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Updated: June 8, 2025
Three hours had scarcely elapsed from the arrival of the two Italian messengers of war at Le Grazie, on the Austrian frontier, when they were already on their way back to the headquarters of Cremona, where during the night the rumour was current that a telegram had been received by Lamarmora from Verona, in which Archduke Albert accepted the challenge.
Mrs Lucas blew him a kiss in acknowledgment of this compliment and smiled on her partner. "Amico!" she said. "It is nice to see you again. How goes it?" "Va bene," said Georgie to show he could talk Italian too. "Va very bene now that you've come back." "Grazie! Now tell us all the news. We'll have a good gossip."
They saw the Ruga bella, or Beautiful Way, with its long line of palaces on either side, its painted walls and richly carved portals. They saw the lovely cupola of S. Maria delle Grazie, and the marble cloisters of S. Ambrogio, and the graceful Baptistery of S. Satiro, which Caradosso had lately adorned with his elegant frieze of cherubs and medallions.
How she used to go daily to the church Santa Maria delle Grazie to be alone, to think and to pray; and how, after her early death, the duke, probably influenced by remorse because of his cruelty to her, desired Leonardo to decorate this church and its adjoining monastery with pictures in memory of his dead young wife.
The Marchesino was offering his arm to conduct Vere to the launch. He cast a challenging look of triumph at Artois. "I would come in the launch," Artois said hastily. "But Good-night!" He turned away. "A rivederci, Emilio!" called the Marchesino. " derci!" The last syllables only came back to them through the wind and the rain. "Take my arm, Signorina." "Grazie, it is all right like this." "Ma "
The Christ crowned with Thorns, which long adorned the church of S. Maria delle Grazie at Milan, and is now in the Long Gallery of the Louvre, may belong to about this time, but is painted with a larger and more generous brush, with a more spontaneous energy, than the carefully studied piece at the Gesuiti.
His dramatic scenes from sacred history, rich in novel motives and exuberantly full of invention, crowd the churches of Vercelli; while a whole epic of the Passion is painted in fresco above the altar of S. Maria delle Grazie at Varallo, covering the wall from basement to ceiling.
By his hand is a Resurrection of Christ to be seen at the upper end of the cloister of the Grazie, with some very beautiful foreshortenings; and a chapel in fresco in S. Francesco, containing the deaths of S. Peter and S. Paul.
She was carried on men's shoulders, her face constantly turned towards the town, through the Trapani gate and down the road to the little church of Santa Maria delle Grazie, while the drum went in front, filling the air with the mournfulness of its perpetual rhythm. As the picture passed among the people one of the women cried out
It is well known how the Prior of S. Maria delle Grazie complained that Lionardo stood for days looking at his fresco, and for weeks never came near it; how the monks of the Annunziata at Florence were cheated out of their painting, for which elaborate designs had yet been made; how Leo X., seeing him mix oils with varnish to make a new medium, exclaimed, "Alas! this man will do nothing; he thinks of the end before he makes a beginning."
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