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So Pallas spake, Goddess cærulean-eyed, And o'er the untillable and barren Deep Departing, Scheria left, land of delight, Whence reaching Marathon, and Athens next, She pass'd into Erectheus' fair abode. Ulysses, then, toward the palace moved Of King Alcinoüs, but immers'd in thought Stood, first, and paused, ere with his foot he press'd The brazen threshold; for a light he saw As of the sun or moon illuming clear The palace of Phæacia's mighty King. Walls plated bright with brass, on either side Stretch'd from the portal to th' interior house, With azure cornice crown'd; the doors were gold Which shut the palace fast; silver the posts Rear'd on a brazen threshold, and above, The lintels, silver, architraved with gold. Mastiffs, in gold and silver, lined the approach On either side, by art celestial framed Of Vulcan, guardians of Alcinoüs' gate For ever, unobnoxious to decay. Sheer from the threshold to the inner house Fixt thrones the walls, through all their length, adorn'd, With mantles overspread of subtlest warp Transparent, work of many a female hand. On these the princes of Phæacia sat, Holding perpetual feasts, while golden youths On all the sumptuous altars stood, their hands With burning torches charged, which, night by night, Shed radiance over all the festive throng. Full fifty female menials serv'd the King In household offices; the rapid mills These turning, pulverize the mellow'd grain, Those, seated orderly, the purple fleece Wind off, or ply the loom, restless as leaves Of lofty poplars fluttering in the breeze; Bright as with oil the new-wrought texture shone. Far as Phæacian mariners all else Surpass, the swift ship urging through the floods, So far in tissue-work the women pass All others, by Minerva's self endow'd With richest fancy and superior skill. Without the court, and to the gates adjoin'd A spacious garden lay, fenced all around Secure, four acres measuring complete. There grew luxuriant many a lofty tree, Pomegranate, pear, the apple blushing bright, The honied fig, and unctuous olive smooth. Those fruits, nor winter's cold nor summer's heat Fear ever, fail not, wither not, but hang Perennial, whose unceasing zephyr breathes Gently on all, enlarging these, and those Maturing genial; in an endless course Pears after pears to full dimensions swell, Figs follow figs, grapes clust'ring grow again Where clusters grew, and (ev'ry apple stript) The boughs soon tempt the gath'rer as before. There too, well-rooted, and of fruit profuse, His vineyard grows; part, wide-extended, basks, In the sun's beams; the arid level glows; In part they gather, and in part they tread The wine-press, while, before the eye, the grapes Here put their blossom forth, there, gather fast Their blackness. On the garden's verge extreme Flow'rs of all hues smile all the year, arranged With neatest art judicious, and amid The lovely scene two fountains welling forth, One visits, into ev'ry part diffus'd, The garden-ground, the other soft beneath The threshold steals into the palace-court, Whence ev'ry citizen his vase supplies.

BOOK VII     The Odyssey, by Homer

Then her Ulysses answer'd, ever-wise. Hard is the task, O Queen! (so long a time Hath since elaps'd) to tell thee. Twenty years Have pass'd since he forsook my native isle, Yet, from my best remembrance, I will give A likeness of him, such as now I may. A double cloak, thick-piled, Mœonian dyed, The noble Chief had on; two fast'nings held The golden clasp, and it display'd in front A well-wrought pattern with much art design'd. An hound between his fore-feet holding fast A dappled fawn, gaped eager on his prey. All wonder'd, seeing, how in lifeless gold Express'd, the dog with open mouth her throat Attempted still, and how the fawn with hoofs Thrust trembling forward, struggled to escape. That glorious mantle much I noticed, soft To touch, as the dried garlick's glossy film; Such was the smoothness of it, and it shone Sun-bright; full many a maiden, trust me, view'd The splendid texture with admiring eyes. But mark me now; deep treasure in thy mind This word. I know not if Ulysses wore That cloak at home, or whether of his train Some warrior gave it to him on his way, Or else some host of his; for many loved Ulysses, and with him might few compare. I gave to him, myself, a brazen sword, A purple cloak magnificent, and vest Of royal length, and when he sought his bark, With princely pomp dismiss'd him from the shore. An herald also waited on the Chief, Somewhat his Senior; him I next describe. His back was bunch'd, his visage swarthy, curl'd His poll, and he was named Eurybates; A man whom most of all his followers far Ulysses honour'd, for their minds were one.

