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Updated: June 23, 2025
For the moment he could not see her robbed of her pretty environment and tramping through undiscovered countries at his side. So the Picture's reply, when it came, was strictly in keeping with several remarks which Miss Delamar herself had made to him in the past. "Yes," said the Picture, politely, "and where is Abyssinia in India, isn't it?"
Many people have wondered why this great work was called as it is. The man who has gone explains it, and you have had a glimpse of the picture's history the inner history of it. The painting has made a great sensation ever since it was first exhibited, but never such a sensation as it made to-day." "The beggar looked as though he meant mischief," said somebody.
A smothered scream had attested to Mr. Bennet the genuineness of her fear for her own safety during a portion of this picture's running, and her sudden jump when the evil-looking Indian had shot the handsome cowboy, and the little sound of distress she had made, told him that although movie guns were said to fire blank cartridges, they inflicted actual damage for Arethusa.
He seemed afraid this might be interpreted to Mrs. Prichard's disadvantage; for he added, recovering gravity: "Not that I blame her for it, mind you!" "Do you hear that, Gwen?" said Sister Nora. "Mrs. Picture's jealous of Granny Marrowbone.... I must tell you about that, Mrs. Wardle. It's really as much as one's place is worth to mention Mrs. Prichard to Mrs. Marrable.
"It was at a dinner at the Cumnors'; and there she was, in front of the very tapestry we saw her against the other evening, with people about her, and her face turned from me, and nothing noticeable or different in her dress or manner; and suddenly she stood out for me against the familiar unimportant background, and for the first time I saw a meaning in the stale phrase of a picture's walking out of its frame.
Something had happened, he hardly knew what something he hardly dared confess to himself, with Dorothy only in his vision. The lifeless picture's day was gone at last. He tossed it back in the drawer with a gesture of finality, drew forth a number of collars and ties, then went to a closet, opened the door and studied his two suit-cases thoughtfully. He knew not which to take.
But, as I said, I saw a painting the other day that was sold for $5,000. The title was "Boadicea," and the figure seemed to fill all out-of-doors. But of all the picture's admirers who stood before it, I believe I was the only one who longed for Boadicea to stalk from her frame, bringing me corned-beef hash with poached egg. I hurried away to see Kraft.
The exact spot where the painter sat has been identified by Miss Stokes in "Six Months in the Apennines". On the left immediately below the painter's vantage-ground is the Mugnone, with a bridge over it. On the bank in front is the Villa Palmieri, and on the picture's extreme left is the Badia of Fiesole.
Picture's collapse was only to be temporary, a permanency of invalidism was now accepted as a working hypothesis. Only a temporary permanency, of course, to last till further notice! Has it not been the experience of all of us, many a time, that a few days' clear absence from an invalid has been needed, to distinguish a slow change, invisible to the watchers by the bedside?
Leonardo da Vinci employed this principle of perspective in his Last Supper to draw the spectator's eye to the picture's central figure, the point of sight toward which the lines of the walls and ceiling converge centering in the head of Christ. This law of Radiation enters largely into architecture.
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