Housman, in Classical Quarterly (April, 1907); C. Cichorius, Untersuchungen zu Lucilius (Berlin, 1908).
The town hall is a handsome classical building erected in 1875; it bridges the county boundary, the Calder, enabling the magistrates to exercise jurisdiction in both counties.
The classical example is the case of Paul of Samosata, bishop of Antioch.
The college embraces two schools: the classical school and the scientific school, which in 1864, in pursuance of the Morrill Act of 1862, was constituted by the state legislature as the state college for the benefit of agriculture and the mechanic arts; a preparatory school is also controlled by its trustees.
We may define these courses by the terms esoteric and exoteric - the former the philosophy of the school, cultivated principally at the universities, trying to systematize everything and reduce all our knowledge to an intelligible principle, losing in this attempt the deeper meaning of Leibnitz's philosophy; the latter the unsystematized philosophy of general culture which we find in the work of the great writers of the classical period, Lessing, Winkelmann, Goethe, Schiller and Herder, all of whom expressed in some degree their indebtedness to Leibnitz.
The swan played a part in classical mythology as the bird of Apollo, and in Scandinavian lore the swan maidens, who have the gift of prophecy and are sometimes confused with the Valkyries, reappear again and again.
Harrison (in Classical Review, January 1895) endeavours to show that Cecrops is the husband of Athene, identical with the snakelike Zeus Soter or Sosipolis, and the father of ErechtheusErichthonius.
Verrall (Classical Review, July 1896, May 1897) definitely places the lifetime of Tyrtaeus in the middle of the 5th century B.C., while Schwartz (Hermes, 1899, xxxiv.) disputes the existence of the poet altogether; see also Macan in Classical Review (February 1897); H.
But the perfect plastic art of Italy, the pure art of the Cinque Cento, the painting of Raphael, Da Vinci, Titian and Correggio, the sculpture of Donatello, Michelangelo and Sansovino, the architecture of Bramante, Omodeo and the Venetian Lombardi, however much imbued with the spirit of the classical revival, takes rank beside the poetry of Ariosto as a free intelligent product of the Renaissance.
It was left for the Poussins and Claude Lorraine in the next century, acting under mingled Italian and Flemish influences, to embody the still active spirit of the classical revival.