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Updated: May 6, 2025
There are patches ominously eloquent of the years that have passed since the birth of this magisterial composition. The tonal key is said to be higher because of restorations; yet to the worshipper these shortcomings are of minor importance. Even Giordano's exclamation: "Sire, this is the theology of painting," falls flat. Essence of painting, would have been a truer statement.
With the last it shares one element which brings it into relationship also with a number of much younger and less significant works operas like Mascagni's "Iris," Puccini's "Madama Butterfly," and Giordano's "Siberia." In the score of "Aida" there is a slight infusion of that local color which is lavishly employed in decorating its externals.
There is a fine chapel, and in an adjoining room was Giordano's renowned painting of "Seneca Dying in the Bath," which was eulogized in Prior's poems, he having seen it there, though it is now removed. One of the most interesting pictures in the gallery is that of Henry Cecil, the tenth Earl and the first Marquis of Exeter, his wife, and daughter.
Giordano, having other engagements on hand, put off the execution of the altar-piece so long, that the Jesuits began to be clamorous, and at length appealed to the Viceroy to exercise his authority. Determined to see for himself how matters stood, that great man paid an unexpected visit to Giordano's studio.
It is marvellous that any man should so master the habit and the thought of two artists so widely apart as Raphael and Rubens, as to produce just such pictures as they would have painted upon the same themes. The halls and dark corridors of the Museum are filled with Giordano's canvases.
"Michel Croz was a brave man," she said. "Did you know him well?" "I worshiped him, fräulein," was the reverent answer. "May I receive pardon in my last hour, but I took him for an evil spirit on the day of his death! I was with Jean Antoine Carrel in Signor Giordano's party. We started from Breuil, Croz and his voyageurs from Zermatt. We failed; he succeeded.
Sir Thomas Lawrence told me when I described it to him, that he thought it was a painting of Giordano's. It was a lovely face, not youthful in its character of beauty; there is a calm seriousness about the brow and forehead, a clear, intellectual severity about the eye, and a sweet, still placidity round the mouth, that united, to my fancy, all the elements of beauty, physical, mental, and moral.
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