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cadmusfly · 6 months

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Tag Yourself: Unabridged Shitty Drawing Marshal of the Empire Edition

Yes All 26 Of Them + Bonus 2

drawn and compiled by yours truly, initial and probably inaccurate research assisted by Chet Jean-Paul Tee, additional research from Napoleon and his Marshals by A G MacDonnell, Swords Around A Throne by John R Elting and a bunch of other books and Wikipedia pages

captions under images

mike (Michel Ney)

- full of every emotion

- always has ur back

joe (Joachim Murat)

- it's called fashion sweetheart

- will not stop flirting

lens (Jean Lannes)

- bestie who will call u out on ur shit

- does not like their photo taken

bessie (Jean-Baptiste Bessieres)

- actually nice under the ice

- was born in the wrong generation

dave (Louis-Nicolas Davout)

- overachiever

- 20 year old boomer

salt (Jean-de-Dieu Soult)

- people think ur up to no good

- doesn’t cope with sudden changes 2 plans

andrew (Andre Massena)

- actually up to no good

- sleepy until special interest is activated

bertie (Louis-Alexandre Berthier)

- carries the group project

- voted most likely to make a stalker shrine

auggie (Pierre Augereau)

- shady past full of batshit stories

- will not stop swearing in the christian minecraft server

lefrank (François Joseph Lefebvre)

- dad friend

- in my day we walked to school uphill both ways

big mac (Étienne Macdonald)

- brutally honest

- won't let you borrow their charger even if they have 100%

gill (Guillaume Brune)

- love-hate relationship with group chats

- pretends not to care, checks social media every 2 minutes

ouchie (Nicholas Oudinot)

- needs to buy bandages in bulk

- a little aggro

pony (Józef Antoni Poniatowski)

- can't swim

- tries 2 hard to fit in, everyone secretly loves them anyway

grumpy (Emmanuel de Grouchy)

- can't find them when u need them

- complains about the music, never suggests alternatives

bernie (Jean-Baptiste Bernadotte)

- always talks about their other friendship group

- most successful, nobody knows how

monty (Auguste de Marmont)

- does not save u a seat

- causes drama and then lurks in the background

monch (Bon-Adrien Jeannot de Moncey)

- last to leave the party

- dependable

morty (Édouard Mortier)

- everyone looks up 2 them literally and figuratively

- golden retriever friend

jordan (Jean-Baptiste Jourdan)

- volunteers other people for things

- has 20+ alarms but still oversleeps

kelly (François Christophe de Kellermann)

- old as balls but still got it

- waiting in the wings

gov (Laurent de Gouvion Saint-Cyr)

- infuriatingly modest about their art skills

- thinks too much before they speak

perry (Catherine-Dominique de Pérignon)

- low-key rich, only buys things on sale

- “let’s order pizza” solution to everything

sachet (Louis-Gabriel Suchet)

- dependable friend who always brings snacks

- lowkey keeps the group together

cereal (Jean-Mathieu-Philibert Sérurier)

- unnervingly methodical and precise about fun

- will delete your social media after u die

vic (Claude Victor-Perrin)

- loves spicy food but can’t handle it

- says they're fine, not actually fine

Bonus!

june (Jean Andoche Junot)

- chaotic disaster bisexual

- will kill a man 4 their bestie

the rock (Géraud Duroc)

- keeps a tidy house

- mom friend with snacks

#napoleon’s marshals #napoleonic era #napoleonic shitposting #napoleonic wars #history shitposting #cadmus draws #I thought it would be funny if it was hand drawn #i had to draw these over a few weeks or else my RSI ridden fingers would explode #I will reblog this a few times because this is so stupid and I’m proud of this #yes chatgpt helped because I’m not actually familiar with most of the 26 #ended up editing a lot of it but some entries are less based on history and more based on vibes #and as we know vibes are extremely accurate

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hometoursandotherstuff · 7 months

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I posted this fascinating 1885 townhouse in St. Louis, Missouri, 2 yrs. ago, but it's still on Zillow's site b/c it's so unusual! Thanks to thefurgler for sending it to me, b/c I love to re-post these homes in case anyone missed it. 3bds, 3ba, sold for $325K, which was much less than the $399,500 price tag. (I guess sometimes unique properties are harder to sell.) Enjoy looking at this one.

