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Updated: June 13, 2025
The Germans have translated and published separately, this part of M. Anquetil's work. Voyages dans les Mers de l'Inde. Par M. Legentil, 1781. 5 vols. 8vo. M. Legentil's object was to observe the transit of Venus, in 1761 and 1769. His work, besides entering into the subject of Indian astronomy, gives many important details on antiquities and natural history.
Description Historique et Geographique de l'Inde. Par J. Tieffenthaler. Recherches Historiques et Geographiques sur l'Inde. Par Anquetil du Perrin. Publiées par J. Bernouilli. Berlin, 1785. 3 vols. 4to. The most curious and original portion of this work is that which relates to the Seiks, by the missionary Tieffenthaler. Forrest's Voyage from Calcutta to the Menguy Archipelago, 1792. 2 vols. 4to.
Ils ont rempli des livres entiers de ces explications imaginaires. Cette formule est particuliere aux Bouddhistes du Tubet. Selon l'histoire de ce pays la formule Om mani padme houm, y a ete apportee de l'Inde vers la moitie du 7e siecle de notre ere.
The French scholar, Louis Jacolliot, writes that the date of Manu "is lost in the night of the ante-historical period of India; and no scholar has dared to refuse him the title of the most ancient lawgiver in the world." In LA BIBLE DANS L'INDE, pages 33-37, Jacolliot reproduces parallel textual references to prove that the Roman CODE OF JUSTINIAN follows closely the LAWS OF MANU.
Many of the early pictures have a joyousness of frank workmanship, a directness of attack and a simplicity of arrangement that appeal to the world at large more freely than the subtler blonde harmonies of the later years. The Profil de Femme in which M. Lambotte discerns the influence of Rembrandt, is more suggestive to the present writer of familiarity with Courbet's bold, heavy impasto and sharp transitions from light to shadow. The Réverie of the preceding year has also its suggestions of Courbet, in spite of the delicately painted flowers in the Japanese vase; but in the pictures of the next few years, the robust freshness of the painter's Flemish vision finds expression in color-schemes that resemble nothing so much as the gardens of Belgium in springtime, filled with hardy blossoms and tended by skillful hands; La Consolation of 1857, for example, in which the two black-robed women form the heavy note of dead color against which are relieved the pink and white of their companion's gown, the pale yellow of the wall, the blue of the floor and the low, softly brilliant tones of the beautiful tapestry curtain. Another painting of about the same time has almost the charm of Fantin-Latour's early renderings of serious women bending over their books or their sewing. In La Liseuse the girl's face is absorbed and thoughtful, the color harmony is quiet, the white dress, the dull red of the chair, the blue and yellow and green wools on the table, forming a pattern of closely related tones as various in its unity as the motley border of an old-fashioned dooryard. In other examples we have reminiscences of that time of excitement and esthetic riot when the silks and porcelains and enamels of the Far East came into the Paris of artists and artisans and formed at once a part of the baggage of the Parisian atelier. L'Inde
These persons, both made and female, will with their feet juggle substances and articles that it requires several assistants to raise. A curious trick is given by Rousselet in his magnificent work entitled "L'Inde des Rajahs," and quoted by Guyot-Daubes. It is called in India the "dance of the eggs."
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