Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 28, 2025
From Gaspe, the southeastern promontory at the entrance of the Gulf, the younger rocks of the Appalachian range, constituting the breast-bone of the continent, and culminating at the north in the White Mountains, describe a great curve southwesterly to the valley of the Hudson; and it is between the ridge-like elevations of this range and the older Laurentian Hills that we find the valley of the St.
Soon gathering around it, each was helped to a share: one to a wing with liver or gizzard, another to a thigh-joint with a bit of the breast, a third to the stripped breast-bone, or the back one, with its thin covering of flesh, a fourth to a variety of stray giblets. There was still a savoury sauce remaining in the pan, due to the herb condiments which Saloo had collected.
'I don't want to see you there, sir; I want to see you go, and not stand rapping your breast-bone, sounding like a burst drum, as you are, retorted the unappeasable old man. I begged him in exasperation to keep his similes to himself. Janet and my aunt Dorothy raised their voices. My father said: 'I am broken.
Their necks grew black, much like black oak in old houses. Their open chests were always bare, and flat, and stark, and never rising with rounded bust-like muscle as the Greek statues of athletes. The breast-bone was burned black, and their arms, tough as ash, seemed cased in leather.
Mohun said, in the smothered tones of concentrated passion, "if you trifle with me ten seconds longer if you open your lips except to answer my question, I'll crush your breast-bone in." Willis knew the desperate character of the man who held him in his power; it was no vain threat he had just heard; the pressure on his chest was agonizing already.
"Speak no more of that thrust, I pray you," said Aziel, "for it was due to the weight of the man rushing on the sword, which after he was dead I could not find the power to loosen from his breast-bone."
But if the fowl be small, draw the knife along the edge of the breast-bone on each side, and lay the meat away from the bone; the fillets will separate easily. Then divide the meat across the grain. Separate the collar-bone from the breast. Slip the knife under the shoulder-blade, turn it over, and separate at the joint.
In carving a goose, the neck must be turned towards you, and the skin below the breast, called the apron, be removed in a semicircular direction, to enable you to reach the stuffing inside. Some carvers choose to pour in a glass of port wine, or claret mixed with mustard, before beginning to cut up. The slices first cut are on each side of the breast-bone, marked a, b.
I should choke on one were my life to require that I pronounced it. I say, that this sword of my father was through the body the point came out behind his back the hilt pressed upon his breast-bone. And I will plunge it as deep in the body of any one who shall dare to charge me with falsehood." "How, fellow!" said Morton, "wouldst thou beard a nobleman?"
The story of a Cupid, carved and coloured in imitation of the antique, is given by Condivi. It was the cause of Michael Angelo’s first visit to Rome. As soon as he reached the Eternal City he set to work at his sculpture, as the purchase of a piece of marble mentioned in his letter to Pier Francesco de’ Medici, sent to Florence under cover to Sandro Botticelli, indicates. During the whole of this very important visit he worked in marble. We have, however, one record of a cartoon by him for a Saint Francis receiving the Stigmata, to be painted by a certain barber; but that is all. He studied the works of antique art and imitated the finish and softness of the Hellenic style: marbles of debased Greek workmanship abound to this day in the Roman collections. Messer Jacopo Gallo, a Roman gentleman and a banker, commissioned a Bacchus, now in the Bargello at Florence, and a Cupid, said to be the statue now in the Victoria and Albert Museum, South Kensington. Condivi records these commissions. This Bacchus is the least dignified work that Michael Angelo ever executed. Perhaps, like a young artist struggling to get on, he listened too much to the wishes and suggestions of his intelligent patron. The finish and the truth to nature of the unpleasant youth are exquisite. The folds of the skin and the softness of the flesh are perfectly rendered, but the work is repulsive, save for the mischievous little Satyr who steals the grapes; he seems to take us out into the open air, and away from the fumes of the wine shop. Condivi calls the second statue a Cupid, but Springer points out that Ulisse Aldovrandi, who saw the statue in Messer Gallo’s house at Rome, talks of an Apollo quite naked, with a quiver at his side and an urn at his feet. The work, Cupid or Apollo, at Kensington, is not so finely finished as the other statues of this first Roman period; the head is like a copy of the head of the David, the division between the pectoral muscles is weak, and their attachments to the breast-bone are round, regular, and without distinction, very different from either the naturalism of the Bacchus, the delicate truth of the Piet
Word Of The Day
Others Looking