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Updated: June 22, 2025
The most precious of the old marbles of Rome is the Rosso antico. Its classical name has been lost, unless it be identical, as Corsi conjectures, with the Marmor Alabandicum, described by Pliny as black inclining much to purple.
"I try, my friend," came the mental voice, feeling richer and closer than he remembered it. "Sit, eat if you wish." If he wished? Kranath smiled. The food, again, was some of his favorite chunks of dornya meat scrambled into eggs, with bread and corsi juice so why would he not wish to eat? Because, he discovered when he seated himself, he had no appetite.
It appeared in his "Daphne," a "Dramma per la Musica," written to text by the poet Rinuccini and privately performed at the Palazzo Corsi, in 1597. This was actually the first opera, although the term was not applied to such compositions until half a century later.
And he portrayed therein an infinite number of citizens in mantles and hoods, who are following the procession, among whom he painted Filippo di Ser Brunellesco in wooden shoes, Donatello, Masolino da Panicale, who had been his master, Antonio Brancacci, who caused him to paint the chapel, Niccolò da Uzzano, Giovanni di Bicci de' Medici, and Bartolommeo Valori, who are all also portrayed by the hand of the same man in the house of Simon Corsi, a gentleman of Florence.
Foss, who had been talking of the Carnival now beginning, telling Aurora about corsi and coriandoli of the past as compared with the poor remnants of these customs, and describing the still undiminished glories of a veglione, perceiving finally that the usually merry lady was on her best behavior to the point of almost complete taciturnity, from necessity addressed herself more directly to Miss Seymour, who shared the sofa with her; and from talking of veglioni the two slid into talking of Florentine affairs more personal.
The Medium for Individual Utterance A closer examination of the musical reforms instituted by the camerata which met at the Vernio and Corsi palaces will convince us that they were directed toward two objects; first, the restoration of the Greek method of delivering the declamation of a drama, and second, the reduction of purely lyric forms to a rational musical basis on which could be built intelligible settings of texts.
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