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The Lives of the Artists
Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Giorgio Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art.
Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, dominated by the titanic figures of Leonardo, Raphael, and Michelangelo.
This specially commissioned translation contains thirty-six of the most important lives as well as an introduction and explanatory notes.
About the Series:
For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
624 pages, Paperback
First published January 1, 1550
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About the author
Giorgio Vasari
1,000 books148 followersGiorgio Vasari was an Italian painter and architect, known for his famous biographies of Italian artists.
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Displaying 1 - 30 of 185 reviews
January 1, 2024
I love this book. It’s got everything. And I don’t just mean all those facts and figures you’d expect to get out of this kind of collection. It’s way beyond a straight encyclopedia of the great and good in Italy’s Renaissance infancy and bloom.
No mean artist himself, what Vasari delivers is full of punch. Thirty-six lives in this edition, up close and very personal. All top-of-the-tree professionals. Some high-strung, quick-tempered, competitive, sure of their own worth. Others are humble, welcoming solitude, always seeking new learning. Admired by popes and princes. Not always paid according to their worth. Sometimes not paid at all.
Vasari’s passion for art and his undoubted standing as an art critic make this an uplifting and very informative read. Take the essays one at a time and enjoy meeting some of his good friends and colleagues. It’s a rare privilege.
No mean artist himself, what Vasari delivers is full of punch. Thirty-six lives in this edition, up close and very personal. All top-of-the-tree professionals. Some high-strung, quick-tempered, competitive, sure of their own worth. Others are humble, welcoming solitude, always seeking new learning. Admired by popes and princes. Not always paid according to their worth. Sometimes not paid at all.
Vasari’s passion for art and his undoubted standing as an art critic make this an uplifting and very informative read. Take the essays one at a time and enjoy meeting some of his good friends and colleagues. It’s a rare privilege.
October 8, 2020
I think I’m actually reading the unabridged version, which is sooooo much longer than this version.
December 9, 2021
“The best way [to be informed about Leonardo and his contemporaries] will be to read their Lives, done by Vasari.”
“O listen to the malignant Vasari, he says that the rivals of Titian were not men of valor when these … all … were painters of great importance.”
About Vasari himself we know an extraordinary amount, not only from his own writings—in the edition of 1568 he included an explanation of his own life and works—but also from surviving materials that document his life at the court of Cosimo I and his eventful exchanges with so many of the patrons and literati of the period.
He was born in Arezzo, on 30 July 1511, the first of six children of Antonio di Giorgio Vasari and Maddelena Tacci.
Antonio, as Vasari put it in a letter to a friend, was a deprived citizen and artisan but he married well and he was able to provide Vasari with his first schooling in Arezzo and some instruction in art from the French glass painter Guillaume de Marçillat who was working then in the Cathedral.
But in 1524, when he was 13 years old, Vasari was taken to Florence by Cardinal Silvio Passerini, if not a quite notorious character, where he continued his formal education under Pierio Valeriano, tutor to the two young members of the Medici family, Alessandro and Ippolito; he studied also in the workshops of Andrea del Sarto and Baccio Bandinelli.
This was a beginning; and if for a short time, after the unexpected death of his father in 1527, he was forced to work for goldsmiths to make much-needed money—an experience he found disgraceful to recall—he was set now on a professional course that, if all went well, could assure him success, as he put it, both through his efforts and energy and also, as we can see, from the contacts he had made with patrons, famous and less famous, individuals like Bindo Altoviti or Sforza Almeni—it was the latter, as ducal chamberlain, who would help Vasari’s progression at the court—or religious groups like the Compagnia del Gesù in Cortona or then in Rome with patrons like the Farnese or the popes Julius III and Pius V and then lastly in Florence with Duke Cosimo I, into whose service in 1554 he entered with an annual stipend of 300 ducats.
On trips to Rome and Venice, Vasari saw work by the greatest artists of his age. He became interested in their lives and their influences, collected old drawings and studied ancient Roman art and architecture. Increasingly he began to build up ideas about the path from ancient art to modern.
In 1550 he published his book Lives of the Artists – in full, Le Vite de’ Più Eccellenti Pittori, Scultori, ed Architettori (The Lives of the Most Eminent Painters, Sculptors and Architects).
Biographies of artists had been published in the past; Vasari’s great innovation was a series of introductory articles describing the historical trends that his choice of artists illustrated. With the publication of his book, Vasari became the world’s first art historian.
There is Vasari the painter, Vasari the architect and courtier, Vasari the academician and, last but not least, Vasari the author whose name—and we have to consider carefully what this claim means—appears on the title page of his text, Le vite de’ più eccellenti architetti, pittori e scultori, published first in 1550 and then again in 1568 in an enlarged edition.
He broke his history down into three stages:
a) the classical period of Roman antiquity, a high point;
b) the decline of art thereafter in the Dark Ages; and
c) its rebirth from the 14th century onward, thanks to Cimabue and Giotto, culminating in the genius of Leonardo da Vinci and Michelangelo.
At the time, his friend and teacher Michelangelo was the only living artist included in the encyclopaedia.
A second, expanded edition appeared in 1568, which included more living artists and even some from Venice.
This version, extensively translated, remains the stencil for biographical encyclopedias to this day.
The first English translation was a short plagiarised version, published in 1685 and presented as William Aglionby’s own work under the title Painting Illustrated in Three Dialogues.
Aglionby did, however, add some German and English artists to the contents. Vasari was unquestionably biased supportive of Italian art, and especially Florentine art.
In the first edition he did not include a single artist from Venice, Florence’s rival city-state. He was the first to use the word ‘Renaissance’ in a cultural context; and he also coined the term ‘Gothic Art’ in describing the creative resurgence of northern Europe.
The biographies of earlier artists were rather poorly researched and have been much corrected by later art historians.
But Vasari’s writing about the artists of the Renaissance is a rich resource, as are his descriptions of the artistic techniques of the day.
His psychiatry of the growth of the Renaissance is still the accepted history of the period, even if modern scholars now allow that it happened not just in Vasari’s Rome and Florence but all through Europe.
“O listen to the malignant Vasari, he says that the rivals of Titian were not men of valor when these … all … were painters of great importance.”
About Vasari himself we know an extraordinary amount, not only from his own writings—in the edition of 1568 he included an explanation of his own life and works—but also from surviving materials that document his life at the court of Cosimo I and his eventful exchanges with so many of the patrons and literati of the period.
