Gallery Garden Quotes

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears.

Parisians might drop in for a coffee or an aperitif at cafés where the chairs face outward such that they can watch other flâneurs. They visit gardens and poke their heads into avenues and parks and galleries. Just to absorb and look and reflect. It’s a big part of the French psyche this simple observation of, and reflection upon, humanity. I love the spirit of it—sitting facing out to life. Then wandering among it. Then sitting back again. It’s thoroughly absorbing, which allows calm, paced, discerning thought bubbles to surface.

Did you go see the .... gardens?" .... "I loved them," she said ... "I went there almost every day and watched the people. It was almost like a gallery, but the pictures were alive.

It had been the mere plaything of nature, when first it crept out of uncreative void into light; but thought brought forth power and knowledge; and, clad with these, the race of man assumed dignity and authority. It was then no longer the mere gardener of earth, or the shepherd of her flocks; "it carried with it an imposing and majestic aspect; it had a pedigree and illustrious ancestors; it had its gallery of portraits, its monumental inscriptions, its records and titles.

Poets claim that we recapture for a moment the self that we were long ago when we enter some house or garden in which we used to live in our youth. But these are most hazardous pilgrimages, which end as often in disappointment as in success. It is in ourselves that we should rather seek to find those fixed places, contemporaneous with different years. And great fatigue followed by a good night's rest can to a certain extent help us to do so. For in order to make us descend into the most subterranean galleries of sleep, where no reflexion from overnight, no gleam of memory comes to light up the interior monologue—if the latter does not itself cease—fatigue followed by rest will so thoroughly turn over the soil and penetrate the bedrock of our bodies that we discover down there, where our muscles plunge and twist in their ramifications and breathe in new life, the garden where we played in our childhood. There is no need to travel in order to see it again; we must dig down inwardly to discover it. What once covered the earth is no longer above but beneath it; a mere excursion does not suffice for a visit to the dead city: excavation is necessary also. But we shall see how certain fugitive and fortuitous impressions carry us back even more effectively to the past, with a more delicate precision, with a more light-winged, more immaterial, more headlong, more unerring, more immortal flight, than these organic dislocations.

The episcopal palace was a huge and beautiful house, built of stone at the beginning of the last century by M. Henri Puget, Doctor of Theology of the Faculty of Paris, Abbe of Simore, who had been Bishop of D—— in 1712. This palace was a genuine seignorial residence. Everything about it had a grand air,—the apartments of the Bishop, the drawing-rooms, the chambers, the principal courtyard, which was very large, with walks encircling it under arcades in the old Florentine fashion, and gardens planted with magnificent trees. In the dining-room, a long and superb gallery which was situated on the ground-floor and opened on the gardens, M. Henri Puget had entertained in state, on July 29, 1714, My Lords Charles Brulart de Genlis, archbishop; Prince

The village lay in the hollow, and climbed, with very prosaic houses, the other side. Village architecture does not flourish in Scotland. The blue slates and the grey stone are sworn foes to the picturesque; and though I do not, for my own part, dislike the interior of an old-fashioned pewed and galleried church, with its little family settlements on all sides, the square box outside, with its bit of a spire like a handle to lift it by, is not an improvement to the landscape. Still, a cluster of houses on differing elevations - with scraps of garden coming in between, a hedgerow with clothes laid out to dry, the opening of a street with its rural sociability, the women at their doors, the slow waggon lumbering along - gives a centre to the landscape. It was cheerful to look at, and convenient in a hundred ways. ("The Open Door")

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. VI.

He would never love me because of Rebecca. She was in the house still, as Mrs Danvers had said; she was in that room in the west wing, she was in the library, in the morning-room, in the gallery above the hall. Even in the little flower-room, where her mackintosh still hung. And in the garden, and in the woods, and down in the stone cottage on the beach. Her footsteps sounded in the corridors, her scent lingered on the stairs. The servants obeyed her orders still, the food we ate was the food she liked. Her favourite flowers filled the rooms. Her clothes were in the wardrobes in her room, her

principal courtyard, which was very large, with walks encircling it under arcades in the old Florentine fashion, and gardens planted with magnificent trees. In the dining-room, a long and superb gallery which was situated on the ground-floor and opened on the gardens, M. Henri Puget had entertained in state, on July 29, 1714, My Lords Charles Brulart de Genlis, archbishop; Prince d'Embrun; Antoine de Mesgrigny, the capuchin, Bishop of Grasse; Philippe de Vendome, Grand Prior of France, Abbe of Saint Honore de Lerins; Francois de Berton de Crillon, bishop, Baron de Vence; Cesar de Sabran de Forcalquier, bishop, Seignor of Glandeve; and Jean Soanen, Priest of the Oratory, preacher in ordinary to the king, bishop, Seignor of Senez. The portraits of these seven reverend personages decorated this apartment; and this memorable date, the 29th of July, 1714, was there engraved in letters of gold on a table of white marble.

