The Memoirs of Jacques Casanova de Seingalt, Vol. VI (of VI), "Spanish Passions": The First Complete and Unabridged English Translation, Illustrated with Old EngravingsCasanova, Giacomo
History
The Memoirs of Jacques Casanova de Seingalt, Vol. VI (of VI), "Spanish Passions": The First Complete and Unabridged English Translation, Illustrated with Old Engravings
Casanova, Giacomo
Casanova, Giacomo, 1725-1798; Europe -- History -- 18th century -- Biography
“That would spoil everything; he must not even think that I am your adviser in the matter. I am just going to leave you; you must make your request directly afterwards.”
I walked towards the orchestra, and looking round I saw that the duke was approaching the actress.
“The thing’s as good as done,” I said to myself.
After the rehearsal was over Madame Pelliccia came and told me that the Duke would give her the letter on the day on which the opera was produced. He kept his word, and she received a sealed letter for a merchant and banker, Don Diego Valencia.
It was then May, and she was not to go to Valentia till September, so we shall hear what the letter contained later on.
I often saw the king’s gentleman of the chamber, Don Domingo Varnier, another gentleman in the service of the Princess of the Asturias, and one of the princess’s bed-chamber women. This most popular princess succeeded in suppressing a good deal of the old etiquette, and the tone of her Court had lost the air of solemnity common in Spanish society. It was a strange thing to see the King of Spain always dining at eleven o’clock, like the Parisian cordwainers in the seventeenth century. His meal always consisted of the same dishes, he always went out hunting at the same hour, coming back in the evening thoroughly fatigued.
The king was ugly, but everything is relative, he was handsome compared with his brother, who was terrifically ugly.
This brother never went anywhere without a picture of the Virgin, which Mengs had painted for him. It was two feet high by three and a half broad. The figure was depicted as seated on the grass with legs crossed after the Eastern fashion, and uncovered up to the knees. It was, in reality, a voluptuous painting; and the prince mistook for devotion that which was really a sinful passion, for it was impossible to look upon the figure without desiring to have the original within one’s arms. However, the prince did not see this, and was delighted to find himself in love with the mother of the Saviour. In this he was a true Spaniard; they only love pictures of this kind, and interpret the passions they excite in the most favourable sense.
Public-domain text, read in full here on John Shaqi.
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