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Updated: May 24, 2025
At midnight, on the 5th of November, they repaired, therefore, to the garrison church at Potsdam, the lower vault of which contains the coffin of the great king. A single torch-bearer accompanied the three august visitors, whose steps resounded solemnly in the silent, gloomy halls.
Where, being habited in such robes as are used by the chief priest when he shows the holy things, he named himself the chief priest, Polytion the torch-bearer, and Theodorus, of the township of Phegaea, the herald; and saluted the rest of his company as Initiates and Novices.
He confesseth vices that he is guiltless of, if they be in fashion; and dares not salute a man in old clothes, or out of fashion. There is not a public assembly without him, and he will take any pains for an acquaintance there. In any show he will be one, though he be but a whiffler or a torch-bearer, and bears down strangers with the story of his actions.
Formerly the thanks of the community once for all had sufficed for service rendered to the state: now every meritorious act seemed to demand a permanent distinction. Already Gaius Duilius, the victor of Mylae , had gained an exceptional permission that, when he walked in the evening through the streets of the capital, he should be preceded by a torch-bearer and a piper.
As they ran they cried at the pitch of their voices: "Bear apples, bear pears, and cherries all black To Scouvion!" At these words the torch-bearer whirled his blazing brand and hurled it among the branches of the apple-trees, the pear-trees, and the cherry-trees.
These all sat upon the ground, their legs stretched out, their torch-bearer holding a lit bunch of fir splinters, stuck for convenience sake into the muzzle of a horse-pistol. In the upper end, again, sat another clique, listening to a man who was reading a treasonable ballad.
It is the teacher of nations; it is the world's torch-bearer. Here the people are more free than elsewhere to "try all things and hold fast that which is good"; "to know the truth" and to find freedom in that knowledge. No material considerations should blind us to our nation's mission, or turn us aside from the accomplishment of the great work which has been reserved for us.
Carleton had but a few minutes to write out his story, for the steamer Fulton was all ready to move North. How to get the glorious news home, and be first torch-bearer in the race that would flash joy over all the North, was now Carleton's strenuous thought.
So again he roused his now reluctant torch-bearer, and having with difficulty convinced him that the fish was actually a fish, and not the devil let loose on them for their sin in having broken the Sabbath "Irr ye sure, Tam, it wasna the de'il?" the boy quavered before daylight they again found the spot where the great kipper lay.
M. Emmanuel Frémiet occupies a place by himself. There have been but two modern sculptors who have shown an equally pronounced genius for representing animals namely, Barye, of course, and Barye's clever but not great pupil, Cain. The tigress in the Central Park, perhaps the best bronze there (the competition is not exacting), and the best also of the several variations of the theme of which, at one time, the sculptor apparently could not tire, familiarizes Americans with the talent of Cain. In this association Rouillard, whose horse in the Trocadéro Gardens is an animated and elegant work, ought to be mentioned, but it is hardly as good as the neighboring elephant of Frémiet as mere animal representation (the genre exists and has excellences and defects of its own), while in more purely artistic worth it is quite eclipsed by its rival. Still if fauna is interesting in and of itself, which no one who knows Barye's work would controvert, it is still more interesting when, to put it brutally, something is done with it. In his ambitious and colossal work at the Trocadéro, M. Frémiet does in fact use his fauna freely as artistic material, though at first sight it is its zoölogical interest that appears paramount. The same is true of the elephant near by, in which it seems as if he had designedly attacked the difficult problem of rendering embodied awkwardness decorative. Still more conspicuous, of course, is the artistic interest, the fancy, the humor, the sportive grace of his Luxembourg group of a young satyr feeding honey to a brace of bear's cubs, because he here concerns himself more directly with his idea and gives his genius freer play. And everyone will remember the sensation caused by his impressively repulsive "Gorilla Carrying off a Woman." But it is when he leaves this kind of thing entirely, and, wholly forgetful of his studies at the Jardin des Plantes, devotes himself to purely monumental work, that he is at his best. And in saying this I do not at all mean to insist on the superiority of monumental sculpture to the sculpture of fauna; it is superior, and Barye himself cannot make one content with the exclusive consecration of admirable talent to picturesque anatomy illustrating distinctly unintellectual passions. M. Frémiet, in ecstasy over his picturesque anatomy at the Jardin des Plantes, would scout this; but it is nevertheless true that in such works as the "Âge de la pierre," which, if it may be called a monumental clock-top, is nevertheless certainly monumental; his "Louis d'Orléans," in the quadrangle of the restored Château de Pierrefonds; his "Jeanne d'Arc" (the later statue is not, I think, essentially different from the earlier one); and his "Torch-bearer" of the Middle Ages, in the new Hôtel de Ville of Paris, not only is his subject a subject of loftier and more enduring interest than his elephants and deer and bears, but his own genius finds a more congenial medium of expression. In other words, any one who has seen his "Torch-bearer" or his "Louis d'Orléans" must conclude that M. Frémiet is losing his time at the Jardin des Plantes. In monumental works of the sort he displays a commanding dignity that borders closely upon the grand style itself. The "Jeanne d'Arc" is indeed criticised for lack of style. The horse is fine, as always with M. Frémiet; the action of both horse and rider is noble, and the homogeneity of the two, so to speak, is admirably achieved. But the character of the Maid is not perfectly satisfactory to
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