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Book Of Paris
THERE are two classes of people who come to Paris, — those to whom, though they may be familiar with every monument, have wandered in every quartier, have crossed the Place de la Concorde daily for twenty years, Paris never means more than the sum of its thousand interests; and those who feel within themselves the overpowering, constantly increasing sense of the great city's personality.
Paris - Sidewalk Cafes
All Paris is an inspiration to individualism. The sweeping vastness of the Place de la Concorde is the emblem of it ; the sidewalk cafés are its symbol.
Paris - I Choose My Home
Out into the big empty Place du Trocadéro, down the Avenue d'Eylau and the long rue des Belles Feuilles, to the Porte Dauphine. I left the city by this gate and turned into the Allée des Fortifications, that skirts the edge of the Bois de Boulogne. From within the Bois came the soft patter of children's voices, the song of birds, and the fragrance of acacias ; and all, it seemed, were calling to me.
Paris - Two Plays
BEING, for some reason which I forget, in the rue Blanche at half-past eight of a rainy evening, I stopped across the street from the Théâtre Réjane, my eye caught by the electric sign that glowed softly through the mist. A long line of dripping carriageswas moving slowly by, with intermittent stops before the door.
Paris - Au Bois
MAY, and afternoon — and the Bois de Boulogne ! I am half afraid to go on. There are a thousand things to say, and yet I feel that if I wrote a work in three volumes and said them all, I might look back and think to myself that they were better and more completely said in those first eight words.
Love In Paris
PEOPLE are wrong to leave Paris in summer. The impression that in that season the city becomes unbearably hot was, I fancy, spread by the English ; for unless there is a slight chill about the air and draughts to sit in, the average Englishman begins to mophis forehead and complain of the heat.
Paris - In My Court
THE horse-chestnuts in the court beneath my bed-room window have been bare a long time, but there are still some leaves left on the elms. There will be few, though, bytomorrow, for the mid-October wind has caught them and sends them whirling downward.
Pere Lachaise — An Impression
From the Place de la Bastille to the cemetery of Père Lachaise leads the rue de la Roquette, and into it after a few minutes I turned, submissively it seemed to me, so possessed is one at times with the fatuous illusion that he is the tool of some unknown force.
Paris - An Interview
Looked back upon, one's life is a series of disconnected scenes — islands floating in a sea of forgetfulness. There is nothing to prove to me that the days between that on which I received the letter and the Wednesday following existed; if they did, they must have been a period of impatient dullness.
Frans Hals - The Man
THE Hals family had long been identified with Haarlem. For a full two centuries we are told that the name occurs in the archives of the city. The ancestors of Frans Hals had served in many offices of trust and dignity.
The Artist Life Of Frans Hals
HERE is a man, born, as we have seen, probably between 1580 and 1584; therefore thirty-two to thirty-six years old (the latter more probably) when his first known picture of importance, and that a picture of the first importance, namely, The Banquet of the St. Joris Shooting Company (1616), is painted.
Frans Hals - The Boyhood At Antwerp
IT has seemed to be the method which should in the long run make most for clearness, that I should in the preceding chapter frankly state the case with regard to the difficulties in the early artistic career of Hals, before attempting to fill in the great blank with conjecture.
Frans Hals - At Haarlem
IN Chapter III we have seen reason to believe that the Hals family migrated from Antwerp to their family city, Haarlem, not later than 1600. The landmarks in the life of Hals are very few ; but we seem to have one in the statement put forth in the second edition of the Lives of the Painters, Het Schilderboek, by Karel Van Mander, issued in 1618.
Frans Hals - The Doelen Pictures
FROM 1604 to 1614 the life of Frans Hals is a complete blank both as regards biographical notices of him and the evidence to be extracted from his own pictures. Neither source of evidence exists. Indeed it is not till 1616 that he comes before us in a really tangible shape with his first great company picture, The Feast of the Shooting Company of St.Joris (St. George).
Frans Hals - The First Doelen Group (St. Joris), 1616
THE first of Hals' great pictures, the Doelen, or Shooting Company, group of 1616, is the picture which faces one first, after mounting the staircase in the Town Hall at Haarlem.
Frans Hals - The Middle Doelen Groups
AFTER the 1616 Doelen group comes an interva of eleven years before the next shooting group, or rather pair of groups, for there are two dated in the same year, namely, 1627. Here, again, we have a mysterious gap which Scriverius, or Houbraken, or any one of them could have filled for us by five minutes of sensible writing.