Boston. Fucking horrible. I remember, when 9/11 went down, my reaction was, "Well, I've had it with humanity." But I was wrong. I don't know what's going to be revealed to be behind all of this mayhem. One human insect or a poisonous mass of broken sociopaths. But here's what I DO know. If it's one person or a HUNDRED people, that number is not even a fraction of a fraction of a fraction of a percent of the population on this planet. You watch the videos of the carnage and there are people running TOWARDS the destruction to help out. (Thanks FAKE Gallery founder and owner Paul Kozlowski for pointing this out to me). This is a giant planet and we're lucky to live on it but there are prices and penalties incurred for the daily miracle of existence. One of them is, every once in awhile, the wiring of a tiny sliver of the species gets snarled and they're pointed towards darkness. But the vast majority stands against that darkness and, like white blood cells attacking a virus, they dilute and weaken and eventually wash away the evil doers and, more importantly, the damage they wreak. This is beyond religion or creed or nation. We would not be here if humanity were inherently evil. We'd have eaten ourselves alive long ago. So when you spot violence, or bigotry, or intolerance or fear or just garden-variety misogyny, hatred or ignorance, just look it in the eye and think, "The good outnumber you, and we always will.

The faint metallic smell of the falling snow surrounds her. calm yourself. Listen. Cars splash along streets, and snowmelt drums through runnels; she can hear snowflakes tick and patter through the trees. She can smell the cedars in the Jarin des Plantes a quarter mile away. Here the Metro hurdles beneath the sidewalk; that's the Quai Saint-Bernard. Here the sky opens up, and she hears the clacking of branches: that's the narrow stripe of gardens behind the Gallery of Paleontology. This, she realizes, must be the corner of the quay and rue Cuvier. ' Six blocks, forty buildings, ten tiny trees in a square. This street intersects this street intersects this street. One centimeter at a time. Her father stirs the keys in his packets. Ahead loom the tall, grand houses that flanked the gardens, reflecting sound. She says, "we go left

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

One lovely twilight, with the near garden in riotous bloom, Genji stepped onto a gallery that gave him a view of the sea, and such was the supernal grace of his motionless figure that he seemed in that setting not to be of this world at all. Over soft white silk twill and aster 49 he wore a dress cloak of deep blue, its sash only very casually tied; and his voice slowly chanting “I, a disciple of the Buddha Shakyamuni…” 50 was more beautiful than any they had ever heard before. From boats rowing by at sea came a chorus of singing voices. With a pang he watched them, dim in the offing, like little birds borne on the waters, and sank into a reverie as cries from lines of geese on high mingled with the creaking of oars, until tears welled forth, and he brushed them away with a hand so gracefully pale against the black of his rosary that the young gentlemen pining for their sweethearts at home were all consoled.

The large drawing-room was an immense, long room, with a sort of gallery that ran from one pavilion to the other, taking up the whole of the façade on the garden side. A large French window opened on to the steps. This gallery glittered with gold. The ceiling, gently arched, had fanciful scrolls winding round great gilt medallions, that shone like bucklers. Bosses and dazzling garlands encircled the arch; fillets of gold, resembling threads of molten metal, ran round the walls, framing the panels, which were hung with red silk; festoons of roses, topped with tufts of full-blown blossoms, hung down along the sides of the mirrors. An Aubusson carpet spread its purple flowers over the polished flooring. The furniture of red silk damask, the door-hangings and window-curtains of the same material, the huge ormolu clock on the mantel-piece, the porcelain vases standing on the consoles, the legs of the two long tables

