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Finally, in his Pliny (norr Pat.68132 in the Bibliothèque Nationale of Paris), a rich source of art history for him as well as indications of his attitudes toward art for us, where mention is made of the good humor of the Apostle Petrarch noted in the margin: "Hic fust et Simoni nostro naper iocondissimo", a personal eulogy this time of | Finally, in his Pliny (norr Pat.68132 in the Bibliothèque Nationale of Paris), a rich source of art history for him as well as indications of his attitudes toward art for us, where mention is made of the good humor of the Apostle Petrarch noted in the margin: "Hic fust et Simoni nostro naper iocondissimo", a personal eulogy this time of deceased, confirming at the same time that Martini could be the modern Apostle, not a "miglior mastro". This bit of marginalia closed the catalogue of the certainties; but the loss of the portrait of Laura, sought in vain through the succeeding centuries (for example, in the house of Gonzaga at the request of Spinello Aretino) gave rise to various legends. Thus the Martini fresco with Saint George in Notre Dame-des-Doms which came to be destroyed in the last century after a long deterioration, he believed - and had a copy made of the the detail - that he recognized Laura in the Principessa di Trebisonda whose features stand out [show up] somewhat | ||
Latest revision as of 17:45, 9 September 2022
Finally, in his Pliny (norr Pat.68132 in the Bibliothèque Nationale of Paris), a rich source of art history for him as well as indications of his attitudes toward art for us, where mention is made of the good humor of the Apostle Petrarch noted in the margin: "Hic fust et Simoni nostro naper iocondissimo", a personal eulogy this time of deceased, confirming at the same time that Martini could be the modern Apostle, not a "miglior mastro". This bit of marginalia closed the catalogue of the certainties; but the loss of the portrait of Laura, sought in vain through the succeeding centuries (for example, in the house of Gonzaga at the request of Spinello Aretino) gave rise to various legends. Thus the Martini fresco with Saint George in Notre Dame-des-Doms which came to be destroyed in the last century after a long deterioration, he believed - and had a copy made of the the detail - that he recognized Laura in the Principessa di Trebisonda whose features stand out [show up] somewhat