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The other Venetian room is almost wholly devoted to portraits, chief among them being a red-headed Tintoretto burning furiously, No. 613, and Titian's sly and sinister Caterina Cornaro in her gorgeous dress, No. 648; Piombo's "L'Uomo Ammalato"; Tintoretto's Jacopo Sansovino, the sculptor, the grave old man holding his calipers who made that wonderful Greek Bacchus at the Bargello; Schiavone's ripe, bearded "Ignoto," No. 649, and, perhaps above all, the Moroni, No. 386, black against grey.
"When you get to Monastir, young man," she told him, inaudibly, "you will go straight to bed and we'll see what has to be done with you." "AMMALATO," said Giorgio confidentially, coming abreast of her. "MEDICO IN MONASTIR," said Amanda. "SI, MOLTI MEDICI, MONASTIR," Giorgio agreed.
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