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that is, a human face; and as seen by a spectator who is perfectly still, whicho no man ever yet was. My dear fellow, don't you see that what some painters call idealizing a portrait is,4 if it be wisely done, really painting for you the face which you see, and know, and love; her ever-shifting features, with expression varying more rapidly than the gleam of the diamond on her finger; features which you, in your turn, are looking at with ever-shifting eyes; while, perhaps, if it is a face you love and have lingered over, a dozen other expressions equally belonging to it are hanging in 10 your memory, and blending themselves with the actual picturell on your retina :-till every angle is 12 somewhat rounded, every little wrinkle somewhat softened,13 every little shade somewhat blended with the surrounding light, so that the sum total of what you see, and are intended by Heaven to see, 14 is something far softer, lovelier-younger, perhaps, thank Heaven 15 than it would look 16 if your head were screwed down in a vice to look with one eye at her head screwed down in a vice also :-though even that, thanks to the muscles of the eye, would not produce 17 the required ugliness; and the only possible method 18 of fulfilling the pre-Raphaelite
1 That is, c'est-à-dire_2 which, ce que—3 fellow, garçon— idealizing ......is, idéaliser......c'est if it be wisely done, si c'est fait avec jugement —6 ever-shifting, constamment mobiles_7 on, à—8 and have lingered over, et qui vous a captivé—9 a dozen other, vingt autres—
are hanging in, vont et viennent dans—11 the actual picture, le portrait lui-même—12 till......is, au point que......finit par se trouver13 softened, aplanie_14 and are intended by Heaven to see, et de ce que le Ciel a voulu que vous vissiez–15 thank Heaven, Dieu merci—16 than it would look, qu'il ne le paraitrait-17 though even that......, would not produce, et encore, ......, cela ne produirait-il pas—18 method, moyen.
ideal would be to set a petrified Cyclops to paint his petrified brother.
KINGSLEY, “ Two Years Ago.”
THE DEATH OF BAYARD* (A.D. 1524).
At the beginning of the charge, Bonnivet, while exerting himself? with much valour, was wounded so dangerously as obliged him 3 to quit the field ; 4 and the conduct of the rear was committed to the Chevalier Bayard, who, though so much a stranger to the arts of a courts that he never rose to the chief command, was always called, in times of real danger, to posts of greatest difficulty and importance. He put himself at the head of the men at arms, and animating them by his presence and example to sustain the whole shock of the enemy's troops, 10 he gained time forll the rest of his countrymen to make good 12 their retreat. But in this service 13 he received a wound which he immediately perceived 14 to be mortal, and being unable to continue 15 any longer on horseback, he ordered his attendants 16 to place him under 17 a tree, with his face 18 towards the enemy; then fixing
| To set......to, de mettre......à.
2 While exerting himself, qui se comporta—3 as obliged him, qu'il fut obligé—4 field, champ de bataille- 80 much a stranger to the arts of a court, si peu courtisan— chief command, commandement en chef his
-7 in times, dans les moments—8 of greatest difficulty and importance, les plus difficiles et les plus importants—8 men at arms, gens d'armes
L10 the whole shock of the enemy's troops, le choc de toute l'armee ennemie_11 he gained time for, il donna le temps à—12 to make good, d'effectuer_13 in this service, en se dévouant ainsi—14 perceived, sentit —15 continue, rester16 attendants, gens_17 to place him under, de l'appuyer contre18 with his face, le visage.
* Pierre du Terroil, Seigneur de Bayard, surnamed the Chevalier sans peur et sans reproche, was born near Grenoble, in 1476.
eyes on the guard of his sword, which he held up' instead of a cross, he addressed his prayers to God, and in this posture, which became his character both as a soldier and as a4 Christian, he calmly waited the approach of death. Bourbon,* who led the foremosts of the enemy's troops, found him in this situation, and expressed 7 regret and pity at the sight8 “Pity not me,” cried the high-spirited! chevalier, “I die as a man of honour ought,10 in the discharge of 11 my duty; they,l2 indeed, are objects of pity 13 who fight against their king, their country, and their oath.” The Marquis of Pescara, passing 14 soon after, manifested his admiration of Bayard's virtues, as well as his sorrow for his fate,, with the generosity of a gallant enemy, and finding15 that he could not be removed with safety 16 from that spot, ordered a tent to be pitched there, 17 and appointed proper persons to attend him.18 He died notwithstanding their care, 19 as his ancestors for several generations had done, 20 in 21 the field of battle.
