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Updated: May 28, 2025
At the left of the entrance, separated by a large, high mirror which faced the fireplace, two other canvases, signed by Geffroy, represent the foyer itself, in costumes of the classic repertoire, the greater part of the eminent modern 'societaires', colleagues and contemporaries of the great painter.
And Geffroy, the admirable artiste who had retired from the Comedie Francaise, and was now asked to play Don Salluste, had said, it appears, that he could only see one little Queen of Spain worthy to wear the crown, and I was that one. I did not know Geffroy; I did not know Paid Meurice; and was rather astonished that they should know me.
I am astonished at this, for I serve her better than they did, and I am certain that they would not wash her feet or pull off her shoes as readily as I do." Letter to the Maréchale de Noailles, Dec. 1701. Recueil de M. Geffroy. How unlike a contemporary mistress of the robes in England, the haughty Duchess of Marlborough!
So runs the textual engagement of Queen Anne, taken from the Royal Archives of the Hague, and communicated to M. Geffroy. Lettres de Madame de Maintenon et de Madame des Ursins, tom. ii., pp. 7, 8. But that was just what the allies most feared.
His two satellites, Auguste Vacquerie and Paul Meurice, scarcely ever left him, and when the Master was absent they kept up the divine fire. Geffroy, severe, sad, and distinguished, often gave me advice. During the intervals for rest I posed for him in various attitudes, for he was a painter.
But both these terms, as we know them in history, are survivals from some prehistoric state of things; and whether they were originally applied to a hundred of houses, or of families, or of warriors, we do not know. M. Geffroy, in his interesting essay on the Germania of Tacitus, suggests that the term canton may have a similar origin.
D'Espremenil, one of the counselors, was filled with excitement and wrath at the proposed toleration. Pointing to the image of Christ, which hung on the wall of the chamber, "would you," he indignantly exclaimed, "would you crucify him again?" But the appeal of bigotry was unavailing. Howard, Lazzarettos, 55. Coquerel, 93. Geffroy, i. 406. Cherest, i. 45, 382.
Collection of M. Geffroy, pp. 1-25. The obligation of discharging an immense amount of debt compelled Madame di Bracciano to part with the property of the duchy bearing that name.
Whatever he sacrificed, it was not actuality. His draughtsmanship never falters, his touch is never infirm. I have seen his portraits of Verlaine, Daudet, Edmond de Goncourt, Geffroy, of the artist himself and many others. The Verlaine is a veritable evocation. It was painted at one séance of several hours, and the poet, it is said, did not sit still or keep silence for a moment.
The Tout-Paris of first nights and the vibrating younger elements were to meet in the large, solemn, dusty theatre. Ah, what a splendid, stirring performance it was! What a triumph for Geffroy, pale, sinister, and severe-looking in his black costume as Don Salluste. Melingue rather disappointed the public as Don Cesar de Bazan, and the public was in the wrong.
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