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Page 2 of 10
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e-Cards.
C. Schweninger.
G. Lavergne.
A. Lavrov.
G. Dale.
All these leisurely strolls and ballroom dalliance go to show that the characters’ relationship is still in its early stages. Their arch smiles suggest awareness of each other’s feelings. In ballroom scenes their passion is fueled by the possibility of getting themselves talked about with so many keen-eyed gossips around. On outings they either engage in flirtatious conversation or hasten to ensconce themselves in some secluded nook so that no one may witness their tender exchanges. In other instances we see stock courtship meant to culminate in marriage. There are no implications of marriage of convenience and suchlike perversions. The air is thick with romance. She renders a poignant piano number while he listens with rapt attention with his eyes following the graceful movements of her hands, which are then promptly smothered with kisses. Isn’t that all a marriageable lass could wish for? Flowers figure prominently in these scenes as an eternal symbol of courtship. The flowers, the music, the gallant suitor all combined to stir up romantic visions in women’s minds, which often went on to wax erotic. The scenes depicted chimed in with the average girl’s idea of an ideal romance, drawing covetous sighs and ultimately prompting her to purchase the pictures. Alternatively, some artists dipped into antiquity coming up with tunic-clad couples amidst pastoral scenery, meant to go down well with impressionable connoisseurs of classical imagery by making them draw reassuring parallels between their own romantic experiences and those of the endearing Greek sweethearts portrayed. There is really no end to romanticism. Even today it is still big with many. And as long as the melody of maidenly reverie and rose-colored love lingers on, those who know enough to play along will not go short of demand.
Lord Frederick Leighton.
I. Godward.
I. Godward.
C. Zewy.
J. Rytir ze Skramliku
Paul Thumann.
R.W. Wichera.
Paul Thumann.
Ed. Gelhay.
A. Jakesch.
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