The Sound of Healing Unveiling the

Phenomena of Wholetones Michael S.

Tyrrell
Visit to download the full and correct content document:
https://textbookfull.com/product/the-sound-of-healing-unveiling-the-phenomena-of-wh
oletones-michael-s-tyrrell/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

The Social Life of Sound Sophia Maalsen

https://textbookfull.com/product/the-social-life-of-sound-sophia-
maalsen/

Sound at the Edge of Perception Seán Street

https://textbookfull.com/product/sound-at-the-edge-of-perception-
sean-street/

The sound of gravel a memoir First Edition Church Of

The Firstborn Of The Fulness Of Times.

https://textbookfull.com/product/the-sound-of-gravel-a-memoir-
first-edition-church-of-the-firstborn-of-the-fulness-of-times/

Music Sound and Architecture in Islam Michael Frishkopf

https://textbookfull.com/product/music-sound-and-architecture-in-
islam-michael-frishkopf/
The Healing Powers of Essential Oils A Complete Guide
to Nature s Magical Medicine Cal Orey

https://textbookfull.com/product/the-healing-powers-of-essential-
oils-a-complete-guide-to-nature-s-magical-medicine-cal-orey/

The Business Value of Software 1st Edition Michael D.

S. Harris

https://textbookfull.com/product/the-business-value-of-
software-1st-edition-michael-d-s-harris/

The epistemic life of groups : essays in the

epistemology of collectives 1st Edition Michael S.
Brady

https://textbookfull.com/product/the-epistemic-life-of-groups-
essays-in-the-epistemology-of-collectives-1st-edition-michael-s-
brady/

The Transformation Discovering Wholeness and Healing

After Trauma James S. Gordon

https://textbookfull.com/product/the-transformation-discovering-
wholeness-and-healing-after-trauma-james-s-gordon/

Cognitive Neuroscience 5th ed The Biology of the Mind

5th Edition Michael S. Gazzaniga

https://textbookfull.com/product/cognitive-neuroscience-5th-ed-
the-biology-of-the-mind-5th-edition-michael-s-gazzaniga/
The Sound of Healing

M S. T
©2016 Michael Tyrrell Music, LLC. All Rights Reserved

The Sound of Healing: Unveiling the Phenomena of Wholetones by Michael S. Tyrrell

First eBook edtion 2016

ISBN: 978-0-9967460-3-8

Published & Distributed by Barton Publishing

Barton Publishing PO Box 50 Brandon, SD 57005
BartonPublishing.com 1-888-356-1146

Copy Editor: Cheryl Ravey, Linda Rohrbaugh, and Taty Vilaplana

Spanish Version Translated by Taty Vilaplana
Layout by Joel Harrison at AlbumArtDesign.com
Additional Content by Joel Harrison, Marty Fahncke, and Linda Rohrbaugh

The information contained within this guide is offered to provide you with beneficial concepts
regarding your health and well-being. The author is not a doctor or scientist, nor does he claim to
be. The material provided in this book is strictly for informational and educational purposes only.
It is not meant to replace or substitute for the recommendations or advice of your physician or
health care provider, or to diagnose, treat, cure, or prevent a health condition or disease. If you
believe you have a medical condition or problem, contact your health care provider. Neither the
author nor the publisher shall be liable for any loss or damage allegedly arising from any
information or suggestion in this book.

Mention of specific companies, organizations, or authorities in this book does not imply
endorsement by the author or publishers, nor does mention of specific companies,
organizations, or authorities imply that they endorse this book, its author, or the publisher.
Internet address or telephone numbers given in this book were accurate at the time it went to
press.

Unless otherwise noted, all scriptural references are from the Holy Bible: New International
Version, copyright 1984, Zondervan Bible Publishers. All Scripture quotations, unless otherwise
indicated, are taken from the Holy Bible, New International Version®, NIV®. Copyright © 1973,
1978, 1984, 2011 by Biblica, Inc.TM Used by permission of Zondervan. All rights reserved
worldwide www.zondervan.com. The “NIV” and “New International Version” are trademarks
registered in the United States Patent and Trademark Office by Biblica, Inc.TM Scripture
quotations from The Authorized (King James) Version. Rights in the Authorized Version in the
United Kingdom are vested in the Crown. Reproduced by permission of the Crown’s patentee,
Cambridge University Press. Scripture quotations taken from the New American Standard
Bible®, Copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The
Lockman Foundation. Used by permission. (www.Lockman.org) Scripture quotations taken from
the Amplified® Bible, Copyright © 1954, 1958, 1962, 1964, 1965, 1987 by The Lockman
Foundation. Used by permission. (www.Lockman.org) Scripture quotations are taken from the
Holy Bible, New Living Translation, Copyright © 1996, 2004, 2007, 2013 by Tyndale House
Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188.
All rights reserved. The Orthodox Jewish Bible fourth edition, OJB. Copyright © 2002, 2003,
2008, 2010, 2011 by Artists for Israel International. All rights reserved. Scripture quotations are
from The Holy Bible, English Standard Version® (ESV®), Copyright © 2001 by Crossway, a
publishing ministry of Good News Publishers. Used by permission. All rights reserved.

This book may not be reproduced in whole or in part, stored in a retrieval system, or transmitted
in any form or by any means – electronic, mechanical, or other – without written permission from
the publisher, except by a reviewer, who may quote brief passages in a review. All trademarks
are the property of their respective companies. All rights reserved. No portion of this book may
be used without the written permission of the author with the exception of brief excerpts for
magazine articles, reviews, etc.

Special Sales: Wholetones books are available at special discounts for bulk purchases for sales
promotions or premiums. For further information or permission, write to Lillian Tyrrell at
Lillian@MichaelTyrrell.com or visit www.MichaelTyrrell.com

“Wholetones” and “Chroma” are trademarks of Michael Tyrrell Music, LLC.

Visit wholetones.com to purchase Wholetones music, videos, and to learn more.

 Dedication

I dedicate this book to God,

the Father of Lights,

the Creator of Sound & Frequency,

and the Architect of Heaven & Earth.

