L

L Africaine

- Type: people - mentioned

L Estafette

*L'Estafette*, a Paris daily of the late 1870s, republican-leaning («un mélange de républicanisme», 083.0127). Marie reads it for Gambetta and for the death of the Prince Imperial in 1879 (085.0085, 085.0385, 085.0479, 085.0514; L. Detroyat's article); 1878 reports 082.0278, 083.0127.

L Evenement

- Type: people - mentioned

L Histoire d un crime

- Type: people - mentioned

L Italiana in Algeria

Opera by Gioachino Rossini, first performed at Venice in 1813 (Wikipedia, «L'italiana in Algeri»). Marie attends it at the Nice Opera on 22 November 1874, wearing the dress of the other evening: «même robe de l'autre soir, ma coiffure, très bien. Je suis de bonne humeur» (026.0030); Count Arnim is there and Moreno with his family.

L Ordre

- Type: people - mentioned

L'Album

*L'Album* was a Bonapartist newspaper in Paris during the Third Republic. It was one of the journals where Paul de Cassagnac published his political writings.

L'Amant d'Amanda (chansonnette, 1876)

A comic café-concert song that was the hit of Paris in 1876. Its refrain points out «ce beau garçon-là» as «l'amant d'Amanda». The song is associated with the singer Libert: a 1910 recording is catalogued as «L'amant d'Amanda, imitation de Libert», with words and music credited to Émile Carré and Victor Robillard (Phonobase, fiche 6361). Its success in 1876 is shown by the spin-offs published that year: Édouard Deransart's quadrille-chansonnette «L'amant d'Amanda» and Robillard and Carré's «Réponse à l'amant d'Amanda» (IMSLP). The authorship of the original 1876 song is not confirmed beyond the Phonobase credit.

L'Amour au village

*L'Amour au village* (*Village Love*, *Rural Love*; 1882-83) is a large oil painting by [Jules Bastien-Lepage](../../people/recurring/BASTIEN_LEPAGE.md): in a kitchen garden a girl, seen from behind, stands with her head lowered and a flower in her hand, leaning against a fence; on the other side of it a young man faces her, eyes down, fidgeting with his fingers. It is c. 194 × 180 cm and is in the **Pushkin State Museum of Fine Arts, Moscow**. It was Bastien-Lepage's main exhibit at the [Salon](./SALON.md) of 1883. The Russian collector Sergei Tretyakov bought it in 1885 at the sale of the artist's studio at the Georges Petit gallery, and it passed to the Museum of New Western Art and the Pushkin Museum (1948). (Sources: English Wikipedia, « Village Love »; sources differ between 1882 and 1883 for the date.)

L'Arlequin (Saint-Marceaux)

*L'Arlequin* is the full-length figure of the commedia dell'arte Harlequin by the sculptor [René de Saint-Marceaux](../../people/artists/SAINT_MARCEAUX.md) (1845-1915): a masked, long-limbed figure with his arms folded on his chest and a wooden bat in his hand, head tilted in sceptical amusement. It was shown at the Paris Salon of 1880, and the plaster is in the **Musée des Beaux-Arts, Reims** (given by the artist in 1880; 175 × 65.7 × 62 cm); bronze reductions were made and sold. French Wikipedia quotes a judgment of the day: « Après l'œuvre de noble majesté, un poème de spirituelle malice », the *Arlequin* being a break with the neoclassical manner of his earlier *Génie* (see [Le Génie gardant le secret de la tombe](./LE_GENIE_GARDANT_LE_SECRET_DE_LA_TOMBE.md)). (Sources: French Wikipedia, « René de Saint-Marceaux »; Musée des Beaux-Arts de Reims record on Wikimedia Commons. The plaster is dated 1879; the Salon showing was in 1880.)

L'Assommoir (Zola)

*L'Assommoir* (1877) is the seventh novel of Émile Zola's Rougon-Macquart cycle, a story of working-class life and drink in Paris. Its stage version, a drama in 5 acts and 9 tableaux by William Busnach and Octave Gastineau, opened at the Théâtre de l'Ambigu-Comique on 18 January 1879 (Wikipedia, "William Bertrand Busnach"; BnF data record of the 1879 production). This entry covers both the novel and the play.

L'Atelier Julian

*L'Atelier Julian* (1881, oil on canvas) is Marie Bashkirtseff's first Salon picture on a large scale and her only painting of the place where she spent her working life: the women's atelier of the [Académie Julian](../../places/schools/JULIAN.md). It was shown at the [Salon](./SALON.md) of 1881 under the pseudonym **Andrey**. It survives in the **Dnipro Art Museum** in Ukraine, on permanent display -- one of only three Bashkirtseff paintings left in the country -- and, as of 2026, no inventory number for it has been published.

L'Enfant de chœur (planned picture, 1883)

*L'Enfant de chœur* was a picture Marie planned in spring 1883 and, as far as the diary shows, **never began**. On **29 April 1883** she lays out her working programme: the six boys of *Un meeting* life-size, then Russia, then Jerusalem in October; and "en janvier ... à Paris où je ferai le tableau d'intérieur, moins grand que nature dont l'idée a été rapportée du Mont-Dore, l'Enfant de chœur", while she pushes on the statue; "pourtant je ne pense pas que l'Enfant de chœur se fasse si je fais les Saintes femmes et vice versa" (099.0246). On **3 May** she is more definite: "Le 1er septembre je commence l'enfant de chœur. Il faudra six mois pour le faire. Ce sera le premier grand tableau." (099.0339). After that the title does not occur again in the diary.

L'espoir en Dieu

"L'espoir en Dieu" ("Hope in God") is a long philosophical poem by Alfred de Musset (1810–1857), first published February 15, 1838 in the *Revue des Deux Mondes* and later collected in *Poésies nouvelles (1836–1852)*. It is one of Musset's major meditative works, written in the tradition of the philosophical/religious poem practiced by contemporaries such as Lamartine and Vigny.

L'Histoire du petit Gambetta (Albert Millaud)

A satirical serial about the republican leader Léon Gambetta, published in *Le Figaro* in autumn 1876 by the journalist and librettist Albert Millaud (1844–1892; Wikipedia FR and EN, "Albert Millaud"; Millaud wrote daily pieces for the *Figaro* and libretti for Offenbach, Lecocq and Hervé). By Marie's own account it was "représentée en vingt-quatre tableaux" and the last tableau shows Gambetta, at the pinnacle of honours, marrying Princess Amanda, daughter of the Grand Duke of Gérolstein. Gérolstein is the fictional duchy of Offenbach's operetta *La Grande-Duchesse de Gérolstein* (1867), which suggests the parody tone; this link is an inference, not stated by Marie.

L'Impromptu de Versailles

*L'Impromptu de Versailles* (1663) is a one-act comedy by Molière, written as a response to critics of his earlier works. It's a meta-theatrical play in which Molière himself appears as a character, rehearsing his troupe for a performance before Louis XIV at Versailles.

L'Obélisque (The Obelisk)

A remarkably tall and beautiful woman who attends the concert with the Duchess de Mouchy. Marie is captivated by her beauty and imagined goodness. Has become a beauty standard Marie uses for comparison.

La Belle Helene

- Type: people - mentioned

La Belle Hélène

*La Belle Hélène* is an opéra bouffe in three acts with music by Jacques Offenbach and words by Henri Meilhac and Ludovic Halévy, parodying the story of Helen of Troy's elopement with Paris. It premiered at the Théâtre des Variétés, Paris, on 17 December 1864 (Wikipedia, "La belle Hélène"). Its jokes on gods and kings were read as a satire of the Second Empire. It was revived at the Variétés in 1876 with Anna Judic in the title role (Wikipedia). Famous numbers: Hélène's "Amour divin, ardente flamme" (Act II) and the "Au cabaret du Labyrinthe" chorus.

La Boule

*La Boule* is a comedy in four acts by Henri Meilhac and Ludovic Halévy, first performed at the Théâtre du Palais-Royal, Paris, on **24 November 1874** ("Représentée pour la première fois, à Paris, sur le théâtre du Palais-Royal, le 24 novembre 1874", title page of the Michel Lévy edition, 1875, and vol. IV of *Théâtre de Meilhac et Halévy*; the date also in Wikipédia fr, "Henri Meilhac", list of works). The printed cast sets it "de nos jours, à Paris".

La Cigarette (Portrait de femme assise, une cigarette à la main)

A small black-chalk drawing, 24,5 × 18,5 cm, of a woman in a dark dress and hat sitting square to the viewer in a studio, with a cigarette in her right hand. It is in the French national collections, catalogued by the **Musée d'Orsay** as *Portrait de femme* under **RF 39089**. The Joconde notice gives the fuller descriptive title *Portrait de femme assise, de face, une cigarette dans la main droite*. It is undated.

La Citoyenne

A French feminist newspaper founded and edited by Hubertine Auclert in 1881. The title "La Citoyenne" (The (Female) Citizen) asserted women's claim to full citizenship rights.

La Colonelle

Woman in Nice society, likely wife of a colonel, who reports on social activities.

La Dame aux camélias (Dumas fils, novel and play)

*La Dame aux camélias* is the novel (first published 1848) in which Alexandre Dumas fils tells the love of Armand Duval for the consumptive courtesan Marguerite Gautier, modelled on his own lover Marie Duplessis, and her self-sacrifice. He turned it into a play that opened at the Théâtre du Vaudeville in Paris on 2 February 1852 and was an immediate success; Verdi's *La traviata* (1853) is based on it. (Wikipedia, "The Lady of the Camellias".) In the 1880s the stage role was one of Sarah Bernhardt's signature parts. See also [La Traviata](../theater/LA_TRAVIATA_VERDI.md).

La Dame de Monsoreau

*La Dame de Monsoreau* is a historical novel by [Alexandre Dumas père](./ALEXANDRE_DUMAS.md), written with Auguste Maquet and serialised in *Le Siècle* in 1845-1846; it is one of the seven "Valois romances". It is set in France in 1578, under Henri III, at the court of the Duke of Anjou: the young nobleman Bussy d'Amboise loves Diane de Méridor, whom the sinister Grand Huntsman, the Count of Monsoreau, has forced into marriage, while the king's jester Chicot looks on (Wikipedia, "La Dame de Monsoreau"; Project Gutenberg catalogue).

La Divine Comédie (Dante)

*La Commedia*, called *Divina* from the sixteenth century, is the long poem in which Dante Alighieri (1265-1321) describes a journey through Hell (*Inferno*), Purgatory (*Purgatorio*) and Heaven (*Paradiso*), guided first by Virgil and then by Beatrice. It is written in Italian, in 100 cantos of *terza rima*, and is dated to roughly 1308-1320. It was the founding text of literary Italian, and in Marie's century it was the book that every educated visitor to Italy was expected to have read. (Wikipedia, "Divine Comedy".)

