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Updated: May 2, 2025
Ze literature n'existe pas pour ze squeak of ze pig! Ah, bah! L'art, c'est l'imagination l'ideal c'est le veritable Dieu en l'homme!" Longford gave vent to a snigger, which was his way of laughing. "God is an abstract illusion," he said "One does not introduce a non-available quantity in the summing up of facts!" "Ah! Vous ne croyez pas en Dieu?" And Gigue ruffled up his grey hair with one hand.
Perrot and Chipiez regard this form of ornamentation as the earliest; but the beauty and finish of several vases on which it occurs is against the supposition. There is scarcely to be found, even in the range of Greek art, a more elegant form than that of the jug in black clay brought by General Di Cesnola from Alambra and figured both in his "Cyprus" and in the "Histoire de l'Art."
Vous ecrivez?" and he shook his finger at Longford "Bien'! Ecrivez un roman qui est sain, pure et noble et ze A-penny man vill moque de ca mais ecrivez of ze dirt of ze human naturel, et voila! Ze A-penny man say 'Bon! Ah que c'est l'art! Donnes moi l'ordure que je peux sentir! C'est naturel! C'est divin! C'est l'art!" A murmur, half of laughter, half of shocked protest, went round the table.
See La perle incomparable ou l'art du parfait courtisane de Abdallah ibn al-Muqaffa, 1906. Besides Muqaffa a number of writers of the epoch of the development of Arabic Musalman literature interested themselves in themes connected with Persian antiquities. No doubt, further more, writers of Persian origin followed in their books on Adab Persian models.
L'Art de se Promener a Cheval. My cabriolet was at the door, and I was preparing to enter, when I saw a groom managing, with difficulty, a remarkably fine and spirited horse. "It was not to be disposed of," was the answer, "and it belonged to Sir Reginald Glanville." The name thrilled through me: I drove after the groom, and inquired Sir Reginald Glanville's address. Pall Mall.
Amiel's first literary production, or practically his first, seems to have been the result partly of these lectures, and partly of a visit to Italy which began in November, 1841. In 1842, a year which was spent entirely in Italy and Sicily, he contributed three articles on M. Rio's book, "L'Art Chretien," to the Bibliotheque Universelle de Geneve.
And, VICE VERSA, veracity to sentiment, truth in a relation, truth to your own heart and your friends, never to feign or falsify emotion that is the truth which makes love possible and mankind happy. L'ART DE BIEN DIRE is but a drawing-room accomplishment unless it be pressed into the service of the truth.
When before this, temerarious anticipators have written of the mighty buildings that might someday be, the illustrator has blended with the poor ineffectual splutter of the author's words, his powerful suggestion that it amounted simply to something bulbous, florid and fluent in the vein of the onion, and L'Art Nouveau. But here, it may be, the illustrator will not intervene.
As a child Nelka did not speak Russian, because there was no one around using this language. After her school in Brussels, her mother took her to Russia to St. Petersburg. She was then seventeen. St. Petersburg 1895. "For the last few days I have been most blissfully absorbed in Taine's 'Ideal dans l'Art. I never knew it was in a separate volume. It is splendid.
M. Rio was then a young man, and probably in Paris for the first time, at the beginning of the literary career of which he has furnished so interesting a sketch in the autobiographical volumes which form the conclusion of his "Histoire de l'Art Chrétien."
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