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Updated: May 7, 2025
In walking to Fiesole one follows the high walls of the Villa Palmieri, which is now very private American property, but is famous for ever as the first refuge of Boccaccio's seven young women and three young men when they fled from plague-stricken Florence in 1348 and told tales for ten halcyon days. It is now generally agreed that if Boccaccio had any particular house in his mind it was this.
I carry them down to Lakelands to-morrow, if the City's flat. 'Keeping a secret's the lid on a boiling pot with you, Mr. Fenellan said; and he mused on the profoundness of the flavour at his lips. 'I do it. 'You do: up to bursting at the breast. 'I keep it from Colney! 'As Vesuvius keeps it from Palmieri when shaking him. 'Has old Colney an idea of it?
Of the recent eruptions of Vesuvius, which have been pretty frequent during the latter half of last century, that of April 1872, so carefully recorded by Professor Palmieri, who in spite of imminent danger never abandoned his post in the Observatory, is the most notable.
After 1348, when Florence was visited by that ravaging plague which Boccaccio describes in such gruesome detail at the beginning of the "Decameron" and which sent his gay company of ladies and gentlemen to the Villa Palmieri to take refuge in story telling, and when this sacred picture was more than commonly busy and efficacious, it was decided to apply the enormous sums of money given to the shrine from gratitude in beautifying the church still more, and chiefly in providing a casket worthy of holding such a pictorial treasure.
A party of visitors, accompanied by inexperienced guides, and contrary to the advice of Professor Palmieri, insisted on ascending to the place from which the lava issued. At half-past three on the morning of the 26th they were in the Atria del Cavallo, when the Vesuvian cone was rent in a north-west direction and a copious torrent of lava issued forth.
Next to this I would place a medal by Guacialotti of Bishop Niccolò Palmieri, with the motto, "Nudus egressus sic redibo" singularly appropriate to the shameless fleshliness of the personage, with his naked fat chest and shoulders, his fat, pig-like cheeks and greasy-looking bald head; a hideous beast, yet magnificent in his bestiality like some huge fattened porker.
John made in 1477 for the Opera, a relief of the Adoration of the Shepherds, another of Madonna in an almond-shaped glory of cherubim, and, last of all, the splendid busts of Matteo Palmieri and Francesco Sassetti; but his masterpiece in pure sculpture is the S. Sebastian in the Collegiata at Empoli, a fair and youthful figure without the affectation and languor that were so soon to fall upon him.
One feels that he too felt the emotion that his characters display; he did not merely paint, he thought and suffered. Hence his work is dramatic. Again Botticelli had far wider sympathies than most of his contemporaries. He was a friend of the Medici, a neo-Platonist, a student of theology with the poet Palmieri, an illustrator of Dante, and a devoted follower of Savonarola.
This Matteo Palmieri two dim figures move under that name in contemporary history was the reputed author of a poem, still unedited, La Citta Divina, which represented the human race as an incarnation of those angels who, in the revolt of Lucifer, were neither for Jehovah nor for His enemies, a fantasy of that earlier Alexandrian philosophy about which the Florentine intellect in that century was so curious.
The exact spot where the painter sat has been identified by Miss Stokes in "Six Months in the Apennines". On the left immediately below the painter's vantage-ground is the Mugnone, with a bridge over it. On the bank in front is the Villa Palmieri, and on the picture's extreme left is the Badia of Fiesole.
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