#Madame de Saint Maurice
Note
Do we have access to saint-just's personal letters if there any of them even exists? (I mean by personal is the letters he wrote to his family and relatives or friends etc.)
(The same question for robespierre, marat, camille, danton, desmoulins, the duplay family and other people from your personal choice if you find something)
We don’t have any complete correspondence from Saint-Just that I’m aware of, but some of his letters have been published within Oeuvres de Saint Just (1908) volume 1 (7 letters), volume 2 (2 letters). Of these, I would say the most personal ones are this letter SJ sent his brother-in-law in December 1791, congratulating him on his marriage, as well as this letter to Daubigny written the following year, which contains the (in)famous words: ”go and see Desmoulins, embrace him for me, and tell him I shall never see him again.” There’s also Lettres inédites de Saint-Just (five letters, half of which are work related and written while on mission) and Deux nouvelles lettres de Saint-Just à Garat (two letters). This last article includes the following letter, which I suppose also qualifies as personal:
Paris, July 8
Citizen and friend,
It’s been a while since I’ve given you news of mine, nevertheless I have forgotten none of the testimonies of friendships that you’ve given me. When shall I have the pleasure of seeing you here again, the same time as last year when we saw each other?
I have little leisure, I do what I can to respond to your trust and provided that I give an account of my moments to the people, friendship will not be more severe.
I’m going to occupy myself with citizen Chassie, with the affair of citizen Bailli whom I pray you to assure of my most sincere attachment. If it pleases you, tell our common acquaintances that I have not forgotten them. I embrace your wife, your children and you.
Saint-Just.
Aside from that:
Correspondance de Maximilien et Augustin Robespierre (1926) (I’ve already talked about in which letters you might find the most personal details in this old post)
La correspondance de Marat (1908) (not looked enough on this to say how many letters are personal and how many are strictly business related)
Correspondance de George Couthon (1872) (only work related letters as far as I’m aware, no letters to loved ones etc)
Correspondance inédite de Camille Desmoulins (1836) (quite a lot of personal details in the many letters Camille sent his father. English translations of letters to his father, Lucile and her mother can be found here. Here is also a long, personal letter Camille wrote in 1782, the oldest conserved one from him that I’m aware of.)
Danton — for being a ”main revolutionary” we have surprisingly few letters from him. All I know of at this point are presented in this post.
Duplays — the only personal Ietter I’m aware of is this one which Madame Duplay adressed to her second oldest daughter Sophie written 1793. Two letters from Robespierre to Maurice Duplay can also be found in the former’s correspondence.
Correspondance de Brissot (1912)
Lettres de Madame Roland (1900)
Volume 1
Volume 2
Correspondance inédite de Marie-Antoinette (1864)
Lettres de Louis XVI: correspondance inédite, discours, maximes, pensées, observations etc (1862)
Memoirs, Correspondence and Manuscripts of General Lafayette (1837)
Volume 1
Volume 2
Volume 3
Two cute letters from Philippe to Élisabeth Lebas, both from November 1793. Many letters from Lebas to his father can also be found within Le Conventionnel Le Bas… (1901)
Philippeaux’ three prison letters to his wife
#saint-just#robespierre#marat#desmoulins#danton#frev#ask#brissot#manon roland#louis xvi#marie antoinette#lafayette#philippe lebas#pierre philippeaux
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MAURICE UTRILLO, EL ARTISTA QUE CAMBIABA SUS CUADROS POR UNA BOTELLA DE VINO Y POR AMOR.
1883-1955
"La maison de chaume vous la neige, rue Saint-Vincent Montmatre" ca.1923
Pintor frances, hijo de la famosa modelo de pintores y conocida artista, Suzanne Valadon.
Se sitúa dentro del realismo, con influencias impresionistas, pero adoptando libertad de formas y colores, en un principio sigue a Sisley y a Pisarro,
Para muchos no era más que un borracho que cambiaba sus cuadros por vino en Montmartre.
La primera en darse cuenta de que aquel borracho de Montmartre, de quien todo el mundo se burlaba, era un gran artista, fue Marie Vizier, una madame, que regentaba el cabaret "La Belle Gabrielle".
Marie tenía tanto carácter como para echar a patadas a los clientes que se ponían pesados.
Utrillo estaba enamorado de ella, pero la prostituta le había impuesto una condición: "Cada vez que quieras acostarte conmigo, me traerás un cuadro. Si no hay pintura, no hay amor".
Utrillo era entonces solo un bohemio alcoholizado, artista desconocido.
En esa época, Utrillo colocaba su caballete en cualquier esquina de Montmartre y pintaba sus rincones y callejuelas para los turistas a cambio de una botella de vino.
Mas tarde comenzó a pintar paisajes de Montmartre directamente de las tarjetas postales y los exponía en los escaparates de tahonas, carnicerías y fruterías del barrio.
Esas tiendas fueron sus propias galerías y sus dueños sus primeros marchantes.
Algunos de estos tenderos le cambiaban sus cuadros por comida y algunos de ellos, atacados ya por el virus del arte, se hicieron famosos al convertirse en galeristas profesionales de la calle Laffitte.
Octave Mirbeau, el escritor y crítico de moda, vio uno de sus trabajos y contó a los amigos: "He descubierto a un deshecho humano, borracho epiléptico, que es un verdadero genio. Daos prisa a comprar porque no le queda mucho tiempo".
Despues de estar ingresado en un sanatorio psiquiatrico, pasa por un periodo de refexion y espiritualidad religiosa.
La destrucción de la catedral de Reims con el bombardeo de la Gran Guerra lo volvió loco y trasformó sus ruinas en uno de sus cuadros más bellos e intensos.
Había comenzado a mezclar yeso con la pintura y a medida que su vida estaba más arruinada su obra alcazaba una cotización más elevada.
Fuente: Wikipedia
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Aujourd'hui, samedi 25 mars, nous fêtons Saint Humbert
SAINT DU JOUR
. Humbert
. Du germanique hun, "grand" et berth, "brillant".
. Les Humbert savent apporter un peu de modération et de réflexion à leur spontanéité naturelle. En revanche, ils sont incapables de faire face à la solitude, qu'ils refusent comme ils refusent toute introspection.
