Meanwhile, all malice was not extinguished in the captain’s heart. “So much the worse if the devil’s cart picks you up on its passage! ” he said to the poor, sleeping clerk; and he strode off.
” exclaimed Gisquette; “God on the cross, and the two thieves on the right and the left.” Here the young gossips, growing warm at the memory of the entrance of monsieur the legate, both began to talk at once. The tall, light-haired young man retreated a step; but the two curious maidens had no mind to let slip their prize. The hand clapping was deafening, and Jupiter had already withdrawn under his tapestry, while the hall still trembled with acclamations.
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At the age of twenty, by special dispensation of the Holy See, he was a priest, and served as the youngest of the chaplains of Notre-Dame the altar which is called, because of the late mass which is said there,altare pigrorum. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germaine des Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars.
At the start of the twentieth century, art historians like Carl Einstein, Michał Sobeski and Leo Frobenius published important works about the thematic, giving to African art the status of aesthetic object, not only of ethnographic object. At the same time, artists like Paul Gauguin, Pablo Picasso, Georges Braque, André Derain, Henri Matisse, Joseph Csaky, and Amedeo Modigliani became aware of, and inspired by, African art, amongst other art forms. These artists saw in African art a formal perfection and sophistication unified with phenomenal expressive power. The study of and response to African art, by artists at the beginning of the twentieth century facilitated an explosion of interest in the abstraction, organisation and reorganisation of forms, and the exploration of emotional and psychological areas hitherto unseen in Western art. By these means, the status of visual art was changed.
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Several liards had rolled into the mud; the captain in his enthusiasm stooped to pick them up. And without adding another word, he emptied the purse on a neighboring post, with the air of a Roman saving his country. In the midst of the gloom of the spiral staircase, he elbowed something which drew aside with a growl; he took it for granted that it was Quasimodo, and it struck him as so droll that he descended the remainder of the staircase holding his sides with laughter.
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Here something took place which Quasimodo could not see very clearly. It was not because his only eye had not preserved its long range, but there was a group of soldiers which prevented his seeing everything. Moreover, at that moment the sun appeared, and such a flood of light overflowed the horizon that one would have said that all the points in Paris, spires, chimneys, gables, had simultaneously taken fire. The ladder was erected near the permanent gallows. There were some people and many soldiers in the Place. A man was dragging a white thing, from which hung something black, along the pavement.
Some vestiges of this ancient enclosure still remained in the last century; to-day, only the memory of it is left, and here and there a tradition, the Baudets or Baudoyer gate, “Porte Bagauda”. The gypsy’s corsage slipped through his hands like the skin of an eel. At the same time, the white goat placed itself in front of her, and presented to Gringoire a hostile front, bristling with two pretty horns, gilded and very sharp.
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Meanwhile, the archdeacon, who had abandoned the dumbfounded Charmolue where he stood, had approached them and halted a few paces distant, watching them without their noticing him, so deeply were they absorbed in contemplation of the purse. We do not know whether he suddenly became conscious of these things; but, giddy as he was, he understood that he had seen what he ought not to have seen, that he had just surprised the soul of his elder brother in one of its most secret altitudes, and that Claude must not be allowed to know it. Seeing that the archdeacon had fallen back into his former immobility, he withdrew his head very softly, and made some noise with his feet outside the door, like a person who has just arrived and is giving warning of his approach. The austere and glacial envelope of Claude Frollo, that cold surface of steep and inaccessible virtue, had always deceived Jehan. The merry scholar had never dreamed that there was boiling lava, furious and profound, beneath the snowy brow of AEtna.