John Collier In the Venusberg Tannhauser painting

John Collier In the Venusberg Tannhauser paintingCaravaggio The Entombment of Christ painting
news had not seemed yet to have spread around the command post; the men began to get up and walk to the chow-line to clean their mess-gear, strolled back beneath the trees and flopped down, heads against their packs, for a moment's nap. The Colonel spoke in an easy, confidential voice with the other battalion commander: the casualties were confined, Culver gathered, to that outfit. It was a battalion made up mostly of young reserves and it was one in which, he suddenly thanked God, he knew no one. Then he heard the Colonel go on calmly—to promise more aid, to promise to come down himself, shortly. "Does it look rough, Luke?" Culver heard him say, "Hold on tight, Luke boy"—all in the cool and leisurely, almost bored, tones of a man to whom the greatest embarrassment would be a show of emotion, and to whom, because of this quality, had been given, in the midst of some strained and violent combat situation long ago, the name "Old Rocky." He was not yet forty-five, yet the adjective "old" applied, for there was a gray sheen in his hair and a bemused, unshakable look in his tranquil eyes that made him seem, like certain young ecclesiastics, prematurely aged and perhaps even wise. Culver saw him put the