The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



a family of Early Renaissance Italian sculptors and architects.

Bernardo Rossellino. Born in 1409 in Settignano, Tuscany; died Sept. 23, 1464, in Florence. Architect and sculptor.

B. Rossellino collaborated with L. B. Alberti in the construction of the Rucellai Palace in Florence (1446–51). His principal architectural work was the planning and building of the city of Pienza (from 1459), which was the first municipality to embody the humanist concept of an “ideal city.” Among the buildings in Pienza designed by Rossellino is the Piccolomini Palace (1460–64). The clarity and balance distinctive of Rossellino’s architecture are also evident in his sculpture, such as the much-imitated tomb of L. Bruni in the Church of Santa Croce in Florence (marble, 1446–47).

Antonio Rossellino. Born in 1427 in Settignano, Tuscany; died circa 1479 in Florence. Sculptor. Brother and pupil of B. Rossellino.

The sculpture of A. Rossellino, such as Portrait of Giovanni Chellini (1456, marble, Victoria and Albert Museum, London) and the altar of St. Sebastian in the collegiate church in Empoli, Tuscany (c. 1470, marble), is freer in composition than that of his brother. His works are noted for a delicate, painterly modeling of faces and garments.


Planiscig, L. Bernardo und Antonio Rossellino. Vienna [1942].
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The previous attribution, and one I still favour, is to Antonio Rossellino. There are numerous formal similarities with the sculptures of the Cardinal of Portugal's chapel, presumably executed to Rossellino's designs even if not by Rossellino himself, and there are also several specific connections with a little-known product of the Rossellino workshop, the tomb of Francesco Sacrati.
Pope Nicholas V (1447-1455) had the architect Bernardo Rossellino draw up plans for enlarging the Basilica, adding on an apse more prominent than the Constantinian one.
His often bewildering close-ups of Antonio Rossellino's Tomb of the Cardinal of Portugal, 1461-66, for example, emphasize the grace of the cardinal's crossed hands and the delicate grasp of an angel holding a crown.
"I like that one of you holding me as a baby," says Barry to his brother of Rossellino's Madonna and Child 15th century relief.
The background also shows how, simultaneous to the building of Saint Peter's, other structures are demolished, such as the old mausoleum of Saint Andrew, the basilica of Constantine, and the presbytery of Rossellino. Others, according to Sangallo's new plan, are expanded, such as Bramante's vaulting and bay systems.
4) attributed to Bernardo Rossellino or Antonio Rossellino, both in the museum's permanent collection.
Stephen, and the Virgin by Pasquino da Montepilciano, Mino da Fiesole, and Antonio Rossellino (1469-1473); the external pulpit at Prato's cathedral done by Donatello and Michelozzo (1433); and Donatello's double pulpits for San Lorenzo in Florence (1466-1472), depicting scenes from the Passion of Christ.
Such sculptures eventually began to be replaced with marble and bronze, the media preferred by the ancients as in Francesco Botticini and Antonio Rossellino's St.
The juxtaposition of soft and harsh sounds in the final moment of Dante's encounter with the nun could be interpreted in relation to her biography: like Philomel's change, Piccarda's loss of virginity was 'rudely forced' by her brother Corso Donati, who removed her from the convent and forced her to marry Rossellino della Tosa, with whom he sought alliance at the time.
Pius's aim, carried out by his architect Bernardo Rossellino, was to transform the medieval village into a noble, city-state.
Appleby's Chesbury or sample Italian Pecorino Rossellino, a delightful sheep's milk cheese, or maybe savor a taste of Ireland's luscious Coolea.