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92 FELICIE DE FAUVEAU.
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Transcript
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
*&S~ Fresco Enteeing Over Florence Tlie ...
carved frame-work of a mirror , with , an exquisite allegorical _design . A fop and a coquettein elaborate costume , are bending inwards
, towards the glass so intent on self-admiration as to be unconscious that a demon below Bas caught their feet in a line or snare , from
which , they will not be able to extricate themselves without falling . Almost all that Mademoiselle de Fauveau does has a super-abundant
richness of ornament and allegorical device . This adds to the picturesqueness of the effect , though it may take from its unity .
It also adds considerably to the adaptation of her designs for gold and silver ornaments . These are unrivalled for elegance and
ideality . She executed for Count Zichy , an Hungarian costume , in the most
finished manner . The collar , the belt , the sword , the spurs , are of the most exquisite workmanship .
There is also a silver bell ornamented with twenty figures for the Empress of Hussia . It represents a mediaeval household in the
costumes of the period and of their peculiar avocations , assembling at the call of three stewards . The three figures form the handle .
Hound the bell is blazoned in Gothic characters , " De bon vouloir servir le maitre . "
It would be impossible in the space of a brief article , to give even a mere nominal list of the works of this indefatigable artist .
It is unfortunate for her , and for the public , that the finished specimens of twenty-five years unceasing labor are shut up in
private galleries , and are therefore out of the reach of those who have not been fortunate enough to see the models in her studio .
Her last and most imposing work is the monument in St _* Croce , erected to the memory of Louise Favreau , ( a young West Indian ,
who died at Fiesole , ) by her parents . There is a detailed account of this work in the Revue Britannifor March 1857 written in the
most charming and refined style que , by _> Madame de , Krafft , , her intimate friend .
There are also three monuments , in three different styles , to the memory of three members of the Lindsay family , which may be
seen in the Lindsay chapel . She has several busts of great beauty in her studio . Her method
of placing an architectural background gives them great relief . Amongst these busts is one of the Marquis de Bretigni _^ res , the
founder of the reformatory school colony of Mettray . Besides devoting herself to the actual expression of her ideas ,
Mademoiselle de Fauveau has , all her life , studied to improve the more mechanical portion of her art . She has endeavored to revive
certain secrets known to the ancients , which , to the detriment of modern sculpture , have been abandoned and forgotten . To cast a
statue entire instead of in portions , and with so much precision as to require no further touch of the chisel to preserve inviolate , as
it were , the idea , while it is subject to the difficult process of cloth-
92 Felicie De Fauveau.
92 FELICIE DE FAUVEAU .
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Citation
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English Woman’s Journal (1858-1864), Oct. 1, 1858, page 92, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01101858/page/20/
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