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The organist was in love with the old masters and on holidays celebrated masses by Palestrina and Orlando Lasso, psalms by Marcello, oratorios by Handel, motets by Bach; he preferred to render the sweet and facile compilations of Father Lambillotte so much favored by priests, the "Laudi Spirituali" of the sixteenth century whose sacerdotal beauty had often bewitched Des Esseintes.

As the opinion of an age influences even those who affect to despise it, so, perhaps, this holy and unselfish passion was preserved and guarded by that peculiar veneration for purity which formed the characteristic fanaticism of the last days of the Anglo-Saxons, when still, as Aldhelm had previously sung in Latin less barbarous than perhaps any priest in the reign of Edward could command: "Virginitas castam servans sine crimine carnem Caetera virtutem vincit praeconia laudi Spiritus altithroni templum sibi vindicat almus;"

As the opinion of an age influences even those who affect to despise it, so, perhaps, this holy and unselfish passion was preserved and guarded by that peculiar veneration for purity which formed the characteristic fanaticism of the last days of the Anglo-Saxons, when still, as Aldhelm had previously sung in Latin less barbarous than perhaps any priest in the reign of Edward could command: "Virginitas castam servans sine crimine carnem Caetera virtutem vincit praeconia laudi Spiritus altithroni templum sibi vindicat almus;"

For animism in philosophy, Stahl, Theoria; Bouillier, Du Principe vital. ANIMUCCIA, GIOVANNI, Italian musical composer, was born at Florence in the last years of the 15th century. At the request of St. Filippo Neri he composed a number of Laudi, or hymns of praise, to be sung after sermon time, which have given him an accidental prominence in musical history, since their performance in St. St.

From these rustic festivals originated the Satyr, or Satirical Drama, as did its Italian prototype, the Fabulae Atellanae or, Laudi Osci.

It was no doubt written in a tone calculated to affect him deeply, since it induced him to form a resolution, which could only be carried into execution by the tenderest and most generous sympathy for his unhappy friend. Sunt hie etiam sua proemia laudi, Sunt lachrymae rerum, et mentem mortalia tangunt. E'en the mute walls relate the victim's fame. And sinner's tears the good man's pity claim.

Sunt sua praemia laudi, says Virgil; and so Cicero, Nihil habet natura praestantius, quam honestatem, quam laudem, quam dignitatem, quam decus, which he tells you are all names for the same thing. This is the language of the heathen philosophers, who well understood wherein their notions of virtue and vice consisted.

When the Greek drama was brought into Rome by Livius Andronicus, the Fabulae Atellanae, or Laudi Osci derived from the town of Atella, in Campania, between Capua and Naples was still employed to furnish the Interludes, and just in a similar way as the Satyra Extemporal Interludes supplied the Grecian stage.

Cf. in Pisonem 73 pacis est insigne et oti toga, contra autem arma tumultus atque belli; De Or. 3, 167 'togam', pro 'pace', 'arma', ac 'tela', pro 'bello'. We have the same contrast between arma and toga in Cicero's own much-derided verse, cedant arma togae, concedat laurea laudi, which is defended by him, in Pis. 73 and Off. 1, 77.