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My question was received with an exclamation of surprise. Yes, the strong Jewish types of features were certainly repeated again and again. Perhaps Du Mond happened to use Jewish models. It hardly seemed possible that the effect could have been intentional.
LYNCH'S latest suggestion for the furtherance of his Republican propaganda is that the COMMISSIONER OF WORKS should remove from the streets all statues of deceased monarchs, and replace them by those of great leaders of thought. Sir ALFRED MOND absolutely refused. The worst kings sometimes make the best statues, and he is not prepared to sacrifice JAMES II. from the Admiralty even to put Mr.
“Edite, bebite, collegiales, Post multa sæcula procula nulla!” “Eat ye then, drink ye then, social companions, Centuries hence and your cups are no more!” The mildest of the clerks comes out well with Kotzebue’s philosophical song:— “Es kann ja nicht immer so bleiben, Hier unter den wechselnden Mond; Es blüht eine Zeit und verwelket, Was mit uns die Erde bewhont.”
After its removal from its original place over the altar of the Confraternity, the picture was for several years in Santa Croce, and, after the suppression of that convent in 1849, removed to Santo Spirito, and from thence to the Gallery. Very close to it in style, and probably painted at no distant date, is the predella owned by Mr Ludwig Mond. The first is the finest.
So the project of "Ritter Mond" was abandoned, and it is to be regretted that Schumann did not reject his "Genoveva" libretto, which was largely responsible for the failure of the opera. One project of Schumann's is mentioned which it is to be very much regretted he never carried out.
Look off the shores of my Western sea, the circle almost circled. from "Leaves of Grass," by Walt Whitman the American poet; "Truth, witness of the past, councillor of the present, guide of the future," from "Don Quixote," by Cervantes, the Spanish novelist. Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York.
In the panel to the right we saw the older generation saying farewell to the younger, and on the other side we saw the travelers arriving in California and finding a royal welcome from the Westerners in a scene of typical abundance, even the California bear showing himself in amiable mood. "That bear bothered Du Mond a good deal. He wasn't used to painting bears.
It isn't nearly as life-like as those human figures." What I liked best about the murals was their splendor of coloring, and their pictorial suggestiveness and vigor of characterization. Perhaps there was a little too much effort on the part of the painter to suggest animation. But why, I asked, had Du Mond made most of the faces so distinctively Jewish?
In these murals Du Mond has tried to reach as closely as he could to nature without being too literal and without sacrificing artistic effect. He has even introduced among his figures some well-known Californians, a Bret Harte, in the gown of the scholar, and William Keith, carrying a portfolio to suggest his painting."
What does Marx say to this beginning of a letter to Tiedge, "Jeden Tag schwebte mir immer folgende Brief an Sie, Sie, Sie, immer vor"? Or to these repetitions from a series of notes written also from Toeplitz in the summer of 1812? "Leben Sie wohl liebe, gute A." "Liebe, gute A., seit ich gestern," etc. "Scheint der Mond .... so sehen Sie den kleinsten, kleinsten aller Menschen bei sich," etc.
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