Thursday, June 5, 2008

Leighton Leighton Idyll painting

Leighton Leighton Idyll painting
Monet The Red Boats painting
Rivera The Flower Seller, 1942 painting
abstract 91152 painting
We are charmed to be able to inform our readers that during this whole scene Gringoire and his piece held their own. Spurred on by him, the actors had not ceased to declaim, nor he to listen. He had contributed his share to the clamour and was determined to stand fast to the end; nor did he despair of finally regaining the attention of the public. This spark of hope revived when he beheld Quasimodo, Coppenole, and the yelling cortége of the Pope of Fools troop out of the Hall with deafening uproar, the crowd eagerly at their heels.
“Good,” said he, “there goes the disturbing element.”
But unfortunately the disturbing element comprised the entire public. In a twinkling the Hall was empty.
To be exact, a sprinkling of spectators still remained, scattered about singly or grouped round the pillars—women, old men, and children who had had enough of the noise and the tumult. A few scholars sat astride the windows looking down into the Place.

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