La Douleur de Nausicaa

*La Douleur de Nausicaa* ("The Grief of Nausicaa") is Marie's only well-known surviving sculpture: a bronze of a standing woman weeping into her hands, 83 × 23,7 × 23 cm, signed **MB 84** on the edge of the base, now in the **Musée d'Orsay**, Paris. It stands first among the five sculptures listed in the posthumous catalogue of February 1885; the other four — *Femme appuyée*, *Le Bras*, *Petit Garçon*, *Une Femme* — are lost. Everything else she modelled between 1878 and 1884 has vanished, so this single figure carries the whole of her second vocation.

La Falkenstein

Member of the aristocratic society in Nice, part of Princess Souvoroff's exclusive circle.

La Favorita

La Favorite (Donizetti)

*La Favorite* is a grand opera in four acts by Gaetano Donizetti, to a French libretto by Alphonse Royer and Gustave Vaëz (with Eugène Scribe), after Baculard d'Arnaud's play *Le Comte de Comminges*. It was first performed at the Paris Opéra on 2 December 1840. The Italian translation, *La favorita*, became the form in which the work was most often sung in Italian houses (Wikipedia, "La favorite"). The story concerns Fernand, a novice, who loves Léonor, the king's mistress, and learns too late of her position.

La fille de l'avare

- Type: people - mentioned

La Fille de Madame Angot

*La Fille de Madame Angot* is an opéra comique in three acts by Charles Lecocq to words by Clairville, Paul Siraudin and Victor Koning. It was premiered in Brussels in December 1872 and soon succeeded in Paris, London, New York and across Europe. With Planquette's *Les Cloches de Corneville*, it was the most successful French-language musical work of the last three decades of the century (Wikipedia, "La Fille de Madame Angot"). Set in Directory Paris, it follows the florist Clairette, engaged to one man and in love with another, against a more powerful rival; the plot travelled without extensive rewriting to stricter countries. Lecocq's rise coincided with Offenbach's eclipse after 1870 (Wikipedia). The conspirators' ensemble was the hit tune of the season.

La Fleur de The

Opérette by Charles Lecocq, first performed in Paris in 1868 (Wikipedia, «Fleur-de-Thé»). Marie names it on 13 May 1874 as an example of what is not «la vraie dépravation»: she finds Sardou's *Les Ganaches* more immoral than «La Fleur de thé», «La Belle Hélène» etc. (019.0198). She does not say she saw it.

La Forge de Vulcain (Velázquez)

*La Fragua de Vulcano* (*The Forge of Vulcan*, 1630) by Diego Velázquez shows Apollo, crowned with laurel, bursting into Vulcan's forge to tell the smith that his wife Venus has been unfaithful with Mars; the smith and his four journeymen stop at the anvil in astonishment. Painted in Rome in 1630, it is in the **Museo del Prado, Madrid**. (Source: Museo del Prado; Commons description of the Prado file.)

La Forza del destino

- Type: people - mentioned

La France

*La France*, a Paris daily; in the 1870s, under Émile de Girardin, it supported the republicans (en.wikipedia «Émile de Girardin»). Marie calls it «bien républicaine, bête et canaille» (081.0296).

La Fronde

The Fronde (1648-1653) was a series of French civil wars during the minority of Louis XIV, directed against the regency government of Anne d'Autriche and her chief minister Cardinal Mazarin. The name comes from the French word for "sling" (fronde), after the slings used by Parisian rioters to break windows.

La Giocogliera

- Type: people - mentioned

La grande caricature (1875)

On 1 January 1876, at the end of the carnet, Marie looks at "la grande caricature, où nous sommes cinq" and her thoughts run to Mme Prodgers, the English ladies, the Niçois, Sapho, *Mignon* and "le printemps dernier" (051.0298). That is the only description: a large caricature in which five people appear ("nous", so Marie is probably one of them), kept in her room at Nice. **Where it is, and whether it survives, is unknown**; no image is known.

La Grande-Duchesse de Gerolstein

*La Grande-Duchesse de Gerolstein* is an opera bouffe in three acts by Jacques Offenbach, with a libretto by Henri Meilhac and Ludovic Halevy. It premiered in Paris on April 12, 1867, during the Exposition Universelle, and starred Hortense Schneider in the title role.

La jeunesse de Louis XIV

Historical drama by Alexandre Dumas, which Marie sees at the Odéon on 31 May 1874: «Maman est fâchée pour moi, elle prit une loge à l'Odéon pour "La jeunesse de Louis XIV". J'ai enjoyed la pièce, ces sujets me plaisent toujours» (020.0016). The play was rejected by the Paris censors in 1854 and performed only in Brussels; the Paris production of 1874 used a revision by Dumas fils (Princeton University Library finding aid C1659, Dumas fils's annotated proofs c. 1874). The Odéon as the venue is Marie's own statement and is not independently confirmed.

La Jeunesse du roi Henri (Ponson du Terrail)

*La Jeunesse du roi Henri* is a multi-volume historical adventure romance by Pierre Alexis, vicomte Ponson du Terrail (1829-1871), the creator of Rocambole. It belongs to his cycle of cloak-and-dagger novels about the Wars of Religion, following the young Henri de Navarre (the future Henri IV) through the St Bartholomew's Day period. French Wikisource's author page dates it to **1864**; the Internet Archive holds the Charlieu et Huillery volumes of 1865-1868, each with its own sub-title (vol. 1 *La Belle Argentière*, vol. 2 *Le Serment des quatre valets*, vol. 3 *La Saint-Barthélemy*, vol. 5 *Le Beau Galaor*).

La Joconde (Mona Lisa)

Leonardo da Vinci's half-length portrait of (traditionally) **Lisa del Giocondo**, oil on a white poplar panel, begun about 1503 and perhaps worked on until 1516-17. King Francis I acquired it after Leonardo's death in 1519; it later became state property and has normally hung in the **Louvre**, Paris, since 1797. (Source: Wikipedia, "Mona Lisa".) In Marie's day it was a celebrated Louvre masterpiece but not yet the global icon it became after its 1911 theft; Marie's references are to its "mystery" and its tonal background.

La joie de la maison

*La joie de la maison* is a comedy in three acts ("comédie en trois actes") written by Anicet Bourgeois and Pierre Decourcelle. The play was part of the popular repertoire of French provincial theaters during the 1870s.

La jolie parfumeuse (Offenbach)

*La jolie parfumeuse* is an opéra-comique in three acts by Jacques Offenbach to a libretto by Hector Crémieux and Ernest Blum. It was first performed at the Théâtre de la Renaissance, Paris, on 29 November 1873, and ran for some 200 performances, Offenbach's first major success after the fall of the Empire. Louise Théo created the title role (Rose Michon), and Jeanne Granier replaced her at short notice in the opening run. Offenbach composed it in seven weeks (Wikipedia, "La jolie parfumeuse"). A German version, *Schönröschen*, opened in Vienna in 1874. It must not be confused with an older vaudeville of 1802 with a similar title, *La jolie parfumeuse, ou La robe de conseiller*.

La Juive (Halévy)

*La Juive* is a grand opera in five acts by Fromental Halévy (1799-1862) to a libretto by Eugène Scribe, set in Constance in 1414. A Jewish goldsmith's daughter, Rachel, loves a man who is secretly the Christian prince Léopold; she and her father Éléazar are condemned to be boiled alive. It was first performed at the Paris Opéra on 23 February 1835, and was used for the inaugural performance at the Palais Garnier on 5 January 1875 (Wikipedia, "La Juive"). Rachel's aria "Rachel, quand du Seigneur la grâce tutélaire" is the best-known number; Gabrielle Krauss made her Paris Opéra debut as Rachel on that night (Wikipedia, "Gabrielle Krauss").

La Liseuse (Die Lesende, Dina Babanina lisant)

An oil on canvas laid on board, 64 × 53 cm, dated **1880**, that came onto the market at the **Dorotheum** in Vienna in 2021 (object ID 7201837) under the title *Die Lesende* ("The Reader"). The auction house identified the sitter as **[Dina Babanina](../../people/core/DINA.md)**, the artist's cousin. A young woman in black sits at a table with a journal open in front of her, one hand pressed to her forehead and a glass of water by her elbow. It is in a private collection.

La Madeleine

La Marche (racecourse)

**La Marche** is, probably, the racecourse of La Marche near Paris, whose meeting Marie calls "la fête de la Marche". It is a venue, not a person. The identification is tentative.

La Marseillaise

The French national song, written in Strasbourg in 1792 by Claude Joseph Rouget de Lisle after France declared war on Austria, originally titled "Chant de guerre pour l'armée du Rhin". The Convention adopted it as the anthem of the First Republic in 1795. It was banned or sidelined under the Restoration and the Second Empire, reinstated in the Franco-Prussian War, and became the national anthem again in 1879. (Source: Wikipedia, "La Marseillaise", https://en.wikipedia.org/wiki/La_Marseillaise.) Public domain.

La mère Couvelet (Marie)

In June–July 1879 Marie and Bojidar Karageorgevitch kept up a comic correspondence in the names of two families of the day: the Couvelets (Mme Couvelet, the former comtesse Acard, was Paul de Cassagnac's new mother-in-law) and the Arnauds (Arnaud de l'Ariège and his family). Marie signs «mère Couvelet» (085.0513); Bojidar calls her «la mère Arnaud» and she calls him «le père Couvelet» (085.0500). The names shift within the game: on 5 July Bojidar «me nomme la mère Arnaud parce que je le baptise le père Couvelet» (085.0500); on 8 July «Je lui écris en signant mère Couvelet et lui répond à la mère Arnaud» (085.0513); on 11 July she invites «le père Couvelet» to the 14 July «saisie de la Bastille» in the name of «Le père Léon, le fils Arnaud, la mère Arnaud et la mère Couvelet» (085.0527).

La Muette de Portici

[Research needed]

La Musette

Social venue in Nice where the Bashkirtseff family encounters acquaintances.

La Parisienne, portrait d'Irma

*La Parisienne, portrait d'Irma, modèle à l'Académie Julian* (1882, oil on canvas, 55,5 × 46 cm) is Marie Bashkirtseff's portrait of [Irma](../../people/mentioned/IRMA.md), a professional model at the [Académie Julian](../../places/schools/JULIAN.md). It was shown at the [Salon](./SALON.md) of 1883 simply as *Parisienne*, alongside *Jean et Jacques* and the pastel portrait of [Dina](../../people/core/DINA.md) -- the year Marie received her *mention honorable*. It is signed and dated at the upper left, "Bashkirtseff 1882".

La Périchole (Offenbach)

*La Périchole* is an opéra-bouffe by Jacques Offenbach to a libretto by Henri Meilhac and Ludovic Halévy, based on Prosper Mérimée's one-act play *Le Carrosse du Saint-Sacrement*. It was first given in two acts at the Théâtre des Variétés on 6 October 1868 with Hortense Schneider in the title role (José Dupuis as Piquillo), then reworked as a three-act, four-tableau version, revived at the Variétés on 25 April 1874 (Wikipedia, "La Périchole"; Bru Zane Médiabase). The title character, a street singer in colonial Lima, is loosely based on the eighteenth-century Peruvian entertainer Micaela Villegas. The Viceroy of Peru, Don Andrès de Ribeira, is the pompous figure Marie calls "le gouverneur de Lima".

