F. Marion Crawford

Summary

F. Marion Crawford Pietro Ghisleri

And yet Laura Arden, as she now was to be called, knew that she would trust her husband to take her part and win against a stronger and a worse man than Ghisleri, should she ever be in need; and, what is more, Ghisleri saw that she did, and his admiration rose still higher. There must be something magnificent in a woman who could so wholly forget such outward frailness and deformity in the man she loved, as to forget also that sometimes in life a man's hand may need that same common brute strength, just to match it against another's, for a woman's dear sake.
Source: Gutenberg

F. Marion Crawford Pietro Ghisleri

To be an artist it is essential to starve—at one time or another. The public never believe that a man who has not been dangerously hungry can paint a picture, or play the fiddle, or write a book. If I had money I would still paint—subjects like Michael Angelo's Last Judgment with the souls of Donna Tullia, Del Ferice, and Donna Adele Savelli frying prominently on the left, and portraits of my wife and myself in the foreground on the right with perfectly new crowns of glory and beatific smiles from ear to ear.
Source: Gutenberg

F. Marion Crawford Pietro Ghisleri

If ten years ago Ghisleri could have married Bianca, and if Bianca could have lived, the two would have been happy, for even Gianforte admitted that both had loved truly and well until the end. But that was a dream and reality had raised the impassable barrier between men who might have been firm friends. Their hands might stretch across it, and grasp one another from time to time, and their eyes might read good faith and the will to be generous each in the other's soul, but nearer than that they could never be, for the sake of the beautiful dead woman who would not be forgotten by either.
Source: Gutenberg

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