Frans Hals - The St. Adriaen's Group Of 1633 And The St. George's Group Of 1639: The Regenten Group Of 1641
WE have seen Hals in his 1616 group at the opening of his known career and again eleven years later, well on his road in the two pictures just dealt with, and we have but to move a few paces to the left in the same room to find him in his full strength in his two largest Doelen groups, the St. Adriaen's of 1633 and the St. George's of 1639.
Frans Hals - The Last Two "regenten" Pictures 1664
THE last two pictures of the great series at Haarlem, representing respectively the five men Regenten of the old men's almshouse and the five women Regentessen of the same, have a singularly pathetic interest. It is difficult to criticise them in cold blood.
Frans Hals - Other Portraits: The First Period
I DO not not propose to take all the portraits which hang under the name of Hals in all the galleries. There are few tasks more monotonous both to writer and to reader than the wading through details of portraits, often of unknown persons, or of persons of no interest, the portraits themselves inaccessible, practically, to most readers.
Frans Hals - Character Portraits Of All Periods
I HAVE already expressed the opinion, which, I believe, must inevitably result to anyone who has viewed the life of Frans Hals as a consistent whole, and realized the one aim of his chief artistic purpose, which presently absorbed all others, that we must regard him even in his so-called genre pictures always as a portrait-painter.
Frans Hals - Maria Voogt, 1639, In The Rijks Museum, Amsterdam
IN dealing with the 1641 Regenten picture at Haarlem we have already mentioned the generally accepted view that during a certain period of his career, which is roughly included between the years 1635 and 1643, Hals was visibly influenced by Rembrandt.
Frans Hals - The Later Portraits
THAT Frans Hals, after the year 1641, began to fall into a habit of using dusky and sooty shadows, both for his flesh tones and for his details, has already been several times set forth.
Frans Hals - Upgatherings
THERE are many points of interest which one observes in a systematic study of any master which one does not step aside to notice in the course of a description or a discussion, because to do so interrupts the reader, and takes the attention off the leading issues.
Frans Hals - Conclusion
AS we have followed Frans Hals step by step along his career, it must often have seemed to the reader, as it has also to the writer, that one by one we were taking from him his claim to this gift or to that, until we have left him with few gifts worth having.
Origins Of Venice
THE very name of Venezia or Venice by which we now know the city of the lagoons is in its origin, the name, not of a town, but of a country. Upon the proper comprehension of this curious fact depends a proper comprehension of much that is essential in the early history of the city and of the Republic.
Byzantine Venice: St. Mark's
THE primitive patron of the town of Rivo Alto, and of the Republic of the Venetians, was the martyr St. Theodore, whose ancient figure still tops one of the columns in the Piazzetta. A church dedicated to this ancient saint is said to have occupied (nearly) the site of St. Mark's before the 9th century.
Venice - St. Mark's - General Impression.
St. Mark's is not in mere size a very large church ; but it is so vast, in the sense of being varied and complex, that it can only be grasped in full after long study. I advise you, therefore, to begin by walking round and through the building, in order to obtain a comprehensive idea of the architectural ground plan, both from without and within, before you proceed to the examination in detail.
Venice - St. Mark's - The Exterior.
Begin your detailed examination of the exterior with the or Main Façade. The best time to examine this façade is towards sunset on a bright afternoon, when it glistens in the full rays of the sun, All the detail is then better seen. If you cannot obtain such an afternoon for your first examination, go over the whole again whenever such occurs.
Venice - St. Mark's - The Interior
The examination of the interior is best made by beginning with the ATRIUM, the mosaics of which are amongst the earliest and finest in the building. Enter by the Main Central Door of the West Front or Principal Façade. Its outer gate is of bronze, with lions' heads. Facing you as you enter it is the Inner Doorway, in whose lunette is a fine Renaissance mosaic figure of St. Mark, of 1545, after a cartoon by Titian.
Venice - St. Mark's - The True Interior
Set out on your examination of the true interior by entering at the main portal, or St. Mark's Door, (centre of West Front) should this be closed, as is sometimes the case, enter by one of the other doors, but return at once to this, at the end of the Nave, or West Arm of the Greek Gross.
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