The first thing we encounter out front is this sign. What does it mean? The address is 1204 S. 18th St. Notice the Foo Dogs guarding the door.

The entrance hall has one of those magnificent giant wall mirrors and it was painted gray with silver accents. I'm getting a creepy castle vibe.

A lot of remodeling was put into this home, but I'm so confused by it. I THINK that this is what was once the sitting room, b/c of the original fireplace. (Notice how low above the coffee table the light fixture is.)

This piece looks like an architectural salvage church altar. An "altered altar," b/c it has a glass display in the middle.

Looks like conversation seating.

Okay, this is recognizable as the guest powder room. Interesting.

I have no idea where we are or what this is. Looks like a sunporch w/a lap pool, maybe? This house is surreal. Note that the gate is chained.

Okay, we're in the kitchen. What a weird stove. Nice exhaust hood, though.

Kitchen cabinetry, a sitting area, and a display case in the wall?

Going upstairs.

What is this place?

Where the hell are we?

One of the baths.

Modern gallery?

Oh, yay, I think we found a bedroom. This house is exhausting.

You can go out on the roof from here.

Not much up here, though.

That glass pyramid is kind of cool, but what could you do with it?

Bedroom #2 is modern and has an en-suite.

Big ol' heat stove down in the basement.

Zen garden in the back yard.

Have to be careful back here.

Covered patio.

Beautiful block, but you never know what kind of decor could be lurking behind someone's front door. $325K, I wouldn't hesitate to buy it, though.

#unique homes #unusual homes #surreal home #artsy houses #houses #house tours #home tour #submissions

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whatdoesshedotothem · 2 years

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Thursday 19 June 1834

7 35

11 40

fine morning F66° at 7 ¾ no kiss Miss W-‘s cousin came last night breakfast at 9 - had the restaurateur and Perrelet fils - to have dinner today (wanting but little) for 5/. and each day afterwards a bon petit diner for our 2 selves and the servants for 10fr. - Perrelet begged me to take charge of a watch for Miss Beckett - yes! with pleasure but would not be answerable for accidents - out at 11 - sent François in with my passport and left my card for Lady Granville – had the porter out to speak to him at the carriage door – said I was merely passing thro’ Paris and therefore left no address – he said he would therefore put congé on the card and would be sure to deliver it - I think he would and to ensure all that gave him 5/. then drove to the Louvre – there at 11 40 – 40 minutes in the halls of statuary – then ½ hour in the gallery – just looked at the La Belle jardinière (virgin and saviour and Saint John) and the beggar boy by Murillo and 1 or 2 others without stopping to strain our eyes over things of less value - then to the Palace royal walked all round – ordered plate and 100 cards for Miss W- chez Maurisset, and found he had still kept for me the nacre snuff box for IN- with her initials he had had since I forgot it in May 1831! then to the patissier opposite rue Vivienne for gateaus and petit pates and 2 bottle limonade gazeuse - then bought wine an Gourmand chez corcelet - then went to Delisle’s for gros de Naples etc for dresses – Miss W- happening to inquire about shawls, we were shewen into the shawl room - real India - M. Delisle had just established a house at Bombay and they boasted how they would undersell the people in London - shewed some very handsome shawls at last seeing we much tempted by a long white one Delisle himself came –said it was worth 8000 fr. but before coming away (almost an hour there) would let me have it for 3800fr. or £150 –said I would not venture to buy it without asking advice – then to Madame Thomas (rue des Filles St Thomas) for chapeaux – then home for a few minutes and at the exposition del Industrie Française at 4 ¼ - M. Perrelet fils shewed us his own or rather his father’s own things - an instrument shewing 6 six different escapements of watches 5000fr. and yet he would lose by it it had taken so much time and labour - made for the conservation des arts and metiers for the professors to use in their lectures - 2 or 3 other interesting pieces of mechanism which should have been studied rather than merely glanced at - M. P- fils then shewed us round the salle - handsome furniture - cat-skin carpets, etc etc of all sorts and kinds - the exposition closed at 6 that we had not time for the 3 others salles the 4 near together at the end of the Tuileries gardens in the palace Louis 15 in temporary wood erections - exposition lasts 2 months - to be every 5 years - quite often enough - things got spoilt and the time given up was a serious concern to the tradespeople - home at 6 ¼ - dinner at 6 ½ - Madame Figaroll’s couturière (rue des Suresne no. 23 bis) came at 7 ½ - out at 8 ¼ to call on Lady Charlotte Lindsay and Berrys – lady Charlotte au spectacle –sat 3/4 hour (till 9 10) with Miss B-‘s very civil and glad to see me - Miss W- had waited in the carriage – we then went to the concert in Champs Elysées till 10 ¼ - called on the Norcliffes at Meurice’s (out) and home at 10 35 – strawberries and lemonade till 11 - very fine day – F69° at 11 ¼ pm