1 Which he held up, qu'il tint élevée_2 instead of a cross, en guise de crucifix— 3 became, convenait à—4 both as a......and as a, comme ......et comme—5 the foremost, la tête—6 enemy's troops, troupes ennemies— found him......and expressed, le trouvant......lui exprima8 regret......at the sight, le regret......que sa vue lui causait—9 highspirited, intrépide—10 ought, doit mourir_11 in the discharge of, en faisant—12 they, ceux-là— 13 objects of pity, à plaindre-14 passing, venant à passer—15 finding, voyant_16 with safety, sans danger17 ordered ......to be pitched there, il y fit dresser.....
_18 and appointed etc.......to attend him, et chargea certaines personnes de le soigner19 care, soins (pl.) ——20 for......had done, étaient morts, depuis......21 in, sur.
* Charles, Duke of Bourbon, known as Connétable de Bourbon, Prince of the blood royal of France, having quarrelled with the Queen-Mother (Louise of Savoy) joined the Emperor Charles V., who was then waging war against France. He was killed at the siege of Rome in 1527, and with him the elder branch of the House of Bourbon became extinct.
Pescara ordered his body to be embalmed, and sent to his relations ;' and such was the respect paid to? military merit in that age, that the Duke of Savoy commanded it to be received with royal honours in all the cities of his dominions. In Dauphiny, Bayard's native country, the people of all ranks came out in a solemn procession to meet it.6
ROBERTSON, “ History of Charles V.”
There have been found occasionally some artists who could so perfectly imitate the spirit, the taste, the character, and the peculiarities of great masters, that they have not unfrequently8 deceived the most skilful connoisseurs. Michael Angelo9* having
* sculptured a sleeping Cupid 10 broke off an arm,'1 and buried the statue in a place where he knew it would soon be found.12 The critics were never tired 13 of admiring it, as one of the most precious relics of antiquity. It was sold to the Cardinal of St. George, to whom Michael Angelo discovered the whole 14
Relations, famille paid to, que l'on portait au—3 in that age, à cette époque-4 the people of all ranks, toutes les classes de la population — 5 came out in a solemn, allèrent en grande-6 to meet it, à la rencontre du cortège.
7 There have been found occasionally, il s'est rencontré parfois not unfrequently, souvent—9 Michael Angelo, Michel-Ange — 10 a sleeping Cupid, un Amour endormi-11 broke of an arm, lui cassa un bras
found, découverte—18 were never tired, ne se fatiguèrent point14 the whole, tout le.
* Michael Angelo Buonarotti, a painter, sculptor, and architect of the highest order, was born near Arezzo, in Tuscany, in 1474, and died in 1564.
mystery, by joining to the Cupid the arm which he had reserved.
An anecdote of Peter Mignard * is more singular. This great artist painted a Magdalen, on a canvass fabricated at Rome. A broker, in concert with Mignard, went to the Chevalier de Clairville, and told him as a secret that he was to5 receive from Italy a Magdalen of Guido, 46 and his masterpiece. The Chevalier caught the bait,8 begged the preference, and purchased the picture at a very high price.
He was informed that he had been imposed upon, and that the Magdalen was painted bylo Mignard. Mignard himself caused the alarm to be given, but the amateur would not 12 believe it; all the connoisseurs agreed it was a Guido, and the famous Le Brunt corroborated this opinion.
The Chevalier came to 13 Mignard : sons assure me that
my Magdalen is “Mine ! 14 they do me great honour. I am sure that Le Brun is not of this opinion.”
« Le Brun swears it is no other than 15 a Guido. You shall dine with me, and meet 16 several of the first connoisseurs.”
On the 17 day of meeting, the picture was again
6. Some per
By, en—2 Magdalen, Madeleine-3 in, de—4 went to, alla trouver -5 he was to, il devait—6 Guido, le Guide—7 and to be left out8 caught the bait, mordit à l'hameçon_9 he had been imposed upon, on lui en avait imposé_10 was painted by, était de-11 caused......to be given, fit donner.... -12 would not, ne voulut pas 13 came to, vint trouver-14 mine, mon æuvre !—15 it is no other than, que ce n'est pas autre chose que—16 you shall dine with me and meet, il faut venir diner avec moi; vous trouverez là— 17 on the, le.
* Peter Mignard, a celebrated French painter, was born at Troyes in 1610, and died in 1695.
† Guido Reni, one of the most eminent Italian painters, was born at Bologna in 1575, and died in 1642.
Charles Le Brun, the painter, was born at Paris in 1619, and died in 1690.