02876cam a22003133u 450000100060000000300070000600500170001300600020003000700050003200800410003704000110007804100170008905000070010610000450011324500110015826400510016930000470022033600260026733700260029333800360031950000310035550801700038652018140055653400600237065300250243085600450245585600430250099900190254378038UtSlPG20260610134817.0mcr n260607r20261900utu|||||o|||||||||||||| d  aUtSlPG 7aen2iso639-1 4aND1 aPriuli-Bon, Lilian, contessa,d1869-195210aSodoma 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2026-02-25  adeaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  aSodoma by contessa Lilian Priuli-Bon is an art-historical monograph written in the early 20th century. It presents the life, career, and style of the Renaissance painter Giovanni Antonio Bazzi (called Sodoma), reassessing his reputation and situating his major works in Siena and Rome within their patrons, workshops, and influences. The study blends biography, critical analysis, and a catalogue of works to trace his development from Lombard training to Sienese success and Roman commissions.

The opening of the book sketches Sodoma’s place among Renaissance masters, noting Vasari’s bias and the corrective evidence later scholars drew from archives, before recounting his origins in Vercelli, probable birth window, and apprenticeship to Martino Spanzotti. It follows his move to Siena around the turn of the century, his early panels and tondi, and his breakthrough with the Monte Oliveto fresco cycle, where his broader manner, love of animals, and self-portrait emerge alongside issues of composition and restrained color. The narrative then turns to Rome with Agostino Chigi: Sodoma’s ceiling and grisaille panels in the Camera della Segnatura (preserved by Raphael) and the Farnesina scenes of Alexander and Roxana, set against ongoing debates over drawings and attributions. Returning to Tuscany, it highlights the Last Supper near Florence, the powerful Christ Bound to the Column in Siena, the San Bernardino frescoes, the Adoration of the Magi, and the luminous St. George panel for Ferrara, before noting a murky travel period (Mantua, Ferrara, Reggio, likely Lombardy) and his reappearance in Siena in 1525 with the confraternity standard of St. Sebastian—establishing the main themes of his style, patrons, and evolving critical standing. (This is an automatically generated summary.)  pOriginally published:cLondon: George Bell & Sons, 1900  aSodoma -- 1477?-15494 uhttps://archive.org/details/sodoma00priu40uhttps://www.gutenberg.org/ebooks/78038  c118758d118758