La Petite Correspondance

- Type: people - mentioned

La Promenade

La Recherche de l Absolu

- Type: people - mentioned

La Reine (Isabel II of Spain)

La Republique francaise

- Type: people - mentioned

La Réserve

- Type: people - mentioned

La Rochefoucauld

- Type: people - mentioned

La Rotonde

- Type: people - mentioned

La Rue

*La Rue* is the picture Marie Bashkirtseff was working on when she died. At **2,47 × 3,15 m** it was **by far the largest canvas she ever attempted** -- half again the size of *[Un meeting](./UN_MEETING.md)* -- and it is listed as no. 33 in the catalogue of the posthumous exhibition of February 1885, so the canvas physically existed three months after her death. **Its whereabouts since then are unknown, and it is presumed lost.** No reproduction of it has been located, and none is included here.

La Saxe

A demi-mondaine, «la Saxe» (Mon Journal t.1 index «Saxe (la), demi-mondaine», pp.247, 254, 255; t.2 «Saxe (La), demi-mondaine», p.9; t.3 «Saxe (La), demi-mondaine», pp.29, 50). Her real name is never given. Marie watches her with fascination, first in Vienna during the 1873 Exposition and then in Nice; the nickname «la Saxe» suggests German or Saxon origin but the diary does not say so.

La sonnambula (Bellini)

*La sonnambula* (The Sleepwalker) is an opera semiseria in two acts by Vincenzo Bellini to a libretto by Felice Romani, premiered at the Teatro Carcano, Milan, on 6 March 1831 (Wikipedia, "La sonnambula"). Amina, a village girl, is found asleep in the Count's room; her fiancé Elvino rejects her until she is seen walking in her sleep over a mill-bridge. It is a staple of bel canto soprano repertoire ("Ah! non credea mirarti").

La Tour de Londres

- Type: people - mentioned

La Tour de Nesle (Dumas and Gaillardet)

*La Tour de Nesle* is a melodrama in five acts and nine tableaux, first performed at the Théâtre de la Porte-Saint-Martin, Paris, on 29 May 1832. Set in the early fourteenth century, it presents Marguerite de Bourgogne, wife of Louis X, who with her sisters-in-law lures young men to the Tour de Nesle for a night of pleasure and has them thrown into the Seine; the plot turns on the revelation that her accomplice Buridan is the father of the man she is about to have killed. It was one of the great popular successes of the Romantic stage and stayed in the repertoire for decades (Wikipedia, "La Tour de Nesle").

La traviata (Verdi)

*La traviata* is an opera in three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on Alexandre Dumas fils's play *La Dame aux camélias* (1852), itself adapted from his 1848 novel. It was first performed at La Fenice, Venice, on 6 March 1853 and was originally titled *Violetta* (Wikipedia, "La traviata"). The title means "the woman led astray".

La Tzigane

- Type: people - mentioned

La Vie mondaine

French society newspaper or magazine that Marie reads regularly, particularly for news about aristocratic society, marriages, and scandals. On New Year's Day 1874, she reads the description of the Duke of Hamilton's wedding in "La Vie mondaine," though she had already seen the details in an English review.

La Vie Parisienne

- Type: people - mentioned

La Vie parisienne (Offenbach)

*La Vie parisienne* is an opéra-bouffe by Jacques Offenbach to a libretto by Henri Meilhac and Ludovic Halévy, first given in five acts at the Théâtre du Palais-Royal on 31 October 1866. A four-act version was revived at the Théâtre des Variétés on 25 September 1873 (Wikipedia, "La Vie parisienne (operetta)").

La Vie pour le Czar

- Type: people - mentioned

La Viennoise (The Viennese Girl)

A young woman from Vienna whom Marie has admired from afar and finally meets at the Howard dance. Marie is surprised to learn she's unmarried, having assumed she was a widow.

La Vierge à la chaise (Raphael)

The *Madonna della Seggiola* ("Madonna of the Chair") is a round oil painting on panel, 71 cm in diameter, by **Raphael**, executed c. 1513-14 in his Roman period and housed in the **Palazzo Pitti**, Florence. It shows Mary embracing the Christ Child while seated in a chair, with the young John the Baptist watching. Who commissioned it is unknown; it has been in the Medici collections since the 16th century. It was one of the most admired and copied of Raphael's Madonnas, often praised as the most human, "realistic mother and child". (Source: Wikipedia, "Madonna della Seggiola".) Popular legend tells that Raphael painted it on the top of a wine barrel, a story Marie repeats. The legend is not documented here.

La Vigier

La vraie clef des songes (dream book)

A *clef des songes* is a popular dream-interpretation handbook: an alphabetical list of dream images with their meanings for the future (a garden means a love-match, falling stars mean death, and so on). The genre goes back to Artemidorus's *Oneirocritica* and sold in huge numbers through the nineteenth century as cheap pedlar-literature (J. Carroy, *Nuits savantes. Une histoire des rêves, 1800-1945*, describes these books as widely circulated, and as opposed to the scientific dream study of the time). Many bore similar titles. Marie once calls hers *La vraie clef des songes* (027.0232); the author and edition are not named in the diary and I could not identify the book, so the entry does not point to one particular text.

Labanoff

Member of the aristocratic society in Nice, likely Russian nobility given the name.

Labrousse

[Research needed]

Lac de Come

- Type: places - landmarks

Lachaud

[Research needed]

Lacon

[Research needed]

Lacorre

Member of the feminist society *Le Droit des femmes*, at whose home the meeting of 17 August 1881 was held: «La réunion a lieu chez la Citoyenne Lacorre» (092.0421, in the entry of 18 August 1881). *Citoyenne* is the republican and feminist form of address. Only mention; no first name. See HUBERTINE_AUCLERT for the society.

Lacroix

- Type: people - mentioned

Lady Caithness

Marie Sinclair, Countess of Caithness (1830-1895), born Maria de Mariategui, of Spanish descent; second wife of James Sinclair, 14th Earl of Caithness (married 1872), known for her spiritualism and Theosophy and, from the 1880s, for her Paris salon; mother of the Duke de Pomar (Wikipedia, «Marie Sinclair, Countess of Caithness»; see POMAR). The Mon Journal t.14 index has «Caithness (lady), mère du duc de Pomar», pp. 298, 300.

Lady Cartier

- Type: people - aristocracy

Lady Falkner/Folkner

Lady Falkner (also spelled Folkner in Marie's diary) was a British noblewoman encountered by Marie during the social seasons in Nice. The inconsistent spelling is typical of Marie's diary, where foreign names are often transcribed phonetically.

Lady Folkner

An Englishwoman of the Nice and Baden-Baden seasons, whose husband Marie calls Lord Folkner or Falkner (see LORD_FALKNER). In April 1875 she is seen at the theatre with her husband and Lord Loftus (031.0232, 14 April), walking with them (031.0249, 16 April) and in the town (031.0314, 21 April). On 12 December 1875 Marie remembers young Loftus from Baden, where he was often with Lady Folkner (050.0705). Mon Journal indexes: «Falkner (lady)», t.2 pp. 154, 258 and t.3 pp. 7, 23, 193; «Folkner (lady)», t.5 pp. 21-22, 27. Not identified further; the spelling varies, and the entries LADY_FALKNER, LORD_FALKNER and LORD_FOLKNER concern the same couple.

Lady Howard

- Type: people - aristocracy

Lady Lacon

- Type: people - aristocracy

Lady Mary Montagu

Lady Mary Montagu (Duchess of Hamilton)

Lady Mary Louise Elizabeth Montagu (1854--1934) was the daughter of William Montagu, 7th Duke of Manchester, and Countess Luise von Alten. On 10 December 1873, she married William Douglas-Hamilton, 12th Duke of Hamilton, at Kimbolton Castle, becoming the Duchess of Hamilton.

Lady Mordaunt (Harriet Moncreiffe)

Lady Mordaunt was Harriet Sarah Moncreiffe (1848-1906), the wife of Sir Charles Mordaunt, 10th Baronet, who was at the center of one of the most sensational scandals of Victorian Britain. In 1869, she confessed to adultery with multiple men, including the Prince of Wales (later King Edward VII), leading to a divorce case in 1870 in which the Prince was called as a witness -- the first time a Prince of Wales had given evidence in open court.

Lafond

[Research needed]

Lafont

- Type: people - mentioned

Lagnades Effendi

Guest of the Bashkirtseffs' first Saturday reception on 2 April 1881 in Paris, with the Bailleul, the Tchoumakoffs, the Gavinis and Odette Randouin: «Lagnadès-Effendi (ambassade turque)» (091.0408). The title Effendi marks an Ottoman official; he belongs to the Turkish embassy staff, as Marie says. Nothing more is known; no first name.

Lahirle

[Research needed]

Lais

Name of two famous Greek courtesans (hetaerae) from Corinth, 5th and 4th centuries BCE.

Lalande

- Type: people - mentioned

Lamartine

- Type: people - mentioned

Lambert

A shop of curiosities and fine goods. Two mentions, possibly two shops: in June 1873 Marie arranges her dressing room with a mirror «que j'ai achetée chez Lambert en quittant Acqua Viva» (006.0090, Nice, 26 June 1873); on 6 November 1874 she waits outside «chez Lambert, un magasin de curiosités et de belles choses» while her mother buys oysters, when a boy rushes up (025.0139). No further details.

Lambertini

The husband of the woman said to be Cardinal Antonelli's daughter. In Rossi's gossip of 23 April 1876 he is «un certain Lambertini» who came to Rome looking for a post at a hundred francs a month and asked the Vatican for leave to bear a great name, «prétendant descendre du pape Benoît XIV» (Prospero Lambertini, pope 1740-1758); refused, he was married to the cardinal's daughter instead and so became rich (059.0216). Mon Journal t.7 index: «Lambertini (M.) : 296». Not further identified.

Lambessa

[Research needed]

Lamour

Book by Jules Michelet, *L'Amour* (1858), on love and marriage. Marie reads it in June 1874: «Je trouve "L'amour", par Michelet, fade, ennuyeux et sale. Cet amour dégoûterait de l'amour» (020.0215, 12 June 1874). See MICHELET.

Lancaster

Lancaster Johnstone

Landau

A landau is a four-wheeled, horse-drawn carriage named after the German city of Landau in der Pfalz, where it was first manufactured. Its distinguishing feature is two folding hoods that meet in the middle when raised, allowing the carriage to be fully enclosed in bad weather or opened on fine days. The landau was one of the most prestigious carriages of the 19th century.

Langenschwalbach (Schwalbach)

The spa town near Schlangenbad and Wiesbaden where Marie spends the summer of 1875; she finds it a charm after the dull Schlangenbad ("A Schwalbach on voit des êtres vivants").

Larcher

Author of the book "La femme" which Marie orders from Visconti bookstore alongside Sainte-Beuve's "Les femmes célèbres."

Larivière

A person in Marie's circle at Atelier Julian or in her broader Parisian social network.