He was born in Arezzo, on 30 July 1511, the first of six children of Antonio di Giorgio Vasari and Maddelena Tacci.
Antonio, as Vasari put it in a letter to a friend, was a deprived citizen and artisan but he married well and he was able to provide Vasari with his first schooling in Arezzo and some instruction in art from the French glass painter Guillaume de Marçillat who was working then in the Cathedral.
But in 1524, when he was 13 years old, Vasari was taken to Florence by Cardinal Silvio Passerini, if not a quite notorious character, where he continued his formal education under Pierio Valeriano, tutor to the two young members of the Medici family, Alessandro and Ippolito; he studied also in the workshops of Andrea del Sarto and Baccio Bandinelli.
This was a beginning; and if for a short time, after the unexpected death of his father in 1527, he was forced to work for goldsmiths to make much-needed money—an experience he found disgraceful to recall—he was set now on a professional course that, if all went well, could assure him success, as he put it, both through his efforts and energy and also, as we can see, from the contacts he had made with patrons, famous and less famous, individuals like Bindo Altoviti or Sforza Almeni—it was the latter, as ducal chamberlain, who would help Vasari’s progression at the court—or religious groups like the Compagnia del Gesù in Cortona or then in Rome with patrons like the Farnese or the popes Julius III and Pius V and then lastly in Florence with Duke Cosimo I, into whose service in 1554 he entered with an annual stipend of 300 ducats.
On trips to Rome and Venice, Vasari saw work by the greatest artists of his age. He became interested in their lives and their influences, collected old drawings and studied ancient Roman art and architecture. Increasingly he began to build up ideas about the path from ancient art to modern.
In 1550 he published his book Lives of the Artists – in full, Le Vite de’ Più Eccellenti Pittori, Scultori, ed Architettori (The Lives of the Most Eminent Painters, Sculptors and Architects).
Biographies of artists had been published in the past; Vasari’s great innovation was a series of introductory articles describing the historical trends that his choice of artists illustrated. With the publication of his book, Vasari became the world’s first art historian.
There is Vasari the painter, Vasari the architect and courtier, Vasari the academician and, last but not least, Vasari the author whose name—and we have to consider carefully what this claim means—appears on the title page of his text, Le vite de’ più eccellenti architetti, pittori e scultori, published first in 1550 and then again in 1568 in an enlarged edition.
He broke his history down into three stages:
a) the classical period of Roman antiquity, a high point;
b) the decline of art thereafter in the Dark Ages; and
c) its rebirth from the 14th century onward, thanks to Cimabue and Giotto, culminating in the genius of Leonardo da Vinci and Michelangelo.
At the time, his friend and teacher Michelangelo was the only living artist included in the encyclopaedia.
A second, expanded edition appeared in 1568, which included more living artists and even some from Venice.
This version, extensively translated, remains the stencil for biographical encyclopedias to this day.
The first English translation was a short plagiarised version, published in 1685 and presented as William Aglionby’s own work under the title Painting Illustrated in Three Dialogues.
Aglionby did, however, add some German and English artists to the contents. Vasari was unquestionably biased supportive of Italian art, and especially Florentine art.
In the first edition he did not include a single artist from Venice, Florence’s rival city-state. He was the first to use the word ‘Renaissance’ in a cultural context; and he also coined the term ‘Gothic Art’ in describing the creative resurgence of northern Europe.
The biographies of earlier artists were rather poorly researched and have been much corrected by later art historians.
But Vasari’s writing about the artists of the Renaissance is a rich resource, as are his descriptions of the artistic techniques of the day.
His psychiatry of the growth of the Renaissance is still the accepted history of the period, even if modern scholars now allow that it happened not just in Vasari’s Rome and Florence but all through Europe.
June 2, 2019
When you hold this book on your hand (or in your Kindle!), just remember what a privilege it is to google every artist while reading the chapters and seeing the beautiful art Vasari is writing about. a privilege deprived of generations of people reading this old book in the past, who could only guess what the works he describes actually looked like.
Giotto’s perfect O, Brunelleschi challenging competitive architects on how to balance an egg, Raphael convincing the pope to give Michelangelo the job to paint the vault of the Sistine Chapel in hope he would fail, only to end up creating the best painting in history... whether true or not, these anecdotes are now magical myths going through the generations, and I loved the way is romantically writing about. Not just a collection of biographies, Vasari is surprisingly a good storyteller as well, finding the connections and continuity between the artists and along the years and the development in the arts.
This book took me a relatively long time to finish. It is far from neutral and Vasari’s judgment is sometimes obviously (more on that in the film I recommend at the end of this review). Of course, it can get boring at times when reading of an artist you never heard about and going through long passages on his work, and from what I understand, this edited version doesn’t even include all the artists he wrote about. but the language (or translation) is surprisingly fluent for a book almost 500 years old, and one shouldn’t forget that Vasari had almost no art history source to study from or professional methods of writing about art to follow.
For all this and more, the importance of this book cannot be stressed enough.
I strongly recommend to watch along with this book the wonderful bbc documentary of Andrew graham Dixon - “travels with Vasari”, which will give you an extra dimension to understand his accomplishment, and is served with the passionate and fun way of mr. Dixon.
Giotto’s perfect O, Brunelleschi challenging competitive architects on how to balance an egg, Raphael convincing the pope to give Michelangelo the job to paint the vault of the Sistine Chapel in hope he would fail, only to end up creating the best painting in history... whether true or not, these anecdotes are now magical myths going through the generations, and I loved the way is romantically writing about. Not just a collection of biographies, Vasari is surprisingly a good storyteller as well, finding the connections and continuity between the artists and along the years and the development in the arts.
This book took me a relatively long time to finish. It is far from neutral and Vasari’s judgment is sometimes obviously (more on that in the film I recommend at the end of this review). Of course, it can get boring at times when reading of an artist you never heard about and going through long passages on his work, and from what I understand, this edited version doesn’t even include all the artists he wrote about. but the language (or translation) is surprisingly fluent for a book almost 500 years old, and one shouldn’t forget that Vasari had almost no art history source to study from or professional methods of writing about art to follow.
For all this and more, the importance of this book cannot be stressed enough.
