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Updated: June 11, 2025
We must not tell the Baroness these dreadful stories. They would upset her nerves." Malipieri had not supposed Volterra's wife to be intensely sensitive. He moved, as if he meant to take his leave presently. "By the bye," he said, "whereabouts should you recommend me to look for a lodging?" The Baron reflected a moment. "If I were you," he said, "I would go to a hotel.
The net result of this correspondence seems to be that certainly three bronze heads, and probably more, remained unfinished in Daniele da Volterra's workshop after his death, and that these were gradually cleaned and polished by different craftsmen, according to the pleasure of their purchasers.
Moreover, though she would not have acknowledged it, she inwardly hoped that some emergency might not be far in the future. But Malipieri walked all the way from the Via Ludovisi to the Palazzo Conti, which is more than a mile, without noticing that he had forgotten to light the cigar he had taken out on leaving Volterra's house. Malipieri had the Palazzo Conti to himself.
"The cellars are flooded," said the porter, speaking over Volterra's shoulder. "I know it," Malipieri answered. "I was going to inform you of that this morning," he continued, speaking to the Baron. "I do not think that the police are necessary to our conversation," he added, smiling at the detective.
To sum up this question of Michelangelo's authentic portraits: I repeat that Bonasoni's engraving represents him at the age of seventy; Leoni's wax model and medallions at eighty; the eight bronze heads, derived from Daniele's model, at the epoch of his death. In painting, Marco Venusti and Daniele da Volterra helped to establish a traditional type by two episodical likenesses, the one worked into Venusti's copy of the Last Judgment (at Naples), the other into Volterra's original picture of the Assumption (at Trinit
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