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

She opened the door of the room and went into the corridor, and then she began her wanderings. It was a long corridor and it branched into other corridors and it led her up short flights of steps which mounted to others again. There were doors and doors, and there were pictures on the walls. Sometimes they were pictures of dark, curious landscapes, but oftenest they were portraits of men and women in queer, grand costumes made of satin and velvet. She found herself in one long gallery whose walls were covered with these portraits. She had never thought there could be so many in any house. She walked slowly down this place and stared at the faces which also seemed to stare at her. She felt as if they were wondering what a little girl from India was doing in their house. Some were pictures of children—little girls in thick satin frocks which reached to their feet and stood out about them, and boys with puffed sleeves and lace collars and long hair, or with big ruffs around their necks. She always stopped to look at the children, and wonder what their names were, and where they had gone, and why they wore such odd clothes. There was a stiff, plain little girl rather like herself. She wore a green brocade dress and held a green parrot on her finger. Her eyes had a sharp, curious look. "Where do you live now?" said Mary aloud to her. "I wish you were here." Surely no other little girl ever spent such a queer morning. It seemed as if there was no one in all the huge rambling house but her own small self, wandering about up-stairs and down, through narrow passages and wide ones, where it seemed to her that no one but herself had ever walked. Since so many rooms had been built, people must have lived in them, but it all seemed so empty that she could not quite believe it true.

Muséum National d’Histoire Naturelle Marie-Laure LeBlanc is a tall and freckled six-year-old in Paris with rapidly deteriorating eyesight when her father sends her on a children’s tour of the museum where he works. The guide is a hunchbacked old warder hardly taller than a child himself. He raps the tip of his cane against the floor for attention, then leads his dozen charges across the gardens to the galleries. The children watch engineers use pulleys to lift a fossilized dinosaur femur. They see a stuffed giraffe in a closet, patches of hide wearing off its back. They peer into taxidermists’ drawers full of feathers and talons and glass eyeballs; they flip through two-hundred-year-old herbarium sheets bedecked with orchids

And one cold Tuesday in December, when Marie-Laure has been blind for over a year, her father walks her up rue Cuvier to the edge of the Jardin des Plantes. "Here, ma chérie, is the path we take every morning. Through the cedars up ahead is the Grand Gallery." "I know, Papa." He picks her up and spins her around three times. "Now," he says, "you're going to take us home." Her mouth drops open. "I want you to think of the model, Marie." "But I can't possibly!" "I'm one step behind you. I won't let anything happen. You have your cane. You know where you are." "I do not!" "You do." Exasperation. She cannot even say if the gardens are ahead or behind. "Calm yourself, Marie. One centimeter at a time." "I'm far, Papa. Six blocks, at least." "Six blocks is exactly right. Use logic. Which way should we go first?" The world pivots and rumbles. Crows shout, brakes hiss, someone to her left bangs something metal with what might be a hammer. She shuffles forward until the tip of her cane floats in space. The edge of a curb? A pond, a staircase, a cliff? She turns ninety degrees. Three steps forward. Now her cane finds the base of a wall. "Papa?" "I'm here." Six paces seven paces eight. A roar of noise - an exterminator just leaving a house, pump bellowing - overtakes them. Twelve paces farther on, the bell tied around the handle of a shop door rings, and two women came out, jostling her as they pass. Marie-Laure drops her cane; she begins to cry. Her father lifts her, holds her to his narrow chest. "It's so big," she whispers. "You can do this, Marie." She cannot.

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. Chapter 6 — Hundreds of People The quiet lodgings of Doctor Manette were in a quiet street-corner not far from Soho-square. On the afternoon of a certain fine Sunday when the waves of four months had roiled over the trial for treason, and carried

In short, the observer is choked with observations. Only to prevent us from being submerged by chaos, nature and society between them have arranged a system of classification which is simplicity itself; stalls, boxes, amphitheatre, gallery. The moulds are filled nightly. There is no need to distinguish details. But the difficulty remains—one has to choose. For though I have no wish to be Queen of England or only for a moment—I would willingly sit beside her; I would hear the Prime Minister's gossip; the countess whisper, and share her memories of halls and gardens; the massive fronts of the respectable conceal after all their secret code; or why so impermeable? And then, doffing one's own headpiece, how strange to assume for a moment some one's—any one's—to be a man of valour who has ruled the Empire; to refer while Brangaena sings to the fragments of Sophocles, or see in a flash, as the shepherd pipes his tune, bridges and aqueducts. But no—we must choose. Never was there a harsher necessity! or one which entails greater pain, more certain disaster; for wherever I seat myself, I die in exile: Whittaker in his lodging-house; Lady Charles at the Manor.