I strongly recommend to watch along with this book the wonderful bbc documentary of Andrew graham Dixon - “travels with Vasari”, which will give you an extra dimension to understand his accomplishment, and is served with the passionate and fun way of mr. Dixon.
July 1, 2023
Lots of info on many incredibly influential artists yet all I can think about is the man who was supposed to paint a chameleon but didn't know what they looked like so used a camel instead. Iconic.
December 21, 2024
A great piece of work capturing anecdotes of many great artists from Cimabue to Titian. Here are a few examples.
Filipino Brunelleschi (1377-1446): When discussing how to build the dome (Florentine Duomo), Filippo declared that he has a scheme to build it w/o too many beams or a mound, he was laughed at, mocked, and even carried out of the hearing by several young men. Later on, he challenged them to erect an egg on one end, nobody could, and after Filippo cracked the bottom, everybody said they could have done the same. Filippo then declared that if he show them how to raise the dome, they would say the same thing too.
Sandro Botticelli (1445-1510): He was apparently a follower of Savonarola's faction, which led him to abandon painting; unable to make enough to live on, he fell into the direst of straits. He eventually found himself both old and poor, and if Lorenzo de' Medici had not asisted him financially during the rest of his life, he would almost have starved to death.
Raphael (1483-1520): When his dear friend Agostino Chigi commissioned him to paint the first loggia in his palace, Raphael could not really put his mind to his work because of his love for one of his mistresses; Agostino became so desperate over this that through his own efforts and with the assistance of others, he finally managed to bring this woman of Raphael's to come and stay with him on a constant basis in the section of the house where Raphael was working, and that was the reason why the work came to be finished.
Later on, Raphael realized that the style he had adopted from Pietro as a young boy became a great impediment and burden to him; he then purified and rid himself of Pietro's style in order to learn that of Michelangelo, which was fraught with difficulties in all its details. Thus, from a master Raphael almost transformed himself into a new pupil; and he strove with incredible intensity to achieve in a few months as a grown man “what should have required the tender age of youth, when everything is more easily learned, and the space of many years”.
Filipino Brunelleschi (1377-1446): When discussing how to build the dome (Florentine Duomo), Filippo declared that he has a scheme to build it w/o too many beams or a mound, he was laughed at, mocked, and even carried out of the hearing by several young men. Later on, he challenged them to erect an egg on one end, nobody could, and after Filippo cracked the bottom, everybody said they could have done the same. Filippo then declared that if he show them how to raise the dome, they would say the same thing too.
Sandro Botticelli (1445-1510): He was apparently a follower of Savonarola's faction, which led him to abandon painting; unable to make enough to live on, he fell into the direst of straits. He eventually found himself both old and poor, and if Lorenzo de' Medici had not asisted him financially during the rest of his life, he would almost have starved to death.
Raphael (1483-1520): When his dear friend Agostino Chigi commissioned him to paint the first loggia in his palace, Raphael could not really put his mind to his work because of his love for one of his mistresses; Agostino became so desperate over this that through his own efforts and with the assistance of others, he finally managed to bring this woman of Raphael's to come and stay with him on a constant basis in the section of the house where Raphael was working, and that was the reason why the work came to be finished.
Later on, Raphael realized that the style he had adopted from Pietro as a young boy became a great impediment and burden to him; he then purified and rid himself of Pietro's style in order to learn that of Michelangelo, which was fraught with difficulties in all its details. Thus, from a master Raphael almost transformed himself into a new pupil; and he strove with incredible intensity to achieve in a few months as a grown man “what should have required the tender age of youth, when everything is more easily learned, and the space of many years”.
April 4, 2020
Didn't hate it, didn't love it. It felt repetitive after the 200th page and it became more about finishing rather than learning about Renaissance artists.
Read
June 2, 2023almost too much to talk abt ,, such a perfect piece of textual history too? This feels like the sort of lost text that scholars dream of. but it's real! Vasari is ofc not exactly an objective source but it's really enjoyable sensing how committed he feels to providing INFORMAtIOn, rather than developing some sort of 16th century burn book ..
the text kind of slides & builds towards, Michelangelo,,, Vasari's teacher. At this point it's somewhere between a love letter and hagiography but it doesn't feel sycophantic . maybe it approaches accuracy.
somebody here points out that our relationship with this text is transformed by being able to google the artworks he's talking about. this is true
the text kind of slides & builds towards, Michelangelo,,, Vasari's teacher. At this point it's somewhere between a love letter and hagiography but it doesn't feel sycophantic . maybe it approaches accuracy.
somebody here points out that our relationship with this text is transformed by being able to google the artworks he's talking about. this is true
August 25, 2024
Delightful. Vasari’s generous portraits elevate artists from craftsmen into intellectuals/geniuses.
July 27, 2011
I read most of this when I was in college, studying art history. For fun. And maybe to impress my professor because I was taking a survey course of Italian Renaissance art.
I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF's.
It's fun if you're into art history or if you're interested in totally non-objective information on art and artists.
I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF's.
It's fun if you're into art history or if you're interested in totally non-objective information on art and artists.
Read
February 23, 2023read excerpts of this for my italian renaissance class. the michelangelo chapter was the longest thing i’ve ever read i swear
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January 10, 2024I would like to go back to this style of criticism. My thesis will be written in this style. He was good bc I say so and God ordained it. Next! No citations. No footnotes. The dream.
May 3, 2013
Bible of Renaissance Art lovers. Written by Giorgio Vasari who was an artist himself and lived roughly few decades after main renaissance events (that's why a lot of evidences and judgements from "The lives of the Artists" are disputed by modern specialists). The book is structured as a collection of biographic stories with a strong emphasis on concrete works of art that Vasari saw himself and his impressions on those. As I understand, as a Florentine Vasari showed whole renaissance art scene with a strong accent of that city, but even if so I haven't found some great artist of the period I adore who wasn't present in the book.
February 26, 2020
i just love to see ye olde man pop off at each other about pigment sourcing, sexual proclivities, and noble patrons. it always manages to be hilarious, informative, and puts matters into perspective considering that few but the very haute academic care today if Luigi Bruccio or somesuch lad preferred to play catcher rather than pitcher.
November 16, 2007
This is my first candidate for the "what if you were marooned on a desert island" list.
