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Updated: May 24, 2025
What he was like you may see in the picture numbered 750 in our National Gallery, once given to Carpaccio, then to Lorenzo Bastiani, and now to the school of Gentile Bellini. In this work the Doge kneels to the Virgin and implores intercession for the plague-stricken city.
She kneels before the king, and presents her book. Another and more elaborate picture represents the repetition of the same ceremony before Isabelle of Bavaria, queen of Charles VI. We are here admitted into the private royal apartments of the fourteenth century. The hangings of the apartment consist of strips, upon which are alternately emblazoned the armorial devices of France and Bavaria.
Still, these two divisions are but accessory to the central subject which they complement, and which is thus arranged: In the middle, in front of a sort of ruined palace or columnar cow-shed without a roof, the Virgin kneels in prayer before the Babe; to the right the donor, the Chevalier Bladelin, is seen, also kneeling, and on the left Saint Joseph, holding a lighted taper, gazes down on Jesus.
The dead Egyptian makes the ironic, the skeptical modern world feel deity in a limestone cow. How is it done? I know not; but it is done. Genius can do nearly everything, it seems. Under the chin of the cow there is a standing statue of the King Mentu-Hotep, and beneath her the king kneels as a boy.
In another Annunciation by Van Eyck, painted on the Ghent altar-piece, we have the mystic, not the historical, representation, and a very beautiful effect is produced by clothing both the angel and Mary in robes of pure white. In an engraving after Rembrandt, the Virgin kneels by a fountain, and the angel kneels on the opposite side. This seems to express the legendary scene.
If ever he do anything beyond his own heart 'tis for a knighthood, and he is the first kneels for it without bidding. Truly defined, is a bold traitor, for he fortifies a castle against the king. Give him sea-room in never so small a vessel, and like a witch in a sieve, you would think he were going to make merry with the devil.
The sailor of the Baltic has his secret rites, and his manner of propitiating the gods of the wind; the Mediterranean mariner tears his hair, and kneels before the shrine of some impotent saint, when his own hand might better do the service he implores; while the more skilful Englishman sees the spirits of the dead in the storm, and hears the cries of a lost messmate in the gusts that sweep the waste he navigates.
But Lohengrin's power is not exhausted; he kneels upon the river bank, and in answer to his prayer the white dove of the Grail wheels down from the sky, releases the swan, and, while Elsa clasps her restored brother to her breast, bears Lohengrin swiftly away over the waters of the Scheldt.
He is represented standing on a lofty flight of steps; behind him, in the distance, is a party of zealous converts pulling down the images of their gods, and beneath in the foreground, kneels St. Francis Borgia in the attitude of prayer. The picture was executed with such boldness and freedom, and excellence of coloring, that at the proper distance it produced a grand and magnificent effect.
On the right of St. John kneels a beautiful young girl, in the rich Florentine costume, who, with a sorrowful earnestness and with her hands crossed over her bosom, contemplates the dead Saviour. St. Benedict. These two females, sisters perhaps, are the bereaved mourners who dedicated the picture, certainly one of the finest of the Giottesque school.
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