Larrey

[Research needed]

Las Cases

[Research needed]

Lassalle

[Research needed]

Latin

This tag marks paragraphs containing Latin-language text within Marie Bashkirtseff's diary. Latin is the fourth most frequently used non-French language, appearing in 233 tagged paragraphs across 209 entries spanning all twelve years of the diary (1873-1884). Unlike Marie's other foreign languages -- English (587 entries), Russian (480), Italian (403) -- Latin is never used for sustained conversation or narrative. Instead, it serves as a reservoir of quotations, mottoes, exclamations, liturgical phrases, and rhetorical ornaments that Marie deploys with striking frequency and considerable flair.

Latin Teacher

Marie's Latin instructor, whom she despises.

Laurence

- Type: people - mentioned

Laussel

Music teacher who gives Marie piano lessons in Nice.

Lautrec (Sacha)

Lavra (Alexander Nevsky Lavra)

The Alexander Nevsky Lavra (Monastery) is one of the most important religious sites in St. Petersburg, Russia. Founded by Peter the Great in 1710 and granted the prestigious title of "Lavra" (the highest rank of Eastern Orthodox monastery) in 1797, it housed the relics of Saint Alexander Nevsky. For the Bashkirtseff family and other Russian Orthodox believers, the Lavra was a significant spiritual landmark.

Lavrov

Person used as comparison for Baron Finot's appearance.

Lazaret

A place Marie goes to on 10 May 1874 at Nice: «Il pleuvait le matin, j'étais au Lazaret avec maman, Anna m'a encore baisé la main et moi je lui baisai la joue» (019.0171). The name is used in Nice for the quarantine buildings by the harbour; the diary does not say what takes Marie there or who Anna is. No outside source consulted.

Le Bec

Le Bec

Marie's mocking nickname ("le Bec amoureux", the lovesick beak) for the daughter of Princess Labanoff, a young woman of Nice's Russian society; "la maman" is Princess Labanoff. Not a young man (corrected 2026-10-01). Same person as [Bec](LE_BEC.md).

Le Bon Marché

Le Bon Marché was the first modern department store in Paris and a pioneering institution in retail history. Founded in 1838 as a small haberdashery by Aristide Boucicaut and his wife Marguerite, it underwent significant expansion in the early 1870s to become a revolutionary shopping destination. By 1873, when Marie Bashkirtseff visited Paris, Le Bon Marché had recently been expanded with the help of Gustave Eiffel's engineering firm and featured 22 departments across multiple floors with wide, open interiors.

Le Bon Samaritain (Morot)

*Le Bon Samaritain* (1880) is the large canvas by [Aimé Morot](../../people/artists/MOROT.md) (1850-1913) with which he won the **medal of honour** at the [Salon](./SALON.md) of 1880. It is oil on canvas, 268.5 × 198 cm, in the **Petit Palais** (Musée des Beaux-Arts de la Ville de Paris), Paris. The Petit Palais describes its debt to Spanish seventeenth-century painting and its sober realism in treating the parable; the canvas was cut down from a larger original to concentrate on the life-size figures. (Sources: Petit Palais, collections page for the painting; Wikipedia, « The Good Samaritan (Morot) »; Commons record of the Petit Palais file.)

Le Caid

Opéra-comique by Ambroise Thomas (1849), set in Algeria. Marie sees it at the Nice theatre on 8 May 1874: «je n'ai jamais vu "Le caïd". C'était amusant mais moins que les Durand chez Lewin ...» (019.0158). See THOMAS.

Le Caire

Le chalet

- Type: people - mentioned

Le changement de mains (play)

A short stage piece (form and length unknown; Marie calls it only "une pièce"), set at the court of the Russian Empress Elisabeth, about a morganatic marriage "de la main gauche". The title has the sense "a change of hands" (right hand for a marriage of equals, left hand for a morganatic one). The play could not be identified: neither the author, the date nor a printed text turned up in searches of the BnF, Internet Archive and the web (an unrelated one-act comedy of a similar title, *Changement de main* by André Barde, dates from 1909).

Le Derby

French or European society newspaper that reports on aristocratic movements and sporting events, particularly horse racing.

Le Droit des Femmes (Society)

Le Droit des Femmes (Women's Rights Society) was a feminist organization in Paris during the late 19th century, led by Hubertine Auclert. The society advocated for women's suffrage, legal equality, and social reforms.

Le Figaro

[Research needed]

Le fils de la nuit

- Type: people - mentioned

Le Gaulois

[Research needed]

Le Génie gardant le secret de la tombe

*Le Génie gardant le secret de la tombe* (1879) is the marble that made [René de Saint-Marceaux](../../people/artists/SAINT_MARCEAUX.md) famous: a youthful, wingless genius crouching over a tomb with a finger to his lips. It was shown at the Salon of 1879, and, according to one source consulted, won him a first-class medal. The marble is now in the **Musée d'Orsay** (RF 300; the old Luxembourg number LUX 93 shows it was in the Musée du Luxembourg); it measures 168 × 95 × 119 cm. English Wikipedia notes the strong influence of Michelangelo; it was exhibited in Vienna in 1882. Small reductions and studies exist (e.g. a bronze in Reims, an « étude » mask in terracotta). (Sources: Musée d'Orsay record via web search; Wikipedia, « René de Saint-Marceaux »; French Wikipedia, same article.)

Le Ghait

[Research needed]

Le grand Casimir

- Type: people - mentioned

Le journal d une femme

- Type: people - mentioned

Le lys dans la vallee

- Type: people - mentioned

Le Marquis de Villemer

*Le Marquis de Villemer* is a comedy in four acts and in prose by George Sand, adapted by her from her own novel of the same name (serialised in the *Revue des Deux Mondes*, 1860; Wikisource fr). The BnF-derived catalogue record and a British Library manuscript record give its first performance as 29 February 1864 at the Odéon, Paris, where it was a great popular success; one bookseller's description says it was stormed by students and that thousands were turned away (secondary report, not verified). A Sand scholar's note says she made the adaptation with the help of Alexandre Dumas fils (reported in a search result, not checked at source). It was one of Sand's most successful plays and entered the repertoire of the Comédie-Française (the date of that entry was not established in this research).

Le medecin malgre lui

- Type: people - mentioned

Le Meurtre de César (painting project, 1883)

*Le Meurtre de César* is a history painting that Marie conceived in the evening of **28 November 1883** and promised herself to paint: "Je ferai ce tableau." She never began it. In the diary it lasts only a fortnight, between an old sketch she rediscovered, a reading of Plutarch and Suetonius, a list of projects ("Les Saintes femmes ... Printemps, Jules César, Ariadne") and a half-hearted set of sketches on 7 December.

Le Nabab (Daudet, novel and 1880 Vaudeville play)

**The novel.** *Le Nabab, mœurs parisiennes* (end of 1877; Charpentier edition dated 1878) is Alphonse Daudet's novel of the Second Empire. Bernard Jansoulet, a porter from Marseille who made a colossal fortune at the court of the Bey of Tunis, comes to Paris, is fleeced by the swindlers, parasites and journalists around him, wins and loses a seat in the Chamber for Corsica, and dies of apoplexy. The character was inspired directly by the deputy François Bravay, and the book was a thinly veiled portrait of contemporary Paris. The "famille Joyeuse" (chapter V in the Wikisource edition, from p. 84) is a modest household of dreamers, with M. Joyeuse the clerk whose compulsive imagination drives the comedy. (Wikipedia fr, "Le Nabab".)

Le Nouveau Testament (l'Évangile)

The New Testament, the second part of the Christian Bible, is the collection of the four Gospels, the Acts, the Epistles and the Apocalypse, written in Greek in the first and early second centuries. Marie, a Russian Orthodox by birth, treats it in the diary as a book of counsel and an oracle rather than of doctrine.

Le Parapluie

*Le Parapluie* (oil on canvas, 93 × 74 cm) is one of Marie Bashkirtseff's most widely reproduced pictures and the only one of her works that the **State Russian Museum** in St Petersburg publishes in its online catalogue, inv. **Ж-2740**, under the Russian title *Дождевой зонтик*. The museum's own record states that it was received in **1904 from M. S. Bashkirtseva**, the artist's mother -- which is the hard evidence that the often-cited donation of 141 works "in 1908" was not the museum's only accession of her work.

Le Pardon de Ploërmel (Dinorah)

Opéra comique by Giacomo Meyerbeer, libretto by Jules Barbier and Michel Carré, first performed at the Opéra-Comique, Paris, in 1859; in Italian it is given as Dinorah (Wikipedia, "Dinorah").

Le Patriote niçois

A Nice newspaper. Its history and politics are not researched here; this entry records only what the diary says.

Le Pays

[Research needed]

Le Père Jacques

*Le Père Jacques* (*The Wood Gatherer*) is a life-size picture by [Jules Bastien-Lepage](../../people/recurring/BASTIEN_LEPAGE.md): an old man bent under a great load of firewood trudges through an autumn wood, while a little girl in front of him stops to pick small flowers. Dated 1881, it was shown at the [Salon](./SALON.md) of 1882 and is in the **Milwaukee Art Museum** (Layton Art Collection, accession L102; about 197 × 182 cm). (Sources: Wikipedia, « Le Père Jacques (The Wood Gatherer) »; Milwaukee Art Museum, collection record and blog.)

Le Phare du Littoral

*Le Phare du Littoral* (full name: *Le Phare du littoral méditerranéen*) was a regional newspaper based in the Alpes-Maritimes region of France, originally founded in Antibes in 1865 and later associated with Nice, running until 1938. In the early 1870s it was an active presence in Nice's political life, publishing on local affairs and sometimes suppressed by the prefect during politically sensitive moments. (Source: Bibliothèque nationale de France, Presse locale ancienne; presselocaleancienne.bnf.fr.)

Le pied de mouton

Féerie by Martainville and Ribié, first performed at the Théâtre de la Gaîté on 6 December 1806 (Wikipedia, «Féerie»; BnF data, «Le pied de mouton (1806)»). Marie sees it on 15 June 1874: «c'est une pièce de foire. C'est stupide» (020.0295).

Le pre aux clercs

- Type: people - mentioned

Le Précipice / Le Ravin (Obryv), Ivan Goncharov

*Obryv* (Обрыв, "The Precipice"; a recent English version is titled "Malinovka Heights") is the third and last novel of Ivan Goncharov (1812-1891), after *An Ordinary Story* and *Oblomov*. It was conceived in 1849 and first published in the January-May 1869 issues of the St Petersburg monthly *Vestnik Evropy* (Wikipedia, "The Precipice (Goncharov novel)"); a book edition followed in 1870. The central figures are the dilettante artist Boris Raisky, his grandmother-figure Tatyana Markovna, her two young relatives, the sweet Marfenka and the restless Vera, and the sceptical outsider Mark Volokhov.

Le Printemps

*Le Printemps* -- the picture Marie herself proposed calling *Avril* -- is the large canvas she painted out of doors at [Sèvres](../../places/cities/SEVRES.md) between March and June 1884, in the last spring of her life. It is generally dated 1884, oil on canvas, and measured at 215,5 × 199,5 cm (reported elsewhere with the figures transposed).

