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Updated: June 11, 2025
The arca degli orefici is a curious thing too, and worth observing: the goldsmiths set it up in honour of Caracalla and Geta; but one plainly discerns where poor Geta's head has been carried off in one place, his figure broken in another, apparently by Caracalla's order. The building is of itself of little consequence, but as a confirmation of historical truth.
In the Via Giulia, in addition to San Giovanni dei Fiorentini, San Biagio della Pagnotta, San Eligio degli Orefici, and three or four others, there was the so-called Church of the Dead, Santa Maria dell' Orazione; and this church, which is at the lower end behind the Farnese palace, was often visited by Pierre, who liked to dream there of the wild life of Rome, and of the pious brothers of the Confraternita della Morte, who officiate there, and whose mission is to search for and bury such poor outcasts as die in the Campagna.
In the Via Giulia, in addition to San Giovanni dei Fiorentini, San Biagio della Pagnotta, San Eligio degli Orefici, and three or four others, there was the so-called Church of the Dead, Santa Maria dell' Orazione; and this church, which is at the lower end behind the Farnese palace, was often visited by Pierre, who liked to dream there of the wild life of Rome, and of the pious brothers of the Confraternita della Morte, who officiate there, and whose mission is to search for and bury such poor outcasts as die in the Campagna.
In the Via Giulia, in addition to San Giovanni dei Fiorentini, San Biagio della Pagnotta, San Eligio degli Orefici, and three or four others, there was the so-called Church of the Dead, Santa Maria dell' Orazione; and this church, which is at the lower end behind the Farnese palace, was often visited by Pierre, who liked to dream there of the wild life of Rome, and of the pious brothers of the Confraternita della Morte, who officiate there, and whose mission is to search for and bury such poor outcasts as die in the Campagna.
Perhaps the capitals of the cathedral of Genoa are the best instances of absolute perfection in this kind: seen from below, they appear as rich as the frosted silver of the Strada degli Orefici; and the nearer you approach them, the less delicate they seem. § XXIII. This is, however, not the only mode, though the best, in which ornament is adapted for distance.
Passing thence into the street of the jewellers, Strada degli Orefici, where every sort of silver filigree work may be found, with coral and amber, you come to Madonna of the Street Corner, a Virgin and Child, with S. Lo, the patron of all sorts of smiths, a seventeenth-century work of Piola. These narrow shadowy ways full of men and women and joyful with children are the delight of Genoa.
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