Chretien De Troyes has had the peculiar fortune of becoming the best known of the old French poets to students of mediaeval literature, and of remaining practically unknown to any one else. The acquaintance of students with the work of Chretien has been made possible in academic circles by the admirable critical editions of his romances undertaken and carried to completion during the past thirty years... more...

CHAPTER I. How Sir Tristram jousted, and smote down King Arthur, because he told him not the cause why he bare that shield. AND if so be ye can descrive what ye bear, ye are worthy to bear the arms. As for that, said Sir Tristram, I will answer you; this shield was given me, not desired, of Queen Morgan le Fay; and as for me, I can not descrive these arms, for it is no point of my charge, and yet I... more...

Preface When I first saw Mr. Osgood's beautiful illustrated edition of The Lady of the Lake, I asked him to let me use some of the cuts in a cheaper annotated edition for school and household use; and the present volume is the result. The text of the poem has given me unexpected trouble. When I edited some of Gray's poems several years ago, I found that they had not been correctly printed for... more...

THIS exhibition has been arranged with a desire to meet the convenience of those who are interested in manifestations of the arts of different countries over which Islam held sway at one time or other in the past. An effort has been made to show under one roof representative examples of works produced at different epochs and stages of the civilizations referred to, so that they may be seen, and perhaps... more...

THE VENETIAN PAINTERS OF THE RENAISSANCE I. Value of Venetian Art.—Among the Italian schools of painting the Venetian has, for the majority of art-loving people, the strongest and most enduring attraction. In the course of the present brief account of the life of that school we shall perhaps discover some of the causes of our peculiar delight and interest in the Venetian painters, as we come to... more...

Once upon a time, a thousand years before Columbus discovered America, and when Rome was still the greatest city in the world, there lived a brave and beautiful youth whose name was Arthur. His home was in England, near London; and he lived with the good knight Sir Hector, whom he always called father. They dwelt in a great square castle of gray stone, with a round tower at each corner. It was built... more...

               And indeed He seems to me  Scarce other than my king's ideal knight,  'Who reverenced his conscience as his king;  Whose glory was, redressing human wrong;  Who spake no slander, no, nor listened to it;  Who loved one only and who clave to her—'  Her—over all whose realms to their last isle,  Commingled with the gloom of imminent... more...

"Panis Angelicus fit panis hominum. O res mirabilis, manducat Dominum Pauper, Servus et Humilis." These words of the Matins of the Most Holy Sacrament I heard for the first time many years ago, to the beautiful and inappropriate music of Cherubini. They struck me at that time as foolish, barbarous, and almost gross; but since then I have learned to think of them, and in a measure to feel of... more...

PREFACE It is to be supposed that children do not read Prefaces; these are Bluebeard's rooms, which they are not curious to unlock. A few words may therefore be said about the Romances contained in this book. In the editor's opinion, romances are only fairy tales grown up. The whole mass of the plot and incident of romance was invented by nobody knows who, nobody knows when, nobody knows... more...

CHAPTER I ART AND RITUAL The title of this book may strike the reader as strange and even dissonant. What have art and ritual to do together? The ritualist is, to the modern mind, a man concerned perhaps unduly with fixed forms and ceremonies, with carrying out the rigidly prescribed ordinances of a church or sect. The artist, on the other hand, we think of as free in thought and untrammelled by... more...