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August 4, 2025Giorgio Vasari’s "The Lives of the Artists" serves as a foundational chronicle of Renaissance art, capturing the sweeping transformation of culture and aesthetics through the stories of the painters, sculptors, and architects who pioneered it. Vasari, writing in the 16th century, offers not just a historical account but a vibrant narrative of how individual artists - through innovation, struggle, and genius - brought about one of the most influential artistic periods in Western history. This book is not merely about biographies; it is a deep meditation on how art shifted from rigid, symbolic representation to a dynamic, human-centered expression of reality.
The story begins with Cimabue, whose departure from the Byzantine tradition set the Renaissance in motion. At a time when art was flat, decorative, and abstract, Cimabue dared to introduce shading and human expression. His figures were imbued with mass and weight, a subtle nod toward realism that changed the trajectory of Western art. His Madonna figures, rather than appearing aloof or divine in an unreachable sense, gained emotional relatability. Though his works still carried traces of Byzantine style, Cimabue's innovations paved the way for a new era. Importantly, his mentorship of Giotto ensured that his legacy would not end with him.
Giotto, arguably the first true Renaissance painter, took Cimabue’s vision and pushed it further. He broke with convention by introducing a sense of spatial depth and emotional nuance that made religious narratives feel deeply human. In his frescoes in the Arena Chapel, Giotto captured sorrow, awe, and joy with gestures and expressions that viewers could connect with. His manipulation of perspective and architectural elements placed his figures in believable environments, transforming them from icons into people. This shift made painting a vehicle for storytelling and empathy, not just worship or decoration.
In architecture, Arnolfo di Cambio began reimagining space not as a means of fortification but as a symbol of civic and spiritual identity. His vision for the Florence Cathedral combined Gothic structural features with a design philosophy that emphasized beauty and scale. He brought elegance into public spaces, bridging utility and artistry. His contributions, including the initial designs for the Palazzo Vecchio, merged symmetry and grandeur, turning buildings into visual representations of Florence’s emerging Renaissance identity.
Sculpture underwent its own rebirth with Donatello, who infused stone and bronze with life and emotion. Unlike the stoic, generic figures of the medieval era, Donatello’s sculptures portrayed individuality and vulnerability. His bronze 'David', youthful and contemplative, stood in stark contrast to the idealized heroes of previous eras. He also mastered the low-relief technique of 'schiacciato', manipulating depth on shallow surfaces to achieve narrative complexity. His Mary Magdalene, carved from wood, presented a raw, almost painful emotional reality that was previously unheard of in religious art.
Perhaps no figure embodies the intersection of art and science more fully than Filippo Brunelleschi. By developing linear perspective, he gave artists a mathematical framework to create realistic spatial illusions. His architectural innovations, especially the dome of the Florence Cathedral, demonstrated his mastery of engineering and vision. The double-shell dome, constructed without traditional scaffolding, was both an aesthetic and structural marvel. Brunelleschi’s ideas transformed buildings from static forms into experiences of balance and proportion.
Leonardo da Vinci exemplified the Renaissance ideal of the polymath. His work fused painting with deep scientific inquiry, from anatomy to fluid mechanics. In the 'Mona Lisa', his use of 'sfumato' brought about a level of subtlety and realism that transcended anything previously seen. His anatomical drawings weren’t just functional diagrams - they were works of art in their own right, demonstrating his belief in the unity of all forms of knowledge. Leonardo’s imagination extended into engineering, architecture, and even flight, illustrating how art could not be separated from a broader understanding of the world.
Michelangelo’s genius lay in his ability to command multiple mediums - sculpture, painting, and architecture - with equal brilliance. His marble 'David' became a symbol of human strength and civic pride. With the Sistine Chapel ceiling, he elevated fresco painting to an epic, dramatic scale, balancing dynamic compositions with profound theological themes. Even in architecture, his work on St. Peter’s Basilica redefined how religious space could reflect spiritual aspiration. Michelangelo’s relentless pursuit of perfection and emotional resonance in every piece reflected the Renaissance’s faith in the power of individual genius.
Underlying the Renaissance explosion of creativity was a unique blend of rivalry and cooperation. Artists were often in fierce competition - Brunelleschi and Ghiberti’s battle for the Baptistery doors being one prominent example. Yet this tension spurred innovation rather than division. Collaborations in large workshops, like those required for cathedral construction or fresco cycles, allowed ideas to flourish and skills to develop collectively. The mutual respect, even amid competition, between figures like Michelangelo and Raphael reflects how peer influence drove artistic evolution.
The debate over whether painting or sculpture was the superior medium further reflects the period’s intellectual vigor. Sculptors emphasized their art’s physical permanence and ability to mimic life in three dimensions, while painters argued for the emotive power of color and narrative versatility. This dialogue wasn't merely academic - it shaped artistic techniques, influenced commissions, and pushed both mediums toward new heights. The back-and-forth fueled innovation, prompting artists to incorporate the strengths of the other medium into their own practice.
Vasari’s work captures not only the personalities and achievements of these artists but also the broader cultural movement that they helped shape. His biographies link individual artistic development to the values of the time - humanism, curiosity, and the rediscovery of classical ideals. By treating artists as subjects worthy of deep analysis, Vasari elevated the role of the artist from artisan to intellectual, from laborer to creator. His narrative structure itself mirrors the Renaissance belief in progress, as he traces the development of art from Cimabue’s modest shifts to Michelangelo’s full embodiment of artistic perfection.
In conclusion, "The Lives of the Artists" is more than a record of historical figures - it is a sweeping account of a revolution in human thought and expression. Through the lives of its central characters, Vasari illuminates how art became a powerful force for reflecting and shaping the human experience. Their breakthroughs in form, emotion, and structure laid the groundwork for modern aesthetics, proving that the act of creation can also be an act of transformation. The Renaissance artists’ legacy endures not only in their masterpieces but in the very way we understand the potential of art to change the world.
The story begins with Cimabue, whose departure from the Byzantine tradition set the Renaissance in motion. At a time when art was flat, decorative, and abstract, Cimabue dared to introduce shading and human expression. His figures were imbued with mass and weight, a subtle nod toward realism that changed the trajectory of Western art. His Madonna figures, rather than appearing aloof or divine in an unreachable sense, gained emotional relatability. Though his works still carried traces of Byzantine style, Cimabue's innovations paved the way for a new era. Importantly, his mentorship of Giotto ensured that his legacy would not end with him.