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exhibit-of-the-century · 2 months

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Lecture Notes MON 19th FEB

Masterlist

BUY ME A COFFEE

The Academy and the Public Sphere 1648-1830

Further Reading: Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

Andre Felibien (1619-1695) Preface to Seven Conferences

Charles Le Burn (1619-1690) 'First Confrence'

More and Other

The first Academies start in Italy and then begin to spread throughout Europe. However, in this lecture we mainly focus on Paris and London. The Louvre palace, where the royal academy started, was where artists established there thought themselves as elites due to being part of the court, near the ruling and partly due to monetary reasons. (Remember: French Revolution 1793)

Now the other place was the RA, or Royal Academy in London was established to promote art and design (not to be confused with the Art and Design/Craft Movement of 1880-1920). Which focused on displaying and teaching painting and sculpture, only sometimes exhibiting drawing. If your work was exhibited, it was seen as being awarded the highest status and praise.

Jean-Baptiste Martin, A meeting of the Académie Royale de Peinture et de Sculpture at the Louvre Palace, 1712-1721, Musée de Louvre

Although the academies had strict teaching rules and students had to follow. Which meant that art during this time and created by these artists had a regulated style.

While the French salons/academies had no entry fee when they exhibited the work (bi yearly), the British did have a fee of one shilling to view the exhibit (yearly), despite trying to advertise and claiming any person was welcome. When asked and confronted about the fee, they claimed it was to keep out “improper persons” (the poor).

A selection of Art Academies:

The Academia di San Luca, Rome, 1593

The Académie Royale de Peinture et de Sculpture, Paris, 1648

The Akademie der Künste, Berlin 1696

The Royal Danish Academy of Portraiture, Sculpture, and Architecture, Copenhagen, 1754

Academy of Fine Arts Vienna, 1688/1701/1725

Real Academia de Bellas Artes de San Fernando, Madrid, 1752

Imperial Academy of Arts, St Petersburg, 1757

The Dresden Academy of Fine Arts, 1764

Royal Academy of Painting and Sculpture, Stockholm, 1766

Royal Academy of Art, London 1768

The Academy of San Carlos, Mexico, 1783

Royal Arts Academy in Düsseldorf, (1777) 1819

Academia Imperial das Belas Artes, Brazil 1822 (based on an earlier institution)

Martin Ferdinand Quadal, Life drawing room at the Vienna academy, 1787

United in Guilds, mechanical and practical artists wanted to be recognised as artists from a scoio, utility aspect. Painting and sculpture were valued in liberal and intellectual arts.

At the beginning of the 17th century, most painters were part of the Maîtrise de Saint-Luc, a guild founded in 1391, which controlled the market and sanctioned the method of training artists by apprenticeship.

A group of artists, including the young Charles Le Brun, sought to the escape the Masters and placed themselves directly under the protection of the young King Louis XIV, who was capable of removing them from the constraints of the guild. The Academy was established in 1648.

In 1655 letters patent granted the new company the right to call itself the The Académie Royale de Peinture et de Sculpture (Royal Academy of Painting and Sculpture) and decreed that only its members could be painters or sculptors to the king or queen. The Academy moved to the Louvre, where the Galerie d'Apollon hosted the reception pieces (chef-d’oeuvre), works that had to be performed before being approved and then elected an Academician. It oversaw—and held a monopoly over—the arts in France until 1793. The institution trained artists.

