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Updated: June 28, 2025
And to Pierre that escutcheon recalled another memory, that of the portrait of Cassia Boccanera the /amorosa/ and avengeress who had flung herself into the Tiber with her brother Ercole and the corpse of her lover Flavio.
He looked at her now and strengthened himself against temptation by never allowing his eyes to leave her. She seemed to him to have grown taller. She was no longer the playful damsel adorned with bunches of wild-flowers, and casting to the winds gay, gipsy laughter, nor was she the amorosa in white skirts, gracefully bending her slender form as she sauntered lingeringly beside the hedges.
And when matters became too bad altogether, Christine could only throw herself upon the neck of the man she loved. She was pre-eminently an amorosa and would have sacrificed her son for his father twenty times over. It was at this period, however, that Claude resumed work a little.
There was a delightful example of an unknown primitive master, a fourteenth-century Visitation, in which the Virgin had the stature and pure delicacy of a child of ten, whilst the Archangel, huge and superb, inundated her with a stream of dazzling, superhuman love; and in front of this hung an antique family portrait, depicting a very beautiful young girl in a turban, who was thought to be Cassia Boccanera, the amorosa and avengeress who had flung herself into the Tiber with her brother Ercole and the corpse of her lover, Flavio Corradini.
However, the one whom she most hated in the whole world was her own mother, that amorosa who was so little fitted to be a mother, who had never loved her, never paid attention to her, but had abandoned her to the care of servants from her very infancy. In this wise real hatred had grown up between the two women, mute and frigid on the one side, and active and passionate on the other.
There was a delightful example of an unknown primitive master, a fourteenth-century Visitation, in which the Virgin had the stature and pure delicacy of a child of ten, whilst the Archangel, huge and superb, inundated her with a stream of dazzling, superhuman love; and in front of this hung an antique family portrait, depicting a very beautiful young girl in a turban, who was thought to be Cassia Boccanera, the amorosa and avengeress who had flung herself into the Tiber with her brother Ercole and the corpse of her lover, Flavio Corradini.
You simply want to make me suffer, and you lie, you lie!" Eve's grief at last burst forth in that cry of protest. She no longer knew that she was a mother, and was speaking to her daughter. The woman, the /amorosa/, alone remained in her, outraged and exasperated by a rival. And with a sob she confessed the truth: "It is I he loves!
The song ended, the prima amorosa, overcome by what she visibly deemed an appeal to her feelings, declared with some agitation that the hour was late and she must withdraw. Miranda wished the actress an affectionate goodnight and asked the Count to light her to her room, which was on the farther side of the gallery surrounding the courtyard of the inn.
"Indeed, sir," she put in, smoothing down at her peasant-skirt, "I think you first found me lodging upon a bare rock, and even in this new dress it hardly becomes me to be more fastidious." "I was thinking less of the lodgings, Princess, than of the company: though, to be sure, the girls are very good-hearted, and Donna Julia, our prima amorosa, makes a most discreet duenna, off the boards.
"There is no country so rich in it as Italy. These are the arms of the Farfalla, the original owners of this property. Or, seme of twenty roses gules; the crest, on a rose gules, a butterfly or, with wings displayed; and the motto how could the heralds ever have sanctioned such an unheraldic and unheroic motto? Rosa amorosa, Farfalla giojosa, Mi cantano al cuore La gioja e l' amore.
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