Le Procès Veauradieux

*Le Procès Veauradieux* is a three-act farce by Alfred Hennequin and Alfred Delacour. It opened at the Théâtre du Vaudeville, Paris, on 19 June 1875, in the middle of a heatwave and while the house was officially closed for the summer (the company staged it on its own initiative), and ran for 175 performances, a success by the standards of the day (Wikipedia, "Le Procès Veauradieux", citing Noël and Stoullig, *Les Annales du théâtre et de la musique*, 1875).

Le Radeau de la Meduse

- Type: people - mentioned

Le Rappel

- Type: people - mentioned

Le ravin (The Precipice)

"Le ravin" (The Precipice) is a Russian novel that Marie Bashkirtseff mentions reading in her September 1873 diary entries. Based on her descriptions of the characters and plot elements, this appears to be "Обрыв" (The Precipice) by Ivan Goncharov, published in 1869. In her diary, Marie refers to it by its French translation title "Le ravin."

Le Renard et les Raisins (La Fontaine)

"Le Renard et les Raisins" is La Fontaine's version (Fables, Book III) of Aesop's fable of the fox who cannot reach grapes and declares them too green; the expression "sour grapes" comes from the fable (Wikipedia EN, "The Fox and the Grapes"). In La Fontaine the fox concludes "Ils sont trop verts, dit-il, et bons pour des goujats" (Book III, fable 11, first published in 1668; text checked on Wikisource).

Le Réveillon

French theatrical work performed in Nice, 1874. Attributed to "Ravel" by Marie.

Le Roman d'une femme (Dumas fils)

*Le Roman d'une femme* is an early novel by Alexandre Dumas fils (1824–1895), the author of *La Dame aux camélias*. It appeared in the years after that book (1848 per the 1911 Encyclopaedia Britannica; 1849 per Wikipedia's bibliography). This entry does not summarise the plot, as the novel was not read for it; Marie's comments below are the only description.

Le Ruisseau

"Le Ruisseau" (The Stream/Brook) - piano piece played by Marie.

Le Siecle

- Type: people - mentioned

Le Soir au village

*Le Soir au village* is a small dusk scene by [Jules Bastien-Lepage](../../people/recurring/BASTIEN_LEPAGE.md), which Marie first saw as one of several **studies** he had brought back from Damvillers in December 1882. She describes it as: the moon already showing and the windows lighting up; a man coming in from the fields turns to speak to a woman who is walking towards the house with the lit window (097.0238). The identification with a particular museum picture is **not confirmed**: a French study of his 1882 output lists *Le Soir au village ou La Petite Coquette* among that year's works, and an 1882 oil *Evening at Damvillers* (66.4 × 80.3 cm) is in the Philadelphia Museum of Art, but no source consulted states that they are the same picture. No image is given here for that reason. (Sources: Marie's own description; Eclectic Light Co., « Naturalists: Jules Bastien-Lepage 1882-84 », for the Philadelphia painting; unverified match.)

Le Sphinx

*Le Sphinx* is a drama in four acts by Octave Feuillet (1821-1890), a leading society dramatist and member of the Académie française. It was a major event of the Comédie-Française's 1874 season. It is a drama of adultery among society friends, in which Blanche (de Chelles) and Berthe (de Savigny) are the two women; it ends in death on stage, with a poison ring in the form of a sphinx (Princeton University Library Graphic Arts blog, "Sarah Bernhardt as The Sphinx"). Sophie Croizette played Blanche and Sarah Bernhardt played Berthe in the original cast, per Princeton University Library's account of Bernhardt's roles and Wikipedia, "Roles played by Sarah Bernhardt" (the premiere was in March 1874; sources vary on the day).

Le Sport

A Paris sporting and society paper, subtitled «journal des gens du monde», founded in September 1854 by Eugène Chapus (1800–1877), often called France's first sports journalist; it ran until about 1900. It covered horse racing above all, together with society news, the theatre and the fashionable seasons at Nice and elsewhere.

Le Temps

- Type: people - mentioned

Le Tintamarre

- Type: people - mentioned

Le vicomte de Bragelone

Le Vicomte de Bragelonne (Dumas)

*Le Vicomte de Bragelonne, ou Dix ans plus tard* (serialized 1847-1850) is the third and last of Alexandre Dumas père's d'Artagnan romances, after [Les Trois Mousquetaires](./LES_TROIS_MOUSQUETAIRES_DUMAS.md) and [Vingt ans après](./VINGT_ANS_APRES_DUMAS.md), written with Auguste Maquet. It is a very long novel of the court of the young Louis XIV; it contains the story of the Man in the Iron Mask, the love of Raoul, vicomte de Bragelonne (Athos's son) for Louise de La Vallière, whom the king takes from him, and the deaths of Athos, Porthos and d'Artagnan. (Wikipedia, "The Vicomte of Bragelonne: Ten Years Later"; for the author see [Alexandre Dumas](./ALEXANDRE_DUMAS.md).)

Le Village

One-act comedy by Octave Feuillet (1856), given at the Théâtre-Français on 18 June 1874 with his *Le Sphinx*, in which Sophie Croizette was admirable: «On donnait "Le village", "Le sphinx"» (020.0360). Marie saw it from a box. *Le Sphinx* premiered on 23 March 1874 (ABAA note on Feuillet's *Le Sphinx*).

Le Voltaire (newspaper)

A republican Paris daily, first published on 5 July 1878 under the editorship of Aurélien Scholl, nicknamed «le Figaro républicain» and founded to support Gambetta's Union républicaine; Émile Zola wrote for it and it serialised fiction (en.wikipedia «Le Voltaire (newspaper)»; Center for Research Libraries catalogue: «1re année, n° 1 (5 juillet 1878)», ceased 12 April 1930). Not the writer Voltaire.

Léa d'Asco

A demimondaine (courtesan or kept woman) in 1880s Paris, part of the public demi-monde visible at entertainment venues.

Ledoyen

- Type: people - mentioned

Leech

Woman in Nice social circle, possibly departed. Associated with Spang.

Lees

Staff members or representatives from London House brought to the Bashkirtseff carriage.

Lefèvre

Dr Lefèvre, an elderly doctor of Nice and a friend of the Bashkirtseff-Babanine household from their first winter there (1872–73) until at least 1877. Mon Journal indexes: «Lefevre (M.), médecin» (t.4), «Lefèvre (M.), médecin» (t.5).

Lefurel

Marie's «M. Lefurel architecte du Louvre», the father of Mme Hochon (101.0325, 10 Sept 1883). The architect of the New Louvre was Hector Lefuel (1810-1881), who took charge of the completion of the Louvre after Visconti's death in 1853 (Wikipedia, «Hector Lefuel»; BnF data record). The spelling «Lefurel» is Marie's. No source consulted confirms that Mme Hochon was his daughter, so the identification rests on Marie's phrase. See HOCHON.

legion d honneur

- Type: people - mentioned

Legrand

A shop in Nice where Marie orders hats. On 16 March 1874: «Je vais chez Legrand, je prends le chapeau marron et je m'en fais venir un noir de Paris» (017.0328); the same day she keeps a promise not to look at her hair (017.0330). Mon Journal has no separate index entry found for this name. No first name.

Leichtenberg

- Type: people - mentioned

Leiser

A Pole naturalised English whom Marie meets at Spa: introduced to her mother on 15 August 1874, with Count Doenhoff (of the court of the Prussian prince), Count Dounine-Barkovsky and the two young Karageorgevitch princes: «le comte Noël de Leiser, un Polonais naturalisé Anglais» (023.0128). He returns as a dancing partner on 28 August and 5 September (023.0383, 023.0510). No other source found.

Lemp

Marie's teacher of chemistry in Nice in the autumn of 1873; the Mon Journal t.2 index has «Lemp, professeur de chimie», pp. 77, 93, 95-96, 170, 176. His lessons squeeze into her day: «Lemp m'attend mais je lui chipe vingt-cinq minutes» (010.0004, 23 Sept 1873); «Lemp ne vient pas» when the school year begins (010.0168); «Je vais prendre encore une heure pour la chimie» (010.0206); on 11 November he comes ten minutes early and spoils her breakfast (012.0179), and tells her that Paul also skips his classes (012.0222). No first name.

Lengle

[Research needed]

Leon

[Research needed]

Léon Gambetta

Léon Gambetta (2 April 1838, Cahors -- 31 December 1882, Les Jardies, Sèvres) was the dominant republican politician of the early Third Republic. He was the son of Joseph Nicolas Gambetta, a Cahors shopkeeper of Genoese origin, and lost the use of his right eye at the age of eleven, when a fragment of a steel rod struck it in a cutler's workshop (summer 1849) ([Wikipedia fr, "Léon Gambetta"](https://fr.wikipedia.org/wiki/L%C3%A9on_Gambetta)). He became a republican barrister under the Second Empire, proclaimed the Republic in Paris on 4 September 1870, and on 7 October 1870 left the besieged capital by balloon to organise the war effort in the provinces. After the peace he led the republican majority against the "Moral Order" governments, and the republican victory of 1876--1879 (including the resignation of MacMahon in January 1879) made him the most powerful man in France without holding the highest offices.

Léon Say

Léon Say (1826-1896), French statesman, economist, and politician. He served multiple terms as Minister of Finance in the Third Republic and was a prominent moderate republican.

Léon Tolstoï (Leo Tolstoy)

Count Lev Nikolayevich Tolstoy (1828-1910), the Russian novelist, author of *War and Peace* (*La Guerre et la Paix*, 1869) and *Anna Karenina* (1877-78). **Not to be confused with** [`TOLSTOY.md`](../../places/cities/TOLSTOY.md) or [`TOLSTOY_FAMILY.md`](TOLSTOY_FAMILY.md) — those entries document a *different* Tolstoy family, minor Russian expatriate nobility resident in Nice and mentioned 19 times in the diary during 1873-1874. Marie is explicit that those Nice Tolstoys are social acquaintances, not the writer's household. This entry is reserved specifically for the novelist himself, whom Marie mentions by name only once in the diary, a decade later and in an entirely different context.

Leonce

- Type: people - mentioned

Léonie (the maid)

Marie's maid and the household's femme de chambre in 1875–76, in Nice, Cannes (April 1875), Rome (March 1876) and Naples (April 1876), where she travels with the family. The Mon Journal indexes list her as «Léonie, domestique» (t.5, t.6, t.7). No surname or life dates are known; the diary treats her as part of the furniture and as a source of local news.

Lepere

[Research needed]

Les Amants de Vérone

*Les Amants de Vérone* is a lyric drama in five acts and six tableaux, music and text by Paul de Richard d'Ivry (1829-1903), the "marquis d'Ivry", imitated from Shakespeare's *Romeo and Juliet*. D'Ivry, a keen Shakespearean, began the adaptation but was overtaken in 1867 by Gounod's *Roméo et Juliette*; he published his version under the title *Les Amants de Vérone* and the pseudonym Richard Yrvid. It was first staged on 12 October 1878 at the Théâtre-Italien, salle Ventadour, with Victor Capoul and Marie Heilbron in the leading roles, and revived on 15 February 1879 at the Gaîté-Lyrique (Wikipédia fr, "Paul de Richard d'Ivry"). Heilbron (1851-1886) had already sung Juliette in d'Ivry's piece in 1872 at the Cercle des Mirlitons (Wikipédia fr, "Marie Heilbron").

