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Updated: June 21, 2025
And I followed with the "piazza" in its instinctive rush to the hotel on the Pincian Hill to hear the voice of its spokesman. Again I was in the Corso when the plumed cavalry cleared the surging mass from the Piazza Venezia to the Piazza Colonna. I heard the people yell, "Death to the traitor Giolitti!" and "Fuori i barbari!" and sing Mameli's "L'Inno."
Do you want me to adopt the old device of hate: Fuori Barbari, or: France for the French?" "Why not?" asked Christophe. "No. Such a device is not for the French. Any attempt to propagate it among our people under cover of patriotism must fail. It is good enough for barbarian countries! But our country has no use for hatred.
This morning after breakfast I met in the South Mall a charming ecclesiastic, whose acquaintance I made in Rome while I was attending the great celebration there in 1867 of St. Peter's Day. Father Burke introduced me to him after the Pontifical Mass at San Paolo fuori le Mure; and we had a delightful symposium that afternoon.
Some were reading one to another in bated voices, and I thought them ridiculous; but perhaps they were wise, and rather he was ridiculous who marched by them and contented himself with a general sense of the grandeur, the splendor. More than any other church except that of San Paolo fuori le Mura, Santa Maria Maggiore imparts this sense, for, as I have already pretended, St. Peter's fails of it.
He might have said to himself that a tryst which consisted in crossing glances from opposite sides of the street was very innocent. In a moment he did see that as the villas fuori la porta must be reached through the porta, a lover whose lady lived on Vial dei Colli might without previous arrangement hope for a glimpse of her by walking in its neighborhood.
The lonely and melancholy church of S. Maria in Porto fuori is a basilica consisting of three naves which formed a part of the original church of the Blessed Pietro, and a presbytery, apse, and chapels which are of the thirteenth century.
“Superbo scoglio, altaro e bel ricetto, Di tanti chiari eroi, d’ imperadori, Orde raggi di gloria escono fuori, Ch’ ogni altro lume fan scuro e negletto.”
Fra Guglielmo, another pupil of Niccolò's, in his work at Perugia more nearly preserves the manner of his master, though always inferior to him in beauty and force: but in the work of Arnolfo which remains to us chiefly in the tomb of Cardinal de Braye in S. Domenico at Orvieto, and in the Tabernacle of S. Paolo Fuori at Rome, and more especially in the work of Giovanni Pisano in the pulpit for the Duomo of Pisa, now in the Museo, for instance, we may see the beginnings of that new Tuscan sculpture which in Andrea Pisano and Andrea Orcagna was to make the work of Nanni di Banco, of Ghiberti and Donatello possible, and through them to inspire the art of all the sculptors of the fifteenth century, that is to say of the Renaissance itself.
Upon the walls we see a spoiled fresco of the Presepio, that peculiarly Franciscan subject, and again the Annunciation, the Adoration of the Magi, the Baptism of Our Lord, Christ in the Garden, the Crucifixion, and various saints. These frescoes are the work of the men who painted in S. Maria in Porto fuori.
It was indeed surprising to find so large and handsome a structure far away from any town or village completely isolated among the dead! It was the Basilica S. Paolo Fuori le Mura, which was built in 1847 in this uninhabited spot, on the site of a venerable and interesting church burnt in 1823, which had been founded by Constantine to mark the grave of St. Paul.
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