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001			78038
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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aND
100	1		_aPriuli-Bon, Lilian, contessa, _d1869-1952
245	1	0	_aSodoma
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2026
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2026-02-25
508			_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)
520			_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.)
534			_pOriginally published: _cLondon: George Bell & Sons, 1900
653			_aSodoma -- 1477?-1549
856	4		_uhttps://archive.org/details/sodoma00priu
856	4	0	_uhttps://www.gutenberg.org/ebooks/78038
999			_c118758 _d118758