Titian The Three Ages of Man painting

Titian The Three Ages of Man paintingTitian Saint Christopher paintingFrancisco de Goya The Parasol painting
off, the front was down, and on one side the basement lay open; on the other the walls still stood their full height, and the rooms, three-sided like stage settings, exposed their Morris papers, flapping loose in the wind where the fireplaces and window frames had been torn out. The studio had disappeared, leaving a square of rubble to mark its site; new shoots appeared here and there in the trampled mess of the. A dozen or more workmen were there, two or three of them delving away in a leisurely fashion, the rest leaning on their tools and talking; it seemed inconceivable that in this they could have done so much in such little time. The air was full of flying grit. It was no place to linger. When next I passed that way, a great concrete wing covered the site; it was cleaner than the rest of the block and by a miscalculation of the architects, the windows were each a foot or two below the general line; but, like them, were devoid of curtains.