copied items come from colophon in word.
copied items come from colophon in word.
where do copied items come from in word?
colophon
clipx can be recalled via a hotkey and supports both bitmap and text clipboards. clipx offers a simple right-click menu for accessing copied items and configuring the program, while a left-click displays recently copied items. under configuration, you can specify how many clips the program retains and whether it should ignore text or bitmap files. default hot keys let you pull up the list of clips, search clipx's simple manager for a specific clip, or launch an online search for an item, but it does not offer hot keys for individual clips or support drag and drop for easily inserting clips. the program does not retain text formatting, but it does work with image files. you also can save a set of clips and reload them as needed.
clipx
st. sebastian was locally favored in mantua in the 16th century. before francesco bonsignori produced "st sebastian" (s maria delle grazie, curtatone), his teacher andrea mantegna produced three paintings of the subject, commissioned by the gonzaga family. bonsignori's ideas were often inspired from life and he conscientiously observed and copied items from nature. as a preparation for "st sebastian" (s maria delle grazie, curtatone), he spent four years on observation and execution to achieve naturalistic effects. vasari mentioned in his book that bonsignori used a sturdy porter as his model for the natural effect, suggested by his patron francesco gonzaga, the 4th marquess of mantua. only a few of the artists who treated the theme of st. sebastian actually used real men as their models for their images of the vulnerable saint. by modelling the saint on some fine figure of man, bonsignori carefully examined the movement of muscle and transfer of weight. there is an anecdote regarding the creation of this work mentioned in vasari's book. when francesco gonzaga first visited bonsignori's studio, he complained that the bindings of st. sebastian were minimal and there was no sign of frenzy to loosen them. additionally, the saint did not show sense of panic expected in a man bound up and shot at with arrows. the figure lacked the power and expression of emotion to transfix the viewer. the next day, bonsignori sought for a more convincing demonstration of st. sebastian by trussing up his model. however, he soon sent a secret message to gonzaga, confessing his failure to understand his will. gonzaga burst into his studio in the afternoon, furiously waving a crossbow to the porter, yelling "traitor! you’re a dead!” terrified by his attack, the porter manically tried to break the ropes to escape. the fear in the wretched porter's facial expression and physical frenzy ideally replicated the physical and psychological struggle st. sebastian would experience when he was about to be mortally pierced with arrows. "there! now you have him as he should be! i leave the rest to you." then the marquess turned to bonsignori. inspired by gonzaga, bonsignori recomposed his painting more realistically and naturalistically. few artists showed the actual end of st sebastian. "st sebastian" (s maria delle grazie, curtatone) was eventually placed in the mantuan church of the madonna delle grazie.
francesco bonsignori