The use of cameras or recording equipment during the 

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Music Department

National Gallery ofArt 

Sixth Street and Constitution Avenue nw

Washington, dc

www.nga.gov

Concerts are made possible in part through the generosity of donors 

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

office at (202) 842-6450 or circle@nga.gov for more information.

cover: Edward Burne-Jones, Laus Veneris, 1873-1878,

Laing Art Gallery, Newcastle upon Tyne, England

The Seventy-first Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,937th Concert

National Gallery ofArt Vocal Ensemble

Rosa Lamoreaux, artistic director, soprano

Andrew Simpson, piano

Presented in honor of Pre-Raphaelites:

Victorian Art and Design, 1848-1900

April 10, 2013

Wednesday, 12:10 pm

West Building Lecture Hall

Admissionfree
Program

Part-Songs and Airs

Sir Henry R. Bishop (1786-1855)

O, by Rivers, by Whose Falls

Sir Charles Hubert Hastings Parry (1848-1918)

Willow, Willow, Willow

Traditional

The March ofWorkers

From Chantsfor Socialists

Ralph Vaughan Williams (1872-1958)

Love’s Minstrels

Thomas Morley (1557-1602)

Who Is Sylvia?

Arranged by Sir Henry R. Bishop

Vaughan Williams

Your Eyen Two

Andrew Earle Simpson (b. 1967)

O Mistress Mine

Charles Bennett

The Lady ofShalott, Part ill (A Bow-shot from the Bower Eaves)

Sir William Schwenck Gilbert (1836-1911) and

Sir Arthur Sullivan (1842-1900)

Excerpts from Patience

IfYou Want a Receipt 

Mystic Poet

Am I Alone and Unobserved?

Your Maiden Hearts, Ah

A Magnet Hung in a Hardware Shop

So Go to Him and Say to Him

When I Go out of Door

It’s Clear that Mediaeval Art
The Musicians

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

Now in its ninth season as a chamber choir under the leadership of artistic

director Rosa Lamoreaux, the National Gallery ofArt Vocal Ensemble

has presented special programs in connection with Gallery exhibitions,

including seventeenth-century Dutch music in honor ofJan Lievens: A

Dutch Master Rediscovered (2008) and Pride ofPlace: Dutch Cityscapes ofthe

Golden Age (2009), as well as music by Vivaldi and other Italian composers

to celebrate the opening of Venice: Canaletto and His Rivals (2011). In January

2010 members ofthe Vocal Ensemble joined forces with the early music

ensemble artek to perform Claudio Monteverdi’s Vespers ofthe Blessed

Virgin (1610) on the occasion ofits 400th anniversary year, and in December

2012 the group sang the Gallery’s traditional Viennese New Year concert.

Members ofthe Vocal Ensemble participating in tonight’s concert are:

Rosa Lamoreaux, artistic director, soprano

Rebecca Kellerman Petretta, soprano

Barbara Hollinshead, mezzo-soprano

Roger Isaacs, counter-tenor

Matthew Smith, tenor

Matthew Heil, tenor

William Sharp, baritone

Alex Rosen, bass

ROSA LAMOREAUX

Acclaimed by the Washington Post for her “scrupulous musicianship...

gorgeous sound, and stylistic acuity,” soprano Rosa Lamoreaux maintains an

international career ofbroad scope, including solo recitals, chamber music,

opera, and orchestral performances at Carnegie Hall, the Dorothy Chandler

Pavilion, the Kennedy Center, Royal Albert Hall, Strathmore Hall, and the

Washington National Cathedral, among other major concert venues. Highlights ofthe current season include Bach cantatas and the B Minor Mass at 

the Phillips Collection, Bethlehem Bach Festival, and Washington National

4

Cathedral; and American musical revues for the Dumbarton Concert

Series. Her concert tours abroad have included performances in Germany,

Italy, and the United Kingdom as well as Brazil, Japan, and Peru. Now in

her ninth season as artistic director ofthe National Gallery ofArt Vocal

Ensemble, she also works with ArcoVoce, Chatham Baroque, the Folger 

Consort, Four Nations Ensemble, Hesperus, Musica Aperta, and Opera

Lafayette. Lamoreaux maintains a website at www.rosasings.com.

