The Lady of Shalott, 1905
William Holman Hunt
Pistols, Engraved and Inlaid with Damascene Work
She halted at the gateway, telling
The housekeeper a slow good-bye;
And came to the abandoned dwelling
Next day before the sun was high.
Into the silent study, setting
Aside all timid thoughts, forgetting
The world without, Tatyana crept,
And there she stayed ,and wept, and wept.
The volumes at long last succeeding
In catching Tanya’s eye, she took
A glance at many a curious book,
And all seemed dull. But soon the reading
Absorbed the girl, and she was thrown
Headlong into a world unknown.
Onegin’s taste for books had vanished
Long since, but notice if you please
That there were works he never banished
From his affection; they were these:
Lord Byron’s tales, which well consorted
With two or three bright-backed imported
Romances, upon every page
Exhibiting the present age,
And modern man’s true soul divulging:
A creature arid, cold, and vain,
Careless of others’ joy and pain,
In endless reverie indulging,
One whose embittered mind finds zest
In nothing, but can never rest.
Some pages held a sharp incentive
To reading, where a finger-nail
Had marked the place; and, more attentive,
Tatyana scanned them without fail.
She noted, trembling and excited,
What passage, what remark delighted
Onegin, what shrewd line expressed
A thought in which he acquiesced.
She found the margins most appealing:
The pencil-marks he made with care
Upon the pages everywhere
Were all unconsciously revealing:
A cross, a question-mark, a word —
From these the man might be inferred.
Paris, 20 November 1903: the ghostly form of an airship floats past an equally ghostly Eiffel Tower, before a very solid crowd of completely entranced spectators. It is Le Jaune, ‘The Yellow’, the first of the successful Lebaudy series of French semi-rigid airships.
American artist John Singer Sargent in his studio with his painting Portrait of Madame X. Paris, ca. 1884.
Source: Archives of American Art, Smithsonian Institution