.
Head of an angel: Piero della Francesca, 1460, San Francesco, Arezzo (image by Sailko, 2009)
He was, however, impersonal, not in his method only, as all great artists have to be, but he was what would be commonly called impassive, that is to say, unemotional, in his conceptions as well. He loved impersonality, the absence of expressed emotions, as a quality in things. -- Bernard Berenson, Italian Painters of the Renaissance, 1897For some -- the faint of heart, perhaps -- it had been a relief at least to know there had been no one on hand to witness the event.
Street view: a series of unfortunate events #5: photo by Michael Wolf, 2010
Well, almost no one.
La Proximité de la Mer (Borges), Canary Wharf, London: photo by galaad, 4 April 2010
Still, the sentence, one would have liked to think, had never been meant to take so long to finally be carried out.
Or had it?
St. Julian: Piero della Francesca, 1455-1460, Pinacoteca Communale, Sansepolcro (image by Sailko, 2009)
Indeed the waiting had always been the worst part. The long nights in particular, the great dark stretches, winding and tortuous, the obscure paths appearing at times to lead somewhere but finally, no; and punctuated then, with abrupt efficiency, by a small black dot.
It's that bit at the end which one never got to see. Still one could not help but imagine it as being very beautiful.
It's that bit at the end which one never got to see. Still one could not help but imagine it as being very beautiful.
I had always imagined paradise as a kind of library (Borges): photo by Ryan Dearth, 30 January 2011
Quando a curiosidade é infinita, o mundo se torna igualmente infinito? (Borges): photo by Alice Barreto, 25 May 2010
