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The Bloody Chamber I remember how, that night, I lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, my burning cheek pressed against the impeccable linen of the pillow and the pounding of my heart mimicking that of the great pistons ceaselessly thrusting the train that bore me through the night, away from Paris, away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage. And I remember I tenderly imagined how, at this very moment, my mother would be moving slowly about the narrow bedroom I had left behind for ever, folding up and putting away all my little relics, the tumbled garments I would not need any more, the scores for which there had been no room in my trunks, the concert programmes I'd abandoned; she would linger over this torn ribbon and that faded photograph with all the half-joyous, half-sorrowful emotions of a woman on her daughter's wedding day. And, in the midst of my bridal triumph, I felt a pang of loss as if, when he put the gold band on my finger, I had, in some way, ceased to be her child in becoming his wife. Are you sure, she'd said when they delivered the gigantic box that held the wedding dress he'd bought me, wrapped up in tissue paper and red ribbon like a Christmas gift of crystallized fruit. Are you sure you love him? There was a dress for her, too; black silk, with the dull, prismatic sheen of oil on water, finer than anything she'd worn since that adventurous girlhood in Indo-China, daughter of a rich tea planter.
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Uffizi, Florence Uffizi Gallery, Florence In the great part of renaissance and baroque history painting s, the figures, architectural elements and props were drawn from various monochrome drawings and afterward recomposed on a cartoon or on the canvas itself. Rarely, if ever, did the painter have the whole scene set up in his studio , to say nothing of outdoor scenes. Thus, we must presume that lighting was largely a factor of artistic invention and pictorial convention. If a foreground repoussoir figure was represented immersed in a dark shadow with the background powerfully lit, it was not because the painter saw his scene this way in the moment he began paint, but because he either he had noted a similar effect in nature or he had copied the effect from another painting. It should always be remembered that the human eye is particularity forgiving with respect to lightning in the visual arts. Is well known that some of the figures in certain woks of Rubens — are illuminated from the right, but in the same picture some receive light from the left, and yet this is generally not noticed.
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