you a Vau-de-vire of old Olivier de Basselin, [23a] which will show you something of that which I miss in Béranger. But I think I had better write it on a separate Paper. Till which, what think you of these lines of Clément Marot on the Death of some French Princess who desired to be buried among the Poor? [23b]
[P.S.—These also must go on the Fly-leaf: being too long, Alexandrine, for these Pages.]
What a Letter! But if you are still at your Vicarage, you can read it in the Intervals of Church. I was surprised at your coming so early from Italy: the famous Holy Week there is now, I suppose, somewhat shorn of its Glory.—If you were not so sincere I should think you were persiflaging me about the Photo, as applied to myself, and yourself. Some years ago I said—and now say—I wanted one of you;
and if this letter were not so long, would tell you a little how to sit. Which you would not attend to; but I should be all the same, your long-winded
Friend
E. F.G.
X.
Woodbridge, May 1, [1873.]
Dear Mrs. Kemble,
I am very glad that you will be Photographed: though not by the Ipswich Man who did me, there are no doubt many much better in London.
Of course the whole Figure is best, if it can be artistically arranged. But certainly the safe plan is to venture as little as possible when an Artist’s hand cannot harmonize the Lines and the Lights, as in a Picture. And as the Face is the Chief Object, I say the safest thing is to sit for the Face, neck, and Shoulders only. By this, one not only avoids any conflict about Arms and Hands (which generally disturb the Photo), but also the Lines and Lights of Chair, Table, etc.