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Updated: June 12, 2025
Let us now examine the merits of the principal performers belonging to the Theatre Francais. Noble Fathers, or characters of Kings. VANHOVE, MONVEL, ST. PRIX, and NAUDET. VANHOVE. This king of the Theatre Francais neither has majesty nor nobleness of manner. His countenance is mean, and his make common. His monotonous and heavy utterance is sometimes intermingled with yelping sounds.
It is big without being empty. It conveys a glitter which expresses one of the things that is meant by the phrase: Splendor Photoplay. But for moving picture purposes it is the Bastien-Lepage Joan that should appear here, set in dramatic contrast to the Boutet de Monvel Court.
MONVEL. This actor is not near so old as VANHOVE; but the decay of his person is such that, when he plays, he seems a skeleton bestirring itself, or that is set in motion. It is a misfortune for him that his physical means betray his talents. MONVEL is a man of genius. Thus gifted, it is not astonishing that he has a just diction, and is not deficient in intelligence.
Miss Ostertag has designed elaborate chimney pieces to be executed in mosaic and glass. Her droll conceits in "Mary and Her Lamb," the "Ten Little Injuns," and other juvenile tales were complimented by Boutet de Monvel, who was so much interested in her work that he gave her valuable criticism and advice without solicitation.
Herbette, the architect, who became her husband, was a handsome, elegant man, already celebrated; he owned near Monvel a park-like estate, where he came to rest at times from the fatigue of his labors in Paris. At last, Marguerite, the least pretty of the girls indeed, she was quite plain, but derived a charm from her infinite goodness of heart was chosen in marriage by Dr.
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