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Our artificers imitate their masters, or their antecessors. It is
human to evade operose labor of body or mind. Labor of mind
facilitly may be evaded by imitation: for, so, sollicitude of mind
conducive to invention becomes supervacuous. Hence, artificers of a
negligent nature follow traditions and canons of the schools. How
many have intended themselves to imitate the inaccessible Messer
Alessandro Filipepi?
We stood up, openly looking at him as though we were astounded at
his audacity: for, in starting, he had knocked down the
double-cross, golden, which leaned against the pedestal of the
ivory faun near him, nor did he attempt to replace it. Indeed, his.
eyes began to glare like those of one who unadvisedly had looked
upon a cluster of hobgoblins. His knees also began to bend like
those of one pressed downward by an incubus, gently, irresistible.
The silver god, and the golden goddess, before many gods and
goddesses. . . . The silver god, and the golden goddess on a
throne. . . . The silver god, following the star." Having said
these words, which seemed to be nonsensical, he tired me. Whereat I
smacked him, shaking his hand till the dark ink trickled over his
thighs; and so I dismissed him to relieve Nesamun at the
steering-oar.
Our artificers imitate their masters, or their antecessors. It is
human to evade operose labor of body or mind. Labor of mind
facilitly may be evaded by imitation: for, so, sollicitude of mind
conducive to invention becomes supervacuous. Hence, artificers of a
negligent nature follow traditions and canons of the schools. How
many have intended themselves to imitate the inaccessible Messer
Alessandro Filipepi?
We stood up, openly looking at him as though we were astounded at
his audacity: for, in starting, he had knocked down the
double-cross, golden, which leaned against the pedestal of the
ivory faun near him, nor did he attempt to replace it. Indeed, his.
eyes began to glare like those of one who unadvisedly had looked
upon a cluster of hobgoblins. His knees also began to bend like
those of one pressed downward by an incubus, gently, irresistible.
The silver god, and the golden goddess, before many gods and
goddesses. . . . The silver god, and the golden goddess on a
throne. . . . The silver god, following the star." Having said
these words, which seemed to be nonsensical, he tired me. Whereat I
smacked him, shaking his hand till the dark ink trickled over his
thighs; and so I dismissed him to relieve Nesamun at the
steering-oar.
Our artificers imitate their masters, or their antecessors. It is
human to evade operose labor of body or mind. Labor of mind
facilitly may be evaded by imitation: for, so, sollicitude of mind
conducive to invention becomes supervacuous. Hence, artificers of a
negligent nature follow traditions and canons of the schools. How
many have intended themselves to imitate the inaccessible Messer
Alessandro Filipepi?
This scarce antiquarian book is a facsimile reprint of the
original. Due to its age, it may contain imperfections such as
marks, notations, marginalia and flawed pages. Because we believe
this work is culturally important, we have made it available as
part of our commitment for protecting, preserving, and promoting
the world's literature in affordable, high quality, modern editions
that are true to the original work.
The author of this unusual work was one of the most enigmatic,
eccentric of English writers. He lived and died in poverty, and was
as unscrupulous in grasping for money as were the Borgias he wrote
about in their grasping for power. He spent his adult life eluding
bill collectors and landlords, begging money from friends or
strangers, composing fanatically belligerent notes to publishers
demanding funds they had allegedly promised him, and extorting
money from hapless benefactors whose faith in him proved most often
to be unfounded. Nevertheless, he produced several books of
superior quality which are sui generis in their vitality, color,
and individuality. The present work is an example. It is by no
means a work of objective, rigorously documented scholarship; it
teems with Corvo's personal hypotheses, prejudices, and grudges. It
steadfastly examines every accusation that has ever been made
against the Borgias. Yet it conjures up a picture of Renaissance
Italy which may not be historically accurate in every detail, but
which vibrates with the spirit of the age. The book is broad in
scope, relating to the movements of the Borgia Family during the
whole of its career as the ruling house of Italy. In a style that
is by turn lyric, dramatic, humorous, sonorous and epigrammatic,
Corvo traces the lives of Alonso Borgia (who became Pope Calixtus
III), Roderigo Borgia (later Pope Alexander VI), the redoubtable
Cesare Borgia and his heralded sister Lucrezia, and other lesser
known but equally interesting figures of the Borgia clan. The
narrative is spiced with illuminating anecdotes, curious lore, and
little-known sidelights in connection with the people and events of
that incomparable era.Some of the most absorbing passages are those
in which Corvo interrupts the narrative to reflect on such matters
as calumny (all charges against the Borgias come under this
heading), the loneliness of the popes, the classic learning of the
Renaissance, the superiority of the 16th-century methods and mores
to 20th-century ones, and many other subjects he feels constrained
to remark upon. Perhaps the most engrossing chapter of all is the
one which examines the matter of poisoning in the light of the
superstitions that were still alive during the Borgia era.
Our artificers imitate their masters, or their antecessors. It is
human to evade operose labor of body or mind. Labor of mind
facilitly may be evaded by imitation: for, so, sollicitude of mind
conducive to invention becomes supervacuous. Hence, artificers of a
negligent nature follow traditions and canons of the schools. How
many have intended themselves to imitate the inaccessible Messer
Alessandro Filipepi?
The silver god, and the golden goddess, before many gods and
goddesses. . . . The silver god, and the golden goddess on a
throne. . . . The silver god, following the star." Having said
these words, which seemed to be nonsensical, he tired me. Whereat I
smacked him, shaking his hand till the dark ink trickled over his
thighs; and so I dismissed him to relieve Nesamun at the
steering-oar.
We stood up, openly looking at him as though we were astounded at
his audacity: for, in starting, he had knocked down the
double-cross, golden, which leaned against the pedestal of the
ivory faun near him, nor did he attempt to replace it. Indeed, his.
eyes began to glare like those of one who unadvisedly had looked
upon a cluster of hobgoblins. His knees also began to bend like
those of one pressed downward by an incubus, gently, irresistible.
"The body is that of a very handsome lad indeed, of about nineteen
years of age, and most magnificently made: indeed I only know of
one specimen of physique at all comparable with it in splendour of
symmetry; and that is the statue of the Athlete with the Strigil,
by Lysippos, in the Vatican collection. There is absolutely no
trace of decay about it; and it looks as fresh and feels as soft
(though of course it's cold) as the body of a young sleeper." Newly
designed and typeset in a modern 6-by-9-inch format by Waking Lion
Press.
Contrite priests suddenly bestow Holy Orders on a wretched failure
who was expelled from the seminary for lack of a true vocation. He
is soon in Rome with his bishop to elect a new Pope. The stymied
conclave elects the dedicated new priest: Hadrian VII. The new Pope
decides to sell Vatican art treasures to finance feeding the
world's poor. He smokes on the throne and entertains old friends
like his landlady and new ones like a seminarian who is having a
hard go of it until an assassin puts an end to Hadrian VII.2 women,
26 men
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