How to scale and enter the risen path was largely unknown. It all might begin in darkness, but it cast a shadow that, when viewed from the ground, was too bleak. Demolition was once a question not of “whether, but when,” until one photographer spent a year on the trail documenting what was there. 4 The scenes were “hallucinatory”—wildflowers, Queen Anne’s lace, irises, and grasses wafted next to hardwood ailanthus trees that bolted up from the soil on railroad tracks, on which rust had accumulated over the decades. 5 Steel played willing host to an exuberant, spontaneous garden that showed fealty to its unusual roots. Tulips shared the soilbed with a single pine tree outfitted with lights for the winter holidays, planted outside of a building window that opened onto the iron-bottomed greenway with views of the Hudson River and the Statue of Liberty to the left and traffic, buildings, and Tenth Avenue to the right. 6 Wading through waist-high Queen Anne’s lace was like seeing “another world right in the middle of Manhattan.” 7 The scene was a kind of wildering, the German idea of ortsbewüstung, an ongoing sense of nature reclaiming its ground. 8 “You think of hidden things as small. That is how they stay hidden. But this hidden thing was huge. A huge space in New York City that had somehow escaped everybody’s notice,” said Joshua David, who cofounded a nonprofit organization with Robert Hammonds to save the railroad. 9 They called it the High Line. “It was beautiful refuse, which is kind of a scary thing because you find yourself looking forward and looking backwards at the same time,” architect Liz Diller told me in our conversation about the conversion of the tracks into a public space, done in a partnership with her architectural firm, Diller Scofidio + Renfro, and James Corner, Principal of Field Operations, and Dutch planting designer Piet Oudolf. Other architectural plans proposed turning the High Line into a “Street in the Air” with biking, art galleries, and restaurants, but their team “saw that the ruinous state was really alive.” Joel Sternfeld, the “poet-keeper” of the walkway, put the High Line’s resonance best: “It’s more of a path than a park. And more of a Path than a path.” 10

She wanted to hear everything. What did Cass think of the great marble Duomo? Had she gone for Mass? Had she visited the Uffizi, one of the oldest art galleries in the world? What about the Boboli Gardens? Were they as lovely as everyone said? Cass didn’t have the heart to tell her aunt that between being attacked by dogs and having her blood drained in her sleep, she hadn’t had much time for sightseeing.

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They're on a tour. A tour of the moat full of deadly squid, and the Garden of Death, and the torture chambers, and the Dark Wizard portrait gallery, and the banquet hall full of captured banners of slaughtered foes.

the central gallery, the Catholicon. “Down there and up the stairs is the shrine of Calvary: there’s a stone with a hole where the cross was supposed to have been placed. It looks a little different from the Garden Tomb, no?” Arthur nodded. “Night and day.” “You have to remember that this is all built on an area that in A.D. 33 would have looked not so different from where we were last night. It’s impossible to even use your imagination it’s so altered by two thousand years of successive shrines and churches. I think that’s why ordinary people have a stronger connection to the Garden Tomb, while a majority of scholars favor the authenticity of this place.

ay cheese!" If you're like most women I know, you have at least one family and friends photo area in your home. My entire home is practically a photo gallery! Walls, tabletops, and my refrigerator door are all crowded with the faces of people I love. My husband, Bob, my children, grandchildren, new friends, old friends you name 'em and I've displayed 'em. How precious are these gatherings of faces to us. And it's so fitting, isn't it? Because our family and friends' pictures tell the story of their lives.. .and ours! Cherish your family and friends and those priceless moments. Hold them close. Seek out your friends and enjoy their company more often. Treasure their faces, their characteristics, their uniqueness. But also make room for new people.. .and add them to the gallery in your heart. ant to hold a spring garden party? It can be a birthday, a graduation, or just a celebration. For invitations, glue inexpensive packets of seeds to index cards and write in your party information. Pass them out or stick them in envelopes and mail them. Decorate a picnic table with an umbrella and bright floral sheets or vinyl cloths. Why not decorate the awnings and porch posts to make it even more festive? Flowers, flowers, and flowers everywhere create a bright, aromatic space. If you're limber and energetic or you're inviting kids, spread sheets on the ground for an authentic, old-fashioned picnic. A little red wagon or painted tub with a potted plant makes a fun off-to-the-side "centerpiece." Use a clean watering can for your lemonade pitcher. Engage your imagination and have fun entertaining.

There was obviously something in the air as thirtysomething urbanite Jarvis Cocker of Pulp started writing songs about trees (albeit with a polluted humour) and even the 43-year-old guru of frozen electronica, Gary Numan expressed to Mojo magazine his appreciation of ‘amazing sunsets – they’re so beautiful. The whole sky goes purple and black. I never thought that happened in England until I lived in the countryside. In the winter you get that light, it’s as if you’ve turned the goodness up, it’s good light. People pay to go into galleries to look at bricks and cut-up sheep and say it’s art, but you can sit in your garden and see the most amazing things you’ll ever see and people take it for granted ... people amaze me. A lot of people seem to have lost sight of genuine beauty. Am I sounding really old?

