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Niccolò di Pietro Gerini (c. 1340 – 1414) was an Italian painter of the late Gothic period, active mainly in his native Florence although he also carried out commissions in Pisa and Prato. He was not an innovative painter but relied on traditional compositions in which he placed his figures in a stiff and dramatic movement.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
Bicci di Lorenzo (1373–1452) was an Italian painter and sculptor, active in Florence.<br/><br/> He was born in Florence in 1373, the son of the painter, Lorenzo di Bicci, whose workshop he joined. He married in 1418, and in 1424 was registered in the Guild of Painters at Florence. His son, Neri di Bicci was also a painter and took over the family workshop. Bicci di Lorenzo died in Florence in 1452 and was buried in Santa Maria del Carmine.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
The bronze 'Chimera of Arezzo' is one of the best known examples of the art of the Etruscans.<br/><br/> In Greek mythology the monstrous Chimera ravaged its homeland, Lycia, until it was slain by Bellerophon. The goat head of the Chimera has a wound inflicted by this Greek hero. Based on the cowering, representation of fear, and the wound inflicted, this sculpture may have been part of a set that would have included a bronze sculpture of Bellerophon.
The first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, to the current site.<br/><br/> The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century.
The first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, to the current site.<br/><br/> The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century.
Pope Gregory X (c. 1210 – 10 January 1276), born Teobaldo Visconti, was Pope from 1 September 1271 to his death in 1276 and was a member of the Secular Franciscan Order. He was elected at the conclusion of a papal election that ran from 1268 to 1271, the longest papal election in the history of the Catholic Church.<br/><br/> The first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, to the current site.<br/><br/> The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century.
Ferdinando I de' Medici (30 July 1549 – 17 February 1609) was Grand Duke of Tuscany from 1587 to 1609, having succeeded his older brother Francesco I.
Guido of Arezzo (also Guido Aretinus, Guido Aretino, Guido da Arezzo, Guido Monaco, or Guido d'Arezzo, or Guy of Arezzo also Guy d'Arezzo) (991/992 – after 1033) was an Italian music theorist of the Medieval era. He is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation; his text, the <i>Micrologus</i>, was the second-most-widely distributed treatise on music in the Middle Ages (after the writings of Boethius).
The bronze 'Chimera of Arezzo' is one of the best known examples of the art of the Etruscans.<br/><br/> In Greek mythology the monstrous Chimera ravaged its homeland, Lycia, until it was slain by Bellerophon. The goat head of the Chimera has a wound inflicted by this Greek hero. Based on the cowering, representation of fear, and the wound inflicted, this sculpture may have been part of a set that would have included a bronze sculpture of Bellerophon.