Verrocchio:

1435-08, Italian painter, sculptor, and goldsmith, nick named “true eye”or veroocchio; a master of an important workshop in Florence.  Few paintings are attributed to him but he trained many important artiststo include Leonardo da Vinci, Pietro Perugino. His greatest work was in sculpting, his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece.

 

oil-painting of Venice:

In the 16th century Venetian painters were introduced to the oil painting techniques of the Van Eyck brothers of the Netherlands.  Oil painting was an import; the use of the canvas surface was born in Venice in the early Renaissance.  From the late Middle Ages thru the Baroque Venice was a major player in Western painting.  The Bellini brothers (1430-1516) start off and are soon followed by Giorgione (1477-1510), Titian (1489-1576), Tintoretto (1518-94), Paolo Veronese (1528-88).  These painters collectively produced the Venetian school; they give primacy of colour over line, employing a warm colour scale & the picturesque use of colour.

and see Chapter IV page 128

 

Baroque instrumentalmusic:

see Chapter V page 177

 

temple of Poseidon (Paestum):

chapter I, page 30, Chapter VI, page 205

 

Minster of Ulm:

church in Ulm, Baden-Württemberg (Germany).  One of the world’s tallest churches &5th tallest structure built before the 20th century, with a steeple measuring 161.5 metres.  Ulm Minster was begun in the Gothic era but not completed until the late 19th century.

 

Mithrrea:

seeChapter VI page 209

 

Catacombs:

see Chapter III page 107, Chapter VI page 206

 

visage:

the face, usually with reference to shape, features, expression; countenance; aspect; appearance.

 

façade:

the front of a building, especially an imposing or decorative one.

 

Speyer (cathedral):

See chapter VI page 185

 

Reims (spires of):

The twin towers in the west facade have a height of 266 feet but were originally designed to rise 394 ft.  Fire destroyed the roof and the spires in 1481; of the four towers that flanked the transepts, nothing remains above the height of the roof.  The south tower holds just two great bells; one of them, named “Charlotte” by Charles, Cardinal of Lorraine in 1570, weighs more than 11 tons.