Nous fêtons également les :
Annonciade - Dismas - Erblain - Erblon - Herblain - Herblay - Herblon - Hermeland - Humbert - Mordiern - Umbert - Umberto
Toutes les infos sur les Saints du jour https://tinyurl.com/wkzm328
FETE DU JOUR
Quels sont les fêtes à souhaiter aujourd'hui ? [ Bonne fête ]
. Alphonse Humbert, journaliste et homme politique français (1922)
. Pierre Humbert, architecte parisien
. Georges Louis Humbert, général lors de la Première Guerre mondiale (1921)
. Charles Humbert, homme politique français (1927)
. Maurice Humbert, architecte parisien, fils de Pierre Humbert (1918)
. Marcelle Humbert, compagne de Picasso (1915)
. Henri Jean Humbert, botaniste français (1967)
. Jean Humbert, helléniste français (1980)
. Gustav Humbert, ancien patron d’Airbus
. Jean-François Humbert, homme politique français, sénateur du Doubs (UMP)
. Christophe Humbert, judoka français
Ils nous ont quittés un 25 mars :
25 mars 2008 : Thierry Gilardi, journaliste et commentateur sportif français (26 juillet 1958)
25 mars 1973 : Edward Steichen, photographe et peintre américain d'origine luxembourgeoise (27 mars 1879)
25 mars 1914 : Frédéric Mistral, écrivain et un lexicographe français de langue provençale (occitane). Mistral fut membre fondateur du Félibrige, membre de l'Académie de Marseille et, en 1904, Prix Nobel de littérature. (8 septembre 1830)
Ils sont nés le 25 mars :
25 mars 1989 : Alyson Michalka, née Alyson Renae Michalka, actrice et chanteuse américaine
25 mars 1982 : Dan, Carter, Daniel Carter, né Daniel William Carter, joueur de rugby à XV néo-zélandais
25 mars 1971 : Rémi Bezançon, réalisateur et scénariste français
25 mars 1965 : Sarah Jessica Parker, actrice et productrice américaine
25 mars 1962 : Marcia Cross, née Marcia Anne Cross, actice américaine
25 mars 1958 : Bernard de La Villardière, né Bernard Pierre Charles Pascal Berger de La Villardière, journaliste, animateur de radio et de télévision français
25 mars 1949 : Philippe de Villiers, né Philippe Le Jolis de Villiers de Saintignon, haut fonctionnaire, homme politique et écrivain français
Toutes les naissances du jour https://tinyurl.com/msmk5e22
Fêtes, Célébrations, événements du jour
25 mars : Journée de solidarité avec les fonctionnaires détenus ou portés disparus (A/RES/49/59) (ONU)
25 mars : Journée internationale de commémoration des victimes de l’esclavage et de la traite transatlantique des esclaves (A/RES/62/122) (ONU)
25 mars : Tolkien reading day (JM)
25 mars : Journée mondiale contre la publicité (JM)
25 mars : Grève mondiale pour le climat (JM)
25 mars : Journée de la procrastination (JM)
25 mars : Journée Européenne de l'enfant à naître (JM)
CITATION DU JOUR
Citation du jour :
Celui qui ne peut plus éprouver ni étonnement ni surprise, est pour ainsi dire mort : ses yeux sont éteints.
Albert Einstein.
Citation du jour :
Sois heureux un instant. Cet instant, c'est ta vie.
Omar Khayyâm
Toutes les citations du jour https://tinyurl.com/payaj4pz
Petite histoire... digne d'un caramel...
P'tite #blague du #samedi
Toto, douze bouteilles de vin à 6 francs pièce, combien ça fait?
à la maison, ça fait 2 jours Madame.
P'tite #blague du #samedi
Un chien et un homme sont sur un bateau. Le chien pète, l'homme tombe à l'eau et se noie. Quelle est la race du chien ?
Un pékinois. (un pet qui noie)
Petit clin d'oeil sur le jardin :
C'est peut-être le moment...
De planter des freesias sous climat doux.
De traiter les arbres fruitiers à la bouillie bordelaise.
Nous sommes le 84ème jour de l'année il reste 281 jours avant le 31 décembre. Semaine 12.
Beau samedi à tous.
Source :
https://www.almanach-jour.com/almanach/index.php
#ephemerides#ephemeride#almanach#citation#citations#citation du jour#bonnefete#fete#fetedujour#saint#saintdujour#saints#saint jour#catholic#calendrier#agenda#mars#date naissance
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Happy Little Accidents
“The Swing” or “The Happy Accidents of the Swing” is one of the most recognizable paintings in history. Created by Jean Honoré Fragonard in 1767 during the Rococo period, the colours and subject matter make this one of the most fun and recognizable paintings in art history. The painting was commissioned by Baron Louis-Guillaume Baillet de Saint-Julien who wanted a picture of his mistress that included him looking up the woman’s skirt. The subject is a young woman in a light pink gown being pushed on a swing in a garden while also lightheartedly tossing her heel. In the back, viewers can see a man pushing the swing, who is often interpreted as the mistress’s husband. There is also a dog hidden within the shrubbery on the bottom right and two different statues of putti on both sides of the woman. Fragonard uses colour and light to emphasize the subject of the painting which is the woman in pink on the swing. With the background being darker and in more green tones, the artist creates a colour and light contrast to let the swinging woman stand out. Additionally, the painting creates depth by blurring the trees in the background while sharpening the details in the foreground. The texture is present in the way Fragonard paints the trees to feel full and luscious as well as the frills on the dress. There is also a certain variety throughout this painting. Viewers can inspect different parts of the artwork and find different details that add to the beauty of this painting. For example, there is a man in the bottom left corner looking up, there are two statues of cupids, and the man hiding in the bottom right pushing the swing. Lastly, the mounted colours throughout the painting create unity within the painting making it a more cohesive work of art.
This painting has a more literal meaning to it since it is a portrait. This painting has a reputation for having a cheeky meaning and heavy symbolism behind its innocent façade. While it has the playfulness and light of the rococo period, the many symbols in this painting are not difficult to see. Whether or not viewers know about the illicit affair, it is clear that there is a feeling of love and desire in both their faces that conveys the meaning behind the painting. There is also the fact that when viewers track Saint-Julien’s gaze, it cannot be possible for him to be looking at his mistress’s face if her skirt is flying up from the swinging motion. The symbols help to better demonstrate the relationship between Saint-Julien and his mistress which gives it more intrigue and complexity. Furthermore, the different elements within the painting, such as the statues and the dog, bring even more attention to the woman in the painting while having their literal meaning.
There are many symbols hidden within this painting, which makes analyzing and interpreting it quite fun. For example,the Cupid statue on the far left side of the painting is modelled off the sculpture L’Amour Mençant from 1757 made by Étienne-Maurice Falconet for Madame Pompadour, a famous mistress of King Louis XV. The nod to this particular sculpture invokes the idea of illicit love, even amongst the noblest of French society. Additionally, the sculptures are what are known as putti, which are figures depicted as chubby man-children who are typically naked and sometimes winged. This can make them easily confused with cherubs, and initially symbolized passion and love. The same putto on the far left is seen holding his index to his lips in a silencing gesture. This gesture is a sign of secrecy which once more indicates the illicit nature of this relationship and invites viewers in on this secret. Second, there is the woman’s ankle being shown which would be considered shocking considering the conservative dress and customs of the period. Lastly, there is the dog, also known as man’s best friend, which can be found by the tree and the shrubbery. It sort of looks like a white little blob and can be seen barking at the woman. The dog is typically well-known for its loyalty. In this painting, the dog’s barking is seen as it alerts its master to the affair taking place. Lastly, the swing itself is a symbol, more specifically, the ropes. It is thought that ropes symbolize restraint and the confines of marriage. With her husband holding the swing’s ropes, viewers can see how he represents this control that he has over his wife. He is essentially holding back his wife. Furthermore, the swinging motion itself is interesting in its own right. When the woman swings, she goes back and forth between Saint-Julien and her husband, similar to what she is doing with her affair
The objective meaning of this painting is simply a woman in pink being pushed on a swing by a man, who could be seen as her husband, while her lover gazes up at her in the bushes. While there are many signs present, the woman in pink is the most obvious. She would be what Saussure calls the “signifier” which means the object of the sign. The “signified”, otherwise known as the meaning of the sign, would be a flirtatious invitation. Subjectively, I see the woman as similar to the objective view. The mistress is dressed in a light pink which is known to represent femininity and love. The swinging motion gives Saint-Julien an optimal view up her skirt, and the woman’s expression shows the viewer that she is aware of his intentions. Additionally, Saint-Julien is hiding in the bushes away from the other man’s sight, demonstrating a kind of secrecy unknown to others. Clive Hart and Kay Stevensoncall, scholars and authors of Heaven and the Flesh: imagery of Desire from the Renaissance to the Rococo (1995), the painting holds a deeper, more erotic meaning than simple voyeurism. The scholars suggest that there is a “[…] thinly disguised representation of inverted sexual intercourse. Saint-Julien lies alert but at ease while his mistress moves rhythmically back and forth above him. That she, by contrast, is a very active partner is indicated not only by her lively attitude on the swing but also by the flying slipper which she has tossed from her foot to suggest a moment of hasty undressing,” (Hart, Stevensoncall 49). This suggests that the subject itself, with its positioning and composition, is suggesting sexual intercourse. Interestingly enough, there is more evidence to indicate an erotic interpretation. Hart and Stevensoncall suggest that the man’s splayed hand mirrors the woman’s hand which suggests “[…] the surprise and imminent capitulation of a man overcome by a woman who takes initiative,” (Hart, Stevensoncall 49). The man pushing the swing, assumed to be her husband, appears to have this rather unknowing expression on his face, letting viewers assume that he is unaware of the affair taking place. It adds intrigue and a sort of narrative to this painting which adds to the artwork's fame.
