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"La calomnie s'est attachée
Then there are a number of more or less complete manuscripts of some extent. Tragicomedie en trois actes, composed a Dux dans le mois de Juin de l'Annee, 1791, which recurs again under the form of the 'Polemoscope: La Lorgnette menteuse ou la Calomnie demasquge, acted before the Princess de Ligne, at her chateau at Teplitz, 1791.
Did you not see them in the same room with La Calomnie by Botticelli, with a landscape in the background? It is drawn like this," and he made a gesture with his thumb, "and that is what I am trying to obtain, the necessary curve on which all faces depend. There is no better painter in Italy." "And Titian and Raphael?" interrupted Madame Steno.
Then there are a number of more or less complete manuscripts of some extent. Tragicomedie en trois actes, composed a Dux dans le mois de Juin de l'Annee, 1791, which recurs again under the form of the 'Polemoscope: La Lorgnette menteuse ou la Calomnie demasquge, acted before the Princess de Ligne, at her chateau at Teplitz, 1791.
In June, Casanova composed for the theater of Princess Clari, at Teplitz, a piece entitled: 'Le Polemoscope ou la Calomnie demasquee par la presence d'esprit, tragicomedie en trois actes'. The manuscript was preserved at Dux, together with another form of the same, having the sub-title of 'La Lorgnette Menteuse ou la Calomnie demasquee'. It may be assumed that the staging of this piece was an occasion of pleasant activity for Casanova.
Did you not see them in the same room with La Calomnie by Botticelli, with a landscape in the background? It is drawn like this," and he made a gesture with his thumb, "and that is what I am trying to obtain, the necessary curve on which all faces depend. There is no better painter in Italy." "And Titian and Raphael?" interrupted Madame Steno.
Did you not see them in the same room with La Calomnie by Botticelli, with a landscape in the background? It is drawn like this," and he made a gesture with his thumb, "and that is what I am trying to obtain, the necessary curve on which all faces depend. There is no better painter in Italy." "And Titian and Raphael?" interrupted Madame Steno.
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