ANDREW SIMPSON

A pianist and composer of opera, orchestral, silent film, chamber, choral, and

vocal music, Andrew Simpson is ordinary professor and chair ofthe division

oftheory and composition at the Benjamin T. Rome School of Music ofthe

Catholic University ofAmerica. His music has been performed across the

United States and abroad by such ensembles as Cantate Chamber Singers,

Cedar Rapids Symphony Chamber Players, Contemporary Music Forum,

counterjinduction, Great Noise Ensemble, Indianapolis Chamber Orchestra,

Red Cedar Trio, and Tampa Bay Composers Forum. Active as a composer, 

pianist, and organist for silent films, Simpson has appeared frequently in

this capacity at the National Gallery as well as the afi Silver Theater in Silver

Spring, Maryland; J. Paul Getty Villa in Malibu, California; the John F. Kennedy Center for the Performing Arts; Library ofCongress; National Museum

ofWomen in the Arts; and New York Public Library for the Performing Arts at

Lincoln Center. In 2008 he made his Italian debut at the Giornate del Cinema

Muto in Pordenone, Italy, and in 2009 he performed a program ofhis film

music at the Sala Cecilia Meireles in Rio De Janeiro, Brazil.

5
Program Notes

Queen Victoria had been on the throne for little more than a decade when 

seven fervent young men formed a secret society in London in 1848 with the

aim ofrejuvenating the arts in industrial-age Britain. Bonding over their 

mutual passion for medieval art and disdain for contemporary painting

practices, they called their group the Pre-Raphaelite Brotherhood in acknowledgment oftheir admiration of art prior to Raphael (1483-1520). The three 

most talented members were John Everett Millais, Dante Gabriel Rossetti, and 

William Holman Hunt—ages nineteen, twenty, and twenty-one, respectively.

Along with other artists in their circle, most significantly their mentor Ford

Madox Brown, they sowed the seeds of a self-consciously avant-garde movement, one whose ideals they published in a short-lived journal, The Germ.

Combining scientific precision, an innovative approach to subject matter,

and brilliant, clear colors, Pre-Raphaelitism was Britain’s first avant-garde

art movement. The first major survey ofthe art ofthe Pre-Raphaelites to be

shown in the United States, Pre-Raphaelites: Victorian Art and Design,

1848-igoo, remains on view in the West Building until May 19, 2013.

As an official group, the Pre-Raphaelite Brotherhood stayed together for

only five years. But a second generation of artists, centered on Rossetti and

led by Edward Burne-Jones and William Morris, arose in the 1860s with the

aim of cultivating beauty in everyday life. By the end ofVictoria’s reign in

1901, the Pre-Raphaelite legacy had permeated all areas ofBritish art and

design, from painting and sculpture to photography and the decorative arts.

Pre-Raphaelite paintings often addressed subjects ofmoral seriousness, 

whether pertaining to history, literature, religion, or modem society, which

they saw as ripe for redemption. Hunt’s The Awakening Conscience depicts

a moment ofsalvation. A kept woman, on hearing the song her lover has

been singing—legible in the painting as “Oft in the Stilly Night,” a setting by

Sir John Stevenson (1761-1833) of a poem by Thomas Moore (1779-1852)—

realizes her mistaken ways and rises from his lap, reminded oflost innocence 

by the sentimental lyrics. The fallen woman was a shocking subject, but it

fascinated many painters, including Rossetti, who addressed the controversial

theme in a poem—“The Blessed Damozel”—and a number of drawings.

6

The part-songs and airs on today’s program draw on Shakespeare and

other popular Elizabethan writers, as well as Chaucer and Rossetti. William

Morris (1834-1896), the English textile designer whose work is well represented in the exhibition, was a fervent socialist who set several ofhis political texts to popular tunes and bound them in a book, Chantsfor Socialists,

which is also on display in the exhibition. A song from that collection, The

March ofWorkers, is included in today’s program.

Alfred Lord Tennyson’s “The Lady of Shalott,” a poem based loosely

on Arthurian legends, was the inspiration for the eponymous song by

Charles Bennett, a composer who was a voice teacher at the New England 

conservatory in the early twentieth century. William Holman Hunt’s painting The Lady ofShalott, included in the exhibition, is suggestive ofthe

famous character’s unrestraint. As described by Tennyson, the lady defied

a curse that condemned her to live in isolation while weaving images ofthe

outside world, which she was allowed to glimpse only through a mirror.