It is clear that Fragonard had fun during this painting’s creation, and that enthusiasm comes across when viewing it. The duality between the playfulness of the rococo period and the erotic undertones creates an interesting dynamic. In my opinion, the portrait does an effective job of communicating the message behind the painting thanks to the heavy symbolism. Not to mention the little amount of logic it takes for viewers to track Saint-Julien’s gaze and notice the “true” object of his admiration. The choice of including the dog and the putti are excellent, strategic choices that add depth to the message behind the painting. While the artwork does a good job of conveying its message and ideas, it also leaves some room for subjective viewing and a little mystery. This painting by Fragonard has a strong visual appeal and a meaning that even today’s audiences have. It is truly one of my favourite paintings from history, and the symbolism is just the cherry on top.
Works cited:
Artincontext, Artincontext. “‘The Swing’ by Jean-Honoré Fragonard - the ‘L'escarpolette’ Painting.” Artincontext.org, 17 Oct. 2022,
https://artincontext.org/the-swing-by-jean-honore-fragonard/.
Cohen, Alina. “Why Fragonard's ‘The Swing’ Is a Masterpiece of Rococo Art.” Artsy, 9 Sept. 2019, https://www.artsy.net/article/artsy-editorial-undressing-erotic-symbolism-the-swing-fragonards-decadent-masterpiece.
“The Happy Accidents of the Swing by Jean-Honoré Fragonard.” Joy of Museums Virtual Tours, 7 June 2020, https://joyofmuseums.com/museums/united-kingdom-museums/london-museums/wallace-collection/the-happy-accidents-of-the-swing-by-jean-honore-fragonard/.
Hart, Clive, and Kay Gilliland Stevenson. Heaven and the Flesh: Imagery of Desire from the Renaissance to the Rococo. Cambridge University Press, 1995.
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Madame de Saint-Maurice by Joseph Siffred Duplessis
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Portrait of Madame de Saint-Maurice, painted by Joseph Siffred Duplessis in 1776
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Frev Zodiacs
(because i’m bored and didn’t see anyone else do this)
(Also, please ignore the inconsistency with names & people. I also apologize for the Aries people out there. )
Aries
Bernard René Jourdan, marquis de Launay
Taurus
Jean Pierre André Amar
Lazare Carnot
Olypme de Gouges
Maximilien Robespierre
Emmanuel Joseph Sieyés
Gemini
Jacques-Nicolas Billaud-Varenne
Pierre Gaspard Chaumette
Jean-Marie Collot d’Herbois
Joseph Fouché
Jean-Paul Marat
Marquis de Sade
Cancer
Paul Barras
Joséphine Bonaparte
Leo
Madame du Barry
Napoleon Bonaparte
Charlotte Corday
Fabre d’Eglantine
Therogine de Mericourt
Virgo
Jean Sylvain Bailly
Jacques-Louis David
Marie-Jean Hérault de Séchelles
Marie Thérèse Louise of Savoy
Gilbert du Motier, Marquis de Lafayette
Antoine Lavoisier
Louis XVI
Louis Antoine de Saint-Just
Libra
Pierre Aurgeru
Jacques Necker
Scorpio
Jean Chouan
Georges Danton
Jacques René Hébert
Philippe Le Bas
Marie Antoinette
Sagittarius
Françoise-Nöel Babeuf
Antoine Barnave
Capricorn
Jacques Pierre Brissot
Georges Couthon
Lucile Desmoulins
Jérôme Pétion de Villenevue
Aquarius
Thomas Paine
Jean-Marie Roland
Jean-Lambert Tallien
Charles-Maurice de Talleyrand-Périgord
Pisces
Camille Desmoulins
Honoré Gabriel Riqueti, comte de Mirabeau
Madame Roland
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LE REGARD DE MADAME RESTOUT EN COIFFURE (1738) pastel de Maurice-Quentin de La Tour, né le 5 septembre 1704 à Saint-Quentin, où il est mort le 17 février 1788, est un portraitiste pastelliste français. Rameau - Suite en la Gavotte et six Doubles / Natacha Kudritskaya https://youtu.be/HuJ-LKEH6W0 Grâce à la générosité de Madame Henriette Laurent-Valois (1917-2009) et de sa famille, le musée des Beaux-Arts vient de réaliser une acquisition exceptionnelle avec l'entrée dans les collections de ce pastel inédit. Légué par une descendante de la dynastie des peintres Hallé, le portrait de Madame Restout figure Marie-Anne Hallé (1704-1784), soeur du peintre Noël Hallé (1711-1781), qui épouse en 1729 le peintre Jean Restout. Cette effigie témoigne de l'amitié reconnaissante du pastelliste à ses débuts pour son maître et sa famille. Dans cette oeuvre de jeunesse, l'artiste affirme toutes ses qualités de portraitiste, saisissant la vérité intérieure du personnage, faisant ressortir les traits de sa psychologie, tout en témoignant de son existence dans le cercle privé d'une grande famille de peintres. #culturejaiflash https://www.instagram.com/p/CVSGw6EM2hw/?utm_medium=tumblr
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In Which notyouraveragejulie Catalogues All the Operatic Works She Experiences for the First Time in 2021
(to be continually added onto throughout the year)
the list is organized by alphabetical order of composers’ last names and then in alphabetical order of titles. an asterisk by a title, unless otherwise indicated, means my first full experience of that opera was audio-only. an asterisk by a composer’s name indicates that this year marks the first time I’ve ever experienced a full opera by them.