Perspective view of the hall of the Royal Academy of Painting and Sculpture at the Louvre in Paris: [print].

Sir William Chambers, Somerset House, Now the Courtauld Institute of Art and Gallery

In 1768, architect Sir William Chambers petitioned George III on behalf of 36 artists seeking permission to ‘establish a society for promoting the Arts of Design’. They also proposed an annual exhibition and a School of Design. The King agreed and the Royal Academy of Arts, the Royal Academy Schools, and what you know today as the Summer Exhibition were established. The Royal Academicians were first based in Pall Mall, renting a gallery 30 feet long.

In 1775, Sir William Chambers won the commission to design the new Somerset House as the official residence. The Exhibition Room was 32 feet high and situated at the top of a steep winding staircase, it was described by contemporary literary critic Joseph Baretti as ‘undoubtedly at the date, the finest gallery for displaying pictures so far built’.

In the 1830s, the Academy moved to Trafalgar Square to share premises with the newly founded National Gallery, moving again in 1867 to Burlington House.

Summer Exhibition have been held every year since 1769.

Attributed to George Shepherd, The Hall at the Royal Academy, Somerset House, 1 May 1810

Before the establishment of Academies and their own openings to the public, there is no or very little actual documented art exhibitions and if there were any they were not documented. Or permanent.

These exhibitions and academies open art to the public, and gain a wider audience, mostly of the Bourgeois, who also usually commissioned the artists of the academy. Or the state did and the church – which was most common. But now individuals could now own art, which commodified art and created private ownership. This also was spurred on by art being more mobile, being painted on canvases which were easier to transport (in some cases).

The idea that came from this was: “art should be affordable”.

Another thing that came from exhibitions and wider audiences was that art became democratised, leaving it open for criticism and interpretation. Although the interpretation aspect wouldn’t be explored till around the 19th century, on wards really.

Teaching at the Academy

The Academy laid down strict rules for admission and based most of its teaching on the practice of drawing from the antique and the living model to support its teaching method and its artistic doctrine. Great importance was also given to the teaching of history, literature, geometry, perspective and anatomy.

In controlling education, the Academy regulated the style of art.

Professors of the Academy held courses in life drawing and lectures where students were taught the principles and techniques of the art. The students then looked for a master among the members of the academy, to learn the trade in their workshop. Only drawing was taught in the Academy and artists learned painting in the studios of the master, often working on his (rarely her) work.

(Left) Antoine Coysevox, Bust portrait of Charles Le Brun, Marble (Right) Charles Le Brun, The Family of Darius before Alexander, c.1660, 164 x 260 cm

Charles Le Brun became director in 1663 and was appointed chancellor for life. The Academy was administered by a director chosen from among its members, often the King’s favoured artist.

The sketch and finish

Le Brun introduced the sketch (esquisse) to French artistic practice, where it became central to the painter’s training in both official and private academies.

The esquisse was typically a small-scale, rapidly executed work intended to preserve an artist’s première pensée, or initial conception, of a subject. It elaborated composition and colouring, avoiding detail in favour of loose forms and fluid brushstrokes.

These studies were not for exhibition, and exhibited works were expected to be highly finished, often with glassy surfaces and the elimination of brushwork.

During the later eighteenth century some began to see merit in the sketch itself, but it was in the nineteenth century with Romanticism that an ‘aesthetics of the sketch’ really developed. In the 1830s sketch came to be identified with originality and genius.

Pierre Charles Jombert, Punishment of the Arrogant Niobe by Diana and Apollo, 1772, Oil paint on canvas, mounted on board, 35.7 x 28.1 cm, Metropolitan Museum, New York

The notion of aesthetic begins developing at the time, since the academies had a monopoly on aesthetic, they chose what they liked and didn’t. Their control on who was displayed in exhibits, could ensure an artist’s success. Rejection from and by the Salons was seen as the highest insult to an artist (and their aesthetic).

In the early nineteenth century the Academy instigated landscape sketch (études) competitions.