 Contents

Endorsements
Foreword
Preface
CHAPTER 1: The Game Changers
CHAPTER 2: Proximity vs. Perspective
CHAPTER 3: Time & Eternity
CHAPTER 4: Freakquency or Frequency
CHAPTER 5: Healing
CHAPTER 6: Discovering the Rabbit Hole
CHAPTER 7: Digital v. Analog (Bigger is Better)
CHAPTER 8: Sound & Light
CHAPTER 9: The Genesis of Music
CHAPTER 10: The Six Solfeggio Tones
CHAPTER 11: The Key of David
CHAPTER 12: Looney Tunes
CHAPTER 13: The Application of Intonation
CHAPTER 14: Nuts & Bolts (How to Use Wholetones)
The Healing Frequency Music Project
Wholetones Chroma
Acknowledgements
Endnotes
About the Author
 Endorsements

“Michael Tyrrell is one of those people who makes you

feel like royalty when you’re around him. He is filled with
the love of God and has a powerful understanding of Jesus
and His kingdom. We have traveled the world together and
it is very evident to me that Michael is carrying a special
piece of what is needed in this generation. He is an
authentic expression of love who imparts hope everywhere
he goes. I have learned a lot from Michael and I’m happy
to call him a friend.”

R P

The Heart of David

www.rickpino.com
 “I met Michael and Lillian Tyrrell in 2007 after being a
Christian for 2 years. They have poured their heart and
soul into my life.

A strong deliverance took place in me while Michael

performed his song, Lion In The Garden. Michael has a
real heart for the church to walk in freedom and maturity.
I’m proud to call him and Lillian my friends.”

B W

Korn
iamsecond.com/seconds/brian-welch
 “It has been my great privilege to know Michael Tyrrell
throughout the years. I’ve found him to be kind, direct,
loving, and a great prophetic voice to our church.

It’s my honor to endorse the author of this book!”

P K G

New Life Christian Church, Watertown, New York

www.newlifenny.com
 “As a worshiper, one of my expectant hopes is what the
Prophet Amos first writes and reaffirmed in the Book of
Acts: the Restoration of the Tabernacle of David. A hunger
for a deeper worship experience leads me to sense that
David’s Tabernacle is more about a coming level of
worship, rather than the rebuilding of a physical structure. I
believe the restoration of the Tabernacle of David cannot
be complete without the Key of David.

No doubt in this season, God has imparted to Michael

Tyrrell that key. A twofold key, one that not only unlocks
doors, but a musical key that defines the healing qualities
of Heaven’s tonic chords as given by God to David and
rediscovered in Divine epiphany by Michael. This
revelation will define healing for this generation.”

M C

Pastor
Oviedo, Florida
 “Once in a while you meet one of those souls that just
by being in near proximity to them, your whole day seems
to get a lot brighter. Michael is one of those souls. His
presence and his laughter can make the dullest of places
seem like an extraordinary festivity. His kind heart and
deep understanding of the spiritual realm gives anyone in
need refuge and comfort.

We are all grateful to our creator for giving us an

Amazing Earth Angel named Michael Tyrrell. Thank you
Michael for all you do to make our world a better place.”

D .S B A

Board Certified Dermatologist & Dermatologic Surgeon,

Physician Trainer & Clinical Researcher
 Foreword

When I first met Michael, I was intrigued by his long hair and
charismatic personality. He was like “Rockstar Jesus” who loved to talk
about the Kingdom of God in a way I had never heard before. Five years
later, I am honored to call him one of my closest friends.
Michael’s zest for life, his quest for truth, his love for God, and his
passion for sharing the kingdom with others energizes and encourages
me greatly.
I’ve had the privilege of working closely with Michael since February
2014 to help bring one of his dreams to life, and I’m honored to
contribute to the work of Wholetones: The Sound of Healing.
Others have called this project Michael’s magnum opus, the pinnacle
of his life’s work and possibly the very reason he was created.
But I see this as an outpouring of love inspired from the depth of his
soul that has been imprinted on his DNA and is now available for you to
experience and enjoy forever.
In fact, when I listen to the music of Wholetones (which is quite often,
including right now as I write), I cannot help but feel that this music is
going to be resonating in the halls of Heaven for all eternity. And we get
to listen to it right here, right now. That’s pretty cool.
I’d like to share two very personal stories about Wholetones that I
experienced before we launched Wholetones together.
First, I wasn’t able to attend the studio recording of the music – but I
was greatly anticipating hearing the songs once they were finished.
Michael called me with updates, talking about how he couldn’t believe
how everything was coming together so smoothly. He didn’t write any of
the music ahead of time … he just trusted that it would come as the
Spirit led. The musicians came to the studio not really knowing what to
expect. Michael spent much time in prayer, and when it was time to
record, the music flowed out like the birthing of a newborn baby, and
they could only explain the entire project as divinely inspired.
 A few days after they finished recording, he sent me a “secret link” to
the music. So I plugged my phone into my home stereo system,
downloaded the song, pressed play, and listened. What I heard was
simply amazing. I stood in my living room and wept. I danced, I laughed,
and I praised God. It was a deeply spiritual moment for me that I will
never forget. The music was beautiful, and I knew it was going to make
a transformational difference in so many people’s lives.
My next story is about my mother. She had been suffering with stage
IV breast cancer that spread to her bones since 2009. In December
2013, she was looking and feeling great. But in January, her health took
a turn for the worse. When we visited with her on Easter, she had lost a
lot of weight and was frail and weak. We cried a lot together as we knew
she was dying and we both felt the pain. I remember stroking her thin
hair while she laid in her bed, as I know she used to stroke my hair when
I was a small child.
Before it was time to leave, I played song 741Hz, Great Awakening,
on her iPad, and we listened to it together in her living room. After two
minutes, she looked over at me to see how I was doing, because she
was crying. I was bawling like a babbling baby and snot was draining
from my nose. The music penetrated to our souls and helped us feel like
everything was going to be alright, even though her earthly tent was
withering away.
My mother went to be with her Lord Jesus Christ on 12/13/2014, and
thankfully she is no longer suffering with any pain, frailty, or weakness.
My sister just suffered a very early term miscarriage, but we both agree
that her baby is now snuggling in the arms of Ma, close to Jesus, waiting
for us to get there. This music continues to help us heal from the
emotional pain of losing someone close. My dad tells me he listens to
Wholetones every night, and it’s helped him through the grieving
process.
One thing I am most looking forward to is hearing the stories that will
come from people like you after listening to and absorbing this music
into your life. Spontaneous healings, mended relationships, increased
productivity, vibrant health, spawning of creative ideas, and a general
sense of calm and peace are just some of the benefits that I have
personally witnessed or experienced, and I know others will too.
And I give all the glory to the Lord Jesus Christ, because ultimately,
this is another of His amazing gifts to us. I pray you feel His presence in
your life today and believe on His name to get you through any trial or
tribulation you may be facing in your life.
So sit back, put on some good headphones, press play, and allow
God to use these healing sounds to minister to you at a deep level.
Enjoy each song as the music dances effortlessly and resonates to the
core of your being.

J B

Founder & CEO, Barton Publishing, Inc.

jb@bartonpublishing.com
 Preface

How can a truth seeker stop until the truth is revealed?

