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Updated: May 9, 2025
In M. Garofalo's book we find once more this petitio principii which refuses to believe in the future in the name of the present, which is declared immutable.
"Not a bit altered," said Bernard, looking at the desks and shelves of ledgers, with the photographs over the mantelpiece Felix, Mr. Froggatt, the old foreman, and a print of Garofalo's Vision of St. Augustine, hung up long ago by Felix, as Lance explained, as a token of the faith to which all human science and learning should be subordinated. "A declaration of the Pursuivant," said Angela.
M. Garofalo's book, which was announced as an assault of science upon socialism, has been, even from this point of view, a complete disappointment, as even the Italian anti-socialists have confessed in several of the most orthodox Reviews.
In other words, there must be a system of moral orthopedics. Garofalo's new term and principle of "temibility" is perhaps of great service. He would thus designate the quantum of evil feared that is sufficient to restrain criminal impulsion.
The throne on which the Virgin is seated, is, in very early pictures, merely an embroidered cushion on a sort of stool, or a carved Gothic chair, such as we see in the thrones and stalls of cathedrals. It is afterwards converted into a rich architectural throne, most elaborately adorned, according to the taste and skill of the artist. Sometimes, as in the early Venetian pictures, it is hung with garlands of fruits and flowers, most fancifully disposed. Sometimes the arabesque ornaments are raised in relief and gilt. Sometimes the throne is curiously painted to imitate various marbles, and adorned with medallions and bas-reliefs from those subjects of the Old Testament which have a reference to the character of the Virgin and the mission of her divine Child; the commonest of all being the Fall, which rendered a Redeemer necessary. Moses striking the rock (the waters of life) the elevation of the brazen serpent the gathering of the manna or Moses holding the broken tablets of the old law, all types of redemption, are often thus introduced as ornaments. In the sixteenth century, when the purely religious sentiment had declined, and a classical and profane taste had infected every department of art and literature, we find the throne of the Virgin adorned with classical ornaments and bas-reliefs from the antique remains; as, for instance, the hunt of Theseus and Hippolyta. We must then suppose her throned on the ruins of paganism, an idea suggested by the old legends, which represent the temples and statues of the heathen gods as falling into ruin on the approach of the Virgin and her Child; and a more picturesque application of this idea afterwards became common in other subjects. In Garofalo's picture the throne is adorned with Sphinxes
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