Ford Madox Brown paintings

Ford Madox Brown paintings
Federico Andreotti paintings
Fra Angelico paintings
Frederic Edwin Church paintings
Mingott and Rushworth shoulders, the same scene that he had looked at, two years previously, on the night of his first meeting with Ellen Olenska. He had half-expected her to appear again in old Mrs. Mingott's box, but it remained empty; and he sat motionless, his eyes fastened on it, till suddenly Madame Nilsson's pure soprano broke out into ``M'ama, non m'ama . . . ''
Archer turned to the stage, where, in the familiar setting of giant roses and pen-wiper pansies, the same large blonde victim was succumbing to the same small brown seducer.
From the stage his eyes wandered to the point of the horseshoe where May sat between two older ladies, just as, on that former evening, she had sat between Mrs. Lovell Mingott and her newly-arrived ``foreign'' cousin. As on that evening, she was all in white; and Archer, who had not noticed what she wore, recognised the blue-white satin and old lace of her wedding dress.
It was the custom, in old New York, for brides to appear in this costly garment during the first year or two of marriage: his mother, he knew, kept hers in tissue paper in the hope that Janey might some day wear it, though poor Janey was reaching the age when pearl grey poplin and no bridesmaids would be thought more ``appropriate.''