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By: Mendenhall, Doug and Robert Adlai Lake

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Primeiro, temos RiME. Este jogo de puzzle e aventura se passa num belo mundo no qual você é um jovem rapaz que acorda numa ilha misteriosa após uma forte tempestade. Armado com sua mente e a vontade de sobreviver, você deve explorar a ilha, alcançar o topo da torre e destravar seus segredos mantidos a sete chaves.

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Thank you so much for your appreciation.

i would like to make it as a essay . that is 4 parts essay .
and i would like u to put this question also
elaborate on bacon views of similes and metaphor to enplane is concept of studies ?
the prose name is -“of studies”
writen by -“francis bacon”

By: Smith, Joseph Jr; Compiled by Joseph Fielding Smith

The Abduction of the Sabine Woman proved to be Giambologna’s entrée into the Florentine world of monumental sculpture. From this point forward he went on to create numerous other works that occupy principal sites in Florence, including the Cosimo I de’Medici Equestrian Monument in the Piazza della Signoria, St. Luke for a niche at Orsanmichele, and a brilliant Hercules Battling the Centaur, which is situated just a few feet from his Sabine group in the Loggia dei Lanzi.

By: Ronald R. Bateman; Foreword-unique venue


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The most complete bibliography of works by and about Governor Berkeley may be found at the on the World Wide Web. To go to the site, set your browser on .

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While Giambologna’s fame and workshop flourished, there was one area in which he was not active, and that was in monumental sculpture. And in Florence, just taking the short walk from the Cathedral to the Palazzo Vecchio becomes a demonstration of the long history of life-size or larger public sculpture that dominated the cityscape. There were marble sculptures by such famous fifteenth-century sculptors as , , and on the façade of the cathedral, in the niches on the campanile (the belltower), and encircling the exterior of , and in the Piazza della Signoria—the center of Florentine life and politics—were the truly monumental sculptures, including Michelangelo’s (1504), Baccio Bandinelli’s (1525-32), and Bartolommeo Ammanati’s (1565).

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The subject is a dramatic one from ancient Roman history. According to the accounts of both Livy and Plutarch, after the city of Rome was founded in 750 B.C.E., the male population of the city was in need of women to ensure both the success of the city and the propagation of Roman lineage. After failed negotiations with the neighboring town of Sabine for their women, the Roman men devised a scheme to abduct the Sabine women (which they did during a summer festival).

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The Sabine was indeed a triumph for Giambologna. According to one account, when the work was officially unveiled to the Florentine public, not one person could find fault with it.[5] And if we compare the Sabine with another multi-figure group, such as Bandinelli’s two-figure , it is immediately apparent how Giambologna dramatically altered the conception of a sculpture involving more than two figures. Bandinelli’s Hercules stands over a defeated Cacus, both men trapped in stony stillness. Neither figure expresses emotion or seems to possess the potential for movement.

Works by Francis Bacon - Wikipedia

In contrast, Giambologna built his figures up from the bottom, beginning with the cowering Sabine male (above), whose body twists and contorts in reaction to what is happening above him. The man’s straining muscles are evident as he raising his left hand up in despair as the triumphant Roman literally straddles his body, as he strides forward, carrying the Sabine woman away. If you look closely where he grabs her left hip, his fingers actually press into her flesh (below), thus amplifying the effect of these figures being more than marble statues. The woman herself, arms outstretched, twists back and over the Roman’s shoulder as she is hoisted into the air. These figures convey movement, aggression, fear, and struggle, as they move upward in a flame-like or twisting pattern known as figura serpentinata (serpentine figure), popular with Mannerist artists of the period. And to enhance the sense of frenetic energy, Giambologna did not provide a single or primary viewpoint for the work so the viewer must engage with the sculpture in 360 degrees in order to see the entirety of the drama unfold.