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Updated: May 10, 2025
The second point to be determined is, whether the map procured from Venice was really executed by Mauro, and whether it existed previous to the Portuguese discoveries on the west coast of Africa. Manro lived in the reign of Alphonso the Fifth, that is between 1438 and 1480; the whole of this map, therefore, is prior to Diaz and Gama, two celebrated Portuguese navigators.
And in the Chapel of the Madonna in S. Severo, a little monastery of the Order of Camaldoli, in the same city, he painted in fresco a Christ in Glory, and a God the Father with angels round Him, and six saints seated, S. Benedict, S. Romualdo, S. Laurence, S. Jerome, S. Mauro, and S. Placido, three on either side; and on this picture, which was held at that time to be most beautiful for a work in fresco, he wrote his name in large and very legible letters.
The assembled people of Palermo, with one voice, accepted the terms, and by their desire, on the 3d of April, they were sworn to on the Gospels by the captains and counsellors of the city, with the deputies of Corleone, and officially registered among the public acts; Palermo binding herself, moreover, to assist her ally in the destruction of the strong fortress of Calata Mauro.
Son of the foremost lawyer of his native town of Utrera, educated in Sevilla at the best university of his province, already at twenty-four himself a fully accredited licenciado, Mauro's future held actually brilliant prospects for a man of the station into which he was born. And yet, most envied of his classmates though he was, to Mauro himself the future loomed black, forbidding, cheerless.
Now Federigo, while Taddeo was in Rome with the Duke, had returned to Urbino, and he had lived there and at Pesaro ever since; but Taddeo, after the works described above, caused him to return to Rome, in order to make use of him in executing a great frieze in a hall, with others in other rooms, of the house of the Giambeccari on the Piazza di S. Apostolo, and in other friezes that he painted in the house of M. Antonio Portatore at the Obelisk of S. Mauro, all full of figures and other things, which were held to be very beautiful.
His massive neck upbore a head of Augustan beauty, lighted by eyes that alternately blazed with the pride and resolution of a Cid and softened with the musings of a Manrique. Mauro was a Lucha-sangre of the twelfth century, reincarnate.
Of a rare type was Sofia in Andalusia, where nearly all are dark, for she was a true rubia, blue of eye, fair of skin, and with hair of the wondrously changing tints of a cooling iron ingot. And now here was Mauro, just back from Sevilla, almost within arms'-reach of his divinity, and yet not free to seek her.
Mauro's father, by legacy from his father, was the attorney and counsellor of the Duque de la Torrevieja; and so might Mauro have been for the next Duke had there not cropped out in him the daring, the love of adventure, the pride, and the confidence that had lifted the first Lucha-sangre above his fellows.
Lucha-sangre, in yourself, as son of a notary and hired toreador and purveyor of spectacles, you are unworthy of my sword; nevertheless blood once noble is in your veins. And so as noble it suits me now to count you. As soon as you are recovered of your wound I will send you my second." "Most happy, Duke," answered Mauro; "mine shall be ready to meet him."
While the Duke was reading the papers, Mauro stood with eyes riveted to the newest portrait of them all, that of Sofia's mother Sofia's very self matured herself a native of a northern province wherein to this day red hair and blue eyes are a frequent, almost a prevailing type, that tell the story of early Gothic invasions.
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