Les Bergers à Bethléem

*Les Bergers à Bethléem* is a **project**, not a finished picture: a Nativity-night subject (the shepherds and the star) that [Jules Bastien-Lepage](../../people/recurring/BASTIEN_LEPAGE.md) was planning in the winter of 1883-84, and which Marie knew only through his brother [Émile Bastien-Lepage](../../people/recurring/EMILE_BASTIEN_LEPAGE.md), the architect. Bastien-Lepage died on 10 December 1884 without painting it; there is no work to illustrate, so this entry carries no image.

Les brigands

Opéra-bouffe by Jacques Offenbach, first performed at the Théâtre des Variétés in 1869 (Wikipedia, «Les Brigands»). Marie dresses to go on 21 November 1874 at Nice, but the evening is changed to Offenbach's *Barbe-bleue* (026.0023; see BARBE_BLEUE_OFFENBACH); on 23 December 1875 she sees it in her old box with «une nouvelle actrice, Mlle Aimée» (050.1162).

Les Châtiments

*Les Châtiments* (The Punishments) is a collection of political poems by Victor Hugo, published in 1853 while he was in exile. The work is a fierce satirical attack on Napoleon III and the Second Empire.

Les cinq femmes

Not a person: «les cinq femmes (du monde)» is the collective signature under which Marie and four friends wrote anonymously to Paul de Cassagnac in January 1878, and the name of the masked visits to his house that followed. The first letter asks, «se confiant à votre honneur de gentilhomme cinq dames du monde s'aventurent jusqu'à vous demander de leur donner une tasse de thé chez vous. Elles seront masquées» (077.0161); he answered through the *Figaro* and by letter («Mes chères cinq femmes», 077.0331; «monsieur le secrétaire des cinq femmes», 077.0412). The five were Marie, Dina («la colonelle»), Berthe Boyd («Georges»), Mme Yorke («la novice») and Mme de Daillens («Colette») (077.0446); Cassagnac gave Marie the name «Suzanne» (077.0517, see SUZANNE). On 23 January four of them, in white with white masks, called on him and ended by unmasking (077.0331–0356); the masked tea itself was on Sunday 27 January 1878 (Marie's title-page notes, «Dimanche 27 janvier 1878 / les cinq femmes», 084.0002; «dimanche 27 janvier 1878 : 5 femmes», 085.0002), written up on 28 January (077.0446). Berthe's part still angers Marie that September («Le masque de Berthe qui me met encore en colère», 082.0283; 082.0350).

Les cireurs de bottes de Nice

Not real boot-blacks: «les cireurs de bottes de la ville de Nice» is the signature of two prank letters Marie wrote on 13 February 1876, one to Emile d'Audiffret («Monseigneur !») and one to his friend Saëtone, in which the boot-blacks of Nice beg him to give up his supposed plan for «un établissement de cirage de bottes à vapeur dans sa grande salle à manger». Part of the same campaign as MOINES_DE_CIMIEZ.

Les cloches de Corneville

- Type: people - mentioned

Les courtisanes du monde

Work by Arsène Houssaye about famous courtesans throughout history and across cultures.

Les Courtisanes du monde (Arsène Houssaye)

*Les Courtisanes du monde* (Paris, E. Dentu, 1870, four volumes) is the last of three linked series of society novels by [Arsène Houssaye](./ARSENE_HOUSSAYE.md): *Les Grandes Dames* (1868, four volumes), *Les Parisiennes* (1869, four volumes) and *Les Courtisanes du monde* (1870, four volumes), twelve volumes in all by the author's own count in the preface to *Les Grandes Dames* (Project Gutenberg 9261). The cycle follows, among others, the fictional duc de Parisis, "surnommé don Juan", through the Paris of the Second Empire, the racecourses and watering-places, and the world of the courtesans (*les grandes dames*, *les parisiennes*, *les courtisanes*, *les femmes démasquées*). The fr.wikisource author page lists *Les Courtisanes du grand monde* as the "3e et dernière série" of the *Grandes Dames* (1870); the BnF/Gallica scans on the Internet Archive are titled *Les Courtisanes du monde*, volumes 1-4, 1870.

Les Décavés

Book or play featuring scandalous society figures.

Les demoiselles Roslowleff

Young Russian aristocratic women, part of Princess Souvoroff's social circle in Nice.

Les Désolés (Jean Carriès)

*Les Désolés* is Marie's name for a series of twenty-four busts of outcasts by the young sculptor **Jean Carriès** (1855-1894), shown at a « Cercle » (100.0280). The title is not found in the sources consulted: French Wikipedia says that in **1882** Carriès exhibited at the Cercle des arts libéraux (the rue de Sèze venue that Marie visited in December 1882) his plaster busts « issus de la série des Déshérités », portraying marginals and the poor, mixing naturalism and symbolism; it also lists a *Mendiant russe, ou Le Déshérité* (c. 1881) and a *Désespéré au grand chapeau* (1882). Whether Marie's « Désolés » is the same series under a variant title is the editors' inference from the date, the venue and the subject. (Source: French Wikipedia, « Jean Carriès »; Petit Palais record for PPS1209.)

Les Deux Orphelines

Melodrama by Adolphe d'Ennery and Eugène Cormon, first given at the Porte-Saint-Martin in the winter of 1874 and a great popular success. Marie sees it on 14 May 1874: «drame fort remuant, sanglant, déchirant, saisissant» (019.0222).

Les Deux Pigeons (La Fontaine)

"Les Deux Pigeons" is the second fable of Book IX of Jean de La Fontaine's *Fables*, in the second collection, first published in 1678; its source is the fable "Du pigeon voyeur" by Pilpay (Wikipedia FR, "Les Deux Pigeons"). It is the fable of the pigeon who leaves his friend to travel and finds the world harder than expected, with the famous line "L'absence est le plus grand des maux".

Les deux timides

- Type: people - mentioned

Les diables roses

A theatrical play performed at the [#French Theater in Nice](../social/FRENCH_THEATER_NICE.md) in March 1874. Marie attended a performance on March 4, 1874, which featured the actress [#Honorine](../../culture/theater/HONORINE.md).

Les Echos

Les Echos de Nice

Les Échos de Nice

*Les Échos de Nice*, the Nice society paper of the 1870s that listed the arrivals of the season. Marie calls it «Les Echos» or «Echos de Nice». No outside source was consulted for the paper itself.

Les Foins

*Les Foins* (*Haymaking*, 1877; signed « Damvillers 1877 ») is the picture that made [Jules Bastien-Lepage](../../people/recurring/BASTIEN_LEPAGE.md) the leader of French naturalism. A tired peasant woman sits in a hayfield with her legs stretched out in front of her, her eyes blank, while the man beside her sleeps on his back with his hat over his face. It was shown at the [Salon](./SALON.md) of 1878 (no. 119). The state bought it from the artist's heirs in 1885 (decree of 7 March 1885) for the Musée du Luxembourg; it went to the Louvre in 1929 and to the **Musée d'Orsay** in 1980. (Sources: Musée d'Orsay catalogue record for *Les Foins* (notice 9174); Wikipedia, « Haymaking (Bastien-Lepage) »; the inscription and RF number from the Google Art Project record on Wikimedia Commons.)

Les Fourchambault

- Type: people - mentioned

Les Ganaches

Comedy by Victorien Sardou, first performed at the Théâtre du Vaudeville in 1862 (Wikipedia, «Victorien Sardou»). Marie sees it at the Vaudeville on 13 May 1874 and finds it «fort immorale; voilà la vraie dépravation»: «Aimer le petit-fils d'un domestique !» (019.0198). On 16 June 1874 she quotes a line from it, «Ces choses-là sont écrites dans le ciel», about her old certainty that she would marry her first love (020.0304). See SARDOU.

Les Huguenots (Meyerbeer)

*Les Huguenots* is a grand opera in five acts by Giacomo Meyerbeer to a libretto by Eugène Scribe and Émile Deschamps, set during the St Bartholomew's Day massacre of 1572. It was first performed at the Paris Opéra on 29 February 1836, and was among the most frequently performed works at the Opéra throughout the nineteenth century (Wikipedia, "Les Huguenots (opera)"). The Catholic Valentine and the Protestant Raoul love each other and die in the massacre.

Les martyrs de l'inquisition

A dramatic theatrical work performed at the [French Theater of Nice](../social/FRENCH_THEATER_NICE.md) in January 1873. The play dealt with themes of religious persecution during the Inquisition.

Les Mirabeau

[Research needed]

Les Mirlitons

An art gallery or exhibition space in Paris where contemporary art was displayed in the early 1880s. Marie visits on February 7, 1881, to see portraits by Carolus-Duran and Bastien-Lepage.

Les moines de Cimiez

Not real monks: «les (frères) moines de Cimiez» is the signature Marie used for a series of anonymous prank letters to Emile d'Audiffret («le Surprenant», «Soroka») in Nice, January–March 1876, in a disguised man's hand or in printed capitals. The joke is that Audiffret has sold his soul («la vente de l'âme», 051.0292) and that the friars of the Franciscan house at Cimiez, above Nice, are searching for it on behalf of his poor body («Cherche ton âme ô corps infortuné !», 052.0072). Variants: «les frères moineaux de Cimiez» (a pun on moines and moineaux, sparrows, 054.0012) and a letter in Niçois signed «Le padri de Cimiès» (054.0116, 054.0119). She planned to collect them into a mock-epic «comme le Lutrin» (052.0079) and still thought them «une drôlerie très amusante et très spirituelle» in 1883 (100.0264).

Les mousquetaires de la Reine

- Type: people - mentioned

Les Origines de la France contemporaine (Hippolyte Taine)

*Les Origines de la France contemporaine* is the unfinished historical masterwork of the critic and philosopher [Hippolyte Taine](../../people/writers/TAINE.md) (1828-1893), published by Hachette between 1875 and 1893 in three parts: **L'Ancien Régime** (1875), **La Révolution** (vol. I *L'Anarchie*, 1878; vol. II *La Conquête jacobine*, 1881; vol. III *Le Gouvernement révolutionnaire*, 1883-1885, dated variously) and **Le Régime moderne** (1890-1893, left incomplete at his death) (French Wikisource listing; Online Library of Liberty, Taine, *The Origins of Contemporary France*). Marie sets his account of the Revolution against that of [Michelet](./HISTOIRE_DE_LA_REVOLUTION_MICHELET.md) (104.0116).

Les religieuses du Bon Pasteur (signature)

The signature Marie (with Collignon) put on prank cards and a letter to the Audiffrets in Nice, December 1875 – January 1876. On 24 December 1875 sœur Thérèse of the Bon Pasteur convent left them two real visiting cards of «les religieuses du Bon Pasteur» (050.1185, the real convent: COUVENT_DU_BON_PASTEUR); the next day Emile d'Audiffret told her that he had received «une lettre, une carte de visite: Les religieuses du Bon Pasteur. P.P.C.» (050.1252). In January 1876 she wrote to old Léon d'Audiffret in the nuns' name that his son's heart had been brought to them, stuffed, and kept in their alms-box (053.0004, 053.0006).

