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'There were four other half-lengths in the room, all of them very beautiful. "Two of these," he said, "are copies; the originals have been sold. The other two need still a few touches to make them complete." "And they were all painted from life?" I said. "Yes," he said. "Why do you repeat that question?"
Her many beginnings were displayed. Miniatures, half-lengths, whole-lengths, pencil, crayon, and water-colours had been all tried in turn. She had always wanted to do every thing, and had made more progress both in drawing and music than many might have done with so little labour as she would ever submit to.
The Cæsars were all half-lengths, eleven out of the twelve being done by the Venetian master and the twelfth by Giulio Romano himself.
The upper centre is occupied by the Madonna and Child standing on the crescent moon; below is the Coronation of the Virgin; the other four niches have figures of angels, three half-lengths in each, one above the other. SS. Jerome and George are recognisable among the other saints. The heads are much too large, and the figure-work is coarse.
I never goes in for half-lengths. I always goes the whole length, an' a leetle shave more. See that ye don't forget the mole on the side o' my nose. My poor dear old mother wouldn't believe it was me if the mole warn't there as big as life, with the two hairs in the middle of it. An' I say, mister, mind that I hate flatterers, so don't flatter me no how."
It has five ogee trefoil niches with saints within them, and a framing of late Gothic foliage, with half-lengths of angels in the spandrils. The central saint is accompanied by two small kneeling donors; the other four are the Aquileian virgins. The spaces between are inlaid with red marble. The caps appear to be of the fourteenth century, the period of the foliage cornice.
In the central top panel is a figure of Justice seated upon a winged globe; right and left of her are half-lengths of winged figures with inscribed scrolls, laudatory of Justice, emergent from circles. Below Justice is a great lion of S. Mark, and below the other figures are S. Giovanni Orsini with a model of Traù, and S. Laurence with his gridiron.
From the drawer he took a can of tobacco, a pipe, a pair of scissors, a paste-pot and brush, a pile of copy paper, a penknife and three half-lengths of lead pencil. The can of tobacco was not remarkable. The pipe was not picturesque. The scissors were the most ordinary of scissors. The copy paper was quite undistinguished in appearance. The lead pencils had the most untemperamental looking points.
The very drive from the station was full of impressions, from the narrow and crooked streets, the houses of yellow, blue, and pink stucco, the flowered and fountained patios glimpsed passingly, the half-lengths of church-towers, and the fleeting facades of convents and palaces, all lovely in the mild afternoon light.
I believe these basins to be the only examples of Limoges work to be found along the coast. It is of silver-gilt, 4 ft. 7 in. high and 7 ft. 4 in. long, with twenty-one divisions, in three rows of seven panels, the bars being covered with leaf scrolls and with medallion half-lengths of Greek saints at the crossings.
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