Giotto, arguably the first true Renaissance painter, took Cimabue’s vision and pushed it further. He broke with convention by introducing a sense of spatial depth and emotional nuance that made religious narratives feel deeply human. In his frescoes in the Arena Chapel, Giotto captured sorrow, awe, and joy with gestures and expressions that viewers could connect with. His manipulation of perspective and architectural elements placed his figures in believable environments, transforming them from icons into people. This shift made painting a vehicle for storytelling and empathy, not just worship or decoration.
In architecture, Arnolfo di Cambio began reimagining space not as a means of fortification but as a symbol of civic and spiritual identity. His vision for the Florence Cathedral combined Gothic structural features with a design philosophy that emphasized beauty and scale. He brought elegance into public spaces, bridging utility and artistry. His contributions, including the initial designs for the Palazzo Vecchio, merged symmetry and grandeur, turning buildings into visual representations of Florence’s emerging Renaissance identity.
Sculpture underwent its own rebirth with Donatello, who infused stone and bronze with life and emotion. Unlike the stoic, generic figures of the medieval era, Donatello’s sculptures portrayed individuality and vulnerability. His bronze 'David', youthful and contemplative, stood in stark contrast to the idealized heroes of previous eras. He also mastered the low-relief technique of 'schiacciato', manipulating depth on shallow surfaces to achieve narrative complexity. His Mary Magdalene, carved from wood, presented a raw, almost painful emotional reality that was previously unheard of in religious art.
Perhaps no figure embodies the intersection of art and science more fully than Filippo Brunelleschi. By developing linear perspective, he gave artists a mathematical framework to create realistic spatial illusions. His architectural innovations, especially the dome of the Florence Cathedral, demonstrated his mastery of engineering and vision. The double-shell dome, constructed without traditional scaffolding, was both an aesthetic and structural marvel. Brunelleschi’s ideas transformed buildings from static forms into experiences of balance and proportion.
Leonardo da Vinci exemplified the Renaissance ideal of the polymath. His work fused painting with deep scientific inquiry, from anatomy to fluid mechanics. In the 'Mona Lisa', his use of 'sfumato' brought about a level of subtlety and realism that transcended anything previously seen. His anatomical drawings weren’t just functional diagrams - they were works of art in their own right, demonstrating his belief in the unity of all forms of knowledge. Leonardo’s imagination extended into engineering, architecture, and even flight, illustrating how art could not be separated from a broader understanding of the world.
Michelangelo’s genius lay in his ability to command multiple mediums - sculpture, painting, and architecture - with equal brilliance. His marble 'David' became a symbol of human strength and civic pride. With the Sistine Chapel ceiling, he elevated fresco painting to an epic, dramatic scale, balancing dynamic compositions with profound theological themes. Even in architecture, his work on St. Peter’s Basilica redefined how religious space could reflect spiritual aspiration. Michelangelo’s relentless pursuit of perfection and emotional resonance in every piece reflected the Renaissance’s faith in the power of individual genius.
Underlying the Renaissance explosion of creativity was a unique blend of rivalry and cooperation. Artists were often in fierce competition - Brunelleschi and Ghiberti’s battle for the Baptistery doors being one prominent example. Yet this tension spurred innovation rather than division. Collaborations in large workshops, like those required for cathedral construction or fresco cycles, allowed ideas to flourish and skills to develop collectively. The mutual respect, even amid competition, between figures like Michelangelo and Raphael reflects how peer influence drove artistic evolution.
The debate over whether painting or sculpture was the superior medium further reflects the period’s intellectual vigor. Sculptors emphasized their art’s physical permanence and ability to mimic life in three dimensions, while painters argued for the emotive power of color and narrative versatility. This dialogue wasn't merely academic - it shaped artistic techniques, influenced commissions, and pushed both mediums toward new heights. The back-and-forth fueled innovation, prompting artists to incorporate the strengths of the other medium into their own practice.
Vasari’s work captures not only the personalities and achievements of these artists but also the broader cultural movement that they helped shape. His biographies link individual artistic development to the values of the time - humanism, curiosity, and the rediscovery of classical ideals. By treating artists as subjects worthy of deep analysis, Vasari elevated the role of the artist from artisan to intellectual, from laborer to creator. His narrative structure itself mirrors the Renaissance belief in progress, as he traces the development of art from Cimabue’s modest shifts to Michelangelo’s full embodiment of artistic perfection.
In conclusion, "The Lives of the Artists" is more than a record of historical figures - it is a sweeping account of a revolution in human thought and expression. Through the lives of its central characters, Vasari illuminates how art became a powerful force for reflecting and shaping the human experience. Their breakthroughs in form, emotion, and structure laid the groundwork for modern aesthetics, proving that the act of creation can also be an act of transformation. The Renaissance artists’ legacy endures not only in their masterpieces but in the very way we understand the potential of art to change the world.
March 6, 2021
Expecting a somewhat dry book from a 16th Century Italian author, this was easier and more enjoyable to read than I expected. Rather than being formalistic and pompous, this book is full of saucy and funny anecdotes about the Renaissance artists that preceded Vasari, some of whom he knew personally.
The classical roll-call that we know, from Cimabue to Giotto, via Ucello, Bruneleschi, Ghiberti to da Vinci and Michelangelo is often atrributed to Vasari and this is probably correct. However, Vasari has also been accused of being the cause of the traditional neglect of the Northern Renaissance (Flemish, German and Scandinavian art), but this seems unfair having read Vasari's work. He is clearly intent on writing about the artists of Florence and Tuscany with the occasional foray to Mantua, Rome and Venice where it can't be avoided. I found two mentions of German artists (Duerer being one of them), and these were respectful references, just not part of what he set himself out to do.
To my surprise in the introduction Vasari blames the so-called Dark Ages that followed the Roman Empire not just on invading barbarians (Goths, Vandals and Lombards), but also on the narrowminded, bigoted Christian church of the 5th and 6th Century (covered in greater depth in Catherine Nixey's "The Darkening Age"). I would have thought that such an opinion was enough to get one hung, drawn and quartered in Vasari's time, but apparently not so.
It was interesting to read that Vasari describes several of the artists as having been unteachable and wild in their youth, to the despair of their parents, who then palmed them off on nearby goldsmiths or artist studios, and the rest is history. Now we appear to give such children Ritalin and say they suffer from ADHD.... Some progress!