Les Saintes Femmes

*Les Saintes Femmes* — the Marys coming to the empty tomb — is the picture Marie never painted, and the one she wanted most. It was to be a history painting at life scale, made outdoors in Palestine, and it occupied her from **May 1880 until the spring of 1884**. What exists of it are three items in the posthumous catalogue of 1885: no. 60, *Projet du tableau « Les Saintes Femmes »* (0,45 × 0,37 m); no. 61, *Les Saintes Femmes (Esquisse)* (0,40 × 0,45 m); and no. 93, *Étude pour le tableau « Les Saintes Femmes »* (0,40 × 0,32 m). Nothing else.

Les Saltimbanques

Play or operetta given at Nice on 14 April 1875 together with *La Périchole*: «Walitsky et Olga viennent. On donne "La Périchole" et "Les Saltimbanques"» (031.0231). Not identified: the well-known operetta of that name by Louis Ganne dates from 1899 and cannot be the work. See LA_PERICHOLE_OFFENBACH.

Les Ternes

- Type: people - mentioned

Les Trois Mousquetaires (Dumas)

*Les Trois Mousquetaires* (1844) is Alexandre Dumas père's historical adventure novel, written with Auguste Maquet, about the young Gascon d'Artagnan and the three musketeers Athos, Porthos and Aramis in the France of Louis XIII, Richelieu and Anne of Austria. It appeared first as a serial in *Le Siècle* in 1844 and began the *d'Artagnan romances*, continued in [Vingt ans après](./VINGT_ANS_APRES_DUMAS.md) (1845) and [Le Vicomte de Bragelonne](./BRAGELONNE.md) (1847-50). (Wikipedia, "The Three Musketeers" and "The d'Artagnan Romances"; for Dumas himself see [Alexandre Dumas](./ALEXANDRE_DUMAS.md).)

Les trois Rires

*Les trois Rires* — "The Three Laughs" — is no. **8** in the posthumous catalogue of February 1885, measured there at **0,55 × 1,45 m**: three laughing heads at three ages of a woman's life, framed together. Shown at the Exposition des artistes indépendants shortly after her death, where a critic called it the most accomplished work in the exhibition. **Its whereabouts are unknown.**

Lesseps

[Research needed]

Letoriere

Letorieres

Levrier

Member of Hubertine Auclert's society *Le Droit des femmes*. At the meeting of 17 August 1881, held after Hubertine's resignation, it is «Lévrier qui expose les faits qui ont motivé la démission»; Marie guesses at old grievances between Lévrier, Epailly and Hubertine. Lévrier had answered the commandant d'Epailly's article on the women's demonstration of 14 July with «des grossièretés» in *La Citoyenne*, and writes to Chapron (092.0422). The fourteen members present vote the expulsion of Epailly and Mlle Drouin so that Hubertine will come back. Only mention; no first name.

Lewin

Man who appears to be romantically involved with Clémentine, possibly engaged.

Lewita

One of Paul's inappropriate adult companions who takes him to the casino.

LHomme-femme

- Type: people - mentioned

Lieutenant Jahleel Brenton Carey

British army officer who led the small patrol with which the [Prince Imperial](../aristocracy/PRINCE_IMPERIAL.md) rode out in Zululand on 1 June 1879. When Zulu warriors attacked, the patrol fled and the Prince was killed. Carey was court-martialled for misbehaviour before the enemy and found guilty, but the verdict was set aside and he returned to his regiment; he died at Karachi in 1883 (English Wikipedia, «Jahleel Brenton Carey»). The index of *Mon Journal* t.13 calls him «Carey (Capitaine) : 45, 53-54»; Marie writes «le lieutenant Carey».

lieutenant-colonel Talandier

- Type: people - mentioned

Light

- Type: people - mentioned

Lihopoy

Lihopoy is an acquaintance of the Bashkirtseff family in the Poltava region. Marie hopes he might be interested in her cousin Dina.

Lille

The northern French city. It enters the diary through three different threads.

Limousin

Nice society journalist. The Mon Journal t.6 index has «Limousin (M.), rédacteur», t.7 «Limousin (M.), journaliste». On 7 November 1875 he is noticed, «rédacteur du Journal des Décavés» (049.0075; see LES_DECAVES), and watches Marie's party play (049.0083). Marie jokes about «le journal du grand Limousin», whose paragraph asks for an article on the copying of a certain white toilette (054.0303, 19 Feb 1876). On 16 Feb 1882 «Limousin de la "Vie Mondaine" (le Figaro de Nice)» enters during dinner and praises her carnival float; Marie shakes his hand as a colleague (094.0271).

Lindemann

- Type: people - mentioned

LIndiscret

- Type: people - mentioned

Linsdall

[Research needed]

Linselles

[Research needed]

Linsingen

- Type: people - mentioned

Liocha Danilovski

*Former misreading: «Vocha Danilovski» (OCR text layer); the sharp print of Mon Journal t.3 p.127 reads «Liocha Danilovski» (2026-10-23).*

Lisander

- Type: people - mentioned

Lise

Member of the Howard family, sister of Hélène.

Lise Howard

Lisinger

- Type: people - mentioned

Livourne (Livorno)

**Livourne** is the French name of Livorno, the Tuscan port city. In the diary it appears only as a place linked to the Larderel family (Marie's Alexandre).

Lo Specchio Infernale

Italian theatrical work performed at the French Theater in Nice.

Löbbecke

An officer-like acquaintance of Rome who corresponds with Marie's mother, follows the family around, and in summer 1876 becomes assiduous around Dina, to Marie's relief. Spelled Löbbecke and Loëbecke.

Loftus

Logé

Young person attending social events in Nice, likely French based on name.

Loghadès

A young diplomat of the Ottoman embassy in Paris. Marie calls him «Loghadès (attaché turc)» among the New Year cards of 1 January 1881 (090.0507); the Mon Journal t.14 index has «Loghadès (M.) diplomate turque : 53» and, separately, «Lagnadès-Effendi (diplomate turque) : 109», possibly the same man under a misprinted name (not checked).

Lola Babanine

Marie Yégorovna Babanine, called Lola: Marie's cousin, daughter of Georges Babanine and Domenica, sister of Dina (Countess de Toulouse-Lautrec) and of Etienne, who killed himself at sixteen. Mon Journal t.9 index: «Babanine (Marie Yégorovna) [Lola], cousine de Marie Bashkirtseff» (pp.73-74, 145, 147-149, 165, 182); Marie herself writes «Marie Yégorovna Babanine (Lola)» when she is admitted to the "société du Cœur d'Argent" (067.0979). In the 1884 preface she is only «Une fille, Lola … La fille est mariée» (000.0035), but in the diary she is a lively companion in 1876:

London (Londres)

London, the capital of the British Empire and the world's largest city in the 1870s-1880s, appears in Marie Bashkirtseff's diary primarily as the home base of various British aristocrats she encountered on the Riviera (notably the Duke of Hamilton), as a cultural reference point, and as a destination she visited. For Marie, London represented both the power of the British Empire and the social world from which many of the Riviera's most distinguished visitors came.

London 1870s

London House

London House was a popular upscale confectionery and café in Nice frequently mentioned in Marie Bashkirtseff's diary. It served as both a refreshment spot and a social hub for the aristocracy and wealthy visitors to the French Riviera in the 1870s.

Londres

Loquessie

- Type: people - mentioned

Loqueyssie

- Type: people - mentioned

Lord Augustus Loftus

Lord Augustus William Frederick Spencer Loftus, GCB, PC (1817-1904), was a British diplomat who served as ambassador to Prussia (1865-1868), the North German Confederation (1868-1871), and Russia (1871-1879). He later became Governor of New South Wales (1879-1885).

Lord Byron

George Gordon Byron, 6th Baron Byron (1788-1824), known as Lord Byron, was a British Romantic poet and one of the most influential literary figures of the 19th century. Marie describes her maternal grandfather as "byronien" (Byronic).

Lord Carlos Hamilton

Younger brother of the Duke of Hamilton. Marie spots him driving in Nice on April 16, 1873, and cries out in surprise before covering by claiming Mlle Collignon stepped on her foot. She sees Lord Carlos as a potential connection to his brother - through him she could learn the Duke's whereabouts and speak about him.

Lord Falkner

British aristocrat residing in or visiting Nice during the 1870s.

Lord Falkner

An English peer of the Nice season, husband of Lady Falkner/Folkner (LADY_FOLKNER). Marie sees him near the London House in January 1874 (015.0020), and on 26 May 1874, in the Bois, blushes at the sight of him: «Ah ! si, lord Falkner. J'ai rougi en le voyant» (019.0369). On 13 June 1874 she mentions the men's costumes he wore at Baden-Baden (020.0239), as a model for the dress she fancies. Mon Journal t.3 index: «Falkner (lord), 7, 21, 204, 232». Not identified further; no source found.

Lord Folkner

Lord Henry Paget (Marquess of Anglesey)

Henry Paget (25 December 1835 – 13 October 1898), styled Lord Paget, succeeded as 4th Marquess of Anglesey on 30 January 1880. He married three times: Elizabeth Norman; Blanche Mary Boyd, of the Boyd sisters of the Baden-Baden and Paris set, in 1874 (she died in 1877); and in 1880 the American widow Mary «Minna» Livingston King (en.wikipedia «Henry Paget, 4th Marquess of Anglesey»). Mon Journal t.13 index: «Anglesey d' (marquis, lord Paget)»; t.14 «Anglesey (d', marquis)». The older note here that he was «Lord Henry Cyril Paget, future 5th Marquess» was wrong: the 5th Marquess (born 1875) was his son.

lord Lacon

- Type: people - aristocracy

Lord Loftus

Lord Loftus was a British nobleman encountered by Marie in Nice during the social seasons. The Loftus family held the title Marquess of Ely (Irish peerage); the young man Marie calls «lord Loftus» is most likely a son of Lord Augustus Loftus (1817–1904), the diplomat (who was not a peer: «Lord Augustus» is the courtesy style of a marquess's younger son); see «Identity uncertain» below.

Lord Mandeville

Son of the Duke of Manchester and brother-in-law of the Duke of Hamilton, traveling companion on Middle Eastern journey.

lord Paget

- Type: people - aristocracy

Loretta Lambertini

Countess Loreta (so in the 1877 press; «Loretta» in this project) Lambertini, who after the death of Cardinal Giacomo Antonelli (6 November 1876) sued his brothers for a share of the estate as his natural daughter. Contemporary reports (Papers Past, 1877, quoting the Rome correspondent of *The Times*) say she had been brought up as the daughter of a Mme Marconi, rested her claim on documents and on the evidence of a midwife, a priest and a servant of the cardinal, and that the heirs meant to attack the documents as forgeries. Mon Journal t.7 index: «Lambertini (Mme), fille du cardinal Antonelli».