so, the ongoing list:
Adam, Adolphe*
Le postillon de Lonjumeau (The Postilion of Lonjumeau)
Alfano, Franco*
Cyrano de Bergerac
Auber, Daniel François Esprit*
Fra Diavolo (Brother Diavolo)
Gustave III, ou le bal masqué (Gustave III, or The Masked Ball)*
Aucoin, Matthew*
Eurydice
Bachelet, Alfred*
Scemo*
Barber, Samuel*
A Hand of Bridge
Blanchard, Terence*
Fire Shut Up in My Bones
Borodin, Alexander*
Knyaz Igor (Prince Igor)
Britten, Benjamin
A Midsummer Night’s Dream
Busoni, Ferruccio*
Doktor Faust (Doctor Faust)
Caccini, Francesca*
La liberazione di Ruggiero dall’isola d’Alcina (The Liberation of Ruggiero from Alcina’s Island)*
Chabrier, Emmanuel*
L’étoile (The Star)
Charpentier, Gustave*
Louise
David, Félicien*
Herculanum*
Debussy, Claude*
La damoiselle élue (The Chosen Young Lady)*
L’enfant prodigue (The Prodigal Son)*
Pelléas et Mélisande (Pelléas and Mélisande)
Donizetti, Gaetano
Lucrezia Borgia
Poliuto
Dukas, Paul*
Ariane et Barbe-bleue (Ariadne and Bluebeard)
Eötvös, Peter*
Angels in America
Fauré, Gabriel*
Pénélope*
von Flotow, Friedrich*
Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond)
Glass, Philip*
Akhnaten
Godard, Benjamin*
Dante*
Gounod, Charles François
La colombe (The Dove)*
La reine de Saba (The Queen of Sheba)*-#100!!! (December 30, 2021)
Grétry, André*
Richard Cœur-de-lion (Richard the Lionheart)
Hahn, Reynaldo*
Ô mon bel inconnu (Oh, my beautiful unknown one)*
Halévy, Fromental
La magicienne (The Sorceress)*
La reine de Chypre (The Queen of Cyprus)*
Le dilettante d’Avignon (The Dilettante of Avignon)*
Handel, George Frideric
Rodelinda, regina de’Longobardi (Rodelinda, Queen of the Lombards)
Semele
Susanna*
Theodora
Hersant, Philippe*
Les Éclairs (Lightning)
Hervé (real name: Louis Auguste Florimond Ronger)*
Mam’zelle Nitouche
Ibert, Jacques*
Persée et Andromède (Perseus and Andromeda)*
Janáček, Leoš
Osud (Destiny)
Kimper, Paula M.*
Patience and Sarah
Korngold, Erich Wolfgang
Das Wunder der Heliane (The Miracle of Heliane)
Lecocq, Charles*
La fille de Madame Angot (The Daughter of Madame Angot)*
Lortzing, Albert*
Zar und Zimmermann (Czar and Carpenter)
Lully, Jean-Baptiste*
Armide
Martínez, José “Pepe”*
Cruzar la Cara de la Luna (To Cross the Face of the Moon)*
Mascagni, Pietro
L’amico Fritz (The Friend Fritz)*
Massenet, Jules
Don César de Bazan*
Don Quichotte (Don Quixote)
La Navarraise (The Navarrese Woman)*
Le jongleur de Notre-Dame (The Juggler of Our Lady)
Sapho*
Thérèse*
Messager, André*
Passionnément (Passionately)*
Meyerbeer, Giacomo
L’étoile du nord (The North Star)
Monteverdi, Claudio
L’Orfeo (Orpheus)
Mozart, Wolfgang Amadeus
Der Schauspieldirektor (The Impresario)*- #75 (July 28, 2021)
Mussorgsky, Modest
Khovanshchina (The Khovansky Affair)
Nielsen, Carl*
Maskarade (Masquerade)
Offenbach, Jacques
La belle Hélène (The Beautiful Helen)
La vie parisienne (The Parisian Life)
Orff, Carl*
Antigonae*
Pergolesi, Giovanni Battista*
La serva padrona (The Servant Girl Turned Mistress)
Ponchielli, Amilcare
I Lituani (The Lithuanians)*
Prokofiev, Sergei
Igrok (The Gambler)
Purcell, Henry*
Dido and Aeneas*
King Arthur*
Ravel, Maurice*
L’enfant et les sortilèges (The Child and the Spells)
L’heure espagnole (The Spanish Hour)
Reynolds, Peter*
Sands of Time*
Rossini, Gioachino
La gazza ladra (The Thieving Magpie)
L’Italiana in Algeri (The Italian Woman in Algiers)
Saariaho, Kaija*
L’amour de loin (Love from Afar)- #50!!! (May 2, 2021)
Salieri, Antonio*
Prima la musica e poi le parole (First the music and then the words)*
Saint-Saëns, Camille
Henry VIII
Le timbre d’argent (The Silver Bell)*
Scarlatti, Domenico*
L’Ottavia restituita al trono (Ottavia Restored to the Throne)*
Shostakovich, Dmitri
Ledi Makbet Mtsenskogo uyezda (Lady Macbeth of the Mtsensk District)*
Smetana, Bedřich*
Prodaná nevěsta (The Bartered Bride)
Spontini, Gaspare*
Olimpie*
Stephan, Rudi*
Die ersten Menschen (The First Humans)
Strauss, Richard
Salome
Tchaikovsky, Pyotr Ilyich
Orleanskaja deva (The Maid of Orléans)
Pikovaya dama (Pique Dame/The Queen of Spades)
Various Composers
L’Aiglon (The Eaglet; music by Arthur Honegger and Jacques Ibert; this is the first time I have heard an opera by Honegger but not the first time I’ve heard one by Ibert)*
La jacquerie (The Jacquerie Revolt; music by Édouard Lalo and Arthur Coquard; this is the first time I have heard any operas by either composer)*
The Secret Life of Paintings (pastiche of excerpts from operas by George Frideric Handel, Claudio Monteverdi, and Antonio Vivaldi; this is the first time I have heard an opera even partly using the music of Vivaldi)
Verdi, Giuseppe
Alzira
Giovanna d’Arco (Joan of Arc)
Oberto
Un giorno di regno
Viardot, Pauline*
Le dernier sorcier (The Last Sorcerer)*
Vivaldi, Antonio*
Dorilla in Tempe
Wagner, Richard
Der fliegende Holländer (The Flying Dutchman)
Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg)
Parsifal
Weill, Kurt
Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny)
Wolf-Ferrari, Ermanno*
Il segreto di Susanna (Susanna’s Secret)
Zandonai, Riccardo*
Francesca da Rimini
von Zemlinsky, Alexander*
Der Zwerg (The Dwarf)
Final Count: 100
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Do you think the rumors of a romance/marriage between Robespierre and Eleonore are true? Or is there any hard evidence at all?
”Hard evidence” I suppose would be statements from Robespierre and/or Éléonore themselves that the two were a thing. Such things would however appear to not exist. For Robespierre, the only time he is even recorded to have mentioned Éléonore that I’m aware of is when writing to her father while on a trip to Arras in the fall of 1791 and asking him to say hello from him to the rest of his family:
Please present the testimonies of my tender friendship to Madame Duplay, to your demoiselles, and to my little friend.
Robespierre to Maurice Duplay, October 16 1791
Present the testimonies of my tender and masterful attachment to your ladies, whom I earnestly desire to embrace, as well as our little patriot.
Robespierre to Maurice Duplay, November 17 1791
As can be seen from the letters, there’s nothing here suggesting he thought anything in particular about Éléonore. But it’s also unknown if the two were even a thing at this point, considering they hadn’t known each other for even half a year.
