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"You are right; every language should preserve its purity. Livy has been criticised on this account; his Latin is said to be tainted with patavinity." "When I began to learn Latin, the Abbe Lazzarini told me he preferred Livy to Sallust." "The Abbe Lazzarini, author of the tragedy, 'Ulisse il giovine'? You must have been very young; I wish I had known him.
"You are right; every language should preserve its purity. Livy has been criticised on this account; his Latin is said to be tainted with patavinity." "When I began to learn Latin, the Abbe Lazzarini told me he preferred Livy to Sallust." "The Abbe Lazzarini, author of the tragedy, 'Ulisse il giovine'? You must have been very young; I wish I had known him.
A day or two later we went to Poggibonsi, which must have been an important place once; nothing but the walls remain now, the city within them having been razed by Charles V. At the station we took a carriage, and our driver, Ulisse Pogni, was a delightful person, second baritone at the Poggibonsi Opera and principal fly-owner of the town.
"Your Excellency will have heard of Ulisse Ferrero, a great robber of the lower Abruzzo Citeriore Primo?" "I have: continue." "Ulisse Ferrero was outlawed; his band had been killed or captured, every one; he had lost his right arm; he hid for many years in the lower woods of Abruzzo; he came down at night to the farmhouses, the people gave him food and drink, and aided him "
He looked at her in silence for a little while, then returned to his mother. "She is tired. She sleeps. Let her rest." "It is unsafe." "How unsafe, mother? She is only a child." "She may have men behind her." "It is not likely." "She may have men behind her," repeated his mother. "Such men as you are thinking of, mother, do not come to this valley nowadays. Ulisse Ferrero was the last of them.
The story of a Cupid, carved and coloured in imitation of the antique, is given by Condivi. It was the cause of Michael Angelo’s first visit to Rome. As soon as he reached the Eternal City he set to work at his sculpture, as the purchase of a piece of marble mentioned in his letter to Pier Francesco de’ Medici, sent to Florence under cover to Sandro Botticelli, indicates. During the whole of this very important visit he worked in marble. We have, however, one record of a cartoon by him for a Saint Francis receiving the Stigmata, to be painted by a certain barber; but that is all. He studied the works of antique art and imitated the finish and softness of the Hellenic style: marbles of debased Greek workmanship abound to this day in the Roman collections. Messer Jacopo Gallo, a Roman gentleman and a banker, commissioned a Bacchus, now in the Bargello at Florence, and a Cupid, said to be the statue now in the Victoria and Albert Museum, South Kensington. Condivi records these commissions. This Bacchus is the least dignified work that Michael Angelo ever executed. Perhaps, like a young artist struggling to get on, he listened too much to the wishes and suggestions of his intelligent patron. The finish and the truth to nature of the unpleasant youth are exquisite. The folds of the skin and the softness of the flesh are perfectly rendered, but the work is repulsive, save for the mischievous little Satyr who steals the grapes; he seems to take us out into the open air, and away from the fumes of the wine shop. Condivi calls the second statue a Cupid, but Springer points out that Ulisse Aldovrandi, who saw the statue in Messer Gallo’s house at Rome, talks of an Apollo quite naked, with a quiver at his side and an urn at his feet. The work, Cupid or Apollo, at Kensington, is not so finely finished as the other statues of this first Roman period; the head is like a copy of the head of the David, the division between the pectoral muscles is weak, and their attachments to the breast-bone are round, regular, and without distinction, very different from either the naturalism of the Bacchus, the delicate truth of the Piet
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