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Rh “Their amusements during the time of their meeting were entirely musical. As the company wholly consisted of chanters, organists, and town musicians, who had all to do with the Church, and as it was besides a general custom to begin everything with religion, the first thing they did, when they were assembled, was to sing a hymn in chorus. From this pious commencement they proceeded to drolleries, which often made a very great contrast with it. They sang, for instance, popular songs, the contents of which are partly comic and partly licentious, all together, and extempore, but in such a manner that the several songs thus extemporized made a kind of harmony together, the words, however, in every part being different. They called this kind of extemporary chorus ‘a Quodlibet,’ and not only laughed heartily at it themselves, but excited an equally hearty and irresistible laughter in every body that heard them. Some persons are inclined to consider these facetiæ as the beginning of comic operettas in Germany; but such quodlibets were usual in Germany at a much earlier period. I possess myself a printed collection of them, which was published at Vienna in 1542.”

In perfect harmony with what is intimated of the family, of their wise content, loving art, purely and religiously for its own sake, unallured by ambition or desire for excitement, deep and true, simple and modest in the virtues of domestic life, was the course of the greatest of them, John Sebastian. No man of whom we read has lived more simply the grand, quiet, manly life, “without haste, without rest.” Its features are few, its outline large and tranquil. His youth was a steady aspiration to the place nature intended him to fill; as soon as he was in that place, his sphere of full, equable activity, he knew it, and was content. After that he was known by his fruits. As for outward occasions and honours, it was with him as always with the “Happy Warrior,” who must