Edmund Blair Leighton paintings
Eugene de Blaas paintings
Rebecca, suddenly quitting her dejected posture, and making her way through the attendants to the palfrey of the Saxon lady, knelt down, and, alter the Oriental fashion in addressing superiors, kissed the hem of Rowena’s garment. Then rising, and throwing back her veil, she implored her, in the great name of the God whom they both worshipped, and by that revelation of the Law upon Mount Sinai, in which they both believed, that she would have compassion upon them, and suffer them to go forward under their safeguard. “It is not for myself that I pray this favour,” said Rebecca; “nor is it even for that poor old man. I know that to wrong and to spoil our nation is a lightWhen autumn nights were long and drear,And forest walks were dark and dim,How sweetly on the pilgrim’s earWas wont to steal the hermit’s hymn!
Devotion borrows Music’s tone,And Music took Devotion’s wing;And, like the bird that hails the sun,They soar to heaven, and soaring sing. –The Hermit of St. Clement’s Well.–
Showing posts with label Edmund Blair Leighton paintings. Show all posts
Showing posts with label Edmund Blair Leighton paintings. Show all posts
Thursday, June 19, 2008
Friday, June 6, 2008
Edmund Blair Leighton paintings
Edmund Blair Leighton paintings
Eugene de Blaas paintings
Eduard Manet paintings
Edwin Austin Abbey paintings
moonlight gleamed on whitened skulls, and the evening breeze, sweeping through the chains and skeletons, set them rattling in the gloom. The presence of this gibbet sufficed to cast a blight over every spot within the range of its accursed view.
The mass of masonry that formed the base of the repulsive edifice was hollow, and an immense cavern had been constructed in it, closed by an old battered iron grating, into which were thrown not only the human relics that fell from the chains of Montfaucon itself, but also the bodies of the victims of all the other permanent gibbets of Paris. To that deep charnel-house, where so many human remains and the memory of so many crimes have rotted and mingled together, many a great one of the earth, and many an innocent victim, have contributed their bones, from Enguerrand de Martigny, who inaugurated Montfaucon, and was one of the just, down to Admiral de Coligny—likewise one of the just—who closed it.
As for Quasimodo’s mysterious disappearance, all that we have been able to ascertain on the subject is this:
Eugene de Blaas paintings
Eduard Manet paintings
Edwin Austin Abbey paintings
moonlight gleamed on whitened skulls, and the evening breeze, sweeping through the chains and skeletons, set them rattling in the gloom. The presence of this gibbet sufficed to cast a blight over every spot within the range of its accursed view.
The mass of masonry that formed the base of the repulsive edifice was hollow, and an immense cavern had been constructed in it, closed by an old battered iron grating, into which were thrown not only the human relics that fell from the chains of Montfaucon itself, but also the bodies of the victims of all the other permanent gibbets of Paris. To that deep charnel-house, where so many human remains and the memory of so many crimes have rotted and mingled together, many a great one of the earth, and many an innocent victim, have contributed their bones, from Enguerrand de Martigny, who inaugurated Montfaucon, and was one of the just, down to Admiral de Coligny—likewise one of the just—who closed it.
As for Quasimodo’s mysterious disappearance, all that we have been able to ascertain on the subject is this:
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