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Updated: May 15, 2025
That little stream the Sebeto, which is indeed, as the courtly Metastasio observes, “scanty in depth of water though overflowing with honour,” may be considered as the boundary line that divides the city of Naples from its eastern environs, although it is evident that the whole stretch of coast from Posilipo to Torre del Greco is covered with an unbroken line of houses.
In the sixth scene, the last on that side, by the hand of Bronzino, was the Dispute that took place at Naples, before the Emperor, between Duke Alessandro and the Florentine exiles, with the River Sebeto and many figures, and this was a most beautiful picture, and better than any of the others; the device was a Palm, and the arms those of Spain.
The king and queen not being able to enter at the harbour, which was in the enemy's power, disembarked at Santa Maria del Carmine, near the river Sebeto, amid the frenzied applause of an immense crowd, and accompanied by all the Neapolitan nobles.
The king and queen not being able to enter at the harbour, which was in the enemy's power, disembarked at Santa Maria del Carmine, near the river Sebeto, amid the frenzied applause of an immense crowd, and accompanied by all the Neapolitan nobles.
The same Jacopo, together with Aldigieri and Sebeto da Verona, painted the Chapel of S. Giorgio, which is beside the Church of S. Antonio, in Padua, according to the directions left in the testaments of the Marquesses of Carrara. Jacopo Avanzi painted the upper part; below this were certain stories of S. Lucia, with a Last Supper, by Aldigieri; and Sebeto painted stories of S. John.
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