BOOK XIX     The Odyssey, by Homer

That he carried prayer to the pitch of a superhuman aspiration is probable: but one can no more pray too much than one can love too much; and if it is a heresy to pray beyond the texts, Saint Theresa and Saint Jerome would be heretics.

Victor Hugo     Les Miserables

"Nor less the queen our parting thence deplor'd, Nor was less bounteous than her Trojan lord. A noble present to my son she brought, A robe with flow'rs on golden tissue wrought, A phrygian vest; and loads with gifts beside Of precious texture, and of Asian pride. 'Accept,' she said, 'these monuments of love, Which in my youth with happier hands I wove: Regard these trifles for the giver's sake; 'T is the last present Hector's wife can make. Thou call'st my lost Astyanax to mind; In thee his features and his form I find: His eyes so sparkled with a lively flame; Such were his motions; such was all his frame; And ah! had Heav'n so pleas'd, his years had been the same.'

Virgil     The Aeneid

So spake Telemachus, but in his heart Knew well his guest a Goddess from the skies. Then they to dance and heart-enlivening song Turn'd joyous, waiting the approach of eve, And dusky evening found them joyous still. Then each, to his own house retiring, sought Needful repose. Meantime Telemachus To his own lofty chamber, built in view Of the wide hall, retired; but with a heart In various musings occupied intense. Sage Euryclea, bearing in each hand A torch, preceded him; her sire was Ops, Pisenor's son, and, in her early prime, At his own cost Laertes made her his, Paying with twenty beeves her purchase-price, Nor in less honour than his spotless wife He held her ever, but his consort's wrath Fearing, at no time call'd her to his bed. She bore the torches, and with truer heart Loved him than any of the female train, For she had nurs'd him in his infant years. He open'd his broad chamber-valves, and sat On his couch-side: then putting off his vest Of softest texture, placed it in the hands Of the attendant dame discrete, who first Folding it with exactest care, beside His bed suspended it, and, going forth, Drew by its silver ring the portal close, And fasten'd it with bolt and brace secure. There lay Telemachus, on finest wool Reposed, contemplating all night his course Prescribed by Pallas to the Pylian shore.

BOOK II     The Odyssey, by Homer

The _Conte del Graal_, or _Perceval_, is only accessible in the edition of M. Potvin (6 vols., 1866-1871). The Mons MS., from which this has been printed, has proved to be an exceedingly poor and untrustworthy text. _Parzival_, by Wolfram von Eschenbach, has been frequently and well edited; the edition by Bartsch (1875-1877), in _Deutsche Classiker des Mittelalters_, contains full notes and a glossary. Suitable for the more advanced student are those by K. Lachmann (1891), Leitzmann (1902-1903) and E. Martin (1903). There are modern German translations by Simrock (very close to the original) and Hertz (excellent notes). English translation with notes and appendices by J. L. Weston. "Didot" _Perceval_, ed. Hucher, _Le Saint Graal_ (1875-1878), vol. i. _Perlesvaus_ was printed by Potvin, under the title of _Perceval le Gallois_, in vol. i. of the edition above referred to; a Welsh version from the Hengwert MS. was published with translation by Canon R. Williams (2 vols., 1876-1892). Under the title of _The High History of the Holy Grail_ a fine version was published by Dr Sebastian Evans in the Temple Classics (2 vols., 1898). The _Grand Saint Graal_ was published by Hucher as given above; this edition includes the _Joseph of Arimathea_. A 15th century metrical English adaptation by one Henry Lovelich, was printed by Dr Furnivall for the Roxburghe Club 1861-1863; a new edition was undertaken for the Early English Text Society. _Quête du Saint Graal_ can best be studied in Malory's somewhat abridged translation, books xiii.-xviii. of the _Morte Arthur_. It has also been printed by Dr Furnivall for the Roxburghe Club, from a MS. in the British Museum. Neither of these texts is, however, very good, and the student who can decipher old Dutch would do well to read it in the metrical translation published by Joenckbloet, _Roman van Lanceloet_, as the original here was considerably fuller. Entry: BIBLIOGRAPHY

Encyclopaedia Britannica, 11th Edition, Volume 12, Slice 3 "Gordon, Lord George" to "Grasses"     1910-1911

