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Illustrations by Tony Johannot and Maurice Sand for Sand's Oeuvres illustrés(1852). This picture, at the top of the first page of "La marquise," shows the marquise and Lelio reflected in mirrors held up by cupids, which points up the story's frequent use of mirrors as an image, and the associated ideas of illusion and reality.
Illustration by H. Robinson, from a painting by Charpentier, in Galerie des femmes de George Sand (1843), shows the marquise in her theater box.
This illustration by Z. Czermanski, for Hermann Kesten, ed. The Blue Flower: The Best Stories of the Romanticists (1946), depicts a favorite moment from the story: the marquise's midnight meeting with Lelio.
Cover illustration for the stand-alone edition published in France by Mille et Une nuits (2000).
The illustrations by Max Schwimmer for "Die Marquise," from Französische Liebegeschichte, 1958, include (1) the marquise's portrait, (2) The marquise and Larrieux, and (3) the marquise and Lelio.
Sand based the description of the portrait of the marquise as a nymph in the story on her grandmother, Marie-Aurore de Saxe (1). This type of portrait was very popular in eighteenth-century France. Among the best-known painters in the genre was Jean-March Nattier ( ????), who painted Marie-Adelaide, Louis XV's daughter, as a Diana (2) and Madame Maison Rouge as Diana, now in New York's Metropolitan Museum of Art (3). The little locket with the portrait of a lady as Diana also comes from the Met (4).