These are some of the duties of peace, which has its triumphs "no less renowned than war." But it is the martial side of the Navy that is the more attractive one to us. It is that side of its duty which presents to us its characters who have written their names and their fames in fire. No matter what may be our ideas of civilization or how high our notions of peace, there is no one of us who has not felt his heart beat a little bit faster and his blood course a little bit more rapidly when reading of the daring and thrilling deeds of such men as John Paul Jones or of Decatur or of Stewart or of Hull or of Perry or of MacDonald or of Tatnall or of Ingram or of Cushing or of Porter or of Farragut.
The war so happily ended has added new names to the galaxy of naval worthies. New stars are in the firmament. The records indicate that your naval representatives have been faithful to the lesson of their traditions, that they have been true to their history, whilst the men of our Navy have shown that they have lost none of the skill and none of the tact that they have inherited. But they have proven again that a generation of men who are able to defend their title to the spurs they inherited are proper successors to their progenitors. [Applause.]
HEINRICH SCHLIEMANN
THE BEGINNINGS OF ART
[Speech of Heinrich Schliemann at the annual banquet of the Royal Academy, London, May 5, 1877. Sir Gilbert Scott, the eminent architect, took the chair in the absence of Sir Frederick Grant, the President of the Academy. In introducing Dr. Schliemann, Sir Gilbert Scott spoke as follows: "There is one gentleman present among us this evening who has special claims upon an expression of our thanks. Antiquarian investigation is emphatically a subject of our own day. More has been discovered of the substantial vestiges of history in our own than probably in any previous age; and it only needs the mention of the names of Champollion, Layard, Rawlinson, and Lipsius to prove that we have in this age obtained a genuine knowledge of the history of art as practised in all previous ages. Not only have we obtained a correct understanding of the arts of our own race as exemplified in our own mediæval antiquities, but lost buildings of antiquity such as the Egyptian labyrinth, the palace of Nineveh, the mausoleum of Halicarnassus, the temple and statues of Olympia, and the temple of Diana at Ephesus have been re-discovered and disinterred. ["Hear! Hear!">[ There remained, however, one great hiatus. We knew something of the more archaic periods of Greek art, and we knew that on the gate of Mycenæ there were evidences of an art far more archaic and apparently not allied with true Hellenic art, but we knew no more nor had an idea how the great gulf in art history was to be bridged over. It still remains a great gulf, but Dr. Schliemann by his excavations, first on the site of Troy and then of Mycenæ, has brought to open daylight what, without prejudging questions as yet sub judice, seem to be the veritable works of the heroes of the Iliad; and if he has not yet actually solved the mysteries which shroud that age, he has brought before us a perfect wealth of fact at the least calculated to sharpen our antiquarian appetite for more certain knowledge. Knowing that Dr. Schliemann is like one in old times, who, while longing to tell of the Atrides and of Cadmus, yet allowed the chords of his heart to vibrate to softer influences, I will, while proposing his health, conjoin with his name that of his energetic fellow-explorer, Madame Schliemann.">[
Mr. President, My Lords, and Gentlemen:—You have been pleased to confer upon me two of the greatest honors which this country can possibly bestow upon a foreigner—first, by your kind invitation to this hospitable banquet to meet the most illustrious statesmen, the most eminent scholars, and the most distinguished artists; and secondly, by your toast to my health. In warmly thanking you, I feel the greatest satisfaction to think that for these signal honors, I am solely indebted to my labors in Troy and Mycenæ. ["Hear! Hear!">[
In Troy art was only in its first dawn; color was still completely unknown, and instead of painting, the vases were decorated with incised patterns filled with white clay. The productions of sculpture were limited to carving of small flat idols of Minerva [Greek: glaukôpis][6] of marble, almost in the forms of two discs, which adhered to each other, and upon which the owl's face is rudely scratched. The Trojan treasure certainly shows more art, but it is characterized by an absence of ornamentation. In Mycenæ, on the contrary, the monuments which I have brought to light show a high state of civilization, and the skill with which the gold ornaments are made leads us to pre-suppose a school of domestic artists which had flourished for ages before it reached such perfection.
The very great symmetry we see also in the vase-paintings and in the carvings of spirals and rosettes on stone, whereas representations of men or animals are exceedingly rude and appear to be the primitive Mycenean sculptor's first essay. But rude as they are, and childish as they look, these primitive productions of Greek art are of paramount interest to science, because we see in them the great-grandfathers of the masterpieces of Phidias and Praxiteles; they prove to us in the most certain manner that the artistic genius of the epoch of Pericles did not come suddenly down from heaven like Minerva from the head of Jove, but that it was the result of a school of artists, which had gradually developed in the course of ages.
Once more, I tender my thanks for the patience with which you have listened to a stranger. ["Hear! Hear!">[