JONATHAN (Heb. "Yah [weh] gives"). Of the many Jewish bearers of this name, three are well known: (1) the grandson of Moses, who was priest at Dan (Judg. xviii. 30). The reading Manasseh (see R.V. mg.; obtained by inserting _n_ above the consonantal text in the Hebrew) is apparently intended to suggest that he was the son of that idolatrous king. (2) The eldest son of Saul, who, together with his father, freed Israel from the crushing oppression of the Philistines (1 Sam. xiii. seq.). Both are lauded in an elegy quoted from the Book of Jashar (2 Sam. i.) for their warm mutual love, their heroism, and their labours on behalf of the people. Jonathan's name is most familiar for the firm friendship which subsisted between him and David (1 Sam. xviii. 1-4; xix. 1-7; xx., xxii. 8; xxiii. 16-18), and when he fell at the battle of Gilboa and left behind him a young child (1 Sam. xxxi.; 2 Sam. iv. 4), David took charge of the youth and gave him a place at his court (2 Sam. ix.). See further DAVID, SAUL. (3) The Maccabee (see JEWS; MACCABEES). Entry: JONATHAN

Encyclopaedia Britannica, 11th Edition, Volume 15, Slice 5 "Joints" to "Justinian I."     1910-1911

ARTS AND CRAFTS, a comprehensive title for the arts of decorative design and handicraft--all those which, in association with the mother-craft of building (or architecture), go to the making of the house beautiful. Accounts of these will be found under separate headings. "Arts and crafts" are also associated with the movement generally understood as the English revival of decorative art, which began about 1875. The title itself only came into general use when the Arts and Crafts Exhibition Society was founded, and held its first exhibition at the New Gallery, London, in the autumn of 1888, since which time arts and crafts exhibitions have been common all over Great Britain. The idea of forming a society for the purpose of showing contemporary work in design and handicraft really arose out of a movement of revolt or protest against the exclusive view of art encouraged by the Royal Academy exhibitions, in which oil paintings in gilt frames claimed almost exclusive attention--sculpture, architecture and the arts of decorative design being relegated to quite subordinate positions. In 1886, out of a feeling of discontent among artists as to the inadequacy of the Royal Academy exhibitions, considered as representing the art of Great Britain, a demand arose for a national exhibition to include all the arts of design. One of the points of this demand was for the annual election of the hanging committee by the whole body of artists. After many meetings the group representing the arts and crafts (who belonged to a larger body of artists and craftsmen called the Art-workers' Guild, founded in 1884),[1] perceiving that the painters, especially the leading group of a school not hitherto well represented in the Academy exhibitions, only cherished the hope of forcing certain reforms on the Academy, and were by no means prepared to lose their chances of admission to its privileges, still less to run any risk in the establishment of a really comprehensive national exhibition of art, decided to organize an exhibition themselves in which artists and craftsmen might show their productions, so that contemporary work in decorative art should be displayed to the public on the same footing, and with the same advantages as had hitherto been monopolized by pictorial art. For many years previously there had been great activity in the study and revival in the practice of many of the neglected decorative handicrafts. Amateur societies and classes were in existence, like the Home Arts and Industries Association, which had established village classes in wood-carving, metal work, spinning and weaving, needlework, pottery and basket-work, and the public interest in handicraft was steadily growing. The machine production of an industrial century had laid its iron hands upon what had formerly been the exclusive province of the handicraftsman, who only lingered on in a few obscure trades and in forgotten corners of England for the most part. The ideal of mechanical perfection dominated British workmen, and the factory system, first by extreme division of labour, and then by the further specialization of the workman under machine production, left no room for individual artistic feeling among craftsmen trained and working under such conditions. The demand of the world-market ruled the character and quality of production, and to the few who would seek some humanity, simplicity of construction or artistic feeling in their domestic decorations and furniture, the only choice was that of the tradesman or salesman, or a plunge into costly and doubtful experiments in original design. From the 'forties onward there had been much research and study of medieval art in England; there had been many able designers, architects and antiquaries, such as the Pugins and Henry Shaw (1800-1873) and later William Burges (1827-1881), William Butterfield (1814-1900) and G.E. Street and others. The school of pre-Raphaelite painters, by their careful and thorough methods, and their sympathy with medieval design, were among the first to turn attention to beauty of design, colour and significance in the accessories of daily life, and artists like D.G. Rossetti, Ford Madox Brown, and W. Holman Hunt themselves designed and painted furniture. The most successful