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Updated: June 2, 2025
Gredt, pp. 8, 9, 215, 228, &c. In one of Meier's Swabian tales the princess appears as a snake and flings herself round the neck of her would-be deliverer a woman who is to strike her lightly with a bunch of juniper: Meier, p. 27. In one of Kuhn und Schwartz' collection, where the princess becomes a toad, no ceremony is prescribed: Kuhn und Schwartz, p. 9.
This time, though dimly aware of noise and a confusion of shouting, she carried the scene through to the end. "Romeo, I come! This do I drink to thee." She lay for a moment where she had fallen close to the heavenly colours of the rug. "Goo-hood Gaw-hud!" gasped Mr. Meier, and Cake sat up. She saw he was rather collapsed upon a chair near which he had been standing up when she began.
It is probable that this was not done without the consent of the remaining deputies, with the exception perhaps of Adelberg Meier.
She is the Jewess Marianne Meier, the mistress of the old Prince von Reuss!" "Ah, a mistress!" shouted the crowd, sneeringly. "And she is looking at us as though she were a queen. She wears diamonds in her hair, and wants to hide her shame by dressing in purple velvet. She "
Look at her velvet and silk dresses, adorned with gold and silver embroidery; look at her diamonds, her other precious stones and jewelry. Do you know still, Marianne Meier, how often, in the days of your childhood and early youth, you have longed, with scalding tears, for all those things?
Meier, who had been sitting motionless and silent all the time, suddenly got up from the sofa and looked at his watch. "I beg your pardon, Pavel Ilyitch," he said, "it is time for me to be going." But Pavel Ilyitch, who had not finished his remarks, put his arm round him and, forcibly reseating him on the sofa, vowed that he would not let him go without supper.
Ulric Meier, vogt of Schenkenberg, wrote to him a long letter, telling how the inhabitants of an entire parish, he himself, the preachers and a proprietor of that district, had seen blood ooze from the earth, after a stormy night, more dreadful than any he had ever before witnessed; he gave him this accurate information, so that he might not believe, if others should tell him yet worse things; and had written moreover to the government of Bern.
Meier thrust her out in the face of a bright light. "Begin," he said hoarsely. "Walk over there and begin." Quietly Cake obeyed. She had walked right into the bright light that had drawn her so hard and so long. Of course it was time for her to begin.
This is another work which has undergone more than one transformation in the course of its records. As late as 1657 it was correctly ascribed to Holbein in the Modena Collection. But the first syllable of the sitter's name has been its only constant. In time Morett slipped into Moretta, and then like Meier in the Madonna picture into Morus. So far it seems to have clung to some English tradition. But when Morus got changed to Moro it was but natural for an Italian to think of Ludovico Sforza, "Il Moro." Long before this Holbein had become Olbeno; and thereafter a puzzle. When the portrait was labelled Sforza, however, who could its obviously great painter be but Leonardo? Et voil
I will go to Louisa her sight and the smiles of my children will reward me for having done my duty as a king." The Prince von Reuss, Henry XIV., Austrian ambassador at Berlin, had died an hour ago. A painful disease had confined him to his bed for weeks, and Marianne Meier had nursed him during this time with the greatest love and devotion.
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