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Updated: May 19, 2025
Toward the close of the Roman season, Brullof, growing more and more moody, and becoming still more of a recluse, painted his last picture, which showed how diseased and morbid his mind had become. He called it "The End of All Things," and made it sensational to the verge of that flexible characteristic.
The painting which Brullof had first admired, and which had induced him to compare Brown to Claude in atmospheric effects, was a view of the Pontine Marshes, painted for Crawford the sculptor, and now in possession, of his widow, Mrs. Terry, at Rome. During this entire season the penuriousness exhibited by Brullof is one of the hardest phases of his character to explain.
Petersburg were of the husband's marvelously colored works; and when at last the fact became known to Brullof that the monarch who had honored him through an intelligent appreciation of art had dishonored him through a guilty passion for his wife, he left St.
It was when this career had borne its inevitable fruit, and he was but a mere wreck of the polished gentleman of a few years previous, that Brullof came to the Via San Basilio, where, as soon as the fact became known, visitors began to call.
The next day the cicerone called alone to see about some repairs, when Brown hailed him: "Buono giorno. Che è questo?" "Non sapete?" "Why, that is the celebrated Brullof." Brown started as though shot.
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