(Left) Pierre Henri de Valenciennes, The Banks of the Rance, Brittany, possibly 1785. Oil on paper, laid down on canvas, 21.3 x 49.2 cm. (Right) Théodore Caruelle d'Aligny, Landscape with a Cave, mid-1820s, Oil on canvas, 62.2 x 45.7cm

Here the importance of studying nature directly was emphasised through the practice of making plein air études, or small studies painted outdoors. Études generally did not serve as compositional models for particular paintings. Rather, these studies of different kinds of terrain and effects of light would be idealized or embellished by classically trained painters in landscapes produced entirely in the studio. From the time of Romanticism on, the sketch aesthetic became more-and-more central, but this was anathema to academic artists.

Exhibiting

In 1667 that the Académie Royale de Peinture et de Sculpture held the first semi-public show to display the works of its students considered worthy of royal commissions, laying a foundation the “group exhibition”. It was held in the Palais Brion in the Palais-Royal.

In 1725 the Salon moved to the Louvre and in 1737 exhibitions were opened to the public.

From 1748 group of Academicians formed a jury determining which works would be exhibited and where they were to be positioned. In 1673 the first catalogue (livret) was published. It was unillustrated until 1880. Exhibiting at the Salon was a condition of success.

Nicolas Langlois, Exhibition of works of painting and sculpture in the Louvre gallery in 1699. Detail of an almanac for the year 1700 – Etching and burin.

(Left) Giuseppe Castiglione, View of the Grand Salon Carré in the Louvre, Oil on Canvas, 1861 (Right) Alexandre Jean-Baptiste Brun, View of the Salon Carré at the Louvre, c.1880, Oil on Canvas

Key information:

France: The Louvre Palace, and other locations otherwise referred to as the Salon(s). The bigger the picture was the higher it was hung. The better and more favoured the artist the higher it was hung. Paintings of historical events were favoured and hung at the very top, all other lower in a specific order descending.

London: Portraits were positioned higher, gallery walls were still crowded all the same with frame to frame hanging, with no caption. Although you could purchase a booklet with all information and extra definitions. While there appeared less hierarchy in the London exhibitions, it still persisted just in a different form. Favoured artists got to choose where their paintings were hung. Even going as far as to developed an insult for paintings being hung so high: “the painting was skied”.

Hierarchy of genres

Inherited from Antiquity and codified in 1668 by André Félibien, secretary of the Academy, the hierarchy of genres ranked the different genres of painting assigning higher and lower significance.

At the top was history painting, called “le grand genre’: often large paintings, with mythological, religious, or historical subjects. Their function was to instruct and educate the viewer. Its purpose was moral instruction.

Portraiture, depicting important figures from the past as well as the present.

Genre scenes, the less ‘noble’ subjects: representations, generally small in size, of scenes of daily life attached to ordinary people.

The so-called ‘observational’ genres of landscape painting, animal painting and still life.

Other genres were added, such as the gallant celebrations, in honour of Antoine Watteau, which did not, however, call into question the hierarchy.

These academies were called chaotic by critics, and kaleidoscopic.

Examples of outliers:

(Left) Paulus Potter, The Bull, 1647 - 3.4 metres wide. An unusually monumental animal painting that challenges the hierarchy of genres by its size (Right) Jean-Baptiste Greuze, The Marriage Contract (The Village Bride), 1761, oil on canvas, 92cm x 117cm. Musée du Louvre

These paintings also challenged the hierarchy of the Salon: it shows a scene that anyone could recognise.

This hierarchy was underpinned by the Ideal and the Liberal Arts.

Giogioni, Frieze in the main hall (detail), Fresco, Casa Marta, Castelfranco Veneto, c. 1510

From the Renaissance onwards artists conducted a campaign to be recognized as gentlemen, rather than workers or craftsmen. This centred on a distinction between the Liberal and the Mechanical arts.

The Liberal Arts were divided into the trivium - Grammar, Logic and Rhetoric - and the quadrivium - Geometry, Arithmetic, Astronomy and Music.

These involved imagination and intellect and were suitable activities for gentlemen.