As for Éléonore, she hasn’t left behind any written material at all that I’m aware of, nor do we possess anything written to her. This just leaves us with contemporary claims regarding the two. Below are those I’ve been able to find, cited in chronological order:
[Robespierre’s] host's daughter passed for his wife and had a sort of empire over him.
Causes secrètes de la révolution du 9 au 10 thermidor (1794) by Joachim Vilate, page 16
It has been rumored that [Éléonore] had been Robespierre's mistress. I think I can affirm she was his wife; according to the testimony of one of my colleagues, Saint-Just had been informed of this secret marriage, which he had attended.
Mémoires d’un prêtre regicide (1829) by Simon-Edme Monnel, page 337-338
Madame Lebreton, a sweet and sensitive young woman, said, blushing: “Everyone assures that Eugénie [sic] Duplay was Robespierre’s mistress.”
“Ah! My God! Is it possible that that good and generous creature should have so degraded herself?” I was aghast.
“Listen,” cried Henriette, “don’t judge on appearances. The unhappy Eugénie was not the mistress, but the wife of the monster, whom her pure soul decorated with every virtue; they were united by a secret marriage of which Saint-Just was the witness.”
Souvernirs de 1793 et 1794 par madame Clément, Née Hémery (1832) by Albertine Clément-Hémery
Madame Duplay had three [sic] daughters: one married the conventionnel Le Bas; another married, I believe, an ex-constituent; the third, Éléonore, who preferred to be called Cornélie, and who was the eldest, was, according to what people pleased themselves to say, on the point of marrying my brother Maximilien when 9 Thermidor came. There are in regard to Éléonore Duplay two opinions: one, that that she was the mistress of Robespierre the elder; the other that she was his fiancée. I believe that these opinions are equally false; but what is certain is that Madame Duplay would have strongly desired to have my brother Maximilien for a son-in-law, and that she forget neither caresses nor seductions to make him marry her daughter. Éléonore too was very ambitious to call herself the Citizeness Robespierre, and she put into effect all that could touch Maximilien’s heart. But, overwhelmed with work and affairs as he was, entirely absorbed by his functions as a member of the Committee of Public Safety, could my older brother occupy himself with love and marriage? Was there a place in his heart for such futilities, when his heart was entirely filled with love for the patrie, when all his sentiments, all his thoughts were concentrated in a sole sentiment, in a sole thought, the happiness of the people; when, without cease fighting against the revolution’s enemies, without cease assailed by his personal enemies, his life was a perpetual combat? No, my older brother should not have, could not have amused himself to be a Celadon with Éléonore Duplay, and, I should add, such a role would not enter into his character. Besides, I can attest it, he told me twenty times that he felt nothing for Éléonore; her family’s obsessions, their importunities were more suited to make feel disgust for her than to make him love her. The Duplays could say what they wanted, but there is the exact truth. One can judge if he was disposed to unite himself to Madame Duplay’s eldest daughter by something I heard him say to Augustin:
“You should marry Éléonore.”
“My faith, no,” replied my younger brother.
Mémoires de Charlotte Robespierre sur ses deux frères (1834) page 90-91
My older sister had been promised to Robespierre.
Memoirs of Élisabeth Lebas (written around 1844)
The eldest of the Duplay daughters, who Robespierre wanted to marry, was called Éléonore. Robespierre allowed himself to be cared for, but he was not in love.
Notes historiques sur la Convention nationale, le Directoire, l’Empire et l’exil des votants (1895) by Marc Antoine Baudot, page 41
All the historians assert that [Robespierre] carried out an intrigue with the daughter of Duplay, but as the family physician and constant guest of that house I am in a position to deny this on oath. They were devoted to each other, and their marriage was arranged; but nothing of the kind alleged ever sullied their love.
Recollections of a Parisian (docteur Poumiès de La Siboutie) under six sovereigns, two revolutions, and a republic (1789-1863) (1911)
I personally believe in the version reported by Élisabeth Duplay and Joseph Souberbielle here (that is, that Robespierre and Éléonore were unofficially engaged and nothing more) since they were the ones to be in a position to actually know. The account of Charlotte Robespierre, who I suppose also was in this position, I’m dismissing due to her obvious jealousy of the Duplays. Plus, she’s done so many other shady things that lying about an engagement is honestly the least I expect from her at this point (and she lied about her own so…)
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PIERRE BRISSAUD
On this day of 23rd December, Pierre Brissaud (23 December 1885 – 17 October 1964) was born in Paris, France.
He was an Art Deco illustrator, painter, and engraver whose father was Docteur Edouard Brissaud, a student of Docteur Charcot.
He was trained at the École des Beaux-Arts and Atelier Fernand Cormon in Montmartre, Paris. His fellow Cormon students were his brother Jacques, André-Édouard Marty, Charles Martin, and Georges Lepape. Students at the workshop drew, painted, and designed wallpaper, furniture, and posters. Earlier, Toulouse-Lautrec, van Gogh, and Henri Matisse had studied and worked there.
His older brother Jacques Brissaud was a portrait and genre painter and his uncle Maurice Boutet de Monvel illustrated the fables of La Fontaine, songbooks for children, and a life of Joan of Arc. A first cousin was the celebrated artist and celebrity portrait painter Bernard Boutet de Monvel.
Brissaud is known for his pochoir (stencil) prints for the fashion magazine Gazette du Bon Ton published by Lucien Vogel, Paris.
Many of his illustrations are realistic leisure scenes of the well-to-do. They illustrate the designs of Paris fashion houses such as Jeanne Lanvin, Chéruit, Worth, and Doucet.
Brissaud's illustrations appeared in Vogue after it bought Bon Ton, as well as House & Garden and Fortune, and in books like Madame Bovary, Manon Lescaut, Mémoires de Saint-Simon, the autobiographical novels of Anatole France, Two gentlemen of Verona, and many others.
His works were exhibited at the Salon des Indépendants and the Salon d'Automne.
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Madame de Saint-Maurice by Joseph Siffred Duplessis, European Paintings
Bequest of James A. Aborn, 1968 Metropolitan Museum of Art, New York, NY
Medium: Oil on canvas
http://www.metmuseum.org/art/collection/search/436235
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Mapping The World With §ound§ in Bruille-St-Amand (Nord) - église St-Maurice.
Cloche aigüe - tintement manuel.
« J’appartiens à Bruille Saint Amand Je remplace marie-Angélique Louise bénite en 1789 Brisée en 1918 lors de l’effondrement du clocher miné par les allemands Fondue par la maison Wauthy j’ai été bénite en 1929 Nommée marie-Louise Antonie J’ai eu pour parrain Louis Deflandre-Barbieux pour marraine Leonie Dumez-Cambier. Deum laudo plebem convoco mortuo plango (Je loue Dieu, j’appelle le peuple, je pleure les morts) Monseigneur Chollet étant archevêque de Cambrai Maître Joye curé de la paroisse Fernand Notteghem maire de la commune »
Remerciements : Madame BERNARD - Emilie Vanzelle Forveille
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Jacques Marin.
