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Updated: May 16, 2025
It was said that we had lost Monte Nero and Caporetto, and that German Batteries had kept up a high concentration of gas for four hours on our lines in the Cadore. And we knew that the Italian gas masks were only guaranteed to last for an hour and a half in such conditions, and that each man only carried one. On the 27th the rumours became bad.
It is strange that there should exist no certain likeness of the master of Cadore done in youth or earlier manhood, if there be excepted the injured and more than doubtful production in the Imperial Gallery of Vienna, which has pretty generally been supposed to be an original auto-portrait belonging to this period.
The master of Cadore never painted a head more finely or with a more exquisite finesse, never more happily characterised a face, than that of this resolute, self-contained young patrician with the curly chestnut hair and the short, fine beard and moustache a personage high of rank, doubtless, notwithstanding the studied simplicity of his dress.
The hundreds of miles of splendid highways which have been built by the army in the Trentino, in the Carnia, and in Cadore will open up districts of extraordinary beauty which have hitherto been inaccessible to the touring motorist.
Yet it is but just to add that these were produced during a state of transition from one method of applying pigments to another of totally different character. This period of the painter's experience was brought to a close by the better one of a summer residence at Pieve di Cadore, a village among the Friulian Alps.
He attended the levees of the Duc de Cadore, the Duc de Rovigo, Jerome Bonaparte, King of Westphalia; but uniformly failed in his efforts, and was turned off with unmeaning professions.
Among others we find a contemporary Tiziano Vecelli, who is a lawyer of note concerned in the administration of Cadore, keeping up a kind of obsequious friendship with his famous cousin at Venice. The Tizianello who, in 1622, dedicated to the Countess of Arundel an anonymous Life of Titian known as Tizianello's Anonimo, and died at Venice in 1650, was Titian's cousin thrice removed.
This filled the French Ambassador with despair, and he wrote to the Duke of Cadore in great distress: "For three days the Minister of Foreign Affairs has been in negotiation with the Archbishop, trying to overcome his scruples with regard to the nullity of the first marriage of His Majesty.
Was it thus that Titian studied in his youth, and learned how, years after in Venice, to paint the chestnuts and the hills of Cadore a thousand-fold more artistically and more truly, because more abstractly and more ideally, than could all the "pre-Raphaelite" copyists of to-day? Thus we see the two extremes of Mr.
What is much more vital in our study of the master's life-work is to ascertain how far the scenery of his native Cadore left a permanent impress on his landscape art, and in what way his descent from a family of mountaineers and soldiers, hardy, yet of a certain birth and breeding, contributed to shape his individuality in its development to maturity.
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