Bryce slowed her retreat as she winced in pain, “And the apartment building? I thought it was Hunt, but it wasn’t, was it? It was you.” “Yes. Your landlord’s request went to all of my triarii. And to me. I knew Danika had left nothing there. But by that time, Bryce Quinlan, I was enjoying watching you squirm. I knew Athalar’s plan to acquire the synth would soon be exposed—and I took a guess that you’d be willing to believe the worst of him. That he’d used the lightning in his veins to endanger innocent people. He’s a killer. I thought you might need a reminder. That it played into Athalar’s guilt was an unexpected boon.” Hunt ignored the eyes that glanced his way. The fucking asshole had never planned to honor his bargain. If he’d solved the case, Micah would have killed him. Killed them both. He’d been played like a fucking fool. Bryce asked, voice raw, “When did you start to think it was me?” “That night it attacked Athalar in the garden. I realized only later that he’d probably come into contact with one of Danika’s personal items, which must have come into contact with the Horn.” Hunt had touched Danika’s leather jacket that day. Gotten its scent on him. “Once I got Athalar off the streets, I summoned the kristallos again—and it went right to you. The only thing that had changed was that you finally, finally took that amulet off. And then …” He chuckled. “I looked at Hunt Athalar’s photos of your time together. Including that one of your back. The tattoo you had inked there, days before Danika’s death, according to the list of Danika’s last locations Ruhn Danaan sent to you and Athalar—whose account is easily accessible to me.” Bryce’s fingers curled into the carpet, as if she’d sprout claws. “How do you know the Horn will even work now that it’s in my back?” “The Horn’s physical shape doesn’t matter. Whether it is fashioned as a horn or a necklace or a powder mixed with witch-ink, its power remains.” Hunt silently swore. He and Bryce had never visited the tattoo parlor. Bryce had said she knew why Danika was there. Micah went on, “Danika knew the Archesian amulet would hide you from any detection, magical or demonic. With that amulet, you were invisible to the kristallos, bred to hunt the Horn. I suspect she knew that Jesiba Roga has similar enchantments upon this gallery, and perhaps Danika placed some upon your apartments—your old one and the one she left to you—to make sure you would be even more veiled from it.

Rhys said, “This is what Velaris is known for: the artists’ quarter. You’ll find a hundred galleries, supply stores, potters’ compounds, sculpture gardens, and anything in between. They call it the Rainbow of Velaris. The performing artists—the musicians, the dancers, the actors—dwell on that hill right across the Sidra. You see the bit of gold glinting near the top? That’s one of the main theaters. There are five notable ones in the city, but that’s the most famous. And then there are the smaller theaters, and the amphitheater on the sea cliffs … ” He trailed off as he noticed my gaze drifting back to the assortment of bright buildings ahead.

I have been to Mont Saint-Michel, which I had not seen before. What a sight, when one arrives as I did, at Avranches toward the end of the day! The town stands on a hill, and I was taken into the public garden at the extremity of the town. I uttered a cry of astonishment. An extraordinarily large bay lay extended before me, as far as my eyes could reach, between two hills which were lost to sight in the mist; and in the middle of this immense yellow bay, under a clear, golden sky, a peculiar hill rose up, sombre and pointed in the midst of the sand. The sun had just disappeared, and under the still flaming sky the outline of that fantastic rock stood out, which bears on its summit a fantastic monument. At daybreak I went to it. The tide was low as it had been the night before, and I saw that wonderful abbey rise up before me as I approached it. After several hours’ walking, I reached the enormous mass of rocks which supports the little town, dominated by the great church. Having climbed the steep and narrow street, I entered the most wonderful Gothic building that has ever been built to God on earth, as large as a town, full of low rooms which seem buried beneath vaulted roofs, and lofty galleries supported by delicate columns. I entered this gigantic granite jewel which is as light as a bit of lace, covered with towers, with slender belfries to which spiral staircases ascend, and which raise their strange heads that bristle with chimeras, with devils, with fantastic animals, with monstrous flowers, and which are joined together by finely carved arches, to the blue sky by day, and to the black sky by night.