This book is most enjoyable for its anecdotes and interesting snippets of information, such as that Michelangelo's magnificent David statue was cut out of a large block of marble messed up by another sculptor, and that was just sitting around because of the mess-up. Or that pope Julius II hit Michelangelo with a stick at one point and threatened to have him "fall" of his scaffolds if he didn't hurry up.... (It took me a little while to realise that when Julius II commissions Michelangelo to paint frescos for the "hall of Sixtus" he is talking about the famous Sistine Chapel).
I was myself lucky enough to see the Sistine Chapel aged 15 on a school trip as well as the "Pieta" in St Peter's (she looks "too young" said a contemporary critic about the marble version of Mary with the body of Jesus in her arms...).
This is well worth reading if you're interested in the history of European art.
The classical roll-call that we know, from Cimabue to Giotto, via Ucello, Bruneleschi, Ghiberti to da Vinci and Michelangelo is often atrributed to Vasari and this is probably correct. However, Vasari has also been accused of being the cause of the traditional neglect of the Northern Renaissance (Flemish, German and Scandinavian art), but this seems unfair having read Vasari's work. He is clearly intent on writing about the artists of Florence and Tuscany with the occasional foray to Mantua, Rome and Venice where it can't be avoided. I found two mentions of German artists (Duerer being one of them), and these were respectful references, just not part of what he set himself out to do.
To my surprise in the introduction Vasari blames the so-called Dark Ages that followed the Roman Empire not just on invading barbarians (Goths, Vandals and Lombards), but also on the narrowminded, bigoted Christian church of the 5th and 6th Century (covered in greater depth in Catherine Nixey's "The Darkening Age"). I would have thought that such an opinion was enough to get one hung, drawn and quartered in Vasari's time, but apparently not so.
It was interesting to read that Vasari describes several of the artists as having been unteachable and wild in their youth, to the despair of their parents, who then palmed them off on nearby goldsmiths or artist studios, and the rest is history. Now we appear to give such children Ritalin and say they suffer from ADHD.... Some progress!
This book is most enjoyable for its anecdotes and interesting snippets of information, such as that Michelangelo's magnificent David statue was cut out of a large block of marble messed up by another sculptor, and that was just sitting around because of the mess-up. Or that pope Julius II hit Michelangelo with a stick at one point and threatened to have him "fall" of his scaffolds if he didn't hurry up.... (It took me a little while to realise that when Julius II commissions Michelangelo to paint frescos for the "hall of Sixtus" he is talking about the famous Sistine Chapel).
I was myself lucky enough to see the Sistine Chapel aged 15 on a school trip as well as the "Pieta" in St Peter's (she looks "too young" said a contemporary critic about the marble version of Mary with the body of Jesus in her arms...).
This is well worth reading if you're interested in the history of European art.
September 28, 2023
Giorgio Vasari
The lives of the artists (1568)
Category: classic
Great classic, Vasari writes about 15 pages about the greatest mind Leonardo as Vinci. Insights into renaissance painting and artistry.
“The greatest gifts are often seen, in the course of nature, rained by celestial influences on human creatures; and sometimes, in supernatural fashion, beauty, grace, and talent are united beyond measure in one single person, in a manner that to whatever such an one turns his attention, his every action is so divine, that, surpassing all other men, it makes itself clearly known as a thing bestowed by God (as it is), and not acquired by human art. This was seen by all mankind in Leonardo da Vinci, in whom, besides a beauty of body never sufficiently extolled, there was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease. In him was great bodily strength, joined to dexterity, with a spirit and courage ever royal and magnanimous; and the fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death.”
The lives of the artists (1568)
Category: classic
Great classic, Vasari writes about 15 pages about the greatest mind Leonardo as Vinci. Insights into renaissance painting and artistry.
“The greatest gifts are often seen, in the course of nature, rained by celestial influences on human creatures; and sometimes, in supernatural fashion, beauty, grace, and talent are united beyond measure in one single person, in a manner that to whatever such an one turns his attention, his every action is so divine, that, surpassing all other men, it makes itself clearly known as a thing bestowed by God (as it is), and not acquired by human art. This was seen by all mankind in Leonardo da Vinci, in whom, besides a beauty of body never sufficiently extolled, there was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease. In him was great bodily strength, joined to dexterity, with a spirit and courage ever royal and magnanimous; and the fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death.”
July 24, 2020
More about artists than art, this book is a fascinating compendium of artists over a 250 year period, documenting how they worked and lived. While there are some curious vignettes of artists illustrating their eccentricity and passion, the parts of the book I loved beat were the parts where Vasari describes the artists’ love of art. How it moves, occupies and elevates artists in powerful ways. Any crafts person, including those of us in technology is likely to find this touching and inspirational.
I sure wish the book had actual illustrations to go with descriptions of the artists’ work. Also, it was a bonus to learn that the author was an artist himself, that lived during the time of Michelangelo! Cool read overall.
I sure wish the book had actual illustrations to go with descriptions of the artists’ work. Also, it was a bonus to learn that the author was an artist himself, that lived during the time of Michelangelo! Cool read overall.
March 14, 2024
This book was positively delightful. I was laughing at Vasari’s witty remarks about the artists throughout. He is an excellent critic and really describes the artworks well. You can also tell how well he understands what goes into creating art, and what it’s like within an artist’s mind. This book mostly covers the Florentine artists that Vasari personally knew. It’s great for me bc I might do a semester in Florence next year.
April 22, 2017
This book is chock full of information of the artists of the Renaissance. I only read sections of it, mostly pertaining to artists whose work I had recently seen on a trip to Florence. It's a bit dry, as in, the artist was born, he did this, then he did that, then he died. It does give a good look at how the artists were perceived in their lifetimes for those who are truly invested in this topic.
March 27, 2020
(Read the introduction and first book, but i’m counting it haha)
Read
January 21, 2024Oh to be such a simp so as to refer to yourself in third person because you've talked with Buonarotti and 🤭oh I'm so modest ihihi🤭
June 18, 2018
This book is very amazing!!
January 6, 2024
Someone left a copy of this book in my apartment in Florence, and since I didn't bring that much reading material with me, I've been reading it in bits and pieces throughout the last few weeks.
