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Updated: June 20, 2025
But he resisted the sea, its wide peace, its subtle summons, called a carriage and drove to the Galleria. Arrived there, he took his seat at a little table outside the "Gran Caffe," ordered a small dinner, and, while he was eating it, watched the people strolling up and down, seeking among them for a figure that he knew.
Oh, he tries to conceal it. He is a hypocrite. But I, stupid as I am, I see it all. I see what he is, what he wants, I see all all that is in his mind and heart. For this noble old man, so respected, with the white hairs and the great brain, what is he, what does he do? He goes at night to the Galleria.
I walked at a leisurely pace along the Via Allesandro Manzoni till my eye was caught by the grand Galleria Vittorio Emanuele, and I entered under the high glass arcades till I reached the central octagon, where I sat down on one of a group of chairs placed there. Becoming accustomed to the stream of promenaders, I soon observed, seated on the chairs opposite, Caroline and Charles.
The Marchesino turned towards Artois. "And Maria Fortunata! Santa Maria of the Toledo, the white-haired protectress of the strangers! Emilio you might have come to me! But you do not trust me. Ecco! You do not " Artois understood. "You saw me last night?" "Ma si! All Naples saw you. Do you not know that the Galleria is full but full of eyes?" "Va bene! But you don't understand." "Emilio!"
She could see him at Monte Carlo, in the restaurants of Paris, in the Galleria at Naples, in Cairo, in Tunis, in a dozen places. But she could not see him at home. Was he the eternal traveller, with plenty of money, a taste for luxury and the wandering spirit? Or had he some purpose which drove him about the world?
The Galleria Palatina is a gallery of the masterpieces of the high Renaissance, formed by the Grand Dukes, who brought here from their own villas and from the Uffizi the greatest works in their possession. Like other Italian galleries, it suffered from Napoleon's generals; but though sixty or more pictures were taken to Paris, they all seem to have been returned.
III. This picture was then at Burleigh House. See La Galleria Crespi, 1900. The Earlier Work of Titian p. 24. Portfolio, October 1897. Tizian, p. 16. Morelli, ii. 57, note. See antea, p. 71. With the exception of the right arm, which Titian has let fall, instead placing it behind the head of the sleeping goddess.
I left my military guide at Verona on Saturday afternoon and reached Milan in time to dine outside Salvini's in the Galleria Vittorio Emanuele, with an Italian fellow story-writer. The place was as full as ever; we had to wait for a table.
He explained to me that he had that piece of French gold for something like three years. He used to carry it about with him as a sort of reserve in case of accident. Anybody is liable to have his pocket picked a quite different thing from a brazen and insulting robbery. The monumental arch of the Galleria Umberto faced him at the top of a noble flight of stairs.
Cicerone, sixth edition. Gazette des Beaux Arts, 1897, pp. 278-9. Venetian Painting at the New Gallery, 1895, p. 41. Titian, ii. 58. Gazette des Beaux Arts, loc cit. Life of Giorgione. The letters T.V. either were added after 1544, or Vasari did not interpret them as Titian's signature. La Galleria Crespi, op. cit.
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