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WINFIELD SCOTT SCHLEY
THE NAVY IN PEACE AND IN WAR
(Speech of Winfield S. Schley at the eighteenth annual dinner of the New England Society of Pennsylvania, Philadelphia, December 22, 1898. The President, Stephen W. Dana, presented Admiral Schley in these words: “ Admiral Schley needs no introduction from me-he speaks for himself.")
MR. PRESIDENT, GENTLEMEN OF THE NEW ENGLAND SOCIETY:- I am very much in the condition of the gentleman who, being about to be married and having had his wedding suit brought home a day before the event, returned it to the tailor with instructions to increase the girth just two inches. His explanation was that not enough room had been left to accommodate the wedding breakfast he had to eat or for the emotion that was to follow the event.
I am always glad to meet my countrymen anywhere and everywhere. They stand for all that is representative; they stand for all that is progressive; they stand for all that represents humanity, and they stand for all that is fair-minded, high-minded, and honorable. As to those of us who by the circumstances of our service are obliged to pass the greater part of our lives away from home, away from kindred, and away from the flag, it may be difficult to understand how to keep the altar of one's patriotism burning when we are separated from the sweetest and kindest influences of life and performing a service and a duty that are outside of the public observation. But there is a large-heartedness at home that never forgets us. We are bound to our country by ties that are not only sweet in their nature, but the circumstances of service generate a love of home and a patriotism that
are the surest guarantees of the welfare and the safety of our people.
The Navy is that arm of the public defence the nature of whose duties is dual in that they relate to both peace and war. In times of peace the Navy blazes the way across the trackless deep, maps out and marks the dangers which lie in the routes of commerce, in order that the peaceful argosies of trade may pursue safe routes to the distant markets of the world, there to exchange the varied commodities of commerce. It penetrates the jungle and the tangle of the inter-tropical regions. It stands ready to starve to death or to die from exposure. It pushes its way into the icy fastnesses of the North or of the South, in order that it may discover new channels of trade. It carries the influence of your power and the beneficent advantages of your civilization to the secluded and hermit empires of the Eastern world, and brings them into touch with our Western civilization and its love of law for the sake of the law rather than for fear of the law's punishments. It stands guard upon the outer frontiers of civilization, in pestilential climates, often exposed to noisome disease, performing duties that are beyond the public observation but yet which have their happy influence in maintaining the reputation and character of our country and extending the civilizing agency of its commerce.
The bones of the officers and men of the Navy lie in every country in the world, or along the highways of commerce; they mark the resting-places of martyrs to a sense of duty that is stronger than any fear of death. The Navy works and strives and serves, without any misgivings and without any complaints, only that it may be considered the chief and best guardian of the interests of this people, of the prestige of this nation, and of the glory and renown of its fag.
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.]
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 id 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 y avk@TIS * 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!”]