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Updated: June 5, 2025
Considering how much account even two soldi are to these poor people, I was really angry when I heard the copper shower. Every member of the party had his or her pennies ready, and dropped them into the boxes. Whether it was the effect of the bad morning, or the ugliness of a very ill-designed barocco building, or the fault of the fat oily priest, I know not.
It ceased at last to be possible to express modern ideas freely in the correct Latinity required by cultivated ears, while no room for originality, no scope for poetry of invention, remained in the elaborated method of the architects. Neo-Latin literature dwindled away to nothing, and Palladio was followed by the violent reactionaries of the barocco mannerism.
Above the settle hung a painfully realistic crucifix; on the wall at the opposite end a large barocco picture represented Saint Ursula in glory with the Eleven Thousand Virgins of Cologne. Opposite the windows there was a bad copy of a portrait of Paul III., the Pope who first established the order.
A farewell to these memories of Urbino's dukedom should be taken in the crypt of the cathedral, where Francesco Maria II., the last Duke, buried his only son and all his temporal hopes. The place is scarcely solemn. Its dreary barocco emblems mar the dignity of death. A bulky Piet
Then, again, in the first half of the sixteenth century it anticipated the rhetoric of the barocco period the eloquence of seventeenth-century divines, Dutch poets, Jesuit pulpiteers. Aretino's originality consisted in his precocious divination of a whole new age of taste and style, which was destined to supersede the purer graces of the Renaissance.
The third, again comprising about forty years, from 1540 to 1580, leads onward to the reign of mannerism and exaggeration, called by the Italians barocco. In itself the third period is distinguished by a scrupulous purism bordering upon pedantry, strict adherence to theoretical rules, and sacrifice of inventive qualities to established canons.
Francesco Mazzola, called Il Parmigianino, followed him so closely that his frescoes at Parma are hardly distinguishable from the master's; while Federigo Baroccio at Urbino endeavoured to preserve the sensuous and almost childish sweetness of his style in its integrity. But the real attraction of Correggio was only felt when the new barocco architecture called for a new kind of decoration.
The palace, at that time known as the Palazzo, or 'Palazzetto, Borgia, was externally a very good specimen of Renascence architecture of the period when the florid, 'barocco' style had not yet got the upper hand in Rome.
By producing one limb of the cross into a nave, destroying the colonnade and portico, and erecting a huge façade of barocco design, his followers threw the interior effect of the cupola into a subordinate position, and externally crushed it out of view, except at a great distance. In like manner they dealt with every particular of his plan.
Standing up at a tall, shabby, slanting desk, his silver-rimmed spectacles pushed up high on his forehead, he was eating a mutton-chop, which had been just brought to him from some Dickensian eating-house round the corner. Without ceasing to eat he turned to me his florid, barocco apostle's face with an expression of inquiry.
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