SEARCH
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Prev | Current Page 206 | Next

???±ez, Vicente, 1867-1928

"The Four Horsemen of the Apocalypse"

THEY were thousands of helmets glistening in the sun,
thousands of heavy boots lifted with mechanical rigidity at the same
time; horns, fifes, drums large and small, clashing against the majestic
silence of these stones--the warlike march from Lohengrin sounding in
the deserted avenues before the closed houses.
He, who was a foreigner, always felt attracted by the spell exerted by
venerable buildings guarding the glory of a bygone day. He did not wish
to know who had erected it. As soon as its pride is flattered, mankind
tries immediately to solidify it. Then Humanity intervenes with a
broader vision that changes the original significance of the work,
enlarges it and strips it of its first egotistical import. The Greek
statues, models of the highest beauty, had been originally mere images
of the temple, donated by the piety of the devotees of those times.
Upon evoking Roman grandeur, everybody sees in imagination the enormous
Coliseum, circle of butcheries, or the arches erected to the glory
of the inept Caesars. The representative works of nations have two
significations--the interior or immediate one which their creators gave
them, and the exterior or universal interest, the symbolic value which
the centuries have given them.
"This Arch," continued Tchernoff, "is French within, with its names
of battles and generals open to criticism.


Pages:
194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218