If you ever plan to visit Florence, Italy, read this book before you go. Knowing some information about the artists, their methods, their contemporaries, and their intentions can help make the mountains of Renaissance art here more meaningful (and less likely to start to blur together after a couple of the museums). Vasari errs on the side of praising, at least in the chapters that I've read, and he loves Michaelangelo almost to a fault, but since he was once signed up to be an assistant to Michaelangelo, his bias also lends credence to some of his claims. There are even points that were disputed after the first edition of the book that are corrected along the lines of "I asked Michaelangelo about this, and he said that..." I found Vasari's narratives helped me to put two and two together in artistic developments that are scattered across several cathedrals and museums--so it's easier to see the influence between the paintings in this chapel and the painting done somewhere else later.
This is best paired with some internet image searches or books on Renaissance art if you're not already familiar with the field, but that's probably not strictly necessary. I found some parts of the book pretty boring if I didn't know the piece Vasari was talking about.
If you ever plan to visit Florence, Italy, read this book before you go. Knowing some information about the artists, their methods, their contemporaries, and their intentions can help make the mountains of Renaissance art here more meaningful (and less likely to start to blur together after a couple of the museums). Vasari errs on the side of praising, at least in the chapters that I've read, and he loves Michaelangelo almost to a fault, but since he was once signed up to be an assistant to Michaelangelo, his bias also lends credence to some of his claims. There are even points that were disputed after the first edition of the book that are corrected along the lines of "I asked Michaelangelo about this, and he said that..." I found Vasari's narratives helped me to put two and two together in artistic developments that are scattered across several cathedrals and museums--so it's easier to see the influence between the paintings in this chapel and the painting done somewhere else later.
This is best paired with some internet image searches or books on Renaissance art if you're not already familiar with the field, but that's probably not strictly necessary. I found some parts of the book pretty boring if I didn't know the piece Vasari was talking about.
September 9, 2021
Besides the fact that The Lives Of The Artists is not the most accurate, dates, names, events, etc., this is a very important historical document. It has a lot of valuable information and the anecdotes are very entertaining. And it could have been even more interesting to read for an art lover, or anyone who is simply curious, if only it had at least some illustrations. Vasari takes a lot of time to describe the works of the artists in details, but it’s still hard to imagine them. The subject for the art commissions in these days was mostly biblical scenes, some mythology, portraits, and how many times is it possible to be excited to read the description of the nativity or annunciation for example? No matter how much the author was trying to share his admiration and described the beauty of the work, in the world of the visual arts visual information is crucial. Every artist was making the subject unique through their own way of expressing it. So if you are not familiar with some artworks be prepared to use google search, it will undoubtedly enrich your experience.
The creators of this edition, it seems to me, have been either limited by some orders or a budget, or simply not interested to make it into something that helps even more people to fall in love with the Renaissance art. Since I am already in love with it, have enjoyed reading this book anyway.
The creators of this edition, it seems to me, have been either limited by some orders or a budget, or simply not interested to make it into something that helps even more people to fall in love with the Renaissance art. Since I am already in love with it, have enjoyed reading this book anyway.
May 6, 2014
I found this book boring when I tried to read it in Texas, but utterly fascinating and indispensable when I read it in my hotel room in Florence. It really helped make my vacation in Florence meaningful since I spent four days staring up at art filled cathedral ceilings.
Vasari is really just a big gossip,but he really does put things in perspective. (Pun intended). He talks about who squandered his money on his terrible wife and who drank a lot ,but he talks about how Cimabue and Giotto started a new way of seeing things and recovered the art of the past,as well.
I discovered this work by accident and am very glad that I did, as it is the bible of Italian renaissance art biography. I learned SO much when I remembered to take my copy along with me to the museums and cathedrals of Florence. Without my trusted friend Vasari,the beautiful art of Florence might have been one gorgeous ,but bewildering jumble.
A really necessary book for ANYONE going to Florence.
Vasari is really just a big gossip,but he really does put things in perspective. (Pun intended). He talks about who squandered his money on his terrible wife and who drank a lot ,but he talks about how Cimabue and Giotto started a new way of seeing things and recovered the art of the past,as well.
I discovered this work by accident and am very glad that I did, as it is the bible of Italian renaissance art biography. I learned SO much when I remembered to take my copy along with me to the museums and cathedrals of Florence. Without my trusted friend Vasari,the beautiful art of Florence might have been one gorgeous ,but bewildering jumble.
A really necessary book for ANYONE going to Florence.
August 16, 2009
This is a book for those interested in the artists of the Italian Renaissance. I have only read about one of the artists--Perugino--whose later paintings are more to my liking for this period of mostly religious work. Vasari's Lives provides a lot of interesting details of the paintings and the artist.My recommendation is to read only one chapter of an artist a month. You will need to refer to the Web sites for pictures of the paintings.
Want to read
November 5, 2023 Cửa nhôm Xingfa 1 cánh phòng ngủ có những loại nào? Xem ngay!
1. Tổng quan về mẫu cửa nhôm Xingfa 1 cánh phòng ngủ
2. Những mẫu cửa nhôm Xingfa 1 cánh phòng ngủ
2.1. Cửa nhôm Xingfa 1 cánh phòng ngủ kiểu mở trượt
2.2. Mẫu cửa nhôm Xingfa 1 cánh phòng ngủ kiểu mở quay
2.3. Cửa sổ nhôm 1 cánh phòng ngủ
3. Cập nhật ngay giá cửa nhôm Xingfa 1 cánh phòng ngủ
✅ Cửa sổ 1 cánh
✅ Cửa đi mở quay 1 cánh: 1.750.000 VNĐ/m2.
✅ Cửa đi mở trượt 1 cánh: 2.550.000 VNĐ/m2
Cửa nhôm Xingfa 1 cánh phòng ngủ có loại mở quay, mở trượt. Tùy vào công trình thực tế và sở thích bạn sẽ lựa chọn ra thiết kế phù hợp nhất.
Bạn muốn tìm hiểu chi tiết về sản phẩm và những mẫu cửa đẹp sang, sang trọng hãy đọc ngay bài viết. Theo đó, Công ty cửa nhôm Xingfa sẽ tổng hợp thông tin chi tiết và cung cấp tới bạn đọc.
