The Life and Times of Salvator Rosa

Front Cover
David Bryce, 1855 - 304 pages

Other editions - View all

Common terms and phrases

Popular passages

Page 64 - And she went and sat her down over against him a good way off, as it were a bow-shot : for she said, Let me not see the death of the child. And she sat over against him, and lifted up her voice and wept.
Page 121 - I have not loved the world, nor the world me; I have not flatter'd its rank breath, nor bow'd To its idolatries a patient knee, — Nor coin'd my cheek to smiles, — nor cried aloud In worship of an echo; in the crowd They could not deem me one of such ; I stood Among them, but not of them; in a shroud Of thoughts which were not their thoughts, and still could, Had I not filed my mind, which thus itself subdued.
Page 108 - Rome, gave a public opera, wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy and built the theatre.
Page 96 - TITAN ! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise ; What was thy pity's recompense ? A silent suffering, and intense ; The rock, the vulture, and the chain, All that the proud can feel of pain...
Page 100 - i motivi dei lazzi nazionali', or national gesticulations, that other representations were abandoned ; and gipsies told fortunes, and Jews hung, in vain. The whole population of Rome gradually assembled round the novel, the inimitable Formica. The people relished his flashes of splenetic humour, aimed at the...
Page 113 - ... writhing and unboning their clergy limbs to all the antic and dishonest gestures of Trinculoes, buffoons, and bawds; prostituting the shame of that ministry, which either they had, or were nigh having, to the" eyes of courtiers and court ladies, with their grooms and mademoiselles.
Page 91 - Except I shall see in his hands the print of the nails, and thrust my hand into his side, I will not believe.
Page 101 - ... genius, which it was difficult to attribute to any individual then known in Rome. Guesses and suppositions were still vainly circulating among all classes, when, on the close of the Carnival, Formica, ere he drove his triumphal car from the Piazza Navona, which, with one of the streets in the Trastevere, had been the principal scene of his triumph, ordered his troop to raise their masks, and, removing his own, discovered that Coviello was the sublime author of the Prometheus, and his little troop...
Page 100 - Towards the close of the Carnival of 1639, when the spirits of the revellers (as is always the case in Rome) were making a brilliant rally for the representations of the last •week, a car, or stage, highly ornamented, drawn by oxen,* and occupied by a masked troop, attracted universal attention by its novelty and singular representations. The principal personage announced himself as a certain Signor Formica, a Neapolitan...
Page 137 - Rosa.' — The next day brought back the prince to the painter's gallery ; who on entering saluted Salvator with a jocose air, and added, ' Well, Signor Amico, how goes the market to-day? have prices risen or fallen ?' — 'Four hundred scudi is the price to-day...

Bibliographic information