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Half dazed by the noise of the journey, he was now half dazed by the wonder of the quiet as he stood near Gaspare and listened to Sebastiano's music, and looked upward to the white terrace wall. Hermione was to be his possession here, in this strange and far-off land, among these simple peasant people. So he thought of them, not versed yet in the complex Sicilian character.
"She is so much prettier than all the others, and she does not care." "A woman who is so pretty as that," remarked Juan, sententiously, "need not care." "She says," put in Isabella, "that if she does not care, others will; but if she should care, the others " She stopped, meeting Sebastiano's eyes and becoming a little confused. "What would happen then," he said, "if she should care?"
"And I made five. Didn't I, signore?" "You're a dead shot, Gasparino. Did you hear us, Hermione?" "Yes," she said. "But you didn't hear me." "You? Did you call?" "Yes." "Why?" "Sebastiano's got a message for you," Hermione said. She could not tell him now the absurd impulse that had made her call him.
But there is a marked difference between them in character, which shows itself in their faces. Ruggiero's eye is of a colder blue, is less mobile and of harder expression than Sebastiano's. His firm lips are generally tightly closed, and his square chin is bolder than his brother's.
The drawing, for instance, of the hands vividly suggests his help, the type of S. Joseph in the background reminds us of the figure of S. Chrysostom in Sebastiano's Venice altar-piece, while the S. Catherine recalls the Angel in Sebastiano's "Holy Family" at Naples.
Edlin standing at the door, who at sight of them lifted her hands deprecatingly. "She's downstairs, if you'll believe me!" cried the widow. "Out o' bed she got, and nothing could turn her. What will come o't I do not know!" On entering, there indeed by the fireplace sat the old woman, wrapped in blankets, and turning upon them a countenance like that of Sebastiano's Lazarus.
Both pictures were publicly exhibited in Rome, and by some people Sebastiano's was preferred to Raphael's. According to Waagen the whole composition was designed by Michelangelo, with whom Sebastiano had entered into the closest intimacy; and Kugler states that the group of Lazarus and those around him was actually drawn by the master.
The painters of that period, as is proved by Sebastiano's practice, by Lionardo da Vinci's unfortunate innovations at Florence, and by the experiments of Raffaello's pupils in the hall of Constantine, not unfrequently invented methods for mural decoration which should afford the glow and richness of oil-colouring.
Sebastiano's reliance upon Michelangelo, and his calculation that the way to get possession of the coveted commission would depend on the latter's consenting to supply him with designs, emerge in the following passage: "The Cardinal told me that he was ordered by the Pope to offer me the lower hall.
He will soon find out his mistake, for the poor young man will never be able to make statues. He has forgotten all he knew of art, and the knees of your Christ are worth more than all Rome together." It was Sebastiano's wont to run babbling on this way. Once again he returns to Pietro Urbano.
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