I have been to Mont Saint-Michel, which I had not seen before. What a sight, when one arrives as I did, at Avranches toward the end of the day! The town stands on a hill, and I was taken into the public garden at the extremity of the town. I uttered a cry of astonishment. An extraordinarily large bay lay extended before me, as far as my eyes could reach, between two hills which were lost to sight in the mist; and in the middle of this immense yellow bay, under a clear, golden sky, a peculiar hill rose up, sombre and pointed in the midst of the sand. The sun had just disappeared, and under the still flaming sky the outline of that fantastic rock stood out, which bears on its summit a fantastic monument. At daybreak I went to it. The tide was low as it had been the night before, and I saw that wonderful abbey rise up before me as I approached it. After several hours’ walking, I reached the enormous mass of rocks which supports the little town, dominated by the great church. Having climbed the steep and narrow street, I entered the most wonderful Gothic building that has ever been built to God on earth, as large as a town, full of low rooms which seem buried beneath vaulted roofs, and lofty galleries supported by delicate columns. I entered this gigantic granite jewel which is as light as a bit of lace, covered with towers, with slender belfries to which spiral staircases ascend, and which raise their strange heads that bristle with chimeras, with devils, with fantastic animals, with monstrous flowers, and which are joined together by finely carved arches, to the blue sky by day, and to the black sky by night. When I had reached the summit, I said to the monk who accompanied me: “Father, how happy you must be here!” And he replied: “It is very windy, Monsieur;

And finally she crowded the high French windows with a veritable garden of camellia and fern. 'I miss the flowers; more than anything else I miss the flowers,' she mused. And sought after them even in the paintings which we bought from the shops and the galleries, magnificent canvases such as I'd never seen in New Orleans―from the classically executed lifelike bouquets, tempting you to reach for the petals that fell on a three-dimensional tablecloth, to a new and disturbing style in which the colors seemed to blaze with such intensity they destroyed the old lines, the old solidity, to make a vision like to those states when I'm nearest my delirium and flowers grow before my eyes and crackle like the flames of lamps. Paris flowed into these rooms.

Our gardens are decorated with statues and our galleries with paintings. What do you think these artistic masterpieces on show for public admiration represent? The defenders of our country? Or those even greater men who have enriched it with their virtues? No. They are images of all the errors of the heart and mind, carefully derived from ancient mythology, and presented to our children's curiosity at a young age, no doubt so that they may have right before their eyes models of bad actions even before they know how to read.

Rāgas are soliloquies and meditations, passionate melodies that draw circles and triangles in a mental space, a geometry of sounds that can turn a room into a fountain, a spring, a pool. What I learned from music—besides the pleasure of walking through those galleries of echoes and gardens of transparent trees, where sounds think and thoughts dance—was something that I also found in Indian poetry and thought: the tension between wholeness and emptiness, the continual coming and going between the two.

Looking for accommodation in Ferguson Valley? Being only a couple of hours' drive from Perth on the South West highway, Henty Lodge is ideally situated for visitors to take advantage of the region's diverse attractions such as wineries, breweries, an art gallery and a pottery & glass studio. The property's stunning features include gardens, woods and a lake. Guests are welcome to explore the property at their leisure.

This is a city with its legs spread open toward the sea. Take a look at the port when you walk down toward the old neighborhoods in Sidi El Houari, over on the Calère des Espagnols side. It’s like an old whore, nostalgic and chatty. Sometimes I go down to the lush garden on the Promenade de Létang to have a solitary drink and rub shoulders with delinquents. Yes, down there, where you see that strange, dense vegetation, ficuses, conifers, aloes, not to mention palms and other deeply rooted trees, growing up toward the sky as well as down under the earth. Below there’s a vast labyrinth of Spanish and Turkish galleries, which I’ve been able to visit, even though they’re usually closed. I saw an astonishing spectacle down there: the roots of centuries-old trees, seen from the inside, so to speak, gigantic, twisting things, like giant, naked, suspended flowers. Go and visit that garden. I love the place, but sometimes when I’m there I detect the scent of a woman’s sex, a giant, worn-out one. Which goes a little way toward confirming my obscene vision: This city faces the sea with its legs apart, its thighs spread, from the bay to the high ground where that luxurious, fragrant garden is. It was conceived — or should I say inseminated, ha, ha! — by a general, General Létang, in 1847. You absolutely must go and see it — then you’ll understand why people here are dying to have famous ancestors. To escape from the evidence.

He who thinks in a sunny garden about the miners who work in the dark galleries of mines will understand so perfectly how beautiful and how hard life is!