United States or Timor-Leste ? Vote for the TOP Country of the Week !


"The thanks to Allah," he said, "that it is thou who command this expedition, else might this coves advantages have been neglected." "Not so," said Asad. "Sakr-el-Bahr knows them as well as I do. He has used this vantage point afore-time. It was himself who suggested that this would be the very place in which to await this Spanish craft."

When Stukeley beheld him thus disfigured, and lying apparently inert and but half-conscious upon his bed, he backed away in terror. The Vice-Admiral had seen afore-time the horrible manifestations of the plague, and could not be mistaken here. He fled from the infected air of his kinsman's chamber, and summoned what physicians were available to pronounce and prescribe.

She went down to John's mother, and consulted with her on the propriety of the scheme of wedding her daughter to John in accordance with his proposition. Mrs. Todhunter's jealousy of any disturbing force in the influence she held over her son Mrs. Doria knew to be one of the causes of John's remaining constant to the impression she had afore-time produced on him.

He frowned, and his eyes flashed anger at the strangers as he listened to their words. Siegfried, who had heard the strangers' words, cried eagerly, 'Fear not, O King, I and my warriors will fight for thee, even as afore-time we have done. Well pleased then seemed Gunther at the hero's words.

The shoemaker who made his shoes afore-time, thought he took another measure, but he might have made a mistake before or be mistaken now.

The shoemaker who made his shoes afore-time, thought he took another measure, but he might have made a mistake before or be mistaken now.

But it was borne in upon me that if these gold-braceletted, monocled, wasp-waisted exquisites could go jauntily forth for flirtations with death as afore-time I had seen them going, then also they could be marvelously modest touching on their own performances in the event of their surviving those most fatal blandishments.

I will send for two strange heralds to come to our land. They shall pretend that they have come from our old enemies, Ludegast and Ludeger, and they shall challenge us to battle once again. 'When Siegfried hears that thou must go forth to fight, he will even as afore-time offer to go for thee against the foe.

In August of the same year, 1501, Michael Angelo began the colossal statue of David, that used to stand in the Piazza and is now in the Academy at Florence. The first contract for this work, signed between Michael Angelo, the Arte della Lana, and the Opera del Duomo, is dated August 16, 1501. It states "That the worthy master, Michael Angelo, son of Lodovico Bonarroti, citizen of Florence, has been chosen to fashion, complete, and perfectly finish the male statue, already rough hewn and called the giant, of nine cubits in height, now existing in the workshop of the Cathedral, badly blocked out afore-time by Master Agostino, of Florence. The work shall be completed within the term of the next ensuing two years, dating from September, at a salary of six golden florins per month; and whatever is needful for the accomplishment of this task, as workmen, wood, &c., which he may require, shall be supplied him by the said Operai; and when the said statue is finished, the Consuls and Operai, who shall be in office, shall estimate whether he deserve a larger recompense, and this shall be left to their consciences." Michael Angelo began to work in a wooden shed, erected for that purpose near the Cathedral, on Monday morning, September 13, 1501, and the "David" is said to be almost entirely finished in a note, dated January 25, 1503, when a solemn council of the most important artists, then resident in Florence, met at the Opera del Duomo to consider where the statue should be placed. What an original way of deciding æsthetic questions! They came to the admirable conclusion that the choice of the site should be left to Michael Angelo. Amongst those who spoke at the meeting were Francesco Monciatto, a wood carver, who suggested that the statue should be erected in front of the Duomo, where the block was originally meant to be set up; he was supported by the painters Cosimo Rosselli and Sandro Botticelli. Giuliano da San Gallo proposed to place it under the Loggia dei Lanzi, because "the imperfection of the marble, which is softened by exposure to the air, renders the durability of the statue doubtful." Messer Angelo de Lorenzo Manfidi (second herald) objected because it would break the order of certain ceremonies held in the Loggia. Leonardo da Vinci followed San Gallo; he did not think it would injure the ceremonies. Salvestro, a jeweller, and Filippino Lippi supported Piero di Cosimo, who proposed that the precise spot should be left to the sculptor who made it, "as he will know better how it should be." Michael Angelo elected to have his David set up on the steps of the Palazzo Vecchio, on the right side of the entrance. Its effect in that position may be well seen, appropriately enough, in a picture by the same Piero di Cosimo (No. 895), in the National Gallery, where the Piazza della Signoria forms the background to a portrait of a man in armour. Il Cronaca, Antonio da San Gallo, Baccio d’Agnolo, Bernardo della Cecca, and Michael Angelo were associated in the task of transporting the giant from the workshop near the Duomo to the Piazza della Signoria. It was encased in planks and suspended upright from great beams. "On May 14, 1504, the marble giant was dragged from the Opera. It came out at twenty-four o’clock, and they broke the wall above the door enough to let it pass. That night some stones were thrown at the Colossus with intent to injure it; a watch had to be set over it at night, and it made way very slowly, bound as it was upright, suspended so that the feet were off the ground by enormous beams with much ingenuity. It took four days to reach the Piazza, arriving on the 18th at the hour of twelve. More than forty men were employed to make it go, and there were fourteen logs to go beneath it, which were changed from hand to hand. Afterwards they worked until June 8, 1504, to place it on a pedestal where the Judith used to stand. The Judith was removed and set upon the ground within the palace. The said giant was the work of Michael Angelo Buonarroti." The great marble David stood in the Piazza three hundred and sixty-nine years; it was removed to the hall of the Accademia delle Belle Arti in 1873 for its better preservation. It has suffered very little from its exposure in the fine air of Florence, but the left arm was broken by a huge stone thrown during the tumults of 1527. Giorgio Vasari and his friend Cecchino Salviati collected the broken pieces and brought them to the house of Michael Angelo Salviati, father of Cecchino. They were carefully put together and restored to the statue in 1543. The David was the first work by Michael Angelo that displayed the awe-inspiring quality known as his Terribilit

She went down to John's mother, and consulted with her on the propriety of the scheme of wedding her daughter to John in accordance with his proposition. Mrs. Todhunter's jealousy of any disturbing force in the influence she held over her son Mrs. Doria knew to be one of the causes of John's remaining constant to the impression she had afore-time produced on him.