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'If any had told me that I ever could have talked thus freely and openly with an Austrian soldier, I'd not have believed him, said she at length, 'for all my sympathies in Italy were with the National party. 'But we were not the "Barbari" in your recollection, mademoiselle, said he. 'We were out of Italy before you could have any feeling for either party.
Even the rude and unpolished Orations of Cato are a proof of this; as are likewise all our poets, except in particular instances, in which they were obliged to admit a few breaks, to preserve their metre. Thus we find in Naevius, "Vos QUI ACCOLITIS histrum FLUVIUM ATQUE ALGIDUM." And in another place, "Quam nunquam vobis GRAII ATQUE Barbari." But Ennius admits it only once, when he says,
In the Venice Academy, also by Gentile Bellini, who introduces her and her attendant ladies kneeling in the foreground, to the left, in his well-known "Miracle of the True Cross," dated 1500. In the Berlin Gallery, by Jacopo de' Barbari, where she appears kneeling in a composition of the "Madonna and Child and Saints." Pourtalès Collection, Berlin
'I will try and sell my estate to some man I know something of, he articulated, not without faltering, 'or perhaps the peasants themselves will want to buy their freedom. 'That would be best of all, Frau Lenore agreed. 'Though indeed selling live people ... 'Barbari! grumbled Pantaleone, who showed himself behind Emil in the doorway, shook his topknot, and vanished.
There were elements enough of hate, and Germany had given them all focus. "Fuori i Barbari!" I bought a sheet from the old woman who went hurrying up the street shouting hoarsely, "Fuori i Barbari!" ... "Fuori i Barbari!" ... "Barbari!".... The Politician Speaks Giovanni Giolitti came to Rome, a few days after the Lusitania affair.
I do not say that it is impossible to conceive of either, only that such cursory reference to such conceptions is extremely strange. Again, if work by Jacopo de' Barbari is referred to, it might very well have been seen elsewhere than at Venice eleven years ago; and indeed the last sentence in the passage might be taken to imply as much.
Here or elsewhere, at any rate, he came under the influence of the Bellini, of Mantegna, and more particularly of Jacopo dei Barbari the painter and engraver to whom he owed the incentive to study the proportions of the human body a study which henceforth became the most absorbing interest of his life. "I was four years absent from Nuremberg," he records, "and then my father recalled me.
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