The selections from Gilbert and Sullivan’s operetta Patience demonstrate

satirical wit as the male characters vie for the admiration ofthe ladies. With

its mockery ofthe characters’ emphasis on perfection, the operetta satirizes 

the Pre-Raphaelites moralistic philosophy. The aesthetic movement was

so popular and easy to ridicule that satirizing it made Patience a box office

success. The two poets in the story, Bunthorne and Grosvenor, are given

to reciting their own verses aloud, principally to the admiration of a chorus

ofrapturous maidens. The poetry declaimed by Bunthorne is emphatic

and obscure, strongly contrasted stylistically with Grosvenor’s poetry, which 

is simple and pastoral. According to some authorities, Gilbert based his 

main characters on the poets Algernon Charles Swinburne and Dante 

Gabriel Rossetti.

Program notes based on materials provided by Rosa Lamoreaux and Margaret

Doyle, associate curator, department ofexhibition programs, National Gallery ofArt.
TEXTS AND TRANSLATIONS

PART-SONGS AND AIRS

O, BY RIVERS, BY WHOSE FALLS

Poem by Christopher Marlowe (1564-1593),

adapted by Sir Henry R. Bishop

O, by rivers, by whose falls

Melodious birds sing madrigals,

The shepherd swains shall dance and play

For thy delight on each May-day.

With a fa la la la lal la ...

Where silver sands and pebbles sing

Eternal ditties to the spring,

There shall you pass the welcome night

In sylvan pleasures and delight.

With a fa la la la lal la!

WILLOW, WILLOW, WILLOW

Poem by William Shakespeare (1564-1616),

from Othello

The poor soul sat sighing by a sycamore tree,

Sing all a green willow;

Her hand on her bosom, her head on her knee,

Sing willow, willow, willow.

The fresh streams ran by her, and murmur'd her

moans,

Sing willow, willow, willow;

Her salt tears fell from her, and soften'd the stones:

Sing willow, willow, willow,

Sing all a green willow must be my garland.

THE MARCH OF THE WORKERS

Poem by William Morris,

from Chantsfor Socialists

What is this the sound and rumor?

What is this that all men hear?

Like the winds in hollow valleys

when the storm is drawing near.

Like the rolling on of ocean

in the eventide offear?

'Tis the people marching on.

Whither go they and whence come they,

what are these ofwhom ye tell?

In what country are they dwelling

'twixt the gates of heav'n and hell?

Are they mine or thine for money?

Will they serve a master well?

Still the rumour's marching on.

Hark, the rolling ofthe thunder!

Lo, the sun! and lo, thereunder

Riseth wrath and hope and wonder,

And the hosts come marching on.

Forth they come from grief and torment:

on they wend t'ward health and mirth;

All the wide world is their dwelling,

ev'ry comer ofthe earth;

Buy them, sell them for thy service!

Try the bargain what 'tis worth,

For the days are marching on.

These are they who build thy houses,

weave thy raiment, win thy wheat,

Smooth the rugged, fill the barren,

turn the bitter into sweet,

All for thee this day and ever.

What reward for them is meet?

Till the host comes marching on.

Hark, the rolling ofthe thunder!

Lo, the sun! and lo, thereunder

Riseth wrath and hope and wonder,

And the hosts come marching on.
LOVE'S MINSTRELS

Poem by Dante Gabriel Rossetti,

from The House ofLife

One flame-winged brought 

a white-winged harp-player,

Even where my lady and I lay all alone;

Saying: "Behold this minstrel is unknown;

Bid him depart, for I am minstrel here:

Only my songs are to love's dear ones dear."

Then said I, "Through thine hautboy's

rapturous tone,

Unto my lady still this harp makes moan,

And still she deems the cadence deep and clear!"

Then said my lady: "Thou art passion ofLove

And this Love's worship: both he plights to me.

Thy mastering music walks the sunlit sea:

But where wan water trembles in the grove,

And the wan moon is all the light thereof,

This harp still makes my name its voluntary."

WHO IS SYLVIA? WHAT IS SHE?

Poem by William Shakespeare,

from The Two Gentlemen of Verona

Who is Sylvia? what is she,

That all her swains commend her?

Holy, fair, and wise is she;

The heav'ns such grace did lend her,

That she might admired be.

Is she kind, as she is fair?

For beauty lives with kindness:

Love doth to her eyes repair 

To help him of his blindness,

And being help'd, inhabits there.

Then to Sylvia let us sing,

That Sylvia is excelling;

She excels each mortal thing 

Upon the dull earth dwelling:

To her let us garlands bring.

YOUR EYEN TWO

Poem by Geoffrey Chaucer (13437-1400),

from Merciless Beauty

Your eyen two will slay me suddenly:

I may the beauty ofthem not sustene,

So woundeth it throughout my herte kene.

