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A master who gives his attention to cameos at the present day is Giovanni Antonio de' Rossi, an excellent craftsman of Milan, who, in addition to the various beautiful works that he has engraved in relief and in intaglio, has executed for the most illustrious Duke Cosimo de' Medici a very large cameo, one-third of a braccio in height and the same in width, in which he has cut two figures from the waist upwards namely, His Excellency and the most illustrious Duchess Leonora, his consort, who are both holding with their hands a medallion containing a Florence, and beside them are portraits from life of the Prince Don Francesco, Don Giovanni the Cardinal, Don Garzia, Don Ernando, and Don Pietro, together with Donna Isabella and Donna Lucrezia, all their children.
These things look worse at a distance than they do near, although, seen far and near, nothing can be worse than the evidence of demoralisation of people, governors, and journalists, in the sympathy given everywhere to the assassination of poor Rossi.
In person, Signor Rossi is less strikingly handsome than is his rival, Salvini, but he possesses a singularly attractive and pleasing countenance. He is a Piedmontese, blue-eyed and fair-complexioned, with chestnut hair, the abundant locks of which are just touched with gray. He is tall and finely proportioned, with the chest of a Hercules and the hands and feet of a duchess.
Of this work I have been unable to obtain any further information. The theory of development which I have adopted is substantially that elaborated by Rossi. To him belongs the honour of having been the first clearly to indicate the historical steps by which the eclogue passes into the drama.
Though disorders were expected, Rossi made no provision for keeping the space clear round the palace where Parliament met; knots of men, with sinister faces, gathered in all parts of the square.
The assassins were Couriol, who had taken a seat in the cabriolet by the side of the courier; Durochal, Rossi, Vidal, and Dubosq, who had come to meet him on hired horses; and lastly Bernard, who had procured the horses, and took part in the subsequent distribution of plunder.
At the Panada, after we had given our order for dinner, McFarlane would murmur languidly 'Lo stesso' and declare it to be the one useful word in the Italian dictionary; to this Johnson added a mysterious 'Sensa crab' when Rossi suggested 'piccoli fees' under the delusion that he was talking English; while Anthony was quite content with the vocabulary the other two supplied him.
And their conception, even of Art, has been too often on the scale of Properzia de Rossi, who carved sixty-five heads on a walnut, the smallest of all recorded symbols of woman's sphere. All this might perhaps be overcome, if the social prejudice which discourages woman would only reward proportionately those who surmount the discouragement.
In pointing out misery as the necessary condition of industrial and commercial absolutism, M. Rossi seems to say to us: There is your law, your justice, your political economy; there is property.
"Ah, but ZEES awdiense weel nevair hear souch subtle deefferense!" I knew what he meant too the auditorium was filled with hundreds of glassy eyed parents, siblings, and tiny tots; half of them probably could not even spell "viola". Mr. Rossi practically pranced away off to see the numbskull and make another announcement: the soloist was unharmed; the show would go on.
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