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    Query was: rome
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • time when in the West, under the influence of Rome, men had
    • Greece was overcome, in a spiritual sense Rome herself had been
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-066_St_Jerome.jpg" align=
    • 66. Leonardo da Vinci: St. Jerome. (Vatican. Rome.)
    • (Sistine Chapel. Vatican. Rome.)
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • he went to Rome, he bore his Florence with him, and painting and sculpting
    • feeling into Rome. As an artist he achieved a kind of spiritual conquest
    • over Rome, making Florence arise again in Rome.
    • the new Age. It was now that he first went to Rome, and we may say:
    • In Rome he mourns the loss of what he has experienced as the true
    • than before, he bore his Florence with him into Rome. What was it that
    • Thus Michelangelo carries with him a whole world to Rome, — carries
    • with him something that could never have arisen at that time in Rome
    • penetration into Florence, drove him back again to Rome. And now he
    • He experienced the Rome of his time, — a time whose moral level
    • so to speak, of the Savonarola protest. Rome was seized with anxiety
    • had carried Florence into Rome. With Raphael once again it was different.
    • to Rome. Here we come to that strange magic atmosphere whose presence
    • into Rome; it flows from his creations into our hearts and minds if
    • 22. St. Jerome. (Vatican. Rome.)
    • moving to Rome for the first time, under all the influences which I
    • 31. Pieta. (St. Peter's. Rome.)
    • it is created under the feeling of his coming to Rome. A more or less
    • 34. Separation of Light from Darkness. (Sistine Chapel. Rome.)
    • 35. Creation of Sun, Moon and Earth. (Sistine Chapel. Rome.)
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • 40. Raphael. Disputa. (Vatican. Rome.)
    • of the Law. (Palazzo Barbarini, Rome.)
    • 53. Dürer. St. Jerome in his Cell.
    • Jerome himself. On him the light is also falling, but at the same
    • born, if you take such pictures as his ‘St. Jerome,’ his
    • more, you could compare Dürer's ‘St. Jerome’ with certain
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • ‘St. Jerome,’ or ‘Melancholia,’ for
    • Christianity from the side of Rome. Until the 12th and 13th
    • Middle Europe the systemmatising, formal tendency of Rome was
    • height in Rome, where, we might say, man lived more in the streets
    • Luther went to Rome.
    • No doubt he met one or another of the great painters of Rome on the
    • 26.b. Moses. Michelangelo. Rome.
    • — the time of Raphael and Michelangelo in Rome.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • from Menologion of Basil II (Vatican. Rome. 11th Century.)
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • 12. Raphael. Disputa. (Vatican. Rome.)
    • already marred by Rome; they tried to recreate Christianity themselves
  • Title: History of Art: Lecture IX:
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    • next, the head of Zeus, which is to be seen in Rome:
    • 13. Zeus of Otricoli. (Vatican. Rome.)
    • statues in Rome, here I must say the imitation has become insipid, fatuous.
    • 22. Boy, extracting the Thorn from his Foot. (Rome.)
    • 23. Aphrodite of Cnidos. (Vatican, Rome.)
    • 26. Satyr, by Praxiteles. (Capitol. Rome.)
    • Rome.)
    • 33. Sophocles. (Vatican. Rome.)
    • 35. Plato. (Vatican. Rome.)
    • 40. Laocoön. (Vatican. Rome.)
    • 41. Apollo Belvedere. (Vatican. Rome.)
    • subjugated by Rome. In Rome, to begin with, there was a kind of imitation
    • of the Greek Art. It was carried across to Rome, but it was soon submerged



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