Filmografía
Cine
Años 1940-1950
1946 : Le Beau voyage de Louis Cuny - Un mauvais garçon
1948 : L'assassin est à l'écoute de Raoul André - le barman
1950 : Dieu a besoin des hommes de Jean Delannoy
1950 : Le Mystérieux colonel Barclay, cortometraje de Jacques Vilfrid
1951 : Seul dans Paris : de Hervé Bromberger un homme du village
1952 : Jeux interdits de René Clément - Georges Dollé
1952 : Nous sommes tous des assassins de André Cayatte
1953 : Quitte ou double de Robert Vernay - Lucien
1953 : Un jour comme les autres, cortometraje de Georges Rouquier - Pierrot
1954 : Faites-moi confiance de Gilles Grangier - Bob
1954 : Avant le déluge de André Cayatte - L'ouvrier à bicyclette
1954 : J'y suis... j'y reste de Maurice Labro
1954 : Papa, maman, la bonne et moi de Jean-Paul Le Chanois - Le voisin
1955 : Si Paris nous était conté de Sacha Guitry - Un gardien de prison
1955 : Papa, maman, ma femme et moi de Jean-Paul Le Chanois - Le garagiste
1955 : Ça va barder de John Berry
1955 : Sur le banc de Robert Vernay - Le policier qui court après La Hurlette et Carmen
1955 : Le Dossier noir de André Cayatte - Un policier
1955 : Les Évadés de Jean-Paul Le Chanois - Un prisonnier
1955 : French Cancan de Jean Renoir - Un homme dans la file d'attente
1955 : La Rue des bouches peintes de Robert Vernay - Le commissaire
1955 : Les Hommes en blanc de Ralph Habib
1955 : Gas-oil de Gilles Grangier - Le gendarme
1955 : L'Amant de lady Chatterley de Marc Allégret - Un homme du pub
1956 : Des gens sans importance de Henri Verneuil - Le routier qui fesse Clotilde
1956 : Marie-Antoinette de Jean Delannoy - Un crieur de journaux
1956 : Mon curé chez les pauvres d’Henri Diamant-Berger
1956 : Ces sacrées vacances de Robert Vernay - L'automobiliste
1956 : Le Sang à la tête de Gilles Grangier - L'agent de police
1956 : Paris, Palace Hôtel de Henri Verneuil - Le livreur de fleurs
1956 : La Traversée de Paris de Claude Autant-Lara Le patron du restaurant
1956 : Cette sacrée gamine de Michel Boisrond - Un gendarme
1956 : Reproduction interdite de Gilles Grangier
1957 : Le rouge est mis de Gilles Grangier - Un flic de garde
1957 : A Paris tous les deux - (Paris holiday) de Gerd Oswald.
1957 : Les femmes sont marrantes de André Hunebelle - Le taxi
1957 : Les Vendanges (The Vintage) de Jeffrey Hayden
1957 : Le Coin tranquille de Robert Vernay
1957 : Porte des Lilas de René Clair - L'inspecteur qui enquête sur le vol chez l'épicier
1957 : Une Parisienne de Michel Boisrond - Le motard
1957 : Montparnasse 19 de Jacques Becker - Le patron du café
1958 : Les Misérables de Jean-Paul Le Chanois : Le messager (dans la première époque)
1958 : La Tour, prends garde ! de Georges Lampin
1958 : Le Désordre et la Nuit de Gilles Grangier - Le garçon de café bavard
1958 : En cas de malheur de Claude Autant-Lara - Le réceptionniste du Trianon-Hôtel
1958 : Les Racines du ciel (Roots of Heaven) de John Huston - Cerisot
1958 : Le Miroir à deux faces de André Cayatte - Un professeur
1958 : Le Temps des œufs durs de Norbert Carbonnaux - Le pêcheur
1958 : Trois jours à vivre de Gilles Grangier : le gendarme
1958 : Les Tricheurs de Marcel Carné - Monsieur Félix
1958 : Madame et son auto de Robert Vernay - Monsieur Rouille
1958 : Le Joueur de Claude Autant-Lara
1959 : Archimède le clochard de Gilles Grangier - Mimile, un habitué du café
1959 : Rue des prairies de Denys de La Patellière - Monsieur Mauduis
1959 : Maigret et l'affaire Saint-Fiacre de Jean Delannoy - Albert, le chauffeur de la comtesse
1959 : Guinguette de Jean Delannoy - Albert
1959 : Drôles de phénomènes de Robert Vernay - L'inspecteur
1959 : Croquemitoufle ou Les Femmes des autres de Claude Barma - Le contrôleur
1959 : La Bête à l'affût de Pierre Chenal - Le contrôleur routier
1959 : Match contre la mort de Claude Bernard-Aubert.
Año 1960
1960 : Les Vieux de la vieille de Gilles Grangier - Le brigadier de gendarmerie dont la chaîne de vélo a sauté
1960 : La Française et l'Amour, sketch Le Mariage de René Clair - Le contrôleur
1960 : Drame dans un miroir (Crack in the Mirror) de Richard Fleischer - Le gardien
1960 : Pantalaska de Paul Paviot - Monsieur Tropman
1960 : Monsieur Suzuki de Robert Vernay
1960 : Vers l'extase de René Wheeler - Le boucher
1960 : Au cœur de la ville de Pierre Gautherin
1961 : Le Président de Henri Verneuil - Gaston, le chauffeur de car.
1961 : Le cave se rebiffe de Gilles Grangier - L'inspecteur Larpin, de la police mondaine
1961 : Le Général ennemi (The Ennemy General) de George Sherman - Marceau
1961 : Le Grand Risque (The Big Gamble) de Richard Fleischer - L'employé de l'hôtel
1961 : Arrêtez les tambours de Georges Lautner - L'épicier
1961 : Le Monocle noir de Georges Lautner - Trochu
1961 : La Pendule à Salomon de Vicky Ivernel
1962 : Le Gentleman d'Epsom de Gilles Grangier - Raoul, le boucher turfiste
1962 : Gigot, le clochard de Belleville (Gigot) de Gene Kelly - Jean
1962 : Le Couteau dans la plaie de Anatole Litvak - Le commissaire
1962 : La Belle des îles (Tiara Tahiti) de Ted Kotcheff - Desmoulins
1962 : Portrait-robot de Paul Paviot
1963 : Charade de Stanley Donen - L'inspecteur Édouard Grandpierre
1963 : Le Glaive et la Balance de André Cayatte - Un gendarme
1963 : Méfiez-vous, mesdames de André Hunebelle
1963 : Le Poulet, cortometraje de Claude Berri
1964 : Le Train de John Frankenheimer y Bernard Farrel - Jacques, le chef de gare de Rive-Reine
1964 : La Vie conjugale (version Françoise) d’André Cayatte
1964 : Vacances pour Yvette (Vacaciones para Yvette) de José-Maria Forque
1965 : Fantômas se déchaîne de André Hunebelle - L'agent de police ferroviaire
1965 : Humour noir, sketch La Bestiole de Claude Autant-Lara
1965 : Les Bons Vivants, sketch La Fermeture de Gilles Grangier - L'acquéreur du mobilier de la maison close
1966 : Comment voler un million de dollars (How to steal a million) de William Wyler - Le gardien-chef du musée
1966 : Paris au mois d'août de Pierre Granier-Deferre - Bouvreuil
1966 : Les Centurions (Lost Command) de Mark Robson - Le maire coléreux à qui on prend son hélicoptère
1966 : Le Plus Vieux Métier du monde, sketch Aujourd'hui de Claude Autant-Lara - L'agent de police
1966 : La Vingt-cinquième Heure de Henri Verneuil - Le soldat chez Dubrosco
1968 : La Motocyclette (The Girl on a Motorcycle) de Jack Cardiff - Le pompiste
1968 : L'Homme à la Buick de Gilles Grangier - Un déménageur
1969 : La Nuit du lendemain (The Night of the Following Day) de Hubert Cornfield y Richard Boone - Le patron du café
1969 : La Fiancée du pirate de Nel.
