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With these and other words he prevailed over Michael Angelo, who excused himself to his companions and took leave of them, gave them what little money he had, and went to lodge with the gentleman. XVI. By this time the House of the Medici, with all their followers, having been hunted out of Florence, came to Bologna and were lodged in the House of the Rossi.
It is the study of this conventional-natural which enables the mime to accomplish remarkable feats; combining it with simple descriptive movements, and a few of the gestures still purely conventional in England, Signor Rossi, in A Pierrot's Life, was able to delight our audiences by his dumb-show narration of the complicated tale of the two pigeons, and Signora Litini in the same piece showed with subtlety a whole gamut of emotions.
In 1845, Count Rossi told Guizot that without the Swiss regiments the government in the Legations and the Marches 'would be overthrown in the twinkling of an eye. The British agent in Rome, writing during the Conclave, bore this out by the statement, which applied not to one portion of the Roman states, but to all, that 'the government could not stand without the protection of Austria and the immediate presence of the Swiss. On the accession of Pius IX., the props, such as they were, which had prevented an earlier collapse of the Temporal Power, were either removed or rendered useless.
'And there, said Marx, at the end of this long rigmarole, 'the matter ended, and I never heard another word about it. One day I learned that Countess Rossi, the renowned Henriette Sontag, who was living in quiet seclusion in Berlin, had pleasant recollections of me in Dresden, and wished me to visit her.
He it was who commissioned him to paint the portrait of Cardinal Giulio, afterwards Pope Clement VII., and it was also at his instance that the imitation Raphael was painted for the Duke of Mantua. The Duke had set his heart on obtaining the picture painted by Raphael representing Leo X. between the Cardinals Giulio and Rossi, and got a promise of it as a gift from Pope Clement.
Why, after having uttered these profound words in his lectures, has M. Rossi thought it his duty to retract them afterwards in a review, and to compromise gratuitously his dignity as a philosopher and an economist?
The most memorable of the eruptions of Etna was that which elevated the double cone of Monte Rossi and destroyed a large part of the city of Catania. It happened in the year 1669, and was preceded by an earthquake, which overthrew the town of Nicolosi, situated ten miles inland from Catania, and about twenty miles from the top of Etna.
But, it will be said, MM. Blanqui and Rossi mean to strike only the ABUSES of competition; they have taken care not to proscribe the PRINCIPLE, and in that they are thoroughly in accord with MM. Reybaud and Dunoyer. I protest against this distinction, in the interest of the fame of the two professors. In fact, abuse has invaded everything, and the exception has become the rule.
Do you not feel that if these martyrs had not come to pray beneath these vaults eighteen hundred years ago, the best part of your soul would not exist? Where will you find a poetry more touching than that of these symbols and of these epitaphs? That admirable De Rossi showed me one at Saint Calixtus last year. My tears flow as I recall it.
In 1865 occurred the sixth centenary of Dante's birthday, and the four greatest Italian actors were invited to perform in Silvio Pellico's tragedy of Francesca di Rimini, which is founded on an episode in the Divina Commedia. The cast originally stood on the play-bills thus: Francesca, Signora Ristori; Lancelotto, Signor Rossi; Paulo, Signor Salvini; and Guido, Signor Majeroni.
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