And but your word will helen hastily

My hertes wounde, while that it is green,

Your eyen two will slay me suddenly;

I may the beauty ofthem not sustene.

Upon my troth I say you faithfully,

That ye be ofmy life and death the queen,

For with my death the truthe shall be seen:

Your eyen two will slay me suddenly:

I may the beauty ofthem not sustene,

So woundeth it throughout my herte kene.

O MISTRESS MINE

Poem by William Shakespeare,

from Twelfth Night

O mistress mine! Where are you roaming?

O! Stay and hear; your true love's coming,

Who can sing both high and low.

Trip no further, pretty sweeting;

Journeys end in lovers meeting.

Fa la la la la la la.

Ev'ry wise man's son doth know.

Fa la la la la la la.

What is love? 'Tis not here after;

Present mirth hath present laughter,

What's to come is still unsure.

In delay there lies no plenty;

Then come kiss me, sweet and twenty;

Fa la la la la la la.

Youth's a stuffwill not endure.

Fa la la la la la la.
THE LADY OF SHALOTT

Excerpt from the poem by

Alfred Lord Tennyson (1809-1892)

PART III

A bow-shot from the bower eaves,

He rode between the barley sheaves,

The sun came dazzling thro' the leaves,

And flamed upon the brazen greaves

Ofbold Sir Lancelot.

A red-cross knight for ever kneel'd

To a lady in his shield,

That sparkled on a yellow field

Beside remote Shalott.

The gemmy bridle glitter'd free

Like to some branch ofstars we see,

Hung in a golden Galaxy.

The bridle bells rang merrily

As he rode down to Camelot.

And from his blazon'd baldric slung

A mighty silver bugle hung,

And as he rode his armor rung 

Beside remote Shalott.

His broad brow in the sunlight glow'd;

On burnish'd hooves his war-horse trode;

From underneath his helmet flow'd

His coal-black curls as on he rode,

As he rode down to Camelot.

From the bank and from the river

He flash'd into the crystal mirror,

"Tirra lirra," by the river 

Sang Sir Lancelot.

She left the web, she left the loom,

She made three paces thro' the room,

She saw the water-lily bloom,

She saw the helmet and the plume,

She look'd down to Camelot.

Out flew the web, and floated wide;

The mirror crack'd from side to side;

"The curse is come upon me," cried

The Lady of Shalott.

EXCERPTS from PATIENCE

Libretto by Sir William S. Gilbert (1836-1911)

IF YOU WANT A RECEIPT

Colonel and Dragoons

Ifyou want a receipt for that popular mystery, 

Known to the world as a Heavy Dragoon,

Take all the remarkable people in history,

Rattle them offto a popular tune.

The pluck ofLord Nelson on board ofthe Victory -

Genius ofBismark devising a plan -

The humor ofFielding (which sounds contradictory)

Coolness of Paget about to trepan -

The science ofJulien, the eminent musico -

Wit ofMacaulay, who wrote ofQueen Anne -

The pathos of Paddy, as rendered by Boucicault -

Style ofthe Bishop of Sodor and Man -

The dash of a D'Orsay, divested of quackery -

Narrative powers of Dickens and Thackeray -

Victor Emmanuel - peak-haunting Peveril -

Thomas Aquinas and Doctor Sacheverell -

Tupper and Tennyson - Daniel Defoe -

Anthony Trollope and Mister Guizot!

Ah! Take ofthese elements all that is fusible,

Melt 'em all down in a pipkin or crucible -

Set 'em to simmer and take offthe scum,

And a Heavy Dragoon is the residuum!

Ifyou want a receipt for this soldier-like paragon, 

Get at the wealth ofthe Czar (ifyou can) -

The family pride of a Spaniard from Aragon -

Force of Mephisto pronouncing a ban -

A smack ofLord Waterford, reckless and rollicky -

Swagger ofRoderick, heading his clan -

The keen penetration ofPaddington Pollaky -

Grace of an Odalisque on a divan -

The genius strategic of Caesar or Hannibal -

Skill of Sir Garnet in thrashing a cannibal -

Flavour ofHamlet - the Stranger, a touch of him -

Little ofManfred (but not very much ofhim) -

Beadle ofBurlington - Richardson's show -

Mister Micawber and Madame Tussaud!

Ah! Take ofthese elements all that is fusible,

Melt 'em all down in a pipkin or crucible -

Set 'em to simmer and take offthe scum,

And a Heavy Dragoon is the residuum!
MYSTIC POET

Maidens and Bunthorne, Dragoons

Mystic poet, hear our prayer, -

Twenty love-sick maidens we -

Young and wealthy, dark and fair,

All of county family.