In contrast, the Mechanical Arts were said to involve mere repetitive copying. These were activities conducted by workers and were often called ‘servile’ or ‘slavish’. They were deemed ‘mindless’ and demeaning to gentlemen.

Since the academies were open to not gentlemen, it was still believed they upheld class divisions. Examples of an artist from a lower background who rose through the ranks: J. M. W. Turner.

Ideal

Academic art, therefore, emphasised imagination and idealization and opposed copying things as they were. Abstract and mental properties were most valued. For instance, drawing was thought more important than colouring, which was often seen as superficial and feminine (cosmetics). Rather than copy a single figure ideal beauty was to be composed from the ‘best’ elements of multiple figures.

The nude was deemed more suitable, because modern dress was seen as ugly and ephemeral. Some thought the male nude more ideal.

In some senses this is a neo-Platonism, where ideal form exists in the mind of a divinity and things in the world are merely inferior copies of that ideal.

A second-century Roman marble copy of a Greek statue of Aphrodite, the goddess of beauty, crouching naked at her bath.

(Left) Artist Copying a Bust in the Royal academy at Somerset House, c.1780, Watercolour (Right) Academies and art schools had large collections of plaster casts made from antique sculpture.

The lower genres were thought to be too close to mechanical copying, whereas history painting involved imagination, intellectual learning and work with the ideal figure. This is complex because Academic artists and theorists rejected originality for adherence to principles and precedents.

Some important studies:

David and His School

J-L David, The Lictors Bring to Brutus the Bodies of His Sons, 1789

David was a member of the Jacobin Club and friend of Robespierre. He signed the death warrant for the King. With the fall of the Jacobins he was imprisoned and his life endangered. His paintings were very open to interpretation so upper and lower classes to understand and infer meaning from them, he also had political messages in his paintings. Although quite ambiguous, it engaged in emotions also over morality like usual historical paintings.

David’s austere student Wicar suggested that landscape painters should be executed.

Jacques-Louis David, The Death of Marat, 1793, Royal Museums of Fine Arts, Brussels

Painting around this time was developing Spectacle, as a primary focus to engage people’s emotions, and a shared emotional aspect rather than just class. The Royal Academy of Painting and Sculpture was suppressed by the Convention at the request of David (August 1793) and it was in 1796 that the School of Fine Arts was founded. In 1816, The Bourbon Monarchy restored the title ‘Academy’.

In the middle of the nineteenth century Hogarth came to be seen as the founder of the British School.

Beer Street and Gin Lane, engraving, 1751

The Public Sphere

Habermas: ‘The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labour.'

At the Margins

Johan Joseph Zoffany, The Academicians Of The Royal Academy 1771-72, Oil On Canvas, 101.1 X 147.5 cm

Within this painting there are two paintings on the right most side, two busts of women. These are the two female founders who were not actually allowed in the Academy. However, that’s not to say that women weren’t painting and hosting their own private events, even if they couldn’t be critics and artists academically, so they easily fell into obscurity.

Republican Madame Roland

Feminist historians have suggested that the Salons hosted by women were an essential part of this culture of debate.

In 18th century France, salons were organised gatherings hosted in private homes, usually by prominent women. Individuals who attended often discussed literature or shared their views and opinions on topics from science to politics. The different Salons belonged to artistic and political factions.

Elisabeth-Louise Vigée Lebrun, Self-portrait in a Straw Hat, 1782

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stlouissodinstall5 · 4 months

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raadbuyshouses · 1 year

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candm-brittany-2023 · 1 year

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We asked directions to the market. It was in the centre of the village, but there weren’t many stalls.

Fish, meat, vegetables and crépes. That was it. That’s okay. The quality was good. We bought some salad stuff and went off to buy a baguette and some croissants for tomorrow’s breakfast. Hédé was very quaint. It had lots of small alleys leading off who knows where. We ventured up a couple.

One of them hid this gem!

