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"Diable!" I answered. "I am M. de Mancini's friend. It was to shield him that I fought your brother; again, because of my attitude towards him was it that I went perilously near assassination at Reaux. Enemies sprang up about him when the Cardinal's matrimonial projects became known. Your brother picked a quarrel with him, and when I had dealt with your brother, St. Auban appeared, and after St.

There was a moment's pause, then came Vilmorin's shrill voice. "You lie, knave! M. de Mancini is here. You are M. de Luynes's lackey, and where the one is, there shall we find the other." "M. de Luynes?" came a voice unknown to me. "That is Mancini's sword-blade of a friend, is it not? Well, why does he hide himself? Where is he? Where is your master, rascal?"

Mancini devotes a few pages to a description of the vocal organs. This fact is cited by several modern theorists in support of their statement that the old masters based their methods on mechanical principles. In the following chapter this topic of Mancini's treatise will be considered.

The one Fortuny is an elaborate etching of his Anchorite. The Josef Israels are strong. Jacque pigs and sheep; Klinkenberg's view of the Binnenhof; Mancini's bewildering chromatic blurs and sensuously rich gamut, and seventeen in number. This painter is seldom encountered in America.

Such conquests came to him with fatal ease, and for thirty years at least, until satiety killed passion, there was no lack of beautiful women to minister to his pleasure and to console him for the lack of charms in the Spanish wife whom Mazarin thrust into his reluctant arms when he was little more than a boy, and when his heart was in Marie Mancini's keeping.

Louis himself graced the wedding with his presence; and we are told, as the white-faced bride "said the 'yes' which was to bind her to a stranger, her eyes, with an indescribable expression, sought those of the King, who turned pale as he met them." Over the rest of Marie Mancini's chequered life we must hasten.

See that they do not guess our presence the landlord fortunately is ignorant of M. de Mancini's name." There was a clatter of horses' hoofs without, and I was barely in time to escape by the door leading to the staircase, when St. Auban's heavy voice rang out, calling the landlord. "I am in search of a gentleman named Andrea de Mancini," he said.

Albeit it was growing wearisome to be thus greeted by all to whom I showed myself, yet I studied courtesy in my reply, and then, 'neath the suasion of her kindliness, I related all that had befallen me since first I had journeyed to Blois, in Andrea de Mancini's company, withholding, however, all allusions to my feelings towards Yvonne.

Before I could utter a reply "Father," exclaimed Mademoiselle, coming forward, "do you know to whom you are offering the hospitality of Canaples?" "Why that question, child? To M. de Luynes, M. de Mancini's friend." "And the would-be murderer of Eugene," she added fiercely. Canaples started. "Surely such affairs are not for women to meddle with," he cried.

His Riflessioni pratiche sul Canto figurato was published in Milan in 1776. Mancini's book has never been translated into English. Reference will therefore be made to the third Italian edition, brought out in Milan, 1777. Tosi and Mancini undoubtedly intended to give complete accounts of the methods of instruction in singing in vogue in their day.