Lorenzo's Funeral: A Fictional Narrative

The phone rings endlessly and it is like waiting for a drop of rain in a long drought. When he doesn’t answer, he becomes even more concerned.  He decides to take a quick trip back home and surprise Chardonnay. As he arrives home, the glimpse of his house and the light shining in the bedroom is like a beacon of hope for him, and the excitement builds up inside him, yet he feels nervous at the same time. Walking to the front door, he notices Forunato’s deep red merlot car parked in his driveway. He wonders what he could be doing here so late at night. “Chardonnay I’m home!” His voice echoes through the empty first floor. He walks through the dark foyer and into the living room where he notices the empty wine bottle on the table in front of the couch. He’s suspicious because it’s red wine and Chardonnay only drinks white. As he is going up the spiral stairs, he notices a familiar jacket hanging on the coat rack next to the door. Frustrated and confused, Montresor flees his home like a gazelle running away from a lion and returns to Spain. The next day he calls Chardonnay and asks her how her day was yesterday. She complains how she was feeling sick and stayed home all day. He tells her that he will be home in time so he can take her to the festival next week and he hopes that she will feel better by

Every evening Lilia and her parents have dinner with Mr. Pirzada. Lilia says he’s going to her house to eat dinner and watch the evening news. It prepares the reader by letting them know why Mr. Pirzada will be at Lili’s house

The Federal Agents scheduled an urgent meeting with the Lieutenant. They requested that Officer Dominic Cavil likewise be present.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

When a Grandmother's fight with her 11-year-old grandson got out of control, her husband stopped the battle in a deadly way.

As the City Clock struck ten last night, Lorenzo made his way from the Bronze Halberd's chapter house, and to his second home at the border of the Old God's District. However, things would take a very sour twist when the House Staff saw that he wasn't alone...

The photograph enveloped me into a brief essence of sanctity in behalf of the articles surrounding the church. The placement of everything in the picture seemed so perfect that I believed it had to have been artificial. The clouds draw the eye toward the tip of the spire where a cross sits, the building is standing on the highest elevation of earth—as if to reach the heavens, and all the more, the two largest

In this essay I intend to compare and contrast the Basilica of St. Sernin and Basilica of St Denis in France with references to how they differ structurally (as Romanesque and Gothic buildings respectively) followed by critical analysis of the advancements in architectural construction methods. The progression in architectural capability from Romanesque to Gothic led to a change in how religious architecture was approached spatially, with far greater emphasis on the use of light and a desire for greater height. To assess this transition one must contextualise the periods the respective basilicas were built in and the physical limitations as well as architectural preferences of the time. One must further assess why previously unfeasible technologies that now elevated the height of buildings and placed a greater emphasis for infiltration of light were required for religious reasons. This need for greater height and light exemplifies the relationship that people wanted between themselves and God in order to achieve a more fulfilled experience of their religion. This essay will attempt to consider and evaluate the dramatic change in the architectural style of Churches and Cathedrals and the transition from Romanesque to Gothic indicating the lasting impact these processes have left on history.

Hey! I’m a coffin, I don’t have a name so for now you can call me CoCo. The reason I don’t have a name because my mom Coffintella passed away before giving me a name. So now that you know that I don’t have a name let me give you a background story of me. My cousins once told me I’m named after my grandfather, Author. No one never calls me that so I stick to the name CoCo. My grandfather passed away a long time ago before I was even thought about. By the way, since my mother and other family members passed away, I’ve been living by myself lately. Now, the only ones in the family that’s living is me and my three cousins. I haven’t seen them in ages, they live across the country. So now that I’ve introduced myself, I’m going to tell you where the stuff that I’m made out of and where they come from and goes. My oldest cousin Coufin, she’s over 167 years old and she lives in India. The product I’m made out of is cotton (velvet) which is made in India in the shop

As the rigidity of the Roman Catholic Church’s power, influence, and corruption reached a climax during the Romanesque period, humanity’s desire for a more pleasurable life began to increase. The Middle Ages brought about a transition that began to replace spiritual emphasis in life and highlighted intellectualism and religious skepticism. Though the church’s power was not necessarily undermined, it was certainly revolutionized and dampened. Examples of this humanistic transformation were represented through the union of Gothic and Scholastic ideals. Rather than simply scare the population into being religious and pious, the Gothic era welcomed the population- beginning with France, followed by the rest of Europe through the airy, dream-like, colorful, and uplifting beauty of the Gothic Cathedrals. This radical change would not have come about were it not for Aristotle’s nominalist philosophy during Antiquity, which pioneered the future revival of this somewhat liberal thinking.

During the medieval times, Florence and Siena were wealthy cities. This prosperity was shown to the neighboring towns and citizens through the arts and architectures that ushered in the new Renaissance era. Florence was a much more popular area, with many large sights to view. Even so, Siena endured the challenge of not being engulfed in the shadow of Florence by perfecting its’ own charm and splendor. Even though these cities were so close to each other, they did a great job of getting along while expressing their own individuality.

The funeral service began on a bright spring morning at a small white chapel near the bayou. The minister talked about how gentle and affectionate Desiree was. Valmonde also said a few words in commemoration of her daughter. We also prayed for her and for those who were mourning. We then went to her burial site which was under a large blooming magnolia tree. We laid pink and white roses on top of her casket as the violinist played a sweet, soft symphony. After we finished laying roses on her casket, Armand laid a letter on Desiree’s casket, perhaps telling her the truth about him being bi-racial, and apologizing for the anguish he caused her. A granite tombstone, placed in front of her grave read, “In loving memory, A tender hearted angel,

I need you to let me marry Pedro for he truly loves me instead of Rosaura. If you let me marry him, I promise that not only will I be there to take care of you, but with Pedro, I will make you live in the luxury that you deserve. Pedro could provide us with a greater salary for the family while Nacha and Me can make the wonderful entrees and perform the house chores in the house. We would create a legacy in honour of our family's history.

Gerard watched his one true love lay flowers at his grave. They were the color that her hair had been a long time ago. He wondered if that was intentional.

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.