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Updated: June 25, 2025
Dear Leonard, I have often guessed what you would do. 'What have you guessed? 'Only what we used to plan, in the old times after you had been at Coombe, Leonard. 'Dear sister! And you would let me go! 'Our parting is near, any way, she said, her eye turning to the print from Ary Scheffer's St. Augustine and Monica.
I thought McCormack's courage would fail before he gave you the facts. I shall try and tell you " "Only the facts, if you please, without any inferences or opinions of others." The old lady paused for a moment, and then began: "A couple of days before the wedding we went over to Major Scheffer's to help prepare for it.
is the Salle Française du Second Empire and contains Horace Vernet's well known, The Barrière de Clichy, Defence of Paris in 1814; and Ary Scheffer's, Death of Géricault. 2938 is the great caricaturist Daumier's portrait of Théodore Rousseau.
"Mignon with the Old Harper" is far less interesting; the old man's head does not express that mixture of inspiration and insanity, the result of a life of love, misery, and wrong, which Goethe has portrayed in this strange character. A very different picture, painted at this period, is peculiarly interesting to us as our first acquaintance among Scheffer's works.
For the rest of the dance she seemed to resign herself to her fate, and floated through space, under my guidance, with all the ABANDON of Francesca di Rimini, in Scheffer's famous picture. The Crown Prince is a tall, fine-looking person; he was very gracious, and asked many questions about my voyage. At night there was a general illumination, to which the "Foam" contributed some blue lights.
Beethoven was his favorite composer; his lofty genius harmonized with, and satisfied the longings of, Scheffer's aspiring nature. Ary Scheffer was a personal friend of the Orléans family. He was, however, an ardent lover of liberty; and his hospitalities were free to all shades of opinion. He did not forsake this family when their star went down.
There is a fine bust of him in the exhibition, and a beautiful one of Wordsworth. . . . Ary Scheffer's Magdalen, when Christ says, "Mary!" is the greatest picture of his I have ever seen. Ary Scheffer himself was at the exhibition the other day. . . . Again Mr. Hawthorne, Una, and I were at the Palace all day.
We must mark, also, with what freedom his lamentations spring from the ground, to carry even to the feet of the Creator the overwhelming weight of earthly woe. Ary Scheffer's picture is like the epitaph destined some day for the obsequies of the world; it breathes of death, and has the sombre harmony of the Miserere.
M. Vitet divides Scheffer's artistic life into three portions: that in which he painted subjects from simple life; that devoted to poetic subjects; and the last, or distinctively religious period. These divisions cannot, of course, be very sharply drawn, but may help us to understand the progress of his mind; and "Les Femmes Suliotes" will mark the transition from the first to the second period.
It is said that much of its charm comes from the composer's study of Ary Scheffer's picture of Mignon. Be this as it may, he has caught the inner sense of the poem, and expressed it in exquisite tones. The second act opens in Filina's boudoir, where she is at her toilet, arraying herself for her part as Titania in the forthcoming performance of the "Midsummer Night's Dream" at the castle.
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