Año 1970
1970 : Hello, Goodbye (Hello Goodbye) de Jean Negulesco
1970 : Darling Lili (Darling Lili) de Blake Edwards - Le major Duval
1971 : Mourir d'aimer de André Cayatte - Le correspondant
1971 : Le drapeau noir flotte sur la marmite de Michel Audiard - Antoine Simonet, chef de train S.N.C.F
1971 : Jo de Jean Girault - Andrieux, un policier chercheur
1971 : Le Cinéma de papa de Claude Berri - L'acteur jouant le chef de gare
1971 : Le Petit Matin de Jean-Gabriel Albicocco - La Bouhère
1973 : Shaft contre les trafiquants d'hommes (Shaft in Africa) de John Guillermin - L'inspecteur Cusset
1973 : Mais où est donc passée la septième compagnie ? de Robert Lamoureux - L'épicier français collaborateur
1974 : L'Île sur le toit du monde (Island at the Top of the World) de Robert Stevenson - Le capitaine Brieux
1974 : Les murs ont des oreilles de Jean Girault - Lucas
1974 : Vos gueules, les mouettes ! de Robert Dhéry - Le porte-bannière
1974 : Les "S" pions (S.P.Y.S) d’Irvin Kershner - Lafayette
1974 : Impossible... pas français de Robert Lamoureux - Dussautoy
1975 : Bons baisers de Hong Kong d’Yvan Chiffre - Le gradé de la police
1975 : Opération Lady Marlène de Robert Lamoureux - Le bistrot
1975 : Flic Story de Jacques Deray - Le patron de l'auberge de Saint-Rémy
1975 : Catherine et compagnie de Michel Boisrond - Le patron de l'agence de location de voitures
1976 : Marathon Man (Marathon Man) de John Schlesinger - Leclerc
1976 : L'Année sainte de Jean Girault - Moreau, le gardien de prison
1976 : Le Jour de gloire de Jacques Besnard - Le patron du bistrot
1977 : Le mille-pattes fait des claquettes de Jean Girault - L'inspecteur de police
1977 : La Coccinelle à Monte-Carlo (Herbie Goes to Monte-Carlo) de Vincent McEveety - L'inspecteur Bouchet
1978 : L'Horoscope de Jean Girault - J.L. Beauché
1978 : La Grande cuisine (Who Is Killing the Great Chefs of Europe?) de Ted Kotcheff - Masseret
1978 : Général... nous voilà ! de Jacques Besnard - Mac Goland
1979 : Grandison d’Achim Kurz.
Años 1980 - 1990
1981 : Ach du lieber Harry de Jean Girault - Un haut dignitaire
1982 : Te marre pas .. c'est pour rire ! de Jacques Besnard - Albert, le chauff.
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Tempt Me - 1
Abbe de Coulmier x Reader, Abbe de Coulmier x Oc
Frick yeah, another fabulous fanfiction, because Quills is funny and super sexy.
In the cobblestone streets of Saint-Maurice France, a fiery temptress roamed the night. She would dance naked, singing songs about death and fire.
Screams from the nuns as the temptress burned down their sanctuaries.
The temptress showed no signs of stopping. The madwoman set hundreds of fires chanting over and over the phrase.
"Que les brûlés soient oubliés."
Eventually, she was caught.
Eléonore Lièvremont was deemed a madwoman, a witch, and a raging sadist. She sat in her quarters, smirking at the erotica she had laid on her desk.
"Fresh linens," called the laundress.
Eléonore glared through the small slot of her chamber door. She dusted feathers off her silk gown as she walked over to her door, picking up her fresh linens.
"Going to see the Marquis again, I see. It would be quite the shame if Abbe de Coulmier knew about your whereabouts, Mademoiselle LeClaire." Eléonore teased.
"Shut up, you're just as guilty as me." Madeline LeClaire commented.
"You know, you do have a key, and I haven't been out in ages." Eléonore tapped on Madeline's hand.
"What? Are you heading to see the Marquis as well?" Madeline pulled her hand away.
Eléonore rolled her eyes, and scoffed. "As if, I already had my time with the old bastard. I don't want anything to do with him. He's so boring, telling the same story over and over. When will he ever try something new?"
Madeline rolled her eyes. "Well, maybe if you actually wrote something, you could criticize him."
Eléonore glared at Madeline, as she walked away from her chambers. Eléonore laid down on her bed. Her silky nightgown falling just above her thighs. She heard a soft voice through her chamber door.
"Madame Eléonore. Are you awake?" The voice asked.
Eléonore recognized that voice in an instant. The very kind voice she's known for six months. "Monsieur Abbe. I'm very much awake, come on in." She said, lowly.
Abbe walked in looking around the messy chamber. "Eléonore, I hope I'm not intruding on anything, but I'd like you to join me for my painting class." Abbe smiled, nervously at the fair temptress in front of him.
Eléonore smirked, looking up at him. She got off the bed, getting closer to the Abbe. "Most certainly, Monsieur. I would love to join your painting class."
Abbe gulped as he was cornered by Eléonore. "Of course, just as soon as you get dress."
"Of course, Abbe." Eléonore backed away from Abbe, placing a hand on hip. She watched as Abbe walked out of her quarters.
Six months ago, Eléonore met with the Marquis de Sade, bonding over their erotic nature and devious thoughts. The relationship between Eléonore and the Marquis lasted a month, until Eléonore decided to change one of his many erotic stories.
She wrote about a priest falling for a succubus, who had longed for love for most of her life. Once Marquis found out about this story, he was furious. Eléonore knew her relationship with Marquis had to end. She spoke to Abbe about moving her quarters. He was hesitant, but filled her request. For the past four months, Eléonore shut herself in her chambers, only reading the erotica passed around in the asylum.
Eléonore was bored of the stories. She was bored to death of the sex. She wanted something unreal. She wanted the love, the compassion, the romance, and the tragedy of human emotions. Eléonore admired the Abbe de Coulmier from afar. He was kind and pure. He built this asylum to help patients spread their creativity.
Eléonore walked into the garden, surprisingly fully clothed. She stared longingly at the wall covered in dead roses.
"Eléonore," called Abbe, "is there something troubling you? I didn't see you in my class."
Eléonore turned around towards Abbe. "No, I'm quite alright. I was clearing my mind."
"You can tell me anything, Eléonore. I'm here to help you." Abbe smiled, kindly. His soft eyes struck Eléonore.
"Do you ever feel stuck in an endless loop of misery and sex?" Eléonore said, bluntly.
Abbe was taken aback by her words. "What ever do you mean?"
"I've read the Marquis stories, and they're always the same. It's like just the same story with the same ending, like it's trapped in some endless loop." Eléonore sighed.
