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Ridolfo was a rapid and resolute painter in certain kinds of work, and particularly in festive decorations; and thus, for the entry of the Emperor Charles V into Florence, he executed in ten days an arch at the Canto alla Cuculia, and another arch in a very short time at the Porta al Prato for the coming of the most illustrious Lady, Duchess Leonora, as will be related in the Life of Battista Franco.
Again, those writers knew why the chanter said only one verse and the worshippers replied in chorus to show that all their souls were united and free from schism. Author. In the Breviary prior to the reform of Pius X., this hymn was printed under the words "Hymnus SS. Ambrosii et Augustini." However, "no one thinks now of attributing this canto to either St. Ambrose or St.
Vitellozzi to give it that name in honour of his former patron. It is said, that when it was first sung in the papal chapel, the Card. dean Francesco Pisani was so enraptured with it, that he exclaimed with Dante, Paradise, Canto X. Render è questo voce
When the duet opened, Longfellow would look up with an arch recognition of the fact, and then go gravely on to the end of the canto. At the close he would speak to his friend and lead him out to supper as if he had not seen or heard anything amiss. In that elect company I was silent, partly because I was conscious of my youthful inadequacy, and partly because I preferred to listen.
The fourth canto summed up the whole, and concluded with these daring words, not published, be it remarked, from 1810 to 1814; in fact, they did not see the light till 1824, after Napoleon's death. 'Twas thus that I sang in the time of alarms.
In the comment on Canto XXIX. of the "Inferno," which is full of historic and biographic material of great interest, but throughout defaced by the license of the translator, occurs a passage in regard to the Romagna, which is curious not only as exhibiting the former condition of that beautiful and long-suffering portion of Italy, but also as applying to its recent state and its modern grievances.
But instead of his description I shall quote a not less true and more picturesque one from the last canto of Mickiewicz's "Pan Tadeusz": It is time to dance the polonaise. The President comes forward; he lightly throws back the fausses manches of his overcoat, caresses his moustache, presents his hand to Sophia: and, by a respectful salute, invites her for the first couple.
Neither can I think that posterity will ever believe that this hearsay evidence was admitted from the mouths of the most infamous miscreants that ever got out of a gaol. Canto was condemned to the gallows at Pau, Pichon to the wheel at Mans, Sociande is a rogue upon record. Pray, gentlemen, judge of their evidence by their character and profession. But this is not all.
When you have perfect breath control, and distinct, artistic enunciation, you will possess bel canto, because you will produce your tones and your words beautifully. "Because these magic words are in the Italian tongue does not mean that they apply to something only possessed by Italians. Not at all.
Painstaking to a degree, there is no detail of his art that he neglects or slights so that one hesitates to decide whether he is greater as a singer or as an actor." Perhaps, however, his most important quality is his mastery of "bel canto" pure singing that art which seems to become constantly rarer on the operatic and concert stage.
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