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# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily XIII/Chapter 1

Homily XIII.
Chapter I.—Journey to Laodicea.
Now at break of day Peter entered, and said:  “Clement, and his mother Mattidia, and my wife, must take their seats immediately on the waggon.” And so they did straightway. And as we were hastening along the road to Balanæae, my mother asked me how my father was; and I said:  “My father went in search of you, and of my twin brothers Faustinus and Faustinianus, and is now nowhere to be found. But I fancy he must have died long ago, either perishing by shipwreck, or losing his way, or wasted away by grief.” When she heard this, she burst into tears, and groaned through grief; but the joy which she felt at finding me, mitigated in some degree the painfulness of her recollections.  And so we all went down together to Balanæae. And on the following day we went to Paltus, and from that to Gabala; and on the next day we reached Laodicea. And, lo! before the gates of the city Nicetas and Aquila met us, and embracing us, brought us to our lodging. Now Peter, seeing that the city was beautiful and great, said: “It is worth our while to stay here for some days; for, generally speaking, a populous place is most capable of yielding us those whom we seek.” Nicetas and Aquila asked me who that strange woman was; and I said: “My mother, whom God, through my lord Peter, has granted me to recognise.”

## Footnotes

* ↑ [Comp. Recognitions, vii. 25. Here the narrative is somewhat fuller in detail.—R.]
* ↑ Cotelerius conjectured σφαγέντα for σφαλέντα—“being slain on our journey.”
* ↑ The first Epitome explains “those whom we seek” as those who are worthy to share in Christ or in Christ’s Gospel.
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily XII/Chapter 5

Chapter V.—Clement’s Office of Service.
Then I answered, “Do not think, my lord, that I should endure that grief foolishly, but with some good reason. For since I hold you, my lord, in place of all, father, mother, brothers, relatives, you who are the means through God of my having the saving truth, holding you in place of all, I have the greatest consolation. And in addition to this, being afraid of my natural youthful lust, I was concerned lest, being left by you (being but a young man, and having now such a resolution that it would be impossible to desert you without incurring the anger of God,) I should be overcome by lust. But since it is much better and safer for me to remain with you, when my mind is with good reason set upon venerating, therefore I pray that I may always remain with you. Moreover, I remember you saying in Cæsarea, ‘If any one wishes to journey with me, let him piously journey.’ And by piously you meant, that those who are devoted to the worship of God should grieve no one in respect of God, such as by leaving parents, an attached wife, or any others. Whence I am in all respects a fitting fellow-traveller for you, to whom, if you would confer the greatest favour, you would allow to perform the functions of a servant.”

## Footnotes

* ↑ Here the text is hopelessly corrupt, and the meaning can only be guessed at.
* ↑ I have ventured to make a very slight change on the reading here, so as to bring out what I suppose to be the sense.
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily XIII/Chapter 10

Chapter X.—Mattidia Values Baptism Aright.
And I said: “Tell us what it was that she said which made her faith manifest.” And Peter, said: “Her request that her hostess and benefactress should be baptized along with her. For she would not have besought this to be granted to her whom she loves, had she not herself first felt that baptism was a great gift. And for this reason I condemn many that, after being baptized, and asserting that they have faith, they yet do nothing worthy of faith; nor do they urge those whom they love—I mean their wives, or sons, or friends—to be baptized. For if they had believed that God grants eternal life with good works on the acceptance of baptism, they without delay would urge those whom they loved to be baptized. But some one of you will say, ‘They do love them, and care for them.’  That is nonsense. For do they not, most assuredly, when they see them sick, or led away along the road that ends in death, or enduring any other trial, lament over them and pity them? So, if they believed that eternal fire awaits those who worship not God, they would not cease admonishing them, or being in deep distress for them as unbelievers, if they saw them disobedient, being fully assured that punishment awaits them. But now I shall send for the hostess, and question her as to whether she deliberately accepts the law which is proclaimed through us; and so, according to her state of mind, shall we do what ought to be done.

## Footnotes

* ↑ Lit., “to this.”
* ↑ ἐπὶ τῷ βαπτίσματι; lit., “on the condition of baptism.”
* ↑ Lit., “the law which is by means of us.” But the Epitomes, and a various reading in Cotelerius, give “our law.”
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily XIII/Chapter 12

Chapter XII.—The Difficulty Solved.
And Peter said: “Let not wickedness have dominion over us, finding a pretext in Providence and your affection for your mother; but rather abide this day in your fast, and I shall join you in it, and tomorrow she will be baptized. And, besides, this hour of the day is not suitable for baptism.” Then we all agreed that it should be so.
# Anecdotes of Great Musicians/Anecdote 103

