The Image Read Online Free PDF Page B

one, Anne is wearing a short black slip with nothing underneath but her stockings and a simple garter belt like the one I already admired in the Bagatelle gardens. But these stockings do not have embroidered tops.
    She is standing next to a column in the same position Claire made her assume to hide the stolen rose under her dress.
    Only she is not wearing any shoes and instead of the dress she only has the slip whose thin material she is holding up with both hands, exposing the half-opened thighs and the triangle of her fleece. One leg is straight, the other slightly bent at the knee, the foot only half resting on the floor.
    A lace inset decorates the top of the slip but one can’t really make it out because it is pulled to one side, the right shoulder strap not being on at all and the left one having fallen off the shoulder. The black lingerie is therefore twisted around, covering half of one breast and freeing the other breast almost entirely. The breasts are perfect, not too full, far enough apart, with the brown halo that circles the nipple clearly marked but not too large. The arms are well-rounded and gracefully curved.
    The face, under the loose curls, is a real triumph: the eyes consenting, the lips parted, a mingled look of ingénue charm and submissiveness.
    The lighting, while accentuating the shadows, softens the lines as it defines them. The light coming from a Gothic window with austere vertical bars, a part of which can be seen in the back ground at the edge of the picture. The column in the foreground is of stone, as is the window frame, and is about the same width as the girl’s hips next to it. Beyond it, at the other edge of the picture, one can see the head of an iron bed. The floor is a checkerboard pattern of very large black and white squares.
    The second picture, taken closer up, encompasses the entire bed. It is a single iron bed painted black, stripped of blankets.
    The sheets are in a state of great disorder. The ironwork of the two upright parts, at the head and foot, is ornate and old-fashioned: metal stems curving and twisting in spirals held together by lighter-colored rings, probably gilded.
    The girl is in the same costume lying across the bed on the rumpled sheets. She is flat on her stom ach but turned a little, one hip higher than the other. Her face is buried in the pillow, her disheveled hair spread over it; her right arm, bent up ward, frames her head; the left arm, at an angle to her body, extends in the direction of the wall. On this side, without the shoulder strap, one can just see the beginning of the breast under the armpit. The slip is again amply pulled up, this time in the back, needless to say. The waist and the hips intersected by the black lines of the garter belt.
    The buttocks are rounded and full, highly evocative. Their firm shape points up some pretty dimples into play by the asymmetry of her position. The thighs are opened to a hollow of darkness. The left knee, bent way up, disappears under a fold of the sheets while the foot touches the extended right leg.
    The picture is taken from fairly high up so as to display the buttocks in the most accommodating position.
    In the next one the girl is entirely naked, hands chained behind her back, kneeling on the black and white checkerboard floor. The picture is taken in profile and also from above. One sees nothing but the girl, kneeling naked on the floor, and the whip.
    Her head is lowered. Her hair falls on either side of her face, hiding it, exposing her neck which is bent down as far as it will go. The tip of one breast appears below the shoulder. The thighs are together, leaning backward, and the trunk is bent forward in a way that makes the buttocks protrude most fetchingly as they await their punishment. The wrists are bound together behind the back at waist height, by a slender chain of shiny metal. A similar chain ties the ankles one against the other. The whip is resting on the squares of the floor not far