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Speaking generally of the character of ornament, we find that whereas in the furniture of the Middle Ages, the subjects for carving were taken from the lives of the saints or from metrical romance, the Renaissance carvers illustrated scenes from classical mythology, and allegories, such as representations of elements, seasons, months, the cardinal virtues, or the battle scenes and triumphal processions of earlier times.
In the rush of feeling he had enlisted among the young revolutionists whose stormy and stressful tendency, curiously enough, was regarded as 'English'. And now he found that there was after all something to be said in favor of the classical French type. The 'anglo-maniacs' were not in possession of the whole truth.
Many a year ago, when the world, myself included, was young, I knew a circus. This does not mean that I knew it from the wooden benches outside the ring. I knew it behind the scenes. I was on terms of intimacy with the most motley crowd it has been my good fortune to meet. It was a famous French circus of the classical type that has by now, I fear me, passed away.
Though he has dabbled somewhat in orchestration, he has been wisely devoting his genius, with an almost Chopin-like singleness of mind, to songs and piano pieces. His piano works are what would be called morceaux. He has never written a sonata, or anything approaching the classical forms, nearer than a gavotte or two.
But a hundred years ago this Romanesque and Byzantine art was thought to be only a barbarous corruption of the classical art. For then the classical art even in its last feebleness still kept its immense and unique prestige.
He took it and hid it under his foot in his shoe, but, he being searched and the money being found, it became clear to whom the various sums previously missing might be traced. His father wished him educated for a clergyman, and before he was eleven he was sent to the cathedral classical school at Halberstadt to be fitted for the university.
If classical learning and the graces of literature received but intermittent encouragement from the sovereign pontiffs, both the secular interests of their government and the vindication of the Church's dogmatic teaching afforded the most profitable exercise for talents which sceptical humanists sold, as readily as did the condottieri their swords to the best paymaster, regardless of their personal convictions.
More than twelve months ago I got an assistant named Peacocke, a clergyman, an Oxford man, and formerly a Fellow of Trinity; a man quite superior to anything I have a right to expect in my school. He had gone as a Classical Professor to a college in the United States; a rash thing to do, no doubt; and had there married a widow, which was rasher still.
We should not then be yielding to any private bias, but simply noting the conditions under which art may exist and may be appreciated, if we accepted the classical principle of criticism and asserted that substance, sanity, and even a sort of pervasive wisdom are requisite for supreme works of art.
He is still, as he was at the outset of his reign, the patron of classical art, classical drama, and classical music. He is still the War Lord with the spirit of a bishop and a bishop with the spirit of the War Lord. He is still the model husband and father he always has been. Most men change one way or another as time goes on.
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