And we die for love ofthee -

Twenty love-sick maidens we!

Yes, we die for love ofthee -

Twenty love-sick maidens we!

Though my book I seem to scan

In a rapt ecstatic way,

Like a literary man

Who despises female clay;

I hear plainly all they say,

Twenty love-sick maidens they!

He hears plainly all they say,

Twenty love-sick maidens they!

Though so excellently wise,

For a moment mortal be,

Deign to raise thy purple eyes

From thy heart-drawn poesy.

Twenty love-sick maidens see -

Each is kneeling on her knee!

Twenty love-sick maidens see -

Each is kneeling on her knee!

Though, as I remarked before,

Anyone convinced would be

That some transcendental lore

Is monopolizing me,

'Round the comer I can see

Each is kneeling on her knee!

'Round the comer he can see

Each is kneeling on her knee!

Now is not this ridiculous,

and is not this preposterous?

A thorough-paced absurdity -

Explain it ifyou can.

Instead ofrushing eagerly 

to cherish us and foster us,

They all prefer this melancholy literary man.

Instead ofslyly peering at us,

Casting looks endearing at us,

Blushing at us, flushing at us, flirting with a fan;

They're actually sneering at us,

fleering at us, jeering at us!

Pretty sort oftreatment for a military man!

In a doleful train

Two and two we walk all day,

For we love in vain!

None so sorrowful as they

Who can only sigh and say,

Woe is me, a-lack-a-day!

Twenty love-sick maidens we,

And we die for love ofthee!

Yes, we die for love ofthee!

AM I ALONE AND UNOBSERVED?

Bunthorne

Am I alone, and unobserved?

I am!

Then let me own

I'm an aesthetic sham!

This air severe

Is but a mere

Veneer!

This cynic smile

Is but a wile

Of guile!

This costume chaste

Is but good taste

Misplaced!

Let me confess!

A languid love for lilies does not blight me!

Lank limbs and haggard cheeks do not delight me

I do not care for dirty greens

By any means.

I do not long for all one sees

That's Japanese.

I am not fond of uttering platitudes 

In stained-glass attitudes.

In short, my mediaevalism's affectation,

Bom of a morbid love of admiration!
Ifyou're anxious for to shine

in the high aesthetic line

as a man of culture rare,

You must get up all the germs

ofthe transcendental terms,

and plant them ev'rywhere.

You must lie upon the daises

and discourse in novel phrases

ofyour complicated state ofmind.

The meaning doesn't matter

ifit's only idle chatter 

of a transcendental kind.

And ev'ryone will say,

As you walk your mystic way,

"Ifthis young man expresses himself

in terms too deep for me,

Why, what a very singularly deep young man

this deep young man must be!"

Then a sentimental passion

of a vegetable fashion

must excite your languid spleen;

An attachment a la Plato

for a bashful young potato,

or a not-too-French French bean!

Though the Philistines may jostle,

you will rank as an apostle

in the high assthetic band,

Ifyou walk down Piccadilly 

with a poppy or a lily

in your mediaeval hand.

And ev'ryone will say,

As you walk your flow'ry way,

"If he's content with a vegetable love

which would certainly not suit me,

Why, what a most particularly pure young man

this pure young man must be!"

YOUR MAIDEN HEARTS

Duke, Ensemble

Your maiden hearts, ah, do not steel

To pity's eloquent appeal,

Such conduct British soldiers feel.

Sigh, sigh, all sigh!

To foeman's steel we rarely see

A British soldier bend the knee,

Yet, one and all, they kneel to ye.

Kneel, kneel, all kneel!

Our soldiers very seldom cry,

And yet -1 need not tell you why -

A teardrop dews each martial eye!

Weep, weep, all weep!

A MAGNET HUNG IN A HARDWARE SHOP

Bunthorne, Maidens

A magnet hung in a hardware shop,

And all around was a loving crop

Ofscissors and needles, nails and knives,

Offering love for all their lives;

But for iron the magnet felt no whim,

Though he charmed iron, it charmed not him;

From needles and nails and knives he'd turn,.

For he'd set his love on a Silver Chum!

A Silver Chum!

A Silver Chum!

His most aesthetic - very magnetic -

Fancy took this turn -

"IfI can wheedle a knife or a needle,

Why not a Silver Chum?"

And iron and steel expressed surprise,

The needles opened their well-drilled eyes,

The pen-knives felt "shut up", no doubt,

The scissors declared themselves "cut-out".