and most practical effort indeed towards the revival of sounder ideas of construction and workmanship may be said to have arisen out of the work of this group of artists, and may be traced to the workshop of William Morris and his associates in Queen Square, London. William Morris, whose name covers so large a field of artistic as well as literary and social work, came well equipped to his task of raising the arts of design and handicraft, of changing the taste of his countrymen from the corrupt and vulgar ostentation of the Second Empire, and its cheap imitations, which prevailed in the 'fifties and 'sixties, and of winning them back, for a time at least, to the massive simplicity of plain oak furniture, or the delicate beauty of inlays of choice woods, or the charm of painted work, the richness and frank colour of formal floral and heraldic pattern in silk textiles and wall-hangings and carpets, the gaiety and freshness of printed cotton, or the romantic splendour of arras tapestry. Both William Morris and his artistic comrade and lifelong friend, Edward Burne-Jones, were no doubt much influenced at the outset by the imaginative insight, the passionate artistic feeling, and the love of medieval romance and colour of Dante Gabriel Rossetti, who remains so remarkable a figure in the great artistic and poetic revival of the latter half of the 19th century. To William Morris himself, in his artistic career, it was no small advantage to gain the ear of the English public first by his poetry. His verse-craft helped his handicraft, but both lived side by side. The secret of Morris's great influence in the revival was no doubt to be attributed to his way of personally mastering the working details and handling of each craft he took up in turn, as well as to his power of inspiring his helpers and followers. He was painter, designer, scribe, illuminator, wood-engraver, dyer, weaver and finally printer and papermaker, and having mastered these crafts he could effectively direct and criticize the work of others. His own work and that of Burne-Jones were well known to the public, and in high favour long before the Arts and Crafts Exhibition Society was formed, and though largely helped and inspired by the work of these two artists, the aims and objects of the society rather represented those of a younger generation, and were in some measure a fresh development both of the social and the artistic ideas which were represented by Ruskin, Rossetti and Morris, though the society includes men of different schools. Other sources of influence might be named, such as the work of Norman Shaw and Philip Webb in architecture and decoration, of Lewis Day in surface pattern, and William de Morgan in pottery. The demand for the acknowledgment of the personality of each responsible craftsman in a co-operative work was new, and it had direct bearing upon the social and economic conditions of artistic production. The principle, too, of regarding the material, object, method and purpose of a work as essential conditions of its artistic expression, the form and character of which must always be controlled by such conditions, had never before been so emphatically stated, though it practically endorsed the somewhat vague aspirations current for the unity of beauty with utility. Again, a very notable return to extreme simplicity of design in furniture and surface decoration may be remarked; and a certain reserve in the use of colour and ornament, and a love of abstract forms in decoration generally, which are characteristic of later taste. Not less remarkable has been the new development in the design and workmanship of jewelry, gold- and silversmiths' work, and enamels, with which the names of Alexander Fisher, Henry Wilson, Nelson Dawson and C.R. Ashbee are associated. Among the arts and crafts of design which have blossomed into new life in recent years-and there is hardly one which has not been touched by the new spirit--book-binding must be named as having attained a fresh and tasteful development through the work of Mr Cobden-Sanderson and his pupils. The art and craft of the needle also must not be forgotten, and its progress is a good criterion of taste in design, choice of colour and treatment. The work of Mrs Morris, of Miss Burden (sometime instructress at the Royal School of Art Needlework, which has carried on its work from 1875), of Miss May Morris, of Miss Una Taylor, of Miss Buckle, of Mrs Walter Crane, of Mrs Newbery, besides many other skilled needlewomen, has been frequently exhibited. Good work is often seen in the national competition works of the students of the English art schools, shown at South Kensington in July. The increase of late years in these exhibitions of designs worked out in the actual material for which they were intended is very remarkable, and is an evidence of the spread of the arts and crafts movement (fostered no doubt by the increase of technical schools, especially of the type of the Central School of Arts and Crafts under the Technical Education Board of the London County Council), of which it may be said that if it has not turned all British craftsmen into artists or all British artists into craftsmen, it had done not a little to expand and socialize the idea of art, and (perhaps it is not too much to say) has made the tasteful English house with its furniture and decorations a model for the civilized world. (W. Cr.) Entry: ARTS

