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Updated: June 14, 2025
His eye fell on a large, purple satin coverlet heavily embroidered with gold, a splendid piece of late seventeenth-century Venetian work that his grandfather had found in a convent near Bologna. Yes, that would serve to wrap the dreadful thing in. It had perhaps served often as a pall for the dead.
The old seventeenth-century water-gate at Sneek was so beautiful, that we expected to like the place with the ugly name; but after all we hated it, and decided to spend another night in our own floating houses.
When we look at them we live again in eighteenth-century London, and walk in streets known to fame though now destroyed, thronged with men and women, true to life. As an artist, Hogarth occupies a position between the seventeenth-century Dutch painters of low life and the English painters that succeeded him, who expressed the ideals of a refined society.
His imagination was so wide and his pen so facile that he has been called a seventeenth-century prose Shakespeare. Taylor's Holy Living and Holy Dying used to be read in almost every cottage. This passage shows his powers of imagery as well as the Teutonic inclination to consider the final goal of youth and beauty:
The other important church is that of S. Francesco, which has a good early Renaissance doorway and a cloister, some seventeenth-century carved chairs, several Venetian pictures, and an early altar-piece.
Here was the room where her mother died, the room in which she herself had first seen the light perhaps not until a month or so after her birth, since the seventeenth-century baby was not flung open-eyed into her birthday sunshine, but was swaddled and muffled in a dismal apprenticeship to life.
According to the legend, a luminous figure of the Madonna was seen by a sailor on the rock on July 22, 1452, and on that spot a chapel was erected. The present church was built in 1628. Inside are a good many late seventeenth-century pictures, and in two rooms close by are votive pictures of the usual kind. There is a café on the island for the benefit of pilgrims.
In fact, in any collection of seventeenth-century tracts on that subject, it ought to be bound up with Hartlib's own older tracts in exposition of Comenius, and with the Letter on Education which Hartlib had elicited from Milton in 1644. Petty's notions, as may be supposed, differ considerably from Milton's.
The effect of this bit of seventeenth-century masonry, with its dirty old doors, and rusty broken lantern sticking gaunt and grim out over the narrow sidewalk, was, in its frame of fresh plaster, sinister in the extreme. I wondered if I had made a mistake in the number; it was quite evident that no one lived behind those cobwebs.
In its pathos and in its joy the soul of seventeenth-century England is in his music in perennial health. This is not a fanciful description: it is the plainest, most matter-of-fact description.
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