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Updated: June 9, 2025


In truth, Niccola Pisano put the artist on the right track of combining the study of antiquity with the study of nature; and to him belongs the credit not merely of his own achievement, considerable as that may be, but also of the work of his immediate scholars and of all who learned from him to portray life.

While the havoc of the sack had destroyed Rome and driven away the inhabitants and the Pope himself, who was living at Orvieto, not many remaining in the city, and no business of any kind being done there, there arrived in Rome one Niccola Viniziano, a rare and even unrivalled master of embroidery, the servant of Prince Doria.

The trefoils to which I have called your attention in Niccola's pulpit are as absolutely without structural office in the circles as in the panels of the font beside it. But the circles are drawn with evident delight in the lovely circular line, while the trefoil is struck out by Niccola so roughly that there is not a true compass curve or section in any part of it. Roughly, I say.

The giddiness and dizziness of continued rotation was growing less, now. He was getting used to it. But the Niccola seemed strange indeed, with the standard up and down and Earth-gravity replaced by a vertical which was all askew and a weight of ounces instead of a hundred and seventy pounds. He reached the air lock just as the skipper arrived. There were others there armed and in pressure suits.

But their city, which went clad in silk and cloth-of-gold, was ever ready to slip betwixt their fingers, like a lascivious, false-hearted wanton; and fear and anxiety made them implacable. In the year 1370 they discovered that a nobleman of Perugia, Ser Niccola Tuldo, had been sent by the Pope to stir up the Siennese, in connivance with the Kaiser, to deliver up the city to the Holy Father.

Before the sculptor appeared in Niccola Pisano, he was already a famous architect; and it must always be remembered that he and his school subordinated the plastic to the constructive arts. It was not until the year 1233, or 1237, according to different modern calculations, that he executed his first masterpiece in sculpture.

Among the most distinguished scholars of Niccola Pisano's tradition must now be mentioned Andrea da Pontadera, called Andrea Pisano, who carried the manner of his master to Florence, and helped to fulfil the destiny of Italian sculpture by submitting it to the rising art of painting.

The Plumie stepped confidently out into the topsy-turvy corridors of the Niccola. He was about the size of a ten-year-old human boy, and features which were definitely not grotesque showed through the clear plastic of his helmet. His pressure suit was, engineering-wise, a very clean job. His whole appearance was prepossessing.

The name "Plumies" came from that symbol. Now, though, Taine was called to the navigation room to confer on tactics. The Niccola swerved and drove toward the object Baird identified as a Plumie ship. This was at 05 hours 10 minutes ship time. The human ship had a definite velocity sunward, of course. The Plumie ship had been concealed by the meteor swarm of a totally unknown comet.

Ser Niccola Tuldo, turning on her eyes that still retained their savage ferocity, cried out: "Begone! I hate you, because you are of Sienna, the city that slays me. Oh! Sienna, she-wolf indeed, that with her vile claws tears out the throat of a noble gentleman of Perugia! Horrid she-wolf! unclean and inhuman hell-hound!"

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