1. Tổng quan về mẫu cửa nhôm Xingfa 1 cánh phòng ngủ
Cửa nhôm Xingfa 1 cánh phòng ngủ hiện đang được sử dụng rộng rãi. Theo đó, dòng này có những đặc điểm nổi bật có thể kể đến như sau:
- Khung nhôm Xingfa có độ dày 2mm – đối với cửa đi và 1.4mm đối với cửa sổ.
- Cửa có 5 màu sắc khác nhau như vân gỗ, xám ghi, nâu cà phê, trắng, đen.
- Kính: Thường dùng các loại kính như phun cát, phun mờ, kính tranh 3D, kính đúc hoa văn.
- Hệ thống phụ kiện cao cấp đảm bảo chất lượng cho sản phẩm.
- Cửa nhôm Xingfa 1 cánh phòng ngủ được trang bị hệ thống chốt đa điểm và gioăng kép. Vì thế, khi đóng khuôn cửa cũng như khung cánh sẽ ép chặt với nhau. Từ đó tạo độ kín khít cùng khả năng cách âm, cách nhiệt tốt.
2. Những mẫu cửa nhôm Xingfa 1 cánh phòng ngủ
Trên thị trường hiện nay có nhiều mẫu cửa nhôm Xingfa 1 cánh đẹp. Khách hàng nên tham khảo ngay những thiết kế dưới đây để sớm đưa ra sự lựa chọn phù hợp:
2.1. Cửa nhôm Xingfa 1 cánh phòng ngủ kiểu mở trượt
Cửa nhôm Xingfa 1 cánh mở trượt có thiết kế hiện đại và tiện lợi. Sản phẩm tạo điểm nhấn thẩm mỹ cho không gian phòng ngủ. Dòng này có cơ chế mở trượt bằng cách đẩy cánh cửa trên thanh ray, giúp tận dụng không gian một cách tối ưu.
Cửa mở trượt thường tận dụng không gian một cách hiệu quả hơn so với các loại cửa khác. Sản phẩm đặc biệt là trong những phòng có diện tích hạn chế. Từ đó giúp bạn tìm thấy không gian sử dụng cho nội thất và hướng tới căn phòng rộng rãi.
2.2. Mẫu cửa nhôm Xingfa 1 cánh phòng ngủ kiểu mở quay
Cửa nhôm Xingfa 1 cánh mở quay có thiết kế đơn giản, tạo sự gọn nhẹ cho không gian. Cửa mở quay với bản lề quay 90 độ cho phép cửa được mở và đóng đơn giản. Điều này tạo sự tiện lợi cho người sử dụng và không gây phiền toái khi mở cửa thường xuyên.
Cửa nhôm Xingfa 1 cánh mở quay thường không chiếm diện tích lớn khi mở,. Điều này giúp tiết kiệm không gian và cho phép bạn tận dụng diện tích phòng ngủ một cách hiệu quả.
Mẫu cửa này thích hợp cho phòng ngủ và được sử dụng phổ biến trong các thiết kế nội thất hiện đại. Đồng thời, sản phẩm tạo điểm nhấn thẩm mỹ, mang lại tính tiện lợi và thoải mái cho không gian nghỉ ngơi.
2.3. Cửa sổ nhôm 1 cánh phòng ngủ
Cửa sổ nhôm Xingfa 1 cánh cho phép tối ưu hóa không gian trong. Phần cánh cửa hướng ra bên ngoài tạo cảm giác mở rộng và thoải mái. Điều này giúp tạo sự kết nối với môi trường bên ngoài. Điển hình như vườn hoặc ban công, mang lại cảm giác thoáng mát trong phòng ngủ.
Các mẫu cửa sổ nhôm Xingfa thường được thiết kế để chịu được mọi điều kiện thời tiết. Chúng có khả năng cách nhiệt và kín gió tốt, giúp bảo vệ phòng ngủ khỏi tác động của thời tiết bên ngoài.
Bề mặt của cửa sổ nhôm Xingfa thường được bao phủ bởi lớp sơn tĩnh điện cao cấp. Điều này giúp bảo vệ cửa sổ khỏi sự phai màu và ảnh hưởng của thời gian. Nhờ vậy giữ cho cửa sổ luôn sáng bóng và thẩm mỹ.
Cửa sổ nhôm Xingfa thường được trang bị các tính năng an toàn và bảo mật như khóa chốt và kính cường lực. Điều này giúp bảo vệ ngôi nhà và tài sản khỏi nguy cơ đột nhập hoặc tai nạn.
Đặc biệt, cửa sổ nhôm Xingfa được thiết kế với tính thẩm mỹ cao. Dòng này có nhiều kiểu dáng và màu sắc khác nhau để phù hợp với thiết kế nội thất của phòng ngủ và ngôi nhà. Sản phẩm mang tới có vẻ ngoại hình đẹp và hiện đại.
3. Cập nhật ngay giá cửa nhôm Xingfa 1 cánh phòng ngủ
Giá cửa nhôm Xingfa 1 cánh phòng ngủ có sự khác biệt đối với từng loại. Bạn nên đọc ngay nội dung dưới đây để cập nhật giá cửa nhôm Xingfa phòng ngủ mới nhất:
✅ Cửa sổ 1 cánh
- Cửa sổ mở hất 1 cánh 1.600.000 VNĐ/m2.
- Cửa sổ mở quay 1 cánh: 1.650.000 VNĐ/m2.
✅ Cửa đi mở quay 1 cánh: 1.750.000 VNĐ/m2.
✅ Cửa đi mở trượt 1 cánh: 2.550.000 VNĐ/m2
Từ những thông tin trên đây có thể thấy mỗi loại cửa sẽ mang một giá trị khác nhau. Tuy nhiên, những con số này chỉ nên tham khảo. Bởi tùy vào từng thời điểm chi phí sẽ tăng hoặc giảm.
Tốt hơn hết, bạn nên kết nối tới Cuanhomxingfanhapkhau.com để cập nhật con số chính xác cũng như kích thước cửa phòng ngủ nhôm kính chuẩn phong thủy. Theo đó, chuyên trang sẽ lắng nghe và mang tới cho bạn những tư vấn chuyên sâu về cửa nhôm Xingfa 1 cánh phòng ngủ.
February 13, 2013
Gave up a mere 2 chapters in. It is very difficult to read about a whole catalogue of paintings when you don't have the pictures in front of you.
I may dip into this again as I come across the artists described on my History of Art course.
I may dip into this again as I come across the artists described on my History of Art course.
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