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Updated: May 22, 2025
On the other hand, Conde and his confederates sent a special agent to the Netherlands to give their account of the war and the negotiation, who refused to confer either with du Maurier or Barneveld, but who held much conference with Aerssens. It was obvious enough that the mutiny of the princes would become chronic.
He complains in another letter, written to Du Maurier Feb. 6, 1632 , that he found a want of courage in good men, and his misfortunes prevented them from speaking with freedom. Vossius explains his friend's reasons for coming to Holland in a letter of the thirteenth of February, 1632 , to William Laud, Bishop of London.
From personal regard to Barneveldt, and with a view of terminating the discord, the monarch sent an ambassador extraordinary to the United States, and ordered him to join Du Maurier, his ambassador in ordinary, in soliciting them in favour of the accused, and in labouring to restore the public tranquillity. The ambassadors executed their commission with the greatest zeal.
Edward Fitzgerald himself never had a closer friendship than had these two men for one another. Their mental climates suited; they were akin, yet had strong differences. Perhaps in the quickness of their mutual attraction Frenchman recognised Frenchman. But Ainger was the French Huguenot and du Maurier the French sceptic. Both had mercurial perceptions, and exercised them on much the same objects.
The link between the place and the work produced in it is in the case of du Maurier, apart from the fact that Hampstead scenes so frequently recur in his pictures, anything but a superficial one. "Hampstead," the artist wrote, "is healthy but dull."
The friends of Barneveld became alarmed at the sinister language of this proclamation, in which for the first time allusions had been made to a forthcoming sentence against the accused. Especially the staunch and indefatigable du Maurier at once addressed himself again to the States-General.
"You will visit the Prince, and other princes and officers of the crown who are coming to court again, and do all good offices as well for the court as for M. du Maurier, in order that through evil plots and slanderous reports no harm may come to him. "Take great pains to find out all you can there as to the designs of the King of Spain, the Archdukes, and the Emperor, in the affair of Julich.
I really must write it down for you." So, too, from the first the pen-and-ink compositions came to du Maurier.
Du Maurier put portraits of his friends into Trilby, softening the outlines, and giving the touches, legitimate in a work of art, which promote variation. He wrote impulsively, and a spirit of generous recognition of the achievements of all his friends almost ruined his book. The "lived happy ever afterwards" sentiment follows up every reference to them. In the famous character of "Joe Sibley" (Whistler) afterwards altered to Antony, a Swiss, and ruined a witty, a debonair and careless genius was created. Just such an impression was made upon us by this character as Whistler's own studied butterfly-pose in life seemed intended to make. It was with the greatest regret we missed the fascinating figure from the novel when published in book form, a regret even confessed to by Whistler himself, though he had not been able to refrain from dashing into print over its publication. There was none other of the Bohemians described that so endeared himself to us, or that was so alive witnessing to the degree to which Whistler's personality affected those with whom he was thrown in contact. Du Maurier represented a character in Sibley with the defects of his qualities, to the greater emphasis of the qualities. To attribute to a man the genius to be king of Bohemia, and to receive from everyone forgiveness for everything,
It is in lighter vein we find him again in the same year in Jemmett Browne's Songs of Many Seasons, published by Simpkin, Marshall & Co., and illustrated also by Walter Crane and others. Every now and then at this period du Maurier shows us a genius for "still-life" in interior genre which he did not seem to develop afterwards to the extent of the promise shown in these pictures.
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