Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.
ONE:Charles, accompanied by O'Sullivan, Sheridan, and other gentlemen, rode away to a seat of Lord Lovat's. The wild gallop of horsemen startled that wily old fox in his lair; and when he heard the news the Master began to tremble for his own safety. There are different accounts of his reception of the fugitive prince. One says that he was so occupied with thinking of making his own escape, that he hardly showed common courtesy to the prince and his companions, and that they parted in mutual displeasure. Another states that Lovat urged the same advice as Lord George Murray had done, still to get up into the mountains, and make a bold face, by which time might be gained for fresh reinforcements, or at least for making some terms for the unhappy people. But it is clear that Charles had now lost all spirit, if he had ever retained much after he had been forced to retreat from Derby. He and his party rode away again at ten o'clock at night, and reached Invergarry, the castle of Glengarry, about two hours before daybreak. Lord George still entertained the idea of keeping together a large body of Highlanders. He had already with him one thousand two hundred. Charles had stolen away from Invergarry to Arkaig, in Lochaber, and thence to Glenboisdale, where the messengers of Lord George found him, accompanied only by O'Sullivan, O'Neil, and Burke, his servant, who knew the country and acted as guide. All the rest of his train had shifted for themselves. Lord George entreated the prince not to quit the country, but to continue to gather a force in the mountains, and thus resist and harass their enemies till they received reinforcements; but Charles sent him word that the only chance was for himself to hasten over to France, and use all his interest to bring over an efficient force. He therefore sent Lord George a written plan of his intentions, which was not, however, to be opened till he had sailed; and he desired Lord George to request the different chiefs and their men to seek their own safety as best they might. That act terminated the Rebellion.
ONE:And that marked the beginning of ten days of flying, sometimes with Tommy to give him the evolutions of recovering from side-slips, skids, tail spins, and other possibilities of flying, none of them hazards at sensible altitude, and with a calm mind guiding the controls. At other times stunts were taught, not to make him a daredevil, but because, in flying, an airplane sometimes gets into positions where the pilot must know every possible means of extricating it. Solo, and with Tommy, Larry became a good pilot.
welcome your challenge!!「あなたらしく」活躍できる場所がここにあります。
TWO:
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TWO:"See here," insisted Taylor; "turn round here and answer me." Cairness continued to stand with his head down, looking at the geraniums. The parson was wiser than his wife in that he knew when it was of no use to insist. "What's keeping you around here, anyway? You ought to have gotten out when you left the serviceand you half meant to then. What is it?"
THREE:The door catch yieldedtheir wrestling, struggling weight drew it inward.Previous to this, however, Chatham had thought over several decisive measures, and sketched out a scheme of foreign and domestic policy, which marked how far above the intellectual grasp of most of his contemporaries was that of his mind. He determined, if possible, to form an alliance of European states against the Family Compact of the Bourbons in France and Spain; to reform the Government of Ireland, which greatly needed it, and that of India.
THREE:But Crook was not dashing, only quiet and steady, and sure as death. Upon parade and occasions of ceremony he wore the gold lace and the stars. To do his life's work he put on an old flannel shirt, tied a kerchief around his neck, and set a pith helmet over those farseeing, keen little eyes. He might have been a [Pg 228]prospector, or a cow-boy, for all the outward seeming of it. His charger was oftenest a little government mule, and he walked, leading it over many and many a trail that even its sure feet could not trust.What it meant none of the three knew any better than did the half frozen caretaker who wished very sincerely that he had never come.
"Captain Landor," he corrected urbanely, "pleased to meet you, sir. They have expressed the desire that I should convey to you, sir, their wish to accompany you in the search for hostile Apaches."Close around Mr. Everdail, Jeff, Captain Parks and Miss Serena, with the youthful Sky Patrol in their midst, the rest of the sailors, and most of the house servants gathered.It has been already mentioned how large a place was given to erotic questions by the literary Platonists of the second century. Even in the school of Plotinus, Platonic love continued to be discussed, sometimes with a freedom which pained and disgusted the master beyond measure.431 His first essay was apparently suggested by a question put to him in the course of some such debate.432 The subject is beauty. In his treatment of it, we find our philosopher at once rising superior to the indecorous frivolities of his predecessors. Physical beauty he declares to be the ideal element in objects, that which they have received from the creative soul, and which the perceptive soul recognises as akin to her own essence. Love is nothing but the excitement and joy occasioned by this discovery. But to understand the truer and higher forms of beauty, we must turn away288 from sensible perceptions, and study it as manifested in wise institutions, virtuous habits, and scientific theories. The passionate enthusiasm excited by the contemplation of such qualities as magnanimity, or justice, or wisdom, or valour can only be explained by assuming that they reveal our inmost nature, showing us what we were destined for, what we originally were, and what we have ceased to be. For we need only enumerate the vices which make a soul hideousinjustice, sensuality, cowardice, and the liketo perceive that they are foreign to her real nature, and are imposed on her by contamination with the principle of all evil, which is matter. To be brave means not to dread death, because death is the separation of the soul from the body. Magnanimity means the neglect of earthly interests. Wisdom means the elevation of our thoughts to a higher world. The soul that virtue has thus released becomes pure reason, and reason is just what constitutes her intrinsic beauty. It is also what alone really exists; without it all the rest of Nature is nothing. Thus foul is opposed to fair, as evil to good and false to true. Once more, as the soul is beautiful by participation in reason, so reason in its turn depends on a still higher principle, the absolute good to which all things aspire, and from which they are derivedthe one source of life, of reason, and of existence. Behind all other loves is the longing for this ultimate good; and in proportion to its superiority over their objects is the intensity of the passion which it inspires, the happiness which its attainment and fruition must bestow. He who would behold this supreme beauty must not seek for it in the fair forms of the external world, for these are but the images and shadows of its glory. It can only be seen with the inward eye, only found in the recesses of our own soul. To comprehend the good we must be good ourselves; or, what is the same thing, we must be ourselves and nothing else. In this process of abstraction, we first arrive at pure reason, and then we say that the ideas289 of reason are what constitutes beauty. But beyond reason is that highest good of which beauty is merely the outward vesture, the source and principle from which beauty springs.The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfelsat whose court his brother-in-law was a valetwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburgwhere, in 1705, he brought out his "Almira"he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.
