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Description
Merry Marxmas and a red new year.

Note that Lelouch's "analysis" is lifted almost verbatim from John Julius Cooper, 2nd Viscount Norwich's book A History of Venice, the epilogue to be precise.

Ca' Rezzonico exists. I have visited it and done my best to describe it appropriately, though I took the liberty of having the Rezzonico family become extinct some 30 years early. It is, today, a museum for the Venice of the 18th Century and features a stunning gallery of Venetian artists from Renaissance and Baroque.

The Mozart piece I mentioned is the Serenade No. 10 "Gran Partita", which is the piece that makes Antonio Salieri recognise Mozart's genius in the brilliant film and play Amadeus: ""This was no composition by a performing monkey. This was a music I'd never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God.

There was indeed a small, but enthusiastic revolutionary society in Venice. However, it failed to produce anything of worth. At least the fact that they weren't suppressed is powerful evidence against the 18th Century claim that Venice was a police state, which it most certainly was not. Napoleon was astounded, for example, when he demanded the release of political prisoners in 1797 and the Venetian authorities could find none.

Regarding fashion, Cecilia (and her female guests) are wearing clothes in the Directory style (later, the Empire and Regency styles), which actually evolved only around 1795. However, it originated considerably earlier in the revolutionary period, though not yet in forms which could be widely worn. The baring of the breasts had little sexual connotation in these days, less so than that of the shoulder, and dates back to a mistress of Louis IX in the 1500s. Over time, French court fashion fluctuated between reasonably low cleavages and, in some cases in the 18th Century, those completely baring both breasts. The truly revolutionary thing about Cecilia's dress is that simple, flowing white dresses had associations of a) Ancient Rome and b) underwear. The first instance of this is a portrait of Queen Marie-Antoinette of France, a fashion which was soon taken up by all who wished to be risqué, such as Lady Hamilton, the famous stage dancer, courtesan and mistress of Lord Horation Nelson.

All the characters in the salon are based on Code Geass or Akito characters. Olympe de Malkal is a fusion of Leila Malkal and Olympe de Gouges. Mario Cavaradossi and Floria Tosca are characters from Puccini's marvellous opera Tosca. The surname of Mao, Dupole, is adapted from Verdi's La traviata's Baron Douphoul, which should tell you all you need to know.

The reading is an English translation of part of Maximilien Robespierre's 1794 speech "Republic of Virtue".

In case you are interested, I recommend you to read John Julius Cooper, Lord Norwich's "A History of Venice". It is concise, lively and thoroughly enthralling.

Please review.

Code Geass is not mine.

Description
Merry Marxmas and a red new year.

Note that Lelouch's "analysis" is lifted almost verbatim from John Julius Cooper, 2nd Viscount Norwich's book A History of Venice, the epilogue to be precise.

Ca' Rezzonico exists. I have visited it and done my best to describe it appropriately, though I took the liberty of having the Rezzonico family become extinct some 30 years early. It is, today, a museum for the Venice of the 18th Century and features a stunning gallery of Venetian artists from Renaissance and Baroque.

The Mozart piece I mentioned is the Serenade No. 10 "Gran Partita", which is the piece that makes Antonio Salieri recognise Mozart's genius in the brilliant film and play Amadeus: ""This was no composition by a performing monkey. This was a music I'd never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God.

There was indeed a small, but enthusiastic revolutionary society in Venice. However, it failed to produce anything of worth. At least the fact that they weren't suppressed is powerful evidence against the 18th Century claim that Venice was a police state, which it most certainly was not. Napoleon was astounded, for example, when he demanded the release of political prisoners in 1797 and the Venetian authorities could find none.

Regarding fashion, Cecilia (and her female guests) are wearing clothes in the Directory style (later, the Empire and Regency styles), which actually evolved only around 1795. However, it originated considerably earlier in the revolutionary period, though not yet in forms which could be widely worn. The baring of the breasts had little sexual connotation in these days, less so than that of the shoulder, and dates back to a mistress of Louis IX in the 1500s. Over time, French court fashion fluctuated between reasonably low cleavages and, in some cases in the 18th Century, those completely baring both breasts. The truly revolutionary thing about Cecilia's dress is that simple, flowing white dresses had associations of a) Ancient Rome and b) underwear. The first instance of this is a portrait of Queen Marie-Antoinette of France, a fashion which was soon taken up by all who wished to be risqué, such as Lady Hamilton, the famous stage dancer, courtesan and mistress of Lord Horation Nelson.

All the characters in the salon are based on Code Geass or Akito characters. Olympe de Malkal is a fusion of Leila Malkal and Olympe de Gouges. Mario Cavaradossi and Floria Tosca are characters from Puccini's marvellous opera Tosca. The surname of Mao, Dupole, is adapted from Verdi's La traviata's Baron Douphoul, which should tell you all you need to know.

The reading is an English translation of part of Maximilien Robespierre's 1794 speech "Republic of Virtue".

In case you are interested, I recommend you to read John Julius Cooper, Lord Norwich's "A History of Venice". It is concise, lively and thoroughly enthralling.

Please review.

Code Geass is not mine.