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Updated: May 18, 2025
Yet the actual attributions of the State authorities cover by far the largest part of the province of government; and by this division of labor and authority, the problem of fixing for the nation a political centre of gravity is divested of a large part of its difficulty and danger, in some proportions to the limitations of the working precinct.
Such attributions are not really of greater historical value than the traditions of dedication in the heroic age which we find elsewhere. The name of Daedalus having once become famous in this connection, it was natural that many statues of primitive style and unrecorded origin should be attributed to him.
Some mosaics of this edifice have been discovered recently, and the peculiar designs prove beyond a doubt that the mythological attributions of the Celts were made use of and intermingled with those of the Latin race not at all a strange occurrence, as Lupa and Diana seem to have enjoyed many common qualities.
The germ of a combination of what we should now call the judicial power and the executive thus made its appearance. But to these two functions the attributions of the duke or king were strictly limited.
Name after name, and to each the conventional attributions and the idle dates: a regiment of the unknown that had been the joy of mothers, and had thrilled with the illusions of youth, and at last, in the dim sick-room, wrestled with the pangs of old mortality.
John Gardner owns The Concert. So the importance of the 1696 catalogue is indisputable. And now, after wading through this dry forest of figures and dates and haphazard or dogmatic attributions, we are at the fatal number, thirty-four only thirty-four authentic Vermeers in existence. Some one must be mistaken. Who owns the thirty-fifth Vermeer? I again ask.
And, indeed, he had small encouragement to make a stand. Once, I remember, he announced he had found a man to replace the pane of the stained window, which, as it was he that managed all the business, was a thing clearly within his attributions. But to the Master's fancies, that pane was like a relic; and on the first word of any change, the blood flew to Mrs. Henry's face.
There has always been something of a mystery about the picture, and you must not be surprised some day if you hear it asserted that Antonello did not paint it at all. Such changes in the attributions of unsigned paintings are not uncommon. One of the greatest pioneer artists of the fifteenth century was Andrea Mantegna of Padua in the north of Italy.
The school is here represented by a most valuable collection from Bartolomeo Vivarini, No. 1607, to Guardi. 1158, Giovanni Bellini, Virgin and Saints; and 1158A, a Man's Portrait, are however dubious attributions. 1156, Two Portraits; and 1157, a Venetian Envoy at Cairo, are Gentile school works. 1134, by Antonello da Messina, A Condottiere, is an amazingly vivid and powerful portrait.
Now, in presence of such attributions as, for example, the Satanic character of tolerance in matters of religion, I, for one, would unconditionally lay down my pen, as there is no common ground upon which a discussion could take place.
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