:Lives of the Painters, Sculptors and Architects

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. The Sixteenth Century Journal is collaborating with JSTOR to digitize, preserve and extend access to The Sixteenth Century Journal. Sixteenth CenturyJournal XXX / 1 (1999)Overall, this is a balanced and rich presentation. Greengrass manages to pull off the difficult task of synthesizing and simplifying his subject while avoiding the impulse to "dumb down" the material. The vocabulary will sometimes challenge undergraduates without overwhelming them, and the emphasis on the particularity and complexity of events demands careful reading and consideration.This is not a book that one devours in a sitting; although the narratives and explanations are well written, as a whole it can be rather dry, and students should not be asked to read it cover-to-cover. It works very well when taken in short doses, and rewards the reader seeking to refresh his or her memory or to understand a few new concepts at a time. However, it is not a replacement for thoughtful lecturing and discussion, or for more detailed, interpretative readings. In a supplementary role, it will prove very useful as a means of equipping students with the basic knowledge they need to get more out of other materials, and as a study guide for examinations.This review's emphasis on the Companion to the European Reformation's appeal to undergraduate students of the Reformation and their teachers should not prevent other interested readers from adding it to their bookshelves. Although its usefulness to specialist scholars of the Reformation is limited, Greengrass's book can be used without embarrassment as a reference tool by nonspecialist scholars, graduate students, and general readers wishing to improve their knowledge of the Reformation and its context.

From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins

“…It is an extraordinary thing how that genius [Leonardo], in his desire to give the highest relief to the works that he made, went so far with dark shadows, in order to find the darkest possible grounds, that he sought for blacks which might make deeper shadows and be darker than other blacks, that by their means he might make his lights the brighter; and in the end this method turned out so dark, that no light remaining there, his pictures had rather the characteristic of things made to represent an effect of night, than the clear quality of daylight; which all came from seeking to give relief, and to achieve the final perfection of art. (Vasari [1568(Vasari [ ] 1996 came from seeking to give relief, and to achieve the final perfection of art. (Vasari [1568(Vasari [ ] 1996 Steven Stowell suggests that Leonardo's writings on painting in his Trattato di pittura have a spiritual interpretation (Stowell 2014, pp.…”

“…(Vasari [1568(Vasari [ ] 1996 came from seeking to give relief, and to achieve the final perfection of art. (Vasari [1568(Vasari [ ] 1996 Steven Stowell suggests that Leonardo's writings on painting in his Trattato di pittura have a spiritual interpretation (Stowell 2014, pp. 118-60).…”

A Comparative Study of Chinese and Europe Funeral Etiquette and Customs: Ming Dynasty and Renaissance

“…Michelangelo became famous and gained the attention of newly appointed Pope Julius II. According to Vasari's records, the main reason why Julius II chose Michelangelo to build his own mausoleum was that Michelangelo had made his reputation famous by virtue of the battle of the Virgin Reiko, the statue of David in Florence and the mural sketch Cassina, which competed with Leonardo da Vinci, and then got the opportunity to compete with other sculptors and jointly draw the mausoleum sketch for the Pope for selection [15]. As a result of the competition, Michelangelo won and made a mausoleum statue for the Pope.…”

Beyond Boundaries: Painting Re-inscriptions in the Fifteenth to Seventeenth Century China

“…This feature was, however, historical and had continuously evolved throughout history (Zhang, 2005). Contrasted with the Western fine art tradition, which encompasses painting, sculpture, and architecture as its main branches (Vasari, 2007), Chinese notions delineate a distinction between practical crafts like sculpture and architecture, and more refined, spiritual, and creative activities. The latter activities are closer to what we understand today as "art", and within this category, there are also hierarchies.…”