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Updated: May 28, 2025
"Quite so. I cannot show you Amadeo's eyebrows for the same reason. Nor the muslin. Lovely muslin, my dear: yards of it. Now what we must do is this: we must continue to be interested in psychical things; we mustn't drop them, or seem to be put off them. I wish now I had taken you into my confidence at the beginning and told you about Amadeo's eyebrows."
This was the work of two German masters, called 'Sisto figlio di Enrico Syri da Norimberga' and 'Leonardo Tedesco. The tomb itself is of marble, executed for the most part in a Lombard style resembling Amadeo's, but scarcely worthy of his genius. The whole effect is disappointing.
But the wonderful marble façade, with its great central portal and round-headed windows, its historical reliefs and marvellous wealth of decorative sculpture, is Amadeo's grandest creation.
He appeared first in the character of revolutionist in 1868; then he became the Minister of the Interior in Amadeo's short reign, held somewhat aloof from the wild experiment in a republic of Castelar, joined the party of Don Alfonso on the eve of its success, and supported Cánovas del Castillo in his somewhat retrograde policy in the restoration of the very Bourbon whom he had announced as "banished for ever," and, in fact, by his admirable genius for organising his party, enabled the Government of Cánovas to continue to exist.
Soon after that he began to ill-treat me. I suffered that in silence too, to avoid a public scandal, and more particularly for my father's sake. He would have killed him if he had known. Later later I must tell it you, so that you may grasp the whole situation the villain did all he could to direct King Amadeo's attention to me he had just come to Madrid.
Many may think this interpretation of Amadeo's bass-reliefs far-fetched; yet, such as it is, it agrees with the spirit of humanism, bent ever on harmonizing the two great traditions of the past.
The tomb itself is of marble, executed for the most part in a Lombard style resembling Amadeo's, but scarcely worthy of his genius. The whole effect is disappointing. Five figures representing Mars, Hercules, and three sons-in-law of Colleoni, who surround the sarcophagus of the buried general, are, indeed, almost grotesque.
And then the Princess went into very deep trance, and the spirit that was there took possession of her." "And who was that?" asked Lucia. "His name was Amadeo. She spoke in Amadeo's voice, indeed it was Amadeo who was speaking. He was a Florentine and knew Dante quite well. He materialised; I saw him." A bright glorious vision flashed upon Lucia.
Many may think this interpretation of Amadeo's basreliefs far-fetched; yet, such as it is, it agrees with the spirit of Humanism, bent ever on harmonising the two great traditions of the past.
"I'm not afraid of work, you know," went on Zureda, "but engines are made of iron, and even so they wear out at last and get tired of running. Men are just the same. And when it happens to me, as it's got to, some day, what'll become of us, then?" Calmly Rafaela shook her head. She by no means shared her husband's fears. No doubt Amadeo's sickness had made him timorous and pessimistic.
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