"Has the Marquis been troubling you? I could talk with him. I don't want you to feel helpless here. I want you to be free." Abbe placed a hand on her shoulder.
"I wish I could be free." She whispered.
Abbe looked at her, sympathetically. Poor Eléonore was broken. She may be vulgar, unladylike, as well as a bit of a pyromaniac, but she was also human.
"Come with me, Eléonore. I'd like you to see the choir." Abbe held onto Eléonore's arm as they walked into the cathedral hall.
With the wave of his hand, beautiful song filled the cathedral. Eléonore sat in the front row, looking up at Abbe with full admiration.
Soon, the song came to a stop. Eléonore stood up, giving Abbe a standing ovation.
Her ovation was interrupted by Dr. Royer-Collard, and his colleagues.
"Shouldn't the temptress be locked up in her chambers?" He taunted, glaring at her.
Abbe walked over to greet the doctor. "Doctor, she's merely here to observe. She's locked up in that room for long. I offered her to come with me."
Doctor Royer-Collard was known for his sadistic, and brutal methods for madness. Eléonore knew him from being under his custody. He chained her to the basement for 48 days, until she was brought over to the Charenton.
She owed a lot to the Abbe de Coulmier. Whether he knew it or not, he had saved her many times.
"Now as a matter of business. I've come to check up on you. A certain patient of yours has gotten notoriety from the Emperor." The doctor said, walking with Abbe out of the cathedral.
"I'll meet with you later, Eléonore." Abbe waved bye to Eléonore.
Eléonore meekly waved back, feeling the intensity of Dr. Royer-Collard's glare. She walked back to her chambers where she saw Madeline rummaging through things.
"What the hell are you doing, LeClaire?" Eléonore snapped at the maiden in front of her.
"I'm looking for the book you wrote." Madeline said, defending herself.
"Out, LeClaire." Eléonore growled.
"Where is la tentatrice et le prêtre? The Marquis said you hid it away from him." Madeline complained.
"Why do you need that? That's for my own personal use." Eléonore snapped, furiously.
Madeline found a leather bound notebook, with writing on the inside.
"Mademoiselle LeClaire. Give me that book." Eléonore demanded. She grabbed a hold of one end, whilst Madeline was grabbing on the other end.
"You didn't even write it. This is the Marquis's book not yours." Madeline struggling.
As the two girls keep pulling on the book, soon the book tore with pages flying everywhere.
Madeline was filled with instant regret. "Eléonore, I'm sorry." She whispered, looking at her apologetic.
Eléonore turned to Madeline with rage fueling in her eyes. She lunged herself at Madeline, beating her multiple times.
Abbe felt embarrassed by the Marquis. Marquis had published his erotica behind Abbe's back.
Abbe, being the compassionate man that he is, gave Marquis a second chance. The Marquis wasn't just a patient, but he was also a friend to Abbe.
As Abbe was walking back towards his quarters, he saw Madeline and Eléonore fighting.
"Hey, that's enough." He pulled the girls off each other.
"She attacked me. She's mad. She's crazy." Madeline whimpered, cowering into Abbe's arms.
"Abbe, she-" Eléonore was cut off by a glare.
Abbe closed Eléonore's chamber door, and locked her inside.
Eléonore felt her heart break as she sat on her bed looking at the ceiling.
Taglist:
@princessgeekface, @gloomyladyy, @captain-el-writes , @joaquinphoenixlover, @jokerflecker, @joker-flecked-me, @memory-mortis
(Next)
#quills 2000#joaquin phoenix#abbe de coulmier#abbe x reader#abbe de coulmier x reader#OC: Eléonore Lièvremont#tempt me
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Quarantine Diaries
Hôtel Saint-Germain-des-Prés
Situated in one of the Paris' most coveted positions, Hotel Saint Germain des Prés provides a cool haven with a feel of a chic Paris pied a terre.
Built in the 18th century as a gracious townhouse, the hotel retains many period details and original architectural features.
No. 36 of the rue Bonaparte: Home of French philosopher and sociologist Auguste Comte, between 1817 and 1822, during which time he published his first essays.
36, rue Bonaparte, 75006 Paris, France
The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out.
The Quai Voltaire no. 3 and no. 5: Hôtel Le Barbier, Hôtel Perrault, and Hôtel de La Briffe were all one unit until 1733. They were connected by a tunnel with the other side of the Rue de Bourbon. Author Maurice Joly lived there in a small apartment until his death in 1878.
The Sennelier @sennelier1887 shop was opened on the site in 1887.
It became famous for supplying art supplies to artists such as Cézanne, Degas, Gauguin, Pissarro, Soutine, Modigliani, Kandinsky, Bonnard, and Picasso.
After President Jacques Chirac left office in 2007, he moved his family into the Hôtel de Bouillon.
Pont Royal
In 1632, the entrepreneur Pierre Pidou directed the construction of a wooden toll-bridge which would be called Pont Sainte-Anne (in deference to Anne of Austria) or Pont Rouge (due to its color). It was designed to replace the Tuileries ferry upon which the rue du Bac (bac meaning ferry in French) owes its name. The ferry had been offering crossings since 1550. Fragile, this bridge of fifteen arches would be repaired for the first time in 1649, completely redone two years later, burnt in 1654, flooded in 1656, completely rebuilt in 1660, propped up in 1673 and finally carried away by a flood in February 1684. Madame de Sévigné reported that this last incident caused the loss of eight of the bridge's arches.
It was finally reconstructed between October 25, 1685, and June 13, 1689, this time with stone, receiving complete financing from the king Louis XIV; it was the king who gave it the name Pont Royal. .
Notre Dame
The exteriors of cathedrals and other Gothic churches were also decorated with sculptures of a variety of fabulous and frightening grotesques or monsters.
The gargoyles, which were added in about 1240, had a more practical purpose. They were the rain spouts of the cathedral, designed to divide the torrent of water which poured from the roof after rain, and to project it outwards as far as possible from the buttresses and the walls and windows where it might erode the mortar binding the stone. To produce many thin streams rather than a torrent of water, a large number of gargoyles were used, so they were also designed to be a decorative element of the architecture. The rainwater ran from the roof into lead gutters, then down channels on the flying buttresses, then along a channel cut in the back of the gargoyle and out of the mouth away from the cathedral. .
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Viollet-le-Duc, Eugéne, Dictionnaire Raisonné de l'architecture Française du XIe au XVI siecle, Volume 6.
Saint-Germain-des-Prés is a parish church located in the Saint-Germain-des-Prés quarter of Paris.
Founded by Childebert I in the 540s as the Abbaye Sainte-Croix-Saint-Vincent, by the middle of the 8th century it had taken on the name of Saint Germanus (French: Germain), the man appointed bishop of Paris by Childebert and later canonized.
Originally located beyond the outskirts of early medieval Paris, it became a rich and important abbey complex and was the burial place of Germanus and of Childebert and other Merovingian kings of Neustria.
At that time, the Left Bank was prone to flooding from the Seine, so much of the land could not be built upon and the Abbey stood in the middle of meadows, or prés in French, thereby explaining its appellation, which also serves to distinguish it from the church of Saint-Germain l'Auxerrois near the Louvre.
The oldest part of the current church is the prominent western tower (partly restored and modified), which was built by Abbot Morard around the year 1000.
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