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010			_a14020514
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aN
100	1		_aNorton, Richard, _d1872-1918
245	1	0	_aBernini and other studies in the history of art
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-11-24
508			_aRichard Tonsing, deaurider, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"Bernini and other studies in the history of art" by Richard Norton is a collection of art-historical essays written in the early 20th century. The volume reexamines Gian Lorenzo Bernini’s sculpture and architecture while broadening out to issues of portraiture, classical versus Renaissance ideals, and the painter Giorgione. It argues for a fresh appreciation of later Renaissance and Baroque achievement, using close visual analysis, archival traces, and rare illustrations. The opening of this volume begins with a preface explaining the selection of images—especially Bernini’s sketches for St. Peter’s Piazza and a group of sculptor’s models—followed by an extended essay that challenges modern prejudices against 17th‑century art. It defends Bernini as an original, technically dazzling pathbreaker whose aim was sincere expression, not empty virtuosity, and sketches his character through contemporary portraits and his allegory of Truth unveiled by Time. The narrative then surveys his output: early mythological groups (with reservations about David but high praise for Proserpina and Apollo and Daphne), the emotionally charged religious works (angels, Habakkuk, St. Jerome, Daniel, and especially the Saint Theresa), monumental bronzes (the Baldacchino and Cathedra Petri), fountains alive with movement, and incisive portraiture culminating in princely busts like Louis XIV. At the start of the next section, the author introduces a rare cache of Bernini’s clay models (the Brandegee Collection), noting their immediacy and technical finesse, and opens a study of the Vatican piazza drawings that reveals the symbolic program—cruciform figure and world orb—underpinning the colonnades and their urban setting. (This is an automatically generated summary.)
534			_pOriginally published: _cNew York: The Macmillan Company, 1914
653			_aGiorgione, 1477 or 1478-1510
653			_aSculpture
653			_aBernini, Gian Lorenzo, 1598-1680
856	4		_uhttps://archive.org/details/berniniotherstud00nort
856	4	0	_uhttps://www.gutenberg.org/ebooks/77325
999			_c118045 _d118045