (Cremona Cathedral, ceiling work, 11345); Michelino (frescos in Borromeo Palace, Milan--Morelli places him under reign of Filippo Maria Visconti, 1405-47) the Zavattabi, and Leonardo Da Besozzo (paintings in monumental chapel of Carraciolo in S. Giovanni a Carbonara. Carraciolo was the seneschal, and lover, of Queen Joanna; he is painted here naked just as he was found after his murder. The style of the whole work thoroughly Giottesque). The next influence to notice is that of the great painter and medallist PISANELLO (1380-1450, v. Part II. Anal, of Veronese School) whose influence extended at this time...
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