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Updated: May 11, 2025
"Lay alongside that young woman before she makes the corner, Albert!" Without delay the car began to move. Meanwhile, the Café des Exiles was erupting antic shapes, waiters, customers, Dupont, Thérèse. The quiet hour was made hideous by their yells. "Stop thief!" "À la voleuse!" "L'arrêtez!" "À la voleuse!" "Stop thief!"
We passed through the hamlet of Palaiseau, on our return to Paris; and saw in it the steeple where the magpie concealed the silver spoons he had stolen, and which occasioned the event from which the drama of La Pie Voleuse, known in so many languages, has had its origin.
Madame de Hell refers to Parthenit, where still flourishes the great hazel under which the Prince de Ligne wrote to the modern Messalina, Catherine II.; Gaspra, the residence for some years of Madame de Krudener, the beautiful mystic and religious enthusiast who exercised so powerful an influence over the Czar Alexander; Koreis, the retreat of the Princess Galitzin, the soul of so many strange political intrigues, and afterwards one of the associates of Madame de Krudener, and the small villa on the seashore, near Delta, beneath the roof of which died, in 1823, the soi-disant Countess Guacher, now known to have been none other than the notorious Madame de Lamotte, who figured in the strange romantic history of "The Diamond Necklace," and as an accomplice of Cagliostro was whipped in the Place de Grève, and branded on both shoulders with a V for Voleuse, Thief.
The brilliant opera of "La Gazza Ladra," set to the story of a French melodrama, "La Pie Voleuse," aggravated the quarrel between Paer, the director of the French opera, and the gifted Italian. Paer had designed to have written the music himself, but his librettist slyly turned over the poem to Rossini, who produced one of his masterpieces in setting it.
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