Encyclopaedia Britannica, 11th Edition, Volume 2, Slice 6 "Armour Plates" to "Arundel, Earls of"     1910-1911

In the same way, Chopin is nowhere more characteristic than where he shows his love of the _Wohltemperirtes Klavier_ in his Études and Preludes; and so subtle is the influence of polyphonic style even over a writer so little apt to make direct use of it as Chopin, that one of Schumann's few plagiarisms occurs in his use of a phrase from Chopin's F minor Étude (written for the _Méthode des méthodes_) as the subject of a fugue (Op. 72, No. 3). And, apart from fugues, which Schumann cultivated assiduously at a late stage in his career, the influence of Bach pervades the texture and rhythm of his work in more ways than can easily be followed. Entry: BACH

Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 1 "Austria, Lower" to "Bacon"     1910-1911

The _History of the Dukes of Normandy_ by Benoît de Sainte-More is based on the work of Wace. It was composed at the request of Henry II. about 1170, and takes us as far as the year 1135 (ed. by Francisque Michel, 1836-1844, _Collection de documents inédits,_ 3 vols.). The 43,000 lines which it contains are of but little interest to the historian; they are too evidently the work of a _romancier courtois,_ who takes pleasure in recounting love-adventures such as those he has described in his romance of Troy. Other works, however, give us more trustworthy information, for example, the anonymous poem on Henry II.'s _Conquest of Ireland_ in 1172 (ed. Francisque Michel, London, 1837), which, together with the _Expugnatio hibernica_ of Giraud de Barri, constitutes our chief authority on this subject. The _Conquest of Ireland_ was republished in 1892 by Goddard Henry Orpen, under the title of _The Song of Dermot and the Earl_ (Oxford, Clarendon Press). Similarly, Jourdain Fantosme, who was in the north of England in 1174, wrote an account of the wars between Henry II., his sons, William the Lion of Scotland and Louis VII., in 1173 and 1174 (_Chronicle of the reigns of Stephen_ ... III., ed. by Joseph Stevenson and Fr. Michel, London, 1886, pp. 202-307). Not one of these histories, however, is to be compared in value with _The History of William the Marshal, Count of Striguil and Pembroke,_ regent of England from 1216-1219, which was found and subsequently edited by Paul Meyer (_Société de l'histoire de France,_ 3 vols., 1891-1901). This masterpiece of historiography was composed in 1225 or 1226 by a professional poet of talent at the request of William, son of the marshal. It was compiled from the notes of the marshal's squire, John d'Early ([+] 1230 or 1231), who shared all the vicissitudes of his master's life and was one of the executors of his will. This work is of great value for the history of the period 1186-1219, as the information furnished by John d'Early is either personal or obtained at first hand. In the part which deals with the period before 1186, it is true, there are various mistakes, due to the author's ignorance of contemporary history, but these slight blemishes are amply atoned for by the literary value of the work. The style is concise, the anecdotes are well told, the descriptions short and picturesque; the whole constitutes one of the most living pictures of medieval society. Very pale by the side of this work appear the _Chronique_ of Peter of Langtoft, written between 1311 and 1320, and mainly of interest for the period 1294-1307 (ed. by T. Wright, London, 1866-1868); the _Chronique_ of Nicholas Trevet (1258?-1328?), dedicated to Princess Mary, daughter of Edward I. (Duffus Hardy, _Descr. Catal._ III., 349-350); the _Scala Chronica_ compiled by Thomas Gray of Heaton ([+] _c._ 1369), which carries us to the year 1362-1363 (ed. by J. Stevenson, Maitland Club, Edinburgh, 1836); the _Black Prince,_ a poem by the poet Chandos, composed about 1386, and relating the life of the Black Prince from 1346-1376 (re-edited by Francisque Michel, London and Paris, 1883); and, lastly, the different versions of the _Brutes,_ the form and historical importance of which have been indicated by Paul Meyer (_Bulletin de la Société des Anciens Textes,_ 1878, pp. 104-145), and by F.W.D. Brie (_Geschichte und Quellen der mittelenglischen Prosachronik, The Brute of England or The Chronicles of England,_ Marburg, 1905). Entry: ANGLO

Encyclopaedia Britannica, 11th Edition, Volume 2, Part 1, Slice 1     1910-1911