103.—LISZT'S PRECOCITY.
The early life of the great pianist, Franz Liszt, reads, in some respects, like the story of Mozart's youth. Liszt manifested his musical genius when very young, and appeared in his first public concert when but nine years ​old. Shortly after this he played for a gathering of nobility at the palace of Prince Esterhazy, in whose service the boy's father was as assistant steward; and at that time six noblemen subscribed six hundred gulden a year for six years, that this prodigy might have the means for a proper education.
Adam Liszt then wrote to Hummel, the pupil of Mozart, to secure for his son tuition of this celebrated player. But Hummel's terms were higher than Liszt could afford, so they went to Vienna and sought instruction of Czerny. Czerny was so crowded with work that he declined to receive another pupil. Therefore little Franz, without more ado, seated himself at the piano. On hearing the playing of the youthful Liszt, Czerny quickly changed his mind, and not only received him as a pupil, but refused to take any tuition money from such a genius. A few years later, when they went to Paris, the boy was given the title "the little Mozart." His playing was phenomenal, and he at once became the rage in that artistic city. To show the regard in which this young artist was held—for he was at that time but eleven years old—we quote the following from a criticism of his playing:—
"I cannot help it; since yesterday evening I am a believer in metempsychosis. I am convinced that the soul and spirit of Mozart have passed into the body of young Liszt. And never has an identity revealed itself by plainer signs. The same country, the same wonderful talent in childhood, and in the same art!
"Mozart, in taking the name of Liszt, has lost nothing of that interesting countenance which always increases the interest a child inspires in us by his precocious talent. The features of our little prodigy express spirit and cheerfulness. He comes before his audience with exceeding gracefulness; and the pleasure, the admiration, which he awakens in his hearers as soon as his fingers glide along the keys seem to him an amusement which diverts him extremely."
# Anecdotes of Great Musicians/Anecdote 105

105.—A PECULIAR GENIUS.
When we read of Thomas Britton, who lived in London in Händel's time, we might almost believe that music furnished more of a bond between all classes of society in those days than in ours. Britton was a coal dealer, or, as the English say, a coal heaver, or dealer in "small coals." In spite of this humble occupation he was a great lover of music and had the loft over his coal warehouse so arranged as to accommodate an audience. Thither many of the celebrated musicians of the day ​and noble lords and beautiful ladies would wend their way, attracted by the music and the company they found there. In the morning Britton would be lugging a sack of coal to some customer, and in the afternoon he would be entertaining such personages as Händel, Dr. Pepusch, Jennens (Händel's librettist), Sir Roger L'Estrange, and the Duchess This, the Countess That, and Lady T'other.
The best of music was performed at these informal gatherings. With Händel at the harpsichord, Bannister, the first great English violinist, with his fiddle, and perhaps the famous soprano, Cuzzoni, to sing one of Händel's latest airs, we may imagine that never did another coal warehouse resound to such music or entertain such a company. Not only were musicians here assembled, but also writers, philosophers, and poets came to contribute their quota to this humble salon.
Such a condition of affairs speaks well for the democratic spirit of that day. We doubt if a man of Britton's humble origin and occupation would be thus countenanced by the English aristocracy of to-day, however musical he might be.
Britton came to his death in a peculiar way. One of the attendants at his impromptu concerts was a ventriloquist; and this man one day, in a spirit of fun, called out that Britton would die in a few hours if he did not at once drop on his knees and say the Lord's Prayer. The voice seemed to be intangible, to come from space. Britton, greatly frightened, did as he was bid; but he suffered so from terror that he died a few days after—an ignominious death for an original genius.
# Anecdotes of Great Musicians/Anecdote 100

100.—PATTI'S DOG.
Prima Donnas, like many less distinguished folk often have a weakness for pets. Adelina Patti possessed a tiny dog of rare Mexican breed, which was a present from one of the Mexican Presidents. The little creature led a life of great luxury, and accompanied the great songstress everywhere. During an American tour the little dog, to the inconsolable grief of its mistress, departed this life. Shortly afterwards, at the close of a performance of "Lucia," when the Diva came before the curtain to acknowledge the plaudits of the audience and to receive the floral tributes showered upon her from all parts of the house, a casket of roses was handed up to her. Immediately Patti received the gift, the outer case of flowers sprang open, and then was disclosed a silk pillow upon which reposed another tiny Mexican dog to take the place of him who had joined the majority. The excitement of the audience knew no bounds at witnessing this episode, and Patti was obliged to continue to appear before the curtain fondling her new treasure.
# Anecdotes of Great Musicians/Anecdote 101

