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At least, you are safer with them than in the hands of Swart Piet." At this moment, Zinti, who was watching the plain over which they had travelled, uttered a cry of warning. Looking back, they saw the reason of it, for there, crossing the crest of a wave of ground, not more than a mile away, were five horsemen riding hard upon their spoor.
It may be imagined the delighted boy did not refuse the kind invitation, and the acquaintance soon ripened into intimacy, for the rich merchant learned to regard the bright young musician with much affection, which it is needless to say was warmly returned. Verdi was untiring in study and spent the early years of his youth in humble quiet, in the midst of those beauties of nature which have so powerful an influence in molding great susceptibilities. At his seventeenth year he had acquired as much musical knowledge as could be acquired at a place like Busseto, and he became anxious to go to Milan to continue his studies. The poverty of his family precluding any assistance from this quarter, he was obliged to find help from an eleemosynary fund then existing in his native town. This was an institution called the Monte di Piet
Ah! would that my father were at home; he does not love Kaffirs but he does love justice." Now when they heard Suzanne speaking such bold words and saw the fire in her eyes, Swart Piet and those with him began to grow afraid.
He must have given a fairly broad hint at last, she decided; for Piet moved somewhat abruptly and knocked out the ashes of his pipe on the floor with a noisy energy that made her start. Then he got up and addressed her in his own language. She did not understand in the least what he said, but she gave him a distant smile realizing that he was taking leave of her.
Then came Part Second. The curtain rose on Cain by the side of his ruined in a soliloquy. Enter Abel, gentle and mild. Eve comes in, and again tries to make peace, and Cain again plays the hypocrite and invites his brother into the wood on some pretext. They retire, leaving Eve disturbed by she knows not what. Adam enters, shares her fears and goes out to seek his sons. Thunder and lightning, admirably represented, and then enter Cain disheveled and disturbed. His mother knows not what has happened, but is agonized and calls for her Abel. An angel appears at the side and discloses all by asking Cain, "Where is thy brother?" and then announcing the fiat of the Most High to him. He rushes off as Adam enters bearing the body of Abel; and his mother, sitting down beside the dead body, makes a most touching picture of a Piet
It is said that certain Lombards passing by and admiring the Piet
Richard had the house to himself. And this accentuation of solitude, combined with wider space wherein he could range without fear of observation, was far from unwelcome to him. Last night he had untied the tag of rusty, black ribbon binding together the packet of tattered, dog's-eared, little chap-books which for so long had reposed in the locked drawer of Julius March's study table beneath the guardianship of the bronze piet
In our own National Gallery is a picture by Il Francia of the enthroned Virgin and Child and her mother, St Anne, who is presenting a peach to the infant Christ; at the foot of the throne is the little St John; to the right and left are St Paul with the sword, St Sebastian bound to a pillar and pierced with arrows, and St Lawrence with the emblematical grid-iron, etc. etc. Opposite this picture hangs, what once formed part of it, a solemn, sorrowful Piet
Hitherto, I have had principally to record the errors of artists copying the external qualities of their great predecessors. It is refreshing to turn from the epigoni of the so-called Roman school to masters in whom the flame of the Renaissance still burned brightly. Andrea del Sarto, the pupil of Piero di Cosimo, but more nearly related in style to Fra Bartolommeo than to any other of the elder masters, was himself a contemporary of Raphael and Correggio. Yet he must be noticed here; because he gave new qualities to the art of Tuscany, and formed a tradition decisive for the subsequent history of Florentine painting. To make a just estimate of his achievement is a task of no small difficulty. The Italians called him "il pittore senza errori," or the faultless painter. What they meant by this must have been that in all the technical requirements of art, in drawing, composition, handling of fresco and oils, disposition of draperies, and feeling for light and shadow, he was above criticism. As a colourist he went further and produced more beautiful effects than any Florentine before him. His silver-grey harmonies and liquid blendings of hues cool, yet lustrous, have a charm peculiar to himself alone. We find the like nowhere else in Italy. And yet Andrea del Sarto cannot take rank among the greatest Renaissance painters. What he lacked was precisely the most precious gift inspiration, depth of emotion, energy of thought. We are apt to feel that even his best pictures were designed with a view to solving an aesthetic problem. Very few have the poetic charm belonging to the "S. John" of the Pitti or the "Madonna" of the Tribune. Beautiful as are many of his types, like the Magdalen in the large picture of the "Piet
They went in, and the dog's growl was a menacing snarl. Challoner had left his lamp burning low, and in the light of it he saw Henri Durant and Grouse Piet waiting for him. He turned up the wick, and nodded. "Good evening. Pretty late for a call, isn't it?" Grouse Piet's stolid face did not change its expression.
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