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Quand on les porte sur le front on peut imaginer des choses qui n'existent pas, et quand on les porte dans la main on peut rendre les femmes steriles. Ce sont des tresors de grande valeur. Ce sont des tresors sans prix. Et ce n'est pas tout. Dans un coffret d'ebene j'ai deux coupes d'ambre qui ressemblent a des pommes d'or.
We can never hope to revive Greek architecture, nor should we attempt to do so. There was once a well-known Scotch architect who held that the column and the lintel was the only permissible form of construction, and with this limitation and ill-selected Greek details he produced some fantastically ugly buildings. Following a similar line of thought a famous critic of the last century condemned methods of construction not sanctioned by the Old Testament. Both were wide of the mark; because, above and beyond all technical details of architecture is the spirit in which it is approached, the intellectual outlook of the artist on his art, and this may express itself in widely differing forms. In Greek architecture of the Golden period, that outlook was definite and distinctive, and it was one that has a very urgent lesson for us to-day. The aim and ideal of the Greek was beauty of form, and this beauty, which he sought in the first instance as the expression of his religion, ultimately became almost a religion in itself. To the realization of this ideal he devoted all his powers, sparing himself no pains in chastening his work till it had attained the utmost perfection possible. He merged himself in this work, without thought of the expression of himself in his vision of a divine and immutable beauty. It hardly occurred to him that his individual emotions were worth preserving. (In the sculpture of the great period the expression of the face is usually one of unruffled calm.) Although religious emotion was the source and inspiration of his work, his work was impersonal. He was aloof from that feverish anxiety for self-revelation which has made much modern art so interesting pathologically, and so detestable otherwise. Nor again had he anything of the virtuoso about him. To him technique was not an end in itself. In Hellenistic art it became so, but not in the Golden Age. Indeed, he was sometimes almost careless of exact modelling, and in architecture he did not use the order as a mere exhibition of scholarship. In his search for beautiful form, he stood upon the ancient ways, patient and serene, moving steadily to his appointed end. 'Ainsi procède le génie grec, moins soucieux du nouveau que du mieux, il reporte vers l'épuration des formes l'activité que d'autres dépensent en innovations souvent stériles, jusqu'
"The comparison is an old one, but there is no better one to explain Villiers, for when he is not inspired his writing is very like quartz." "His great name " "His name is part of his genius. He chose it, and it has influenced his writings. Have I not heard him say, 'Car je porte en moi les richesses steriles d'un grand nombre de rois oublies." "But is he a legitimate descendant?"
He set himself industriously to work, and inspiration soon rewarded the effort: in six months his second volume appeared, comprising "Le Saule," "Vux Stériles," "La Coupe et les Lèvres," "A quoi rèvent les jeunes filles," "Namouna," and several shorter pieces.
Qualis verô ea Gens sit, ex qua ista Naturæ Ludibria tantâ copiâ proveniant, Vossium docere oportelat, quia Pumiliones Pumiles alios non gignunt, sed plerunque steriles sunt, experientia teste; ut planè non opus habuerunt Doctores Talmudici Nanorum matrimonia prohibere, ne Digitales ex iis nascerentur.
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