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Updated: June 25, 2025
And to the modest little home in the Strada di Santa Eufemia he hurried as fast as his legs would carry him, as soon as he quitted Signor Fortini. Paolina, on returning home after her conversation with the Contessa Violante in the Cardinal's chapel, had remained there busy with the preparation of her materials for beginning her work at Saint Apollinare on the following day.
Apollinare, as the reader may have conjectured. The police agents had been anxious to produce him there, as the reader knows, and he had baffled their wishes. Now the result which it had been desired that he should contribute to had been brought about, or as good as brought about, without him. What did he want there now?
His architectural works in Istria were considerable; and in Ravenna he consecrated the two churches of S. Vitale and S. Apollinare in Classe, built by Julian, the treasurer. The "feud" consisted of a palace, with its dependencies, and three towers in the city of Pola, and a quantity of land in the district.
Apollinare to make the arrangements needed for the artist's work there, left but little doubt in the old man's mind as to the nature of her emotion. He looked shrewdly and earnestly into her face for a moment; and then turning his eyes to the stretch of road below, answered her: "Certainly, my daughter, that is the Marchese Ludovico. The lady I never saw before as far as I am aware.
They did not exchange a word as they walked to the Piazza Sant' Apollinare to find a cab. Sabina held her head high and looked straight before her, and the Baroness's invisible silk bellows were distinctly audible in the quiet street. "By the hour," said the Baroness, as they got into the first cab they reached on the stand. "Go to the Russian Embassy, in the Corso."
With these thoughts in his mind, Signor Fortini determined to go and see his crony, Signor Pietro Logarini, at the Palazzo del Governo. He found that active and able official just returned from another visit to St. Apollinare in Classe, which appeared not to have been very fruitful of result.
Some idea of the oratorio in its infancy may be gained from this description. Except that the subject had a religious bearing, it differed little from the opera. With Giacomo Carissimi, director of music at San Apollinare, Rome, from 1628 until his death, in 1674, the paths of the two diverged. He laid down lines that have been followed in the oratorio ever since.
Apollinare to look after the preparations for her copying there, she had no other or further intention in her thoughts. To be sure there was the possibility that Ludovico might have known her purpose of going thither, and might have planned to accompany her on her expedition, without having apprized her of any such scheme.
They are certainly very early for work of the Catholic restoration; and yet they remind one strongly of the processions of S. Apollinare Nuovo. If as a whole the design of these mosaics is of the time of the archbishop S. Agnellus, it is curious that the subject of the Baptism should have been used for a church which by his act had ceased to be a baptistery.
The wood at Vistro where the treasure was found was also given to S. Apollinare by Maximian. In 1001 Otho II. gave S. Maria and S. Andrea to the archbishop of Ravenna; afterwards they belonged to S. Mark's, Venice.
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