Hédé being on a hill was strategically placed. The back end of the castle area, which presumably was a bit of a den if iniquity for the local youth, had been transformed to give them a purpose to visit. A skate park and basketball court. Good thinking

Le Château de Hédé

Hédé has always been a strategic place. The castle would have been built on the site of a Roman castellum, on a rocky outcrop. The keep probably dates from the beginning of the 12th century and the enclosure from the end of the 14th century. The Montfort family owned the castle in 1168. The square tower is apparently a vestige prior to the passage of Henry II Plantagenêt in Brittany.

Can you tell that this is a translation? 🤷

Blanche of Navarre, Duchess of Brittany, who accompanied Saint-Louis to Tunis during the last crusade, died in 1283 in the castle of Hédé

In the middle of the 16th century, the castle was no longer in use and was in a sorry state. At the end of the 16th century, it was used during the wars of religion and occupied successively by the soldiers of Henri IV and by those of the ultra-Catholic league. Later the castle of Hédé became a haunt of bandits. In 1598, Henri IV signed the final condemnation of the castle. The current state of the keep testifies to the use of its stones in the 19th century for the construction of bourgeois houses.

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velocityhomebuyer · 1 year

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webuyhousesstlouis · 1 year

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IBuySTL

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teenageread · 2 years

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Review: the Bridge of Little Jeremy

Synopsis:

Jeremy’s mother is about to go to prison for their debt to the State. He is trying everything within his means to save her, but his options are running out fast.

Then Jeremy discovers a treasure under Paris.

This discovery may save his mother, but it doesn’t come for free. And he has to ride over several obstacles for his plan to work.

Meanwhile, something else is limiting his time…

Plot:

Jeremy has a heart condition that keeps him out of school and allowed to roam around Ile Saint-Louis and the heart of Paris. Accompanied by his faithful German shepherd, Leon, Jeremy and Leon look for a way to save Jeremy’s mother from the police. See, Jeremy and his mother could not afford a house on Ile Saint-Louis, and only lived there because Jeremy’s grandparents left his mother their house. So when the inheritance taxes began to want their claim of Mom’s inheritance, those were prices they could not afford. Avoiding the bailiff who has come to repossess their furniture, Jeremy knows he needs to make money fast. Known for his art, Jeremy teams up with his friend Paolo to sell some of Jeremy's work to tourists. Doing his daily exploring, Jeremy stumbles upon a great treasure that, if done correctly, could save his mother from jail time, and provide Leon the life he deserves. Yet, not everyone is looking out for Jeremy, especially his own body. As Jeremy's heart struggles to keep up with Jeremy’s and Leon’s adventures, his mother pushes for surgery, with the hopes of making Jeremy’s life normal again, one that it has not been for a long time.

Thoughts:

Indrajit Garai writes this innocent eye narrative of a little boy named Jeremy, his dog Leon, and the adventures they have in downtown Paris. Where many books have Paris as the setting, none tells it like Garai who un-romanticizes the city, showing the true life of what it means to live here, especially for those who cannot afford it. This book has a central plotline of inheritance tax, taxes you pay on something you inherit, which causes problems for Jeremy’s mother, who cannot afford to pay these taxes on the house she was given. With Jeremy's dad dying in military service, we see a single mom trying to provide for her medically ill son. Garai should have written her to be a supermom, strong and independent; yet the mother Garai writes about seems to be weak, passive, and truly does need her son’s help to pay for things. Jeremy as a character was a strong, independent child, which is how he and Leon ended up in a lot of situations, not many young boys do. You can see his loyalty to those he calls close to him, like his worry over Paolo, and his protectiveness over his mother and their neighbor whom Jeremy calls a pervert. With a strong friendship towards his dog, Jeremy and Leon’s relationship was the star of the show. Unfortunately, where the characters rock, the plot was slow, as Garai took their time with Jeremy and his other adventures, making the entire book seem like a stroll. It was just a hard plot to care about, as the looming threat of Jeremy’s mother going to jail was never a real threat, of mom spending a night in jail or a midnight escape, it was a hard reason to keep moving on with the story. The side plots were also either non-existent or more boring than the main plot, making the story difficult to finish. With a horrible ending, Garai pulls the heartstrings for no reason, making you madder than sad with the way they end things. This is a solid okay novel, not one to remember, but a cute one to read if you are in for the hardships of this economy, and what it is doing to people in Paris.