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Kemp further states that the doubled outline of the heel of the hand holding the sphere—which the restorer described as a pentimento—is an accurate rendering of the double refraction produced by a transparent calcite (or rock crystal) sphere. [n 26] [110] However, this continues outside the globe itself. [117]
The date of the painting is given in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the names of Simone Martini and his brother-in-law Lippo Memmi (symon martini et lippvs memmi de senis me pinxervnt anno domini mcccxxxiii), although it is not known which parts were executed by which artist. A hypothesis ...
Invented in the late 19th century, its form derives from the fact that all cocktails are traditionally served chilled and contain an aromatic element. Thus, the stem allows the drinker to hold the glass without affecting the temperature of the drink, an important aspect due to the lack of added ice which in other drinks serves to cool the drink, [2] and the wide bowl places the surface of the ...
There are very few American inventions more American than the martini – a classic cocktail of gin and vermouth, garnished with lemon. But today, a martini's ingredients may be up for debate.
A wet martini contains more vermouth; a 50-50 martini uses equal amounts of gin and vermouth. An upside-down or reverse martini has more vermouth than gin. [23] A dirty martini contains a splash of olive brine or olive juice and is typically garnished with an olive. [24] An extra dirty martini typically contains twice the amount of olive brine ...
The shaken Martini is mentioned twice in the first Bond film Dr. No (1962). When Bond has presumably ordered a drink from room service to his hotel room, it is mixed by a waiter, who says "one medium dry vodka martini mixed like you said, sir, but not stirred." (A slice of lime was in the bottom of the glass.) Later, Dr.
Under this hypothesis, he commissioned it before leaving Rome for the papal court in Avignon or in Avignon itself, where Martini followed Orsini. [4] The altarpiece was probably in the Champmol Charterhouse, near Dijon, by the end of the 14th century. It was still there in the prior's chambers in 1791, when it was sold and split up.
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