Louba

Louba (Russian Люба, a diminutive of Lyubov), a little girl adopted by Nina Sapogenikoff and living in her household in Nice in 1875–76: «Louba la petite adoptée par Nina» (045.0021, 26 Sep 1875); Mon Journal t.6 index «Louba (adoptée par Nina Sapogenikoff), 6, 40».

Louis (Jeanne Suermondt's husband)

In the letter of [#Jeanne Suermondt](JEANNE_SUERMONDT.md), written at Halfweg near Haarlem on 14 May 1878 and copied into the diary on 18 May (080.0173): «mon Louis et moi» are married nearly a year; «il n'a que 24 ans, moi 19», he had been a naval officer who served in the «guerre d'Atchine» (the Aceh War in Sumatra, which began in 1873) and, as Jeanne did not want a husband at sea, left the navy to become an *économe*; they live between Haarlem and Amsterdam and she expects a child in a few weeks. His surname is not given beyond «Suermondt», Jeanne's maiden name (presumably; not established). He is mentioned only in this one letter (080.0173; Jeanne's next paragraph, 080.0174, says «mon mari»).

Louis Antonelli

- Type: people - mentioned

Louis Blanc

- Type: people - mentioned

Louis Canrobert

The youngest child in the household of [#Maréchal Canrobert](MARECHAL_CANROBERT.md) and the [#Maréchale](MARECHALE_CANROBERT.md), brother of [#Claire](../recurring/CLAIRE_CANROBERT.md) and of [#Marcel](MARCEL.md). Marie knows him in 1883-84: «le petit Louis Canrobert qui a dix ans» in May 1883 (099.0467), «Louis qui a onze ans» in August 1883 (101.0240), «le plus gentil gamin de douze ans» in August 1884 (105.0455). The identification as the Maréchal's child comes from the diary's grouping («la maréchale, Claire, Alice et le petit Louis Canrobert») and is probable, not documented; his birth date is not given.

Louis Énault

Louis Énault (1824, Isigny-sur-Mer – 28 March 1900) was a French journalist, novelist, travel writer, and art critic. He wrote for *Le Figaro*, *L'Illustration*, *Le Constitutionnel*, and other major publications, and was a regular critic of the Paris Salon throughout the 1870s–1880s. He published fiction, nonfiction, and translations, and was celebrated in his lifetime though afterward little remembered. At the Mouzay soiree of 26 May 1880, "Louis Enault vient me baiser la main" (Louis Enault comes to kiss my hand) — an established literary figure paying respects to the young artist-diarist at a society gathering.

Louis II of Bavaria

Louis II (1845-1886), King of Bavaria from 1864. Young (29 in June 1875), handsome and unmarried, he was famous for his romantic withdrawal from public life, his patronage of Wagner and his admiration for the French monarchy of Louis XIV (Linderhof was under construction in the 1870s; Herrenchiemsee, a Versailles pastiche, was begun in 1878). Source: Wikipedia, "Ludwig II of Bavaria".

Louis XIII

King of France (1601-1643). Marie, describing herself on 25 September 1874, says her hair is cut «comme chez Louis XIV enfant, à Versailles, sur le tableau qui représente la mort de Louis XIII, sur l'escalier» (024.0106): Louis XIII appears only as the subject of a painting at Versailles that she compares her hairstyle to, and the picture is not identified (a web search by RSR found none).

Louis XIV (The Sun King)

King of France (1638-1715), reigned 1643-1715. Known for absolute monarchy, Versailles, and numerous mistresses.

Louis XIV Court Characters

Historical figures from the court of Louis XIV that Marie uses to name her planned dogs at Villa 55.

Louis XIV et ses femmes

Historical work by Arsène Houssaye about Louis XIV's relationships with women, including his official mistresses.

Louis XV

- Type: people - mentioned

Louis XVI

- Type: people - mentioned

Louis-Jules-René-Marie ("Thibaudin")

A Black boy of about fifteen, in the Bashkirtseff household for nearly a year by June 1883, «très intelligent, qui me rappelle l'ancien Chocolat-Fortuné Saïd» (100.0078). The parish priest doubted the authenticity of his baptism and, to avoid administering the sacrament to a pagan, rebaptised him on 6 June 1883. Marie insisted on being his godmother; as neither her father nor Bojidar could be found in time, a church employee stood in for the godfather «M. Bashkirtseff», whom she had pompously entered as «maréchal de la noblesse et conseiller d'État». Marie baptised him «Louis-Jules-René-Marie» (100.0080); he made his first communion on 7 June 1883 and the family had him dine with them that evening (100.0094). On 28 July she calls him «mon fils spirituel Louis-Jules-René», who sings café-concert songs in the Pitauchards' apartment; he had once been to the Ambassadeurs (100.0452). The household nicknamed him «Thibaudin», after the minister of war of the day, and Marie writes that the joke will need explaining in fifty years (100.0454). His other name and origin are not given.

Louise Catherine Breslau

[Louise Catherine Breslau](https://en.wikipedia.org/wiki/Louise_Catherine_Breslau) (born Maria Luise Katharina Breslau, Munich, 6 December 1856; died 12 May 1927 near Paris) was a Swiss painter of German birth, known for portraits, pastels, interiors and still lifes. She was Marie Bashkirtseff's chief rival at the [Académie Julian](../../places/schools/JULIAN.md) and one of the best-known women painters of her day. Marie named her "Aramis" in the little circle of atelier friends she cast as Dumas's four musketeers (076.0280). She is mentioned in some 480 passages in thirty carnets (075-104); the rivalry is one of the diary's longest arcs.

Louise de La Vallière

Louise de La Vallière (1644-1710), mistress of Louis XIV in the 1660s, made a duchess in 1667; she retired to the Carmelite convent in Paris in 1674. Source: Wikipedia, "Louise de La Vallière".

Louise Mackay (Mrs John W. Mackay, the "richissime")

Wife of the Comstock silver millionaire John William Mackay (married 1867); in Paris in 1883–84 she was the American "richissime" who ordered her portrait from Ernest Meissonier. In the diary she is Marie's "Mme Mackay (la richissime)" and is **not** the Mme Mackay who is Jules Bastien-Lepage's friend: Marie says so herself, «Mme Mackay (pas la richissime) la Mackay Bastien» (098/1883-01-21, 098.0101). For that woman see [#Mme_Mackay](MME_MACKAY.md). Her identification as Marie Louise Hungerford Mackay, wife of John W. Mackay, rests on the 1884 press accounts of the Meissonier affair (Gurney Journey, «The Meissonier-Mackay affair», citing *Alta California*, 1884; Wikipedia, «John William Mackay»); the diary itself says only «Mme Mackay (la richissime)» and «étrangère».

Louise Michel

Louise Michel (1830-1905), French anarchist, teacher, and major figure in the Paris Commune of 1871. Known as "La Vierge Rouge" (The Red Virgin), she was one of the most prominent radical activists of her era.

Louise Théo

Louise Théo (1854-1922; a French biography gives 1850), born Cécile (or Anne-Louise) Piccolo in Paris, operetta singer, one of the stars of the Paris stage from 1873, when she created the title role of Offenbach's La Jolie Parfumeuse at the Théâtre de la Renaissance; she later sang at the Bouffes-Parisiens and toured London and America (Wikipedia, "Louise Théo"; premiereloge-opera.com biography). Her photographs circulated widely in albums of actresses.

Louvre

[Research needed]

Love

This thematic tag collects diary paragraphs where Marie writes about romantic love, desire, marriage, jealousy, and the anguish of unrequited passion. Love functions as the diary's dominant emotional register from 1873 to approximately 1880, after which art and mortality gradually overtake it.

Lovelace

Robert Lovelace, the aristocratic rake of Samuel Richardson's novel *Clarissa* (1747–1748), whose name became a common noun for a seducer (footnotes 030.0434.1, 034.0117.1). Marie uses it as a type, not for a person: «ce coureur, ce lovelace, ce don Juan» of Prince Tchelesky seen at the station (030.0434, 1 Apr 1875), and Collignon's warning that Audiffret «est un Lovelace» (034/1875-06-09).

Lubimoff

Two Lubimoffs. The father, «un vieux sénateur de Pétersbourg et ami d'Anitchkoff avant que ce dernier fut ambassadeur en Perse» (025.0148; Mon Journal t.4 index «Lubimoff (M.), sénateur de Pétersbourg»), is first met on 19 October 1873 as «un vieux très haut placé à Pétersbourg» (011.0111). The son, a widower since March 1874, «de la famille des gris, gris» (025.0149), is the one who matters. He rides badly and is dressed «comme un laquais» (025.0158, 025.0161), gives himself to spiritism after his wife's death and claims to have photographed her apparition, and has vowed to become an obstetrician for poor women (025.0164); Marie finds him «un petit vilain» (030.0193).

Lucarini

Visitor at the Howard home, acquainted with Marie from Paris days.

Lucia di Lammermoor (Donizetti)

*Lucia di Lammermoor* is a dramma tragico in three acts by Gaetano Donizetti to an Italian libretto by Salvadore Cammarano, loosely based on Walter Scott's novel *The Bride of Lammermoor* (1819) (Wikipedia, "Lucia di Lammermoor"). It was first performed at the Teatro San Carlo, Naples, in 1835 and was one of the most performed Italian operas of the century; Paris gave it in French as *Lucie de Lammermoor*, the title Marie writes. Its Act II sextet and the mad scene were showpieces for sopranos such as Adelina Patti.

Lucie Durand

A young Spanish woman with shocking social manners. Has at least two younger sisters.

Lucien Doucet (painter)

Henri-Lucien Doucet was born in Paris on 23 August 1856 and died at Saint-Leu-d'Esserent (Oise) on 31 December 1895. A pupil of Jules Lefebvre and Gustave Boulanger, he won the Prix de Rome in 1880 and was at the Villa Medici from 1881 to 1884; he later taught at the Académie Julian (1888). Best known for *Après le bal* (1889) and portraits (Princess Mathilde; Robert de Montesquiou, 1879), he received a first-class pastel medal in 1889 and the Légion d'honneur in 1891. (En. Wikipedia, "Henri Lucien Doucet", https://en.wikipedia.org/wiki/Henri_Lucien_Doucet; Orsay artist index; Villa Médicis residents list.) Not to be confused with the couturier [#Doucet](../mentioned/DOUCET.md) (Jacques Doucet), whom the same surname usually means in Marie's text.

Lucrezia Borgia

- Type: people - mentioned

Lundahl

[Research needed]

Luxembourg

The Luxembourg Gardens in Paris, famous public park where Black Prince was previously ridden.

Lycee Fontanes

- Type: people - mentioned

Lyon

Lyon, the city on the Rhône and Saône, on the railway from Paris and from Geneva to the Riviera. In the diary it is a stage of the family's train journeys, not a place where they stay: Geneva–Lyon with American travellers and Lyon by night in a «coupé-lit» (005.0023, 005.0072, 005.0073, May 1873); «Depuis Paris jusqu'à Lyon nous étions dans la neige» on the way back to Nice (050.0247, 28 November 1875).

Lyon Exhibition

An exhibition in Lyon mentioned by Markevitch on May 2, 1873. She tells Marie that it featured "splendid things: landaus etc."