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With its pure sky, and its odour of warm pines, its deep cool shadows, its patines of bright gold where the sun penetrates, and then, plashing through it, this curling, dimpling, artificial torrent? It is not the hour's fault if it happens to arrive somewhat late in the day it had to wait its turn.
Look how the floor of heaven Is thick inlaid with patines of bright gold. There's not the smallest orb which thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubins: Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it."
It is this doctrine which Shakspeare alludes to when he makes Lorenzo teach astronomy to Jessica in this fashion: "Look, Jessica, see how the floor of heaven Is thick inlaid with patines of bright gold! There's not the smallest orb that thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubim; Such harmony is in immortal souls!
" ... look how the floor of heaven Is thick inlaid with patines of bright gold!" we are at the very point of transition from the Greek note to the Celtic; there is the Greek clearness and brightness, with the Celtic aërialness and magic coming in. Then we have the sheer, inimitable Celtic note in passages like this:
To-night, far from the other spirits, far from the chill winds and the cabbage-stalks, I have been watching the sunset on the desert making the world a glory of rose and gold and amethyst. Now it is dark; the lights are lit all over the ship; the floor of heaven is thick inlaid with patines of bright gold... "In such a night did young Lorenzo ..." Nov. 2, 11.30 a.m.
But he came out beautifully and smoothly, like a thread of summer grass from its covering sheath. 'I am slippery after all, then slippery enough, he remembered saying with surprised delight, and then Look how the floor of heaven Is thick inlaid with patines of bright gold.
Large and small bells were cast; chalices, patines, incensories, images, and even altars of gold and silver, or ornamented with them, were fabricated. Aventin relates, that at Mauverkirchen, in Bavaria, figures in plaster, hardened by fire, had, in 948, been made of a duke of Bavaria and his general.
Look how the floor of heaven Is thick inlaid with patines of bright gold: There's not the smallest orb which thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it."
It is manifestly unwise to carry the parallel very far, yet there is still another touch of similarity in the beautiful surfaces. Piero's fine, delicate handling of pigment is in the same manner of expression as Barye's exquisite manipulation of his metal after the casting, his beautiful thin patines that do not suppress but reveal sensitive line and subtle modulation.
. . . look how the floor of heaven Is thick inlaid with patines of bright gold! we are at the very point of transition from the Greek note to the Celtic; there is the Greek clearness and brightness, with the Celtic aerialness and magic coming in. Then we have the sheer, inimitable Celtic note in passages like this:
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