Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1904-09-01


silver and the green and the vel
low and the blue and the saffron and
the violet and the purple, all blend in
one common purpose. Thousands, per-
haps tens OF thousands of times, Mi
chacl Angelo with his brush, may have
touched the wall in the Vatican where
today is seen his Last JRgment"
But not one of all Of those thousands
Of times when ne laid on the paint did
he do so without having one great idea
In his mind. Perfection is composed
Of many tri1cs." wrote he. but per
lection in art is not n trife." a great
picture is always "multltudes of diff
fercnt colors IN blending unity That
unity is the cause of beauty when
seen upon the canvas Of the masters
Of old and the masters Of the present
day.
"a Multitude In Unity"
An artists beauty is multitude in
unity" We Know that Samuel Cole
ridges definition in reference TO the
painters easel is true. We sec a "mul-
titudc of colors In unity" when Tur-
ncr the most brilliant artistic coloriSt
England ever produced. makes the sea
n creature Of life. Now il is beauti
full boulevard Of gold, paving its way
to the throne Of n setting sun: now n
perfect pandonlOnium of furics: now It
Is n burial scene when Sir David Will
kie finds sepulchcr in tho mighty
deep, whose waves beat themselves in
to pieces on the Gibraltar crags. We
see an artists multitude i'm unity" In
the portraits of Sir Anthony Van
dyke and IN the mighty mountain
peaks Of Rierdstadt and in the pas
toral dreams Of n Millet But. though
there may he many different tints
blending in the colors of rainbow or
in the hectic flush of rose did you
ever stop to realize that all colorS come
from but three primal colors. lust the
same as all nature? All the animal and
vegetable and mineral kingdoms have
but siXty-six different basic clements,
of which they arc all composed So
In the artistic world We find that all
colors originally come from but three
primary colors tho red. the yellow and
the hlue. Now. # God can form the
artistic beauty Of the sky, the sea. the
land. ont OF tho simple red. the simple
yellow and the silapie violet, is it alb
surd to suppose thai cod can spiritual
ly make us artistically beautiful. no
matter how crude and sinful We may
be if we only allow our thoughts and
lives to he combined In symmetry with
his thoughts and with Chrst's life?
on, the beauty of blending colors
From the brilliant pictorials Of an au-
tumnal leaf let us learn the spiritual
lesson for man that God hath made
and can make everything beautiful in
its time.
But the musicians oratory and sym
mctry Of sounds have also their analo-
gics by which we can find man. in his
spiritual beauty. ''in tune with the in
finite" In the Epistle to the Romans
Paul writes, "IIow beautiful are the
feet of them that preach the gospel OF
peace and glad tidings of good things
Ave- beautiful are the feet of the COS
pei messengers. but beautiful are the
voices also, for today we find the sym
boil Of mans thoughts in beautiful sym
metry with Gods thoughts. In the
sweet throat of singing thrush, iT
the signing OF the winds among Tho
leaves and in the harvest fields, in tn,
meanings of the seas as well as in tn.
Colors of its waters and in all the
strange yet harmonious voices Of the
woods. whether they be the calls OF
the cuckoo, which musicians declar,
sound the third note in music, or tn,
shrill whistle OF the bOhWhitc, which
like the voice of the fife, is heard abov,
every other instrument of the band. %
the crooningS OF the wood dove, which
the California Indians used to cal
"majella." whose song by day and by
twilight both TO mate and young wa
love. Love, here. Here. love. Love
here" oh. the beautiful voices o
blending harmonics heard in tn,
choruses Of the woods, Who can eve
listen To tecm and not find symbo
Of man spiritual beauty? In tun,
with the infinite
"In Tune with the Infinite"
But What. according to the law o
sound. do We mean by being lin tun,
with the infnitc:' went huntin,
some time ago. As lay in a dugou
by water hole, hidden 10y the lea yes
waiting for the birds to come down Il
drink, | asked myself these questions
What IS music? Why is it that al
these voices of the woods have sucl
a wonderful influence over mei VIII.
does not the harsh call Of the fish
monger hawking his food at my cit,
door, or the deep voice of the TO.
| horn on shipboard off the banks o
Newfoundland. or the rasp of saw
| or the whining cry of a spoiled child
| cnchant me as now do the voice signal
| ings OF the pheaSantS, which | ca
| now see way Off under yonder trees, 0
the chirp of the swallows flying owe
my head, or the beautiful sounds tina
come to my ear as the harpists Of tn
| winds finger the long, slender vine
ne though they were harp strings?
know that some of the repcilcnt erie
| have heard from the fshmonge
Richard Wagner has reproduced in hi
matchleSs operas. | know the dee
voice of the fog horn rolls and thunder
and sWells and dies away In tn
chorusos of many great nusica
master. ] know the rasp Of say
can become part Of n lullaby or Of
! martial mArCh. Thcn why are No