101.—CLEMENTI'S ECONOMY.
Muzio Clementi is known to so many in the present day as merely a composer of sonatinas and of a series of études, that we fail to realize his true place in musical history.
He was born in Rome in 1752. By the time he was fifteen he was well known in his native city as a player and composer. He attracted the attention of an Englishman who carried him off to England to give him a broader education. There he soon became the most prominent musician of his day. His was the first music that was composed for the pianoforte, and it was on his works that the modern school of piano playing was founded.
When he was visiting Vienna, the Emperor Joseph arranged for a musical duello between Mozart and Clementi, but they were so equally great as performers that it could not be decided who was the superior.
Later in life he bought an interest in a London firm of instrument makers and music publishers, and by his energy, business talents, and economical habits succeeded in accumulating a large fortune in spite of various business reverses.
Speaking of Clementi's economy reminds us of a story told of him by Spohr. That entertaining writer met him and John Field, his pupil, in St. Petersburg, where Clementi did a large business and where Field made a name for himself as a composer. One day Spohr called on them and found teacher and pupil at the wash-tub, washing their stockings and other linen. They did not suffer themselves to be disturbed, and "Clementi advised me," writes Spohr, "to do the same, as washing in St. Petersburg was not only very expensive, but the linen suffered much from the method used in washing it."
# Anecdotes of Great Musicians/Anecdote 102

102.—MUSIC AT SO MUCH PER NOTE.
The statistician is never satisfied unless he has a thing represented in cold-blooded figures. Some have even gone so far as to estimate how much various artists earned for every note they sang or played. For instance, one mathematician tells us that Rossini got eighteen pence per note for each note he wrote in the opera of "Semiramide."
This is certainly "drawing one's note" for goodly figures. But it pays even better to be a singer than a composer; for we are told that every time Patti sings "Semiramide" she gets fifteen pence per note. In "Lucia di Lammermoor" the rate is still higher, as the notes are fewer. In this opera, when she gets her best rates, "La Diva" draws her one and ninepence per note.
But these are moderate figures, when we consider the prices at which Paganini used to draw the bow. At a certain concert in Paris, in which he played some fifteen pages of violin music and at which his proceeds were one hundred and sixty-five thousand francs, it was found by some patient figurer that the "Wizard of the Violin" received nine and threepence per measure. Divided on the basis of time, his receipts were four and sevenpence for every quarter-note or every quarter-rest, half that sum for every eighth-note or eighth-rest, and so on.
This is getting musical mathematics down to a pretty fine point. Soon we will have some fellow calculating the cost to the world of each note of Gabriel's final trumpet blast.
# Anecdotes of Great Musicians/Anecdote 106

106.—SHAKING ALL OVER.
It is well known that Queen Victoria was formerly an excellent pianiste, and is possessed of a remarkably correct ear. Baroness Bloomfield, in her "Reminiscences," relates how on one occasion the Queen asked her to ​sing, and she, with fear and trembling, sang one of Grisi's famous airs, but omitted the shake, or, as we should say in this country, the trill, at the end. The Queen's quick ear immediately detected the omission and, smilingly, her Majesty said to Lady Normanby, her sister: "Does not your sister shake, Lady Normanby?" To which that lady promptly replied; "Oh, yes, ma'am; she is shaking all over."
# Anecdotes of Great Musicians/Anecdote 107

107.—THE "OX" MINUET.
There is no sensible reason for the titles attached to many pieces of music, some of them even classical selections. Most generally they are placed there as an attempt of some publisher to "boom" his stock and sell his goods. Then, again, some peculiar titles may have their origin in incidents about as important as the following:
Haydn one day received a visit from a butcher who stated that himself and his daughter were admirers of Haydn's music; and as the young lady was soon to be married, he made bold to ask that the composer write a minuet for her wedding. Kind "Papa Haydn" consented, and in a few days the man of meat secured his music. Not long afterward, Haydn was surprised to hear this same minuet played under his window. On looking out he saw a band of musicians forming a ring around a large ox, tastefully decorated with flowers. Soon the butcher came up and presented the ox to Haydn, saying that for such excellent music he thought he ought to make the composer a present of the best ox in his possession. Ever after, this little composition was called the "Ox" minuet.
# Anecdotes of Great Musicians/Anecdote 109

109.—MODULATIONS.
One prominent point of difference between the old classic and the modern schools of operatic composition is in the matter of modulation. The older writers, Mozart, Cimarosa, Spontini, et al, used comparatively few changes of key. The tonality was preserved, or on being departed from, was left in a formal and in a perfectly clear style.
​But in the modern school, as represented by Wagner, Mascagni, and the older Verdi, abruptness of modulation is no rare thing. One of Wagner's theories was that a composer should not be confined to any given succession of keys, that he should be free to "swim in a sea of tone;" but many who have essayed this tonal sea have been drowned therein. Where Wagner could swim they could only flounder and sink.
In this modern school, changes in circumstances or plot of the opera are frequently accompanied by sudden modulations in key relationship, and often the composer does not wait for "something to happen," but changes his key at will, this being the theory of the new school.
As long ago as the time of Grétry, the French composer, the pros and cons of this subject were agitated.
A musician once asked him why he did not make use of some of those sudden transitions in key, and his reply was:—
"Some day I will give the public a taste of that sort of thing, but I must have my reasons for it."
"Oh, what are they?"
"Well, for example, suppose in the plot of the opera some amorous swain, in spite of a father's strict injunctions, should attempt to make love to a fair damsel,—if the father should steal on them unawares, and astonish our lover from behind with a hearty kick, then, I assure you, I will modulate very abruptly!"
Certainly the lover would think this good cause for a sudden change of base!
# Anecdotes of Great Musicians/Anecdote 104

104.—KEEPING AT IT.
Eternal vigilance is said to be the price of liberty; and we might say that everlasting practice is the price of virtuosity. This principle has been illustrated in the lives of nearly every great artist. The following episode has been paralleled in the history of several of the famous virtuosi:—
Lolli, a celebrated violinist of the last century, found, when he went to Stuttgart, a very superior player named Nardini. In fact, Lolli was quite eclipsed, and he felt his secondary ability very keenly. He realized his need of practice so much that he requested a leave of a year's absence from his patron prince. But instead of putting in the time at traveling, which he had declared his intention to do, he retired to a small village, and worked at his instrument until the year had expired. Then he returned; and by the increased brilliancy and effectiveness of his playing, his rival, Nardini, was forced to seek other fields of labor.
Another violinist of note, Giardini, when asked how long it would take one to play the fiddle well, answered "Twelve hours a day for twenty years!"
So our first statement would seem to be correct; the only shortcut to virtuosity is to "keep everlastingly at it."
# Ante-Nicene Fathers/Volume IV/Origen/Origen Against Celsus/Book VIII/Chapter LXI

Chapter LXI.
For consider with yourself which disposition of mind will be more acceptable to the Most High, whose power is supreme and universal, and who directs all for the welfare of mankind in body, and in mind, and in outward things,—whether that of the man who gives himself up to God in all things, or that of the man who is curiously inquisitive about the names of demons, their powers and agency, the incantations, the herbs proper to them, and the stones with the inscriptions graven on them, corresponding symbolically or otherwise to their traditional shapes? It is plain even to the least intelligent, that the disposition of the man who is simpleminded and not given to curious inquiries, but in all things devoted to the divine will, will be most pleasing to God, and to all those who are like God; but that of the man who, for the sake of bodily health, of bodily enjoyment, and outward prosperity, busies himself about the names of demons, and inquires by what incantations he shall appease them, will be condemned by God as bad and impious, and more agreeable to the nature of demons than of men, and will be given over to be torn and otherwise tormented by demons. For it is probable that they, as being wicked creatures, and, as Celsus confesses, addicted to blood, sacrificial odours, sweet sounds, and such like, will not keep their most solemn promises to those who supply them with these things. For if others invoke their aid against the persons who have already called upon them, and purchase their favour with a larger supply of blood, and odours, and such offerings as they require, they will take part against those who yesterday sacrificed and presented pleasant offerings to them.
# Ante-Nicene Fathers/Volume IV/Origen/Origen Against Celsus/Book VIII/Chapter LIX

Chapter LIX.
Probably those who embrace the views of Celsus will smile at us when we say, “At the name of Jesus every knee shall bow, of things in heaven, of things on earth, and of things under the earth, and every tongue” is brought to “confess that Jesus Christ is Lord, to the glory of God the Father.” But although they may ridicule such a statement, yet they will receive much more convincing arguments in support of it than Celsus brings in behalf of Chnoumen, Chnachoumen, Cnat, Sicat, and the rest of the Egyptian catalogue, whom he mentions as being called upon, and as healing the diseases of different parts of the human body. And observe how, while seeking to turn us away from our faith in the God of all through Jesus Christ, he exhorts us for the welfare of our bodies to faith in six-and-thirty barbarous demons, whom the Egyptian magi alone call upon in some unknown way, and promise us in return great benefits. According to Celsus, then, it would be better for us now to give ourselves up to magic and sorcery than to embrace Christianity, and to put our faith in an innumerable multitude of demons than in the almighty, living, self-revealing God, who has manifested Himself by Him who by His great power has spread the true principles of holiness among all men throughout the world; yea, I may add without exaggeration, He has given this knowledge to all beings everywhere possessed of reason, and needing deliverance from the plague and corruption of sin.