The kettles they boiled with rage, 'tis said,

While ev'ry nail went offits head,

And hither and thither began to roam,

Till a hammer came up and drove them home.

It drove them home?

It drove them home!

While this magnetic - peripatetic -

Lover he lived to learn,

By no endeavor can magnet ever

Attract a Silver Chum!
SO GO TO HIM AND SAY TO HIM

Jane, Bunthorne

So go to him and say to him,

with compliment ironical -

Sing "Hey to you - Good day to you" -

And that's what I shall say!

"Your style is much too sanctified -

your cut is too canonical" -

Sing "Bah to you - Ha! ha! to you" -

And that's what I shall say!

"I was the beau ideal

ofthe morbid young aesthetical -

To doubt my inspiration

was regarded as heretical -

Until you cut me out

with your placidity emetical."

Sing "Booh to you - Pooh, pooh to you" -

and that's what I shall say!

Sing "Hey to you - Good day to you" -

Sing "Bah to you - Ha! ha! to you" -'

Sing "Booh to you - Pooh, pooh to you" -

And that's what you should say!

I'll tell him that unless

he will consent to be more jocular -

Sing "Booh to you - Pooh, pooh to you" -

And that's what you should say!

To cut his curly hair,

and stick an eyeglass in his ocular -

Sing "Bah to you - Ha! ha! to you" -

And that's what you should say!

To stuff his conversation

full of quibble and of quiddity,

To dine on chops

and roly-poly pudding with avidity -

He'd better clear away

with all convenient rapidity.

Sing "Hey to you - Good day to you" -

And that's what you should say!

Sing "Booh to you - Pooh, pooh to you"

And that's what I shall say!

Sing "Hey to you - Good day to you" -

Sing "Bah to you - Ha! ha! to you" -'

Sing "Booh to you - Pooh, pooh to you"

And that's what you should say!

WHEN I GO OUT OF DOOR

Bunthorne, Grosvenor

When I go out of door,

Of damozels a score

(All sighing and burning,

And clinging and yearning)

Will follow me as before.

I shall, with cultured taste,

Distinguish gems from paste,

And "High diddle diddle"

Will rank as an idyll,

IfI pronounce it chaste!

A most intense young man,

A soulful-eyed young man -

An ultrapoetical, superaesthetical, 

Out-of-the-way young man!

Conceive me, ifyou can,

An ev'ry-day young man:

A common-place type,

With a stick and a pipe,

And a half-bred black-and-tan;

Who thinks suburban "hops"

More fun than "Monday Pops," -

Who's fond of his dinner,

And doesn't get thinner

On bottled beer and chops.

A common-place young man -

A matter-of-fact young man -

A steady and stolidy, jolly Bank-holiday,

Every-day young man!
A Japanese young man -

A blue-and-white young man -

Francesca da Rimini, miminy, piminy,

Je-ne-sais-quoi young man.

A Chancery Lane young man -

A Somerset House young man -

A very delectable, highly respectable 

Three-penny-bus young man!

A pallid and thin young man -

A haggard and lank young man,

A greenery-yallery, Grosvenor Gallery,

Foot-in-the-grave young man!

A Sewell and Cross young man,

A Howell and James young man,

A pushing young particle - "What's the next article?

Waterloo House young man!

Conceive me if you can,

A matter-of-fact young man,

An alphabetical, arithmetical,

Every-day young man!

Conceive me if you can,

A crotchety, cracked young man,

An ultrapoetical, superaesthetical,

Out-of-the-way young man!

IT’S CLEAR THAT MEDIAEVAL ART

Ensemble

It's clear that mediaeval art

alone retains its zest,

To charm and please its devotees

we've done our little best.

We're not quite sure if all we do

has the Early English ring;

But, as far as we can judge,

it's something like this sort ofthing:

You hold yourselflike this,

You hold yourselflike that,

By hook and crook you try to look

both angular and flat.

We venture to expect 

That what we recollect,

Though but a part oftrue High Art,

will have its due effect.

Ifthis is not exactly right,

we hope you won't upbraid;

You can't get high Aesthetic tastes

like trousers, ready made.

True views on Mediasvalism,

Time alone will bring,

But, as far as we can judge,

it's something like this sort ofthing:

You hold yourselflike this,

You hold yourself like that,

By hook and crook you try to look

both angular and flat.

To cultivate the trim 

Rigidity oflimb,

You ought to get a Marionette,

and form your style on him.