the thunder veils thee on thy way,
yet ever spare thy envoys, Lord,
the gentle changing of thy day.
The Three. ’Tis from thy face the angels gain
their strength, but scan it no one may.
Beyond all thought thy Works remain
sublime as on Creation-Day.
[316]. His portrait of Frau Gedon, all steeped in brown, is the last Old-Master portrait of the West; it is painted entirely in the style of the past.
[317]. The strings in the Orchestra represent, as a class, the colours of the distance. The bluish green of Watteau is found already in the Neapolitan bel canto of about 1700, in Couperin, in Mozart and Haydn; and the brown of the Dutch in Corelli, Handel and Beethoven. The woodwind, too, calls up illumined distances. Yellow and red, on the other hand, the colours of nearness, the popular colours, are associated with the brass timbre, the effect of which is corporeal often to the point of vulgarity. The tone of an old fiddle is entirely bodiless. It is worth remarking that the Greek music, insignificent as it is, underwent an evolution from the Dorian lyre to the Ionian flute (aulos and syrinx) and that even in the time of Pericles strict Dorians blamed this as an enervating and lowering tendency.
(The horn is an exception, and is always treated as an exception, to the brass generally. Its place is with the woodwind, and its colours are those of the distance.—Tr.)