Then there were
the medals: a shower of medals, boxes full of medals, of all sizes, of
all metals, the cheapest and the most precious. They bore different
inscriptions, they represented the Basilica, the Grotto, or the
Immaculate Conception; they were engraved, /repoussees/, or enamelled,
executed with care, or made by the gross, according to the price. And
next there were the Blessed Virgins, great and small, in zinc, wood,
ivory, and especially plaster; some entirely white, others tinted in
bright colours, in accordance with the description given by Bernadette;
the amiable and smiling face, the extremely long veil, the blue sash, and
the golden roses on the feet, there being, however, some slight
modification in each model so as to guarantee the copyright. And there
was another flood of other religious objects: a hundred varieties of
scapularies, a thousand different sorts of sacred pictures: fine
engravings, large chromo-lithographs in glaring colours, submerged
beneath a mass of smaller pictures, which were coloured, gilded,
varnished, decorated with bouquets of flowers, and bordered with lace
paper. And there was also jewellery: rings, brooches, and bracelets,
loaded with stars and crosses, and ornamented with saintly figures.
Finally, there was the Paris article, which rose above and submerged all
the rest: pencil-holders, purses, cigar-holders, paperweights,
paper-knives, even snuff-boxes; and innumerable other objects on which
the Basilica, Grotto, and Blessed Virgin ever and ever appeared,
reproduced in every way, by every process that is known.
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