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In setting to work upon this little more than the removal of a few stones the pickaxe of one of the workmen struck against wood, and presently a wooden box appeared which partly fell to pieces, revealing a human skeleton. Within the box was found this inscription: Dantis ossa Denuper revisa die 3 Junu 1677 Dantis ossa A me Fre Antonio Santi hic posita Ano 1677 die 18 Octobris
The name of Formica was on everybody's lips; and in the streets as in the theatre, all voices were crying, with the utmost enthusiasm, "Oh, Formica! Formica benedetto! Oh, Formicisimo!" "Scherza coi fanti e lascia star santi." This was because, out of the theatre, Formica was an unfathomable mystery. No one ever saw him anywhere, and every attempt to come upon his traces was vain.
In the war with Pisa in 1362, the Florentines commissioned their astrologer to fix the hour for the march, and almost came too late through suddenly receiving orders to take a circuitous route through the city. On former occasions they had marched out by the Via di Borgo Santi Apostoli, and the campaign had been unsuccessful.
This young man, a certain Santi da Cascese, presumed to be the son of Ercole de' Bentivogli, was an artisan in a wool factory when Cosimo set eyes upon him. At first Santi refused the dangerous honour of governing a proud republic; but the intrigues of Cosimo prevailed, and the obscure craftsman ended his days a powerful prince.
Their original stronghold in Rome was almost on the site of their present palace, being then situated on the opposite side of the Basilica of the Santi Apostoli, where the headquarters of the Dominicans now are, and running upwards and backwards, thence, to the Piazza della Pilotta; but they held Rome by a chain of towers and fortifications, from the Quirinal to the Mausoleum of Augustus, now hidden among the later buildings, between the Corso, the Tiber, the Via de' Pontefici and the Via de' Schiavoni.
Here it was that Piero della Francesca had written his celebrated work on the science of perspective, Francesco di Giorgio his Trattato d'Architettura, and Giovanni Santi his poetical account of the artists of his time; and here it was in the first days of the sixteenth century that Elizabetta was the centre of a group which was all sweetness and light when compared with the prevailing habits of life.
"I'm really thankful it is the last time I shall have to get this abominable paper money," said Raeburn, coming down the stairs. "Just count these twos and fives for me, dear; fifteen of each there should be." At that moment Brian had just passed the tall, white column disappearing into the street which leads to the Borgo Ogni Santi.
"Cimabue next painted in fresco at the hospital of the Porcellana at the corner of the Via Nuova which leads into the Borgo Ogni Santi. On the front of this building, which has the principal door in the centre, he painted the Virgin receiving the Annunciation from the angel, on one side, and Christ with Cleophas and Luke on the other, all the figures the size of life.
He had shared his master's fallen fortunes and knew better than he what he meant by a few more small economies, as he called them. "God be praised, Signor Conte," he said solemnly. "May I serve the breakfast?" "I have no appetite, Santi. Go and eat yourself." "A little something?" Santi spoke in a coaxing way.
Santi left the room, drying his eyes and uttering incoherent exclamations of astonishment mingled with a singular cross fire of praise and prayer directed to the Saints and of imprecations upon himself for his own stupidity. Before noon Orsino appeared. He was gaunt and pale, and more like San Giacinto than ever.
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