The frontispiece of the present volume shows the monument in the Largo7 do Quintella in Lisbon raised to Queiroz by the devotion of the Conde de Arnoso and other admiring friends. The bust8 is generally agreed to be an excellent likeness9, though the face perhaps wears a severer expression in marble than it did in life, and it has not therefore the photographic accuracy of the bust by Raphael Bordallo Pinheiro, a replica10 of which{x} faces me as I write. The woman symbolises Reality, and her attitude shows her revealing the secrets of life to E?a’s scrutinising gaze, while the inscription11 at the base sums up his ideal and achievement, and reads: 'Over the forceful nakedness of truth, the diaphonous mantle12 of fantasy.’ The monument is the work of Senhor Antonio Teixeira Lopes, the creator of those two masterpieces, the bronze figure of History[1] erected13 in memory of the historian Oliveira Martins in the Prazeres Cemetery14 in Lisbon, and the statue in wood of St. Isabel in the Church of Santa Clara at Coimbra.
[1] Pictured in the notable study by Senhor Antonio Arroyo15, Soares dos Reis e Teixeira Lopes, Porto, 1899.
He learned his business at the Academia{xi} Portuense de Bellas Artes under the well-known sculptor16 Soares dos Reis, and at eighteen went to the école des Beaux Arts in Paris, where he worked under Cavelier and Barrias, though the man who taught him most was Donatello. He exhibited at the Salon17 in his first year in France, and since then has advanced from one artistic18 triumph to another. His group 'A Viuva’ gained him a gold medal at the International Exhibition in Berlin in 1896, his statue 'A D?r’ obtained a Grand Prix at the International Exhibition in Paris in 1900, and now, at the age of forty, he is hailed as an original genius and as Portugal’s greatest sculptor.
Chiltern, Bowdon.
March 1906.
'Erasmus was wont19 to affirm that, in his studies, he had not found anything more arduous20 than translation, nor a thing worthy21 of greater praise, if well done, nor of greater blame, if ill done.'—Dami?o de Goes (the friend of Erasmus) in the dedication22 of his version of Cicero’s De Senectute.

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1
lesser
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adj.次要的,较小的;adv.较小地,较少地 | |
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2
proprietor
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n.所有人;业主;经营者 | |
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suave
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adj.温和的;柔和的;文雅的 | |
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Founder
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n.创始者,缔造者 | |
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5
hesitation
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n.犹豫,踌躇 | |
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appreciation
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n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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7
largo
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n.广板乐章;adj.缓慢的,宽广的;adv.缓慢地,宽广地 | |
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8
bust
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vt.打破;vi.爆裂;n.半身像;胸部 | |
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likeness
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n.相像,相似(之处) | |
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10
replica
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n.复制品 | |
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11
inscription
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n.(尤指石块上的)刻印文字,铭文,碑文 | |
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12
mantle
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n.斗篷,覆罩之物,罩子;v.罩住,覆盖,脸红 | |
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13
ERECTED
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adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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14
cemetery
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n.坟墓,墓地,坟场 | |
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arroyo
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n.干涸的河床,小河 | |
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16
sculptor
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n.雕刻家,雕刻家 | |
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17
salon
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n.[法]沙龙;客厅;营业性的高级服务室 | |
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18
artistic
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adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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19
wont
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adj.习惯于;v.习惯;n.习惯 | |
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20
arduous
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adj.艰苦的,费力的,陡峭的 | |
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21
worthy
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adj.(of)值得的,配得上的;有价值的 | |
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22
dedication
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n.奉献,献身,致力,题献,献辞 | |
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