—M T

When I started writing this book I had no idea that it would literally
take on a life of its own. It has pulled from every experience of my life
and stretched me as a writer, revelator, musician, minister, and husband.
During the writing, I also recorded Wholetones by divine inspiration in
Dallas, Texas. Wholetones is a 7 CD set with each track running 22:22
minutes. This project took 7 days to record and mix, and ended on
Passover! And much like the book, the recording project tapped
everything I had physically, emotionally, and spiritually.
The first indicator that the music captured something otherworldly
was my wife’s initial response to the recordings. Lillian is a great
sounding board for anything I create because she is unapologetically
honest. This time she was honestly overwhelmed, as were the few
people I allowed to audit the pre-release.
As a seasoned musician I am accustomed to critique. Historically,
some of my projects have reminded people of various or different bands.
But for the first time in my life, everyone who listened to this recording
project said the exact same thing:
“This is unbelievable! I have never heard anything like it.”
And rightly so! Wholetones is a live, spontaneous recording in a key
that hasn’t been heard in centuries!
Both the book and the recording project demanded an upside down
approach. The songs and the book title were the last things to come
instead of the first!
Truthfully, when I arrived at the recording studio and looked into the
faces of the amazing musicians I had asked to join me, I felt very inept. I
knew they were looking for direction or lead sheets … or something! But
I had nothing. So I told them I was going to sit and listen to 7
frequencies on the headphones until I heard the music we were to play.
Then, and only then, I would tell them what to do. The result is the
Wholetones music 7 CD set that many of you received with this book!
I am convinced that you will never know up front when you are
creating your “magnum opus,” or life’s work. It usually comes as a
complete surprise. Those of us who are creative are often far too close
to our own creations to see them for what they are worth.
But let me clue you in. You probably don’t realize how long you have
been carrying the bulk of the information in your heart. For 15, 18, 24
years or longer it may have been hidden away with you. But, suddenly, it
pours out of you like a pent-up stream, filling pages of a book and 7
audio CDs (To listen to the music, visit www.wholetones.com).
I never would have considered just how much weight this project
carries until someone I trust said to me, “This project may be the reason
you were created.” Now, THAT is a heavy thought.
As you begin this book, I would ask that you read it not as a distant
fiction novel or heady scientific resource. If so, you may just find yourself
hidden between its pages. I wrote this book for reluctant pioneers, closet
revolutionaries, unsung heroes, undecorated champions, faint saints,
poets who don’t know it, unknown musicians, writers, sculptors, painters,
and underdogs of all sorts. I wrote this book for you!
Sometimes the luggage of life paralyzes and the long wait
mesmerizes one into the belief that your time will never come. Friend,
you’ve been hidden for a reason and for just the perfect season. And
before you know it, your anonymity will find its voice! Here’s to the
sunrise of your obscurity … and mine as well!

M S. T
Founder & CEO, Wholetones, Inc.
http://www.michaeltyrrell.com
 CHAPTER 1:
The Game Changers

Since the beginning of time there have been people who challenged
the status quo. Their pioneering spirits have led to some of the greatest
discoveries and accomplishments in history.
These pioneers often overcame ridicule, controversy, frustration, and
seemingly insurmountable odds. But their great personal sacrifice has
opened a window large enough for all of us to see the unseen and know
the unknown.
Although this pioneering spirit has existed since the beginning, the
Renaissance period was amazingly rife with game changers and
iconoclasts.
A brief look at just a few of these amazing renaissance men and their
accomplishments will help you understand the impetus behind this guide
and the recordings you hold in your hand.

M L (1483-1546)

Theologian, Augustinian monk, author, musician, & reformer

 https://en.wikipedia.org/wiki/Martin_Luther

Luther was undoubtedly the central figure of the Protestant

Reformation. He brazenly challenged the corrupt Roman religious
system. Luther taught that salvation and eternal life were not earned by
good deeds or purchasing indulgences. Instead, you receive salvation
only as a free gift of God’s grace through faith in Jesus Christ.
Luther believed that the Word of God was for everyone, not just the
aristocracy. On October 31st, 1517, Luther nailed his famous 95 theses
to the church door at Wittenberg, Germany, accusing the Roman
Catholic Church of heresy upon heresy. This act was the tipping point of
the Protestant Reformation.
Luther’s controversial and ground-breaking theological works
eventually led to his excommunication. In a divine twist of fate, this act
afforded Luther the time to translate the Bible from Latin into German,
the language of his people. His translation of the Bible influenced the
English translation known as the Tyndale Bible. 1"
Luther was also a gifted musician. His hymns influenced corporate
singing in church. In fact, his hymns are still sung today in churches
throughout the world.
Yes, one diminutive monk turned the religious system upside down,
or shall we say … right side up!

C C (1451-1506)

Explorer, navigator, & colonizer

https://en.wikipedia.org/wiki/Christopher_Columbus
 After his wife Filipa died, Christopher Columbus moved to Spain with
his son, Diego, and began a series of attempts to obtain a grant to
explore western trade routes.
Columbus firmly believed the earth’s shape was spherical. But, the
educated in Europe feared they would fall off the edge of the earth
because it was flat. So with great criticism, his request for a grant to
prove his theory was flatly denied on several occasions.
Undaunted in his resolve, Columbus found favor with Queen Isabella.
In 1492, he promised to bring back gold, spices, and silk from Asia,
spread Christianity, and explore China. King Ferdinand and Queen
Isabella gave Columbus his grant, and made him admiral of the seas
and governor of discovered lands.
Although Columbus never reached Asia or North America, his
voyages marked the colonization of the American continents. And, of
course, proved once and for all that the earth was anything but flat.

L V (1452-1519)

Italian Renaissance sage, painter, sculptor, architect, musician,

mathematician, engineer, inventor, anatomist, geologist, cartographer,
botanist, & writer.
https://en.wikipedia.org/wiki/Leonardo_da_Vinci

Probably more than any other, Leonardo da Vinci was the epitome of
the Renaissance man. He was filled with an unquenchable curiosity and
a non-stop capacity for invention.
 He is considered one of the greatest painters of all time. Among
Leonardo da Vinci’s works are the Mona Lisa, the Last Supper, and the
iconic drawing, the Vitruvian Man.
As far as inventors go, Leonardo was unrivaled. He blueprinted flying
machines, a tank, split hull boats, adding machines, and concentrated
solar power. He also theorized plate tectonics. Although his larger
inventions were not feasible for construction in his time, he built an
automated bobbin winder and a machine to measure the tensile strength
of wire.2"
Leonardo was also responsible for important discoveries in anatomy,
optics, and hydrodynamics. You may have heard the old maxim, “Jack of
all trades; master of none.” Well, Leonardo da Vinci mastered all that he
undertook.

N C (1473-1543)

Renaissance mathematician & astronomer who formulated a

heliocentric (sun-centered) model of the universe.
https://en.wikipedia.org/wiki/Nicolaus_Copernicus

Copernicus was a revolutionary in the truest sense of the word. His

writing, On the Revolutions of the Celestial Spheres, earned him a place
in history. He proved that planets revolve around the sun and disproved
Ptolemy’s claim that the sun revolved around the planets.
Drawing the Lines of Commonality
All of the aforementioned Renaissance men and their contemporaries
had several significant attributes in common that allowed them to
succeed where others had failed. Here are a few notable ones:

1. All of them believed that laws represented uncertainty and could

therefore be broken. Jodocus Trutfetter, one of Martin Luther’s
tutors, taught him to be suspicious of even the greatest thinkers and
to test everything himself by experience. Luther was certainly
unconventional in his thoughts!
2. All of them were free of the fear of man, yet viewed God with great
awe.
3. All of them were highly educated. Most spoke several languages
and possessed a high degree of proficiency in mathematics and the
arts, as well as a variety of other skills.
4. All of them pursued life with passion and fierce tenacity. Unrelenting
in their search for truth, they NEVER gave up.
5. Historians often labeled Renaissance men humanistic.3 But closer
inspection of their altruistic behavior proves they also valued
benevolence, faith, and revelation. After all, the spiritual reformation
that accompanied the reformation of the arts, science, and literature
was obviously not perpetuated by human means.
6. The Renaissance Christian saw creation in perfect order, from God
down to the most insignificant creature or object. They saw creation
as an act of imposing divine organization upon raw chaos. The
popular thought interpreted was closer to orderliness is next to
godliness.

“In the Beginning, God created the Heavens and the

earth. The earth was without form, and darkness
was upon the face of the deep: and the Spirit of God
moved over the waters.”
Genesis 1:1-2 ESV

They saw the divine order, or chain of authority, as follows:4

 God, the Creator, is the highest link in the chain, yet outside of
it.
Purely spiritual beings were below the Creator.
Beings of both spirit and physical body (human beings) were
below angelic beings.
Animate creatures with only physical bodies and five senses,
but lacking reason (mammals, fowl, fish, and insects), followed
next.
Animals with fewer than five senses or inanimate bodies
(oysters, mollusks, barnacles, etc.) were next in line.
Then plant life, which is inanimate and without sensory
capabilities (trees, shrubs, vegetables), continued the chain of
order.
Finally, minerals and inanimate objects were the lowest
elements.
7. Humanist Renaissance men saw this information as:
The basis for survival of the fittest
The food chain
The four elements (fire, air, water, earth)

They also saw this transformation from the lens of alchemy, rather
than divinity.
There is one thing virtually all Renaissance men agreed on: there is
infinitely more to creation than meets the eye or the intellect and it
MUST be discovered at all cost!
Your Own Personal Renaissance
As you read on, you will discover that man’s innate need for control
has been the impetus behind his attempts to measure time, space, and
history. Needless to say, these attempts have often been extremely
inaccurate and should always be challenged.
Do you remember pictures of cavemen in your school history books?
There were also pictures of the caveman’s environment, tools and
weapons, and dietary habits. This was all unapologetically taught to
young impressionable children as truth. But was it the TRUTH?
In man’s pursuit of making a monkey out of himself, he created the
following elaborate hoaxes to establish a “missing link” that would prove
Darwin’s theory of evolution. 5

Java Man (a coffee lover … just kidding!) was created from random
bones not even associated with each other. But a deathbed
confession from the archaeologist who created the hoax (I mean,
“discovered the caveman”) admitted that the scull cap came from a
gibbon (ape)!
Peking Man (fossils from China) was said to be 400,000 years old.
Yet after the remains were “lost” during WWII, his age was suddenly
changed to 350,000-500,000 years old. Now, that’s quite a stretch!
Later scientists confirmed that the Peking Man was just a modern
man merely a few thousand years young.
Nebraska Man was a man built from nothing more than a tooth. In
fact, it was the same tooth that Clarence Darrow held up as
evidence of human evolution in the Scopes trial of 1925. In 1927,
scientists took a closer look at the tooth and realized it belonged to
a pig! Yes indeed, the entire story was a pig in a poke. That’s the
tooth, the whole tooth, and nothing but … the tooth.
The Piltdown Man, when first found, was thought to be 500,000
years old. But researchers discovered that someone deliberately
planted 500 and 600 year old bones with the skull to try and prove
evolution. Further investigation only proved the Piltdown man to be
another hoax.
Lack of evidence resulted in the conclusion that Heidelberg Man
was a modern species.
 Neanderthal Man was a forgery, ultimately proven to be a modern
species.
Like all other theories relating to early man, Cro-Magnon Man has
not yet been proven to be anything but a modern species.

So, why are these lies still being purported as truth today? Why is the
propagation of a theory into a truth such a common occurrence? Why is
the theory of evolution so important? In a word, PRIDE! Man hates to
admit it when he is in error and creates elaborate hoaxes, historical
distortions, and cultural chaos instead of admitting defeat.
Here is something I want you to consider. If you look at the birth years
of the aforementioned Renaissance men, do you see a correlation? The
works of several renowned historians do not agree on a date when the
Renaissance period started or ended.6 So, they adopted the 1400-1700
AD time span.
Let me get this straight. The evolutionists studying dead bones have
had to modify their theories once again. Humans studying humans base
an important time in history on the birthdates of some enlightened
people who lived and died in a certain period of time?
It is time to challenge everything you think you know and dare to
discover the truth. The Renaissance isn’t a period of time as much as it
is a “state” of being. It is far more about WHO you are than WHERE you
are in time.
Enlightened people, not time, create their own renaissance.
Renaissance can break out anytime or anywhere. You may be one of
these enlightened ones and not even be aware of it! By the way,
Renaissance defined means rebirth, revival, or “coming around” as one
who was unconscious.7 This book is your smelling salts. Wake up!
 CHAPTER 2:
Proximity vs. Perspective

Now let me ask you a few questions …

How many of the Renaissance attributes mentioned above do you

possess? What (or who) motivated you to purchase the resource
you now hold in your hand?
Are you one who unquestioningly accepts as fact what culture
dictates as the absolute truth?
Is reality relative?

The word “proximity” is defined as nearness in space, time, or

relationship.
The word “perspective” has this definition: The way YOU see
something, your point of view.
Proximity is where you actually are and perspective is where you
think you are. If you look at the side view mirror of your car you will find
an indelibly scripted warning, “Objects in the mirror are closer than they
appear.” Car manufacturers place that warning there because the mirror
is slightly concave. This creates an imperfect perspective, or point of
view, regarding distance. If you trust that perspective, then when you
change lanes the proximity of the car you hit invalidates your
perspective! Remember, proximity always trumps perspective.
Life is far more than meets the eye. For example, let’s say you are
standing on a street corner in Manhattan and you are facing a tall
building. All you can see from your vantage point is the tall building, so
you assume it takes up the entire corner. Yet just above you, at the
same street corner, a man in a helicopter sees a tall thin building on the
corner with lots of little buildings behind it. Just because you didn’t see
the other buildings had no bearing on the fact of their existence.
 Now you cross the street and enter the tall building. You are surprised
that it only has an 8-foot ceiling, but you quickly accept what you see as
reality. When you ask the janitor why such a tall building has an 8-foot
ceiling he replies, “This building has a 50 ft. ceiling. The 8-foot ceiling
you see is a drop ceiling. What you didn’t see is the 42 feet of storage
just above the ceiling tiles.”
A Renaissance man would have grabbed a broom, knocked out one
of the ceiling tiles and exclaimed, “Eureka! I knew there was more!”
That is the difference between a linear thinker and a non-linear
thinker. Let me define them for you.8
Linear thinking: “To look at something from one point of view.”
Nonlinear thinking: “To look at something from several, often
unrelated points of view.”
Most of our thinking is linear or “logical.” We consider this to be
normal, conventional thinking. But the Renaissance men didn’t just think
in a linear way. The world’s biggest game changers have always tried
new and innovative approaches for generating ideas, accessing
knowledge and discovery.
If you haven’t figured it out yet, this resource is FAR more than an
instruction book and seven CDs. It is a key to your self-discovery. Self-
discovery, or “Nosce Te Ipsum” Latin for “To know thyself,” is the first
step to healing and personal transformation. Without this knowledge of
our identity and human condition, we would never discover our need
(and ability) to be healed or transformed.

“For as he thinks in his heart, so is he.”

Proverbs 23:7 AMP
The Narrow Way
“Enter through the narrow gate. For wide is the gate and
broad is the road that leads to destruction, and many
enter through it. But small is the gate and narrow the
road that leads to life, and only a few find it.”
Matthew 7:13-14

In 1964, Rankin/Bass released a Christmas television special aired

on the NBC network entitled, “Rudolf the Red-Nosed Reindeer.”9
Response to the show was overwhelming and it has remained a cult
classic to this day. The Island of Misfit Toys scene struck a nerve with
many viewers. They wrote the network asking that they include a scene
with Santa rescuing the misfits. NBC graciously agreed and added that
scene. After I list some of the misfits you will immediately understand the
reason I mentioned them in this book.

King Moonracer, the winged Lion that rules the Island

Charlie-In-The-Box
The Spotted Elephant
Dolly, a seemingly normal toy doll discarded by her mistress and
suffering from depression from being unloved
A bird who swims instead of flies
A cowboy who rides an ostrich
A train with square wheels
A boat that cannot float
An airplane that cannot fly
And a water pistol that shoots jelly

Have you ever felt like a misfit? Are you often misunderstood? Are
you pistachio in a chocolate and vanilla world? Have you found it easier
to disdain your gift than to celebrate it?
Right now you must be thinking, “A gift? What gift?”
Yes, you are a priceless gift, a rare commodity in the midst of
conformity. Your loving Creator meticulously designed you this way. You
see, King Moonracer is a Christ type, a loving king who watched over
and protected his misfits. Though the world saw them as flawed and
useless, he knew them as the wonders they truly were.
Begin right now to be thankful for who you are and LOVE yourself
and the ONE who made you this way. Next time you look in a mirror,
take an extra minute to really examine each amazing characteristic that
you possess – what makes you uniquely you. Before long you will
realize that you are one of a kind, like a snowflake, and dearly loved.

“For you created my inmost being; you knit me together

in my mother’s womb. I praise you because I am fearfully
and wonderfully made; your works are wonderful, I know
that full well.”
Psalm 139:13-14

Although the road you are on may seem uphill, narrow, and sparsely
traveled, in the end you will be glad you followed your inner voice
instead of the jeering crowd. And in bypassing the compass of
conformity (magnetic north), you will soon discover TRUE north!
Another random document with
no related content on Scribd:
illuminators was large, and they scattered themselves over Europe, practising
their art and style in France, Germany, and Italy. They all worked with the
same minute care, and it is practically impossible to identify absolutely the
work even of the most famous artists. There has always been a question
whether the chief glory of the Grimani Breviary belonged to Hans Memling or
to Gerard Van-der-Meire, but from a study of the comparative claims the
Memling enthusiasts would seem to have the better of the argument.
Internal and external evidence place the date of the execution of the
Grimani Breviary at 1478 to 1489,—ten years being required for its completion.
It is believed that the commission was given by Pope Sixtus IV. The Pontiff,
however, died before the volume was finished, and it was left in the hands of
one of the artists engaged upon it. Antonello di Messina purchased it from this
artist, who is supposed to have been Hans Memling, and brought it to Venice,
where he sold it for the sum of 500 ducats to Cardinal Domenico Grimani,
whose name it bears.
 GRIMANI BREVIARY. Flemish, 15th Century
La Vie au Mois de Janvier
(Biblioteca San Marco, Venice. 10 × 9 inches)

This Cardinal Grimani was a man noted not only for his exemplary piety
but also as a literary man of high repute, and a collector of rare judgment.
When he died, the Breviary was bequeathed to his nephew, Marino Grimani,
Patriarch of Aquileia, on the condition that at his death the precious
manuscript should become the property of the Venetian Republic. Marino
carried the Breviary with him to Rome, where it remained until his death in
1546. In spite of his precautions, however, this and several other valuable
objects would have been irretrievably lost had not Giovanni Grimani, Marino’s
successor as Patriarch at Aquileia, searched for it, and finally recovered it at
great cost to himself.
 In recognition of his services, Venice granted Giovanni the privilege of
retaining the manuscript in his possession during his lifetime. Faithful to his
trust, Giovanni, fearing lest the volume be again lost, on October 3, 1593, sent
for his great friend, Marco Antonio Barbaro, Procurator of Saint Mark’s,
placed the treasure in his hands, and charged him to deliver it to the Doge
Pasquale Cicogna in full Senate. This was done, and the volume was stored in
the Treasury of the Basilica for safe keeping. Here it remained through the
many vicissitudes of Venice, and even after the fall of the Republic, until the
librarian Morelli persuaded the authorities to allow its removal to the Library
of San Marco, whither it was transferred October 4, 1797.
When the Breviary was delivered to the Doge Pasquale, the Republic voted
to entrust the binding to one Alessandro Vittoria. The cover is of crimson
velvet, largely hidden by ornaments of silver gilt. On one side are the arms and
the medallion of Cardinal Domenico Grimani, and on the other those of his
father, the Doge Antonio. Both covers contain further decorations and Latin
inscriptions, relating in the first case to the gift, and in the other to its
confirmation. In the small medallions in the border one sees a branch of
laurel, the emblem of vigilance and protection, crossed by a branch of palm,—
the symbol of the religious life. The dove typifies purity, and the dragon stands
for defense.
The volume itself contains 831 pages about 10 by 9 inches in size. There
are the usual Calendar pages, containing the signs of the Zodiac, and further
decorated with small miniatures (opp. page), alternating with twelve superb full-
page illuminations (page 142), showing the occupations of the months.
Following these, come the Prayers, with sixty additional full-page miniatures
based on Bible history or the lives of the Saints. At the end are eighteen pages
with smaller miniatures assigned to the saints of special devotion, placed at the
beginning of the office dedicated to each.
 GRIMANI BREVIARY. Flemish, 15th Century
Text Page showing Miniature and Decoration
(Biblioteca San Marco, Venice. 10 × 9 inches)

The marginal decorations throughout the book are wonderfully wrought.

Some pages are adorned with perpendicular bands, with constantly varying
color combinations. Arabesques of all kinds are used, and interspersed among
the ornamentation are flowers and fruits, animals, birds, fishes, and all kinds of
natural objects. In addition to these, one finds little buildings, landscapes,
architectural ornaments, statues, church ornaments, frames, vases, cameos,
medals, and scenes from Bible history and from every-day life as well,—all
showing the genius of the artists who put themselves into the spirit of their
work.
 When the old Campanile fell in 1902, one corner of the Library of San
Marco was damaged. Immediately telegrams poured in from all over the world,
anxiously inquiring for the safety of the Grimani Breviary. Fortunately it was
untouched. The last time I saw this precious manuscript was in 1924. Doctor
Luigi Ferrari, the librarian, courteously took the volume from its case and laid
it tenderly on a low table, extending to me the unusual privilege of personal
examination. Thus I could turn the pages slowly enough to enjoy again the
exquisite charm of its miniatures, the beauty of its coloring, and to assimilate
the depth of feeling which pervades it throughout. My friends at the British
Museum think that in the Flemish pages of the Sforza Book of Hours they have
the finest example of the Flemish School. They may be right; but no
miniatures I have ever seen have seemed to me more marvelously beautiful
than those in the Grimani Breviary.
Whenever I examine a beautiful manuscript, and take delight in it, I find
myself comparing it with the Italian masterpiece of Francesco d’Antonio del
Cherico. It may be that this is due to my dramatic introduction to that volume,
as recorded at the beginning of this chapter. Its date is perhaps half a century
earlier than the Hours of Anne of Brittany; it is of the same period as the Grimani
Breviary and the Antiquities of the Jews; it is fifty years later than the Bedford Book
of Hours, and a century and a half later than Queen Mary’s Psalter. Which of all
these magnificent manuscripts is the most beautiful? Who would dare to say!
In all there is found the expression of art in its highest form; in each the
individual admirer finds some special feature—the beauty of the designs, the
richness of the composition, the warmth of the coloring, or the perfection of
the execution—that particularly appeals.
 BOOK OF HOURS. Italian, 15th Century
By Francesco d’Antonio del Cherico
(R. Lau. Bibl. Ashb. 1874. 7 × 5 inches)

When one considers the early civilization of Italy, and the heights finally
attained by Italian illuminators, it is difficult to understand why the intervening
centuries show such tardy recognition of the art. Even as late as the twelfth
century, with other countries turning out really splendid examples, the Italian
work is of a distinctly inferior order; but by the middle of the thirteenth
century, the great revival in art brought about by Cimabue and Giotto
stimulated the development in illumination. During the next hundred years the
art became nationalized. The ornament diverged from the French type, and
assumed the peculiar straight bar or rod, with profile foliages, and the sudden
reversions of the curves with change of color, which are characteristic of
fourteenth-century Italian work. The miniatures, introducing the new Tuscan
manner of painting, entirely re-fashioned miniature art. The figure becomes
natural, well-proportioned, and graceful, the heads delicate in feature and
correct in expression. The costumes are carefully wrought, the drapery folds
soft, yet elaborately finished. The colors are vivid but warm, the blue being
particularly effective.
The vine-stem style immediately preceded the Classic revival which came
when the Medici and other wealthy patrons recognized the artistic importance
of illumination. In this style the stems are coiled most gracefully, slightly tinted,
with decorative flowerets. The grounds are marked by varying colors, in which
the artists delicately traced tendrils in gold or white.
The great glory of Italy in illumination came after the invention of
printing. Aside from the apprehensions of the wealthy owners of manuscript
libraries that they would lose prestige if books became common, beyond the
danger to the high-born rulers of losing their political power if the masses
learned argument from the printed book,—these true lovers of literature
opposed the printing press because they believed it to cheapen something that
was so precious as to demand protection. So they vied with one another in
encouraging the scribes and the illuminators to produce hand-written volumes
such as had never before been seen.
Certainly the Book of Hours of d’Antonio is one of the marvels of
Florentine art. The nine full-page miniatures have never been surpassed. No
wonder that Lorenzo de’ Medici, lover of the beautiful, should have kept it
ever beside him! The delicate work in the small scenes in the Calendar is as
precise as that in the larger miniatures; the decoration, rich in the variety of its
design, really surpassed the splendor and glory of the goldsmith’s art (page
146). Some deplore the fact that England lost this treasure when the Italian
government purchased the Ashburnham Collection in 1884; but if there ever
was a manuscript that belongs in Florence, it is this.
You may still see d’Antonio’s masterpiece at the Laurenziana Library, but it
is no longer kept in the ancient wooden desk. The treasures of illumination are
now splendidly arrayed in cases, where all may study and admire. There are
heavy choir-books, classic manuscripts, books of hours, and breviaries,
embellished by Lorenzo Monaco, master of Fra Angelico; by Benozzo
Gozzoli, whose frescoes still make the Riccardi famous; by Gherado, and
Clovio, and by other artists whose names have long since been forgotten, but
whose work remains as an everlasting monument to a departed art that should
be revived.

Experts, I believe, place the work of Jean Foucquet, in the Antiquities of the
Jews, ahead of that of Jean Bourdichon (probably Foucquet’s pupil) in the Hours
of Anne of Brittany; but frankly this sixteenth century manuscript at the
Bibliothèque Nationale, in Paris, always yields me greater pleasure. Perhaps this
is in compensation for not knowing too much! I will agree with them that the
decorative borders of Foucquet are much more interesting than Bourdichon’s,
for the return of the Flemish influence to French art at this time was not
particularly fortunate. In the borders of the Grimani Breviary realism in
reproducing flowers, vegetables, bugs, and small animal life, would seem to
have been carried to the limit, but Bourdichon went the Grimani one better,
and on a larger scale. The reproductions are marvelously exact, but even a
beautifully painted domesticated onion, on which a dragon-fly crawls, with
wing so delicately transparent that one may read the letter it seems to cover, is
a curious accompaniment for the magnificently executed portraits of Anne and
her patron saints in the miniature pages! Here the artist has succeeded in
imparting a quality to his work that makes it appear as if done on ivory instead
of vellum (see page 148). The costumes and even the jewels are brilliant in the
extreme. The floral decorations shown in the reproduction opposite are far
more decorative than the vegetables, but I still object to the caterpillar and the
bugs!
HOURS of ANNE of BRITTANY. French Renaissance, 16th Century
The Education of the Child Jesus by the Virgin and Saint Joseph
(Bibl. Nat. MS. Lat. 9474. 12 × 7½ inches)
 HOURS of ANNE of BRITTANY. French Renaissance, 16th Century
Page showing Text and Marginal Decoration
(Bibl. Nat. MS. Lat. 9474. 12 × 7¼ inches)]

In 1508 there is a record that Anne of Brittany, Queen of Louis XII, made
an order of payment to Bourdichon of 1050 livres tournois for his services in
“richly and sumptuously historiating and illuminating a great Book of Hours
for our use.” This consists of 238 leaves of vellum, 12 by 7½ inches in size.
There are sixty-three full pages, including forty-nine miniatures, twelve
reproductions for the various months, and a leaf containing ornaments and
figures at the beginning and end of the volume. Of the text, there are some
350 pages surrounded by borders. The Italian influence shows in the
architectural and sculptural decorations, just as the Flemish obtains in the
borders.
The manuscript is bound in black shagreen, with chased silver clasps.

The question naturally arises as to the reason for the decline and practically
the final extinction of the art. I believe it to be that which the princely Italian
patrons foresaw. Their apprehensions, though selfish in motive, have been
confirmed by history. The invention of printing did make the book common,
and as such, its true significance came to be forgotten because of greater
familiarity. The book as the developer of the people in science and in literature
crowded out the book as an expression of art.
I wonder if it is too late to revive illumination. Never has there existed in
America or England a keener appreciation of beautiful books; never have there
been so many lovers of the book blessed with the financial ability to gratify
their tastes. There are still artists familiar with the art, who, if encouraged,
could produce work worthy of the beautifully printed volumes the best Presses
are capable of turning out. What is lacking is simply a realization that
illumination stands side by side with art at its best. In America, the
opportunities for studying illumination are restricted, but a student would have
no difficulty in finding in certain private collections and in a few public
libraries more than enough to establish his basic understanding of the art. The
great masterpieces are permanently placed now, and strictly enforced laws
prevent national monuments from being further transferred from one country
to another; but even of these, excellent facsimile reproductions have been
made and distributed throughout the world
No true lover of art visits Europe without first preparing himself by reading
and study for a fuller understanding and more perfect enjoyment of what he is
to find in the various galleries. Assuming that no one can be an art lover
without also being a lover of books, it is perhaps a fair question to ask why he
should not make an equal effort to prepare himself to understand and enjoy
those rich treasures in the art of illumination which are now so easily
accessible

HOURS OF ANNE OF BRITTANY

Order of payment of 1050 livres tournois to Jean Bourdichon, 1508
CHAPTER V

Friends through the Pen

 V
FRIENDS THROUGH THE PEN

Maurice Hewlett combined to an unusual degree those salient

characteristics that go to make the great writer: he was a discerning observer,
and had formed the habit of analyzing what he observed; his personal
experiences had taught him the significance of what he had seen and enabled
him to assess its valuation. Beyond all,—having observed, analyzed, and
understood,—he possessed the power to interpret to others.
At the time I first met him, The Queen’s Quair was having a tremendous run,
and the volume naturally came into the conversation.
“In spite of its success,” he said with much feeling, “I am disappointed
over its reception. I have always wanted to write history, but not the way
history has always been written. There are certain acts attributed to the chief
characters which, if these characters are studied analytically, are obviously
impossible; yet because a certain event has once been recorded it keeps on
being repeated and magnified until history itself becomes a series of
distortions. Mary, Queen of Scots, has always been my favorite historical
figure, and I know that in The Queens Quair I have given a truer picture of her
character than any that at present exists. But alas,” he added with a sigh, “no
one accepts it as other than fiction.”
After this statement from him I turned again to my copy of The Queen’s
Quair and re-read the author’s prologue, in which I found:
A hundred books have been written and a hundred songs sung; men enough of
these latter days have broken their hearts over Queen Mary’s; what is more to the
point is that no heart but hers was broken at the time. All the world can love her now,
but who loved her then? Not a man among them. A few girls went weeping; a few boys
laid down their necks that she might fall free of the mire. Alas, the mire swallowed
them up and she needs must conceal her pretty feet. This is the note of the tragedy; pity
is involved, rather than terror. But no song ever pierced the fold of her secret, no book
ever found out the truth because none ever sought her heart. Here, then, is a book
which has sought nothing else, and a song which springs from that only.
I wonder if every writer in his heart does not feel the same ambition. The
novelist is a story-teller who recites bed-time stories to his audience of grown-
up children, while the humorist plays the clown; but in writing history one is
dealing with something basic. Within a year a volume has been published
containing alleged documentary evidence to prove that Mary, Queen of Scots,
was innocent of the charge of treason. What a triumph if an author through
character analysis could correct tradition! It was a loss to the world that
Hewlett permitted himself to be discouraged by unsympathetic critics from
carrying out a really big idea.
To meet Maurice Hewlett at his home at Broad Chalke, a little English
village nearly ten miles from a railroad station, and to walk with him in his
garden, one might recognize the author of The Forest Lovers; but an afternoon
with him at a London club would develop another side which was less himself.
Instead of discussing flowers and French memoirs and biography in a
delightfully whimsical mood, Hewlett’s slight, wiry figure became tense, his
manner alert, his eyes keen and watchful. In the country he was the dreamer,
the bohemian, wholly detached from the world outside; in the city he was
confident and determined in approaching any subject, his voice became crisp
and decisive, his bearing was that of the man of the world.
His early life was more or less unhappy, due partly to his precociousness
which prevented him from fitting in with youth of his own age. This
encouraged him to reach beyond his strength and thus find disappointment.
“I was never a boy,” he said once, “except possibly after the time when I
should have been a man. As I look back on my youth, it was filled with
discouragements.”
The classics fascinated him, and he absorbed Dante. Then Shelley and
Keats shared the place of the Italian poet in his heart. Even after he married,
he continued to gratify his love of Bohemia, and his wife wandered with him
through Italy, with equal joy; while in England they camped out together in the
New Forest,—the scene of The Forest Lovers.
The peculiar style which Hewlett affected in many of his volumes resulted,
he told me, from his daily work in the Record Office in London, as Keeper of
Land Revenue Records and Enrolments, during which period he studied the
old parchments, dating back to William the Conqueror. In this respect his early
experience was not unlike that of Austin Dobson’s, and just as the work in the
Harbours Department failed to kill Dobson’s poetic finesse, so did Hewlett rise
above the deadly grind of ancient records and archives. In fact it was during
this period that Hewlett produced Pan and the Young Shepherd, which contains
no traces of its author’s archaic environment.
One point of sympathy that drew us closely together was our mutual love
for Italy. My first desire to know Maurice Hewlett better was after reading his
Earthwork Out of Tuscany, Little Novels of Italy, and The Road in Tuscany. I have
always preferred these volumes to any of his later ones, as to me they have
seemed more spontaneous and more genuine expressions of himself. We were
talking about Italy, one day, when he made a remark which caused me to
suggest that what he said was the expression of a modern humanist. Hewlett
was obviously surprised yet pleased by my use of this expression.
“I don’t often meet any one interested in the subject of humanism,” he
said. “It is one of my hobbies.”
I explained my association with Doctor Guido Biagi, librarian of the
Laurenziana Library at Florence, and the work I had done there in connection
with my designs for a special face of type, based upon the beautiful hand
letters of the humanistic scribes (see page 16). With that introduction we
discussed the great importance of the humanistic movement as the forerunner
and essence of the Renaissance. We talked of Petrarch, the father of
humanism, and of the courageous fight he and his sturdy band of followers
made to rescue the classics. We both had recently read Philippe Monnier’s Le
Quattrocento, which gave additional interest to our discussion.
“Monnier is the only writer I have ever read who has tried to define
humanism,” Hewlett continued. “He says it is not only the love of antiquity,
but the worship of it,—a worship carried so far that it is not limited to
adoration alone, but which forces one to reproduce.”
“And the humanist,” I added, picking up the quotation from Monnier,
which I knew by heart, “is not only the man who knows intimately the
ancients and is inspired by them; it is he who is so fascinated by their magic
spell that he copies them, imitates them, rehearses their lessons, adopts their
models and their methods, their examples and their gods, their spirit and their
tongue.”
“Well, well!” he laughed; “we have struck the same street, haven’t we! But
does that exactly express the idea to you? It isn’t antiquity we worship, but
rather the basic worth for which the ancients stand.”
 Autograph Letter from Maurice Hewlett

“Monnier refers to the obsession that comes from constant contact with
the learning of the past, and the atmosphere thus created,” I replied. “Only
last year Biagi and I discussed that very point, sitting together in his luxuriant
garden at Castiglioncello, overlooking the Gulf of Leghorn. The ‘basic worth’
you mention is really Truth, and taking this as a starting point, we worked out
a modern application of Monnier’s definition:
“The humanist is one who holds himself open to receive Truth, unprejudiced as to
its source, and, after having received Truth, realizes his obligation to give it out again,
made richer by his personal interpretation.”
“There is a definition with a present application,” Hewlett exclaimed
heartily. “I like it.—Did you have that in mind when you called me a modern
humanist, just now?”
“No one could read Earthwork Out of Tuscany and think otherwise,” I
insisted.
Hewlett held out his hand impulsively. “I wish I might accept that
compliment with a clear conscience,” he demurred.

Meeting Austin Dobson after he became interpreter-in-chief of the

eighteenth century, it was difficult to associate him with his earlier experiences
as a clerk in the Board of Trade office, which he entered when he was sixteen
years old, and to which service he devoted forty-five useful but uneventful
years, rising eventually to be a principal in the Harbours Department. With so
quiet and unassuming a personality, it seems incredible that he could have
lifted himself bodily from such unimaginative environment, and, through his
classic monographs, bring Steele, Goldsmith, Richardson, Fielding, Horace
Walpole, Fanny Burney, Bewick, and Hogarth, out of their hazy indefiniteness,
and give to them such living reality. Perhaps Dobson’s very nature prevented
him from seeing the coarseness and indecency of the period, and enabled him
to introduce, or perhaps reintroduce, to England from France the ballade and
the chante royal, the rondeau and the rondel, the triolet, the villanelle, and other
fascinating but obsolete poetical forms in which he first became interested
through his French grandmother.
Dobson was the most modest literary man I ever met. I happened to be in
London at the time when the English government bestowed upon him an
annuity of £1,000, “for distinguished service to the crown.” When I
congratulated him upon this honor his response was characteristic:
“I don’t know why in the world they have given me this, unless it is
because I am the father of ten children. I have no doubt that would be
classified under ‘distinguished service to the crown.’”
One afternoon Austin Dobson and Richard Garnett, then Keeper of the
Printed Books at the British Museum, happened to come to my hotel in
London for tea at the same time. On a table in the apartment was a two-
volume quarto edition in French of Don Quixote, a prize I had unearthed at a
bookstall on the Quai Voltaire in Paris. It was beautifully printed, the
letterpress just biting into the paper, and making itself a part of the leaf, which
is so characteristic of the best French presswork. The edition also contained
the famous Doré illustrations. Dobson picked up one of the volumes and
exclaimed over its beauty.
“This edition,” he said, “is absolutely perfect.”
“Not quite,” I qualified his statement. “It is lacking in one particular. It
requires your Ode to Cervantes to make it complete.”
Dobson laughed. “Send the book to me,” he said, “and I will transcribe
the lines on the fly leaf.”
When the volume was returned a few days later, a letter of apology came
with it. “When I copied out the Ode on the fly leaf,” Dobson wrote, “it looked
so lost on the great page that I ventured to add the poem which I composed
for the tercentenary. I hope you won’t mind.”
My eleven-year-old son came into the reception room while our guests
were drinking their tea. Dobson took him on his lap, and after quite winning
his affection by his gentleness, he quietly called his attention to Garnett, who
was conversing with my wife in another part of the room.
“Never forget that man, my boy,” Dobson said in a low voice. “We have
never had in England, nor shall we ever have again, one who knows so much
of English literature. If the record of every date and every fact were to be lost
by fire, Garnett could reproduce them with absolute accuracy if his life were
spared long enough