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Updated: June 22, 2025
But dear me, she was, a hundred times! But in a different way each time. Libbie would be Libbie to the end of the chapter. Betty, rushing back to brush her hair for dinner, heard a sound suspiciously like a sob as she passed Norma Guerin's door. It was unlatched, and as no one answered when she tapped Betty gently pushed it open and stepped into the room.
The murals at the Exposition are rather unusual in their settings, where every building and every court is so replete with Mr. Guerin's splendid coloring. Mr. Brangwyn's decorations are by far the most interesting in their free joyous use of color and amusing composition.
Contemplate in Guérin's picture the spare body, those narrow shoulders under the uniform wrinkled by sudden movements, that neck swathed in its high, twisted cravat, those temples covered by long, smooth, straight hair, exposing only the mask, the hard features intensified through strong contrasts of light and shade, the cheeks hollow up to the inner angle of the eye, the projecting cheek-bones, the massive, protuberant jaw, the sinuous, mobile lips, pressed together as if attentive; the large, clear eyes, deeply sunk under the broad arched eyebrows, the fixed oblique look, as penetrating as a rapier, and the two creases which extend from the base of the nose to the brow as if in a frown of suppressed anger and determined will.
For beside his spiritual experience Obermann's is superficial, and Maurice de Guerin's a passing trouble, a mere quick outburst of passionate feeling. Amiel indeed has neither the continuous romantic beauty nor the rich descriptive wealth of Senancour.
The central group of Exposition structures really a single vast palace, behind a rampart Historical fitness of such architecture here The south facade Spanish portals of Varied Industries and Education Palaces Italian Renaissance portals of Manufactures and Liberal Arts, and of the Courts of Flowers and Palms The Roman west wall Ornate doorway of north facade Interior courts and aisles A balanced plan This the first exposition to adopt the colors of nature for its structures Jules Guerin's color scheme, designed for an artificial travertine marble Simplicity of his palette, from which he painted the entire Exposition Even the flowers and sanded walks conform.
The names of the four, together with Guerin's own, who would not be excused, and of the two grandsons, who claimed their lot, being put into a helmet, Oliver's was drawn forth, and to him, the youngest of the grandsons, was assigned the honor and the peril of the combat. He accepted the award with delight, exulting in being thought worthy to maintain the cause of his family.
Betty's dark eyes opened and she shook back her hair, making a little face at the taste of oil in her mouth. She slipped Norma Guerin's letter into her pocket, glancing down at her blouse as she did so. "I'm a perfect sight!" she called to Bob dolorously. "I don't believe I can ever get the oil spots out of this silk." "Sue the company!" Bob cried, with a grin.
A visit of his youth to the Island grave of Chateaubriand; his early memories, as a poetical aspirant, of the magnificent flatteries by which Victor Hugo made himself the god of young romantic Paris; his talks with Montalembert in the days of L'Avenir; his memories of Lamennais' sombre figure, of Maurice de Guérin's feverish ethereal charm; his account of the opposition salons under the Empire they had all been elaborated in the course of years, till every word fitted and each point led to the next with the 'inevitableness' of true art.
Now, if we contemplate Guerin's portrait, we see a spare body, whose narrow shoulders under the uniform wrinkled by sudden movements, the neck swathed in its high twisted cravat, the temples covered by long, smooth, straight hair, exposing only the mask, the hard features intensified through strong contrasts of light and shade, the cheeks hollow up to the inner angle of the eye, the projecting cheek-bones, the massive, protuberant jaw, the sinuous, mobile lips, pressed together as if attentive, the large, clear eyes, deeply sunk under the broad, arched eyebrows, the fixed, oblique look, as penetrating as a rapier, and the two creases which extend from the base of the nose to the brow, as if in a frown of suppressed anger and determined will.
The color scheme covers everything, from the domes of the buildings down to the sand in the driveways and the uniforms of the Exposition guards. The walls, the flags and pennants that wave over the buildings, the shields and other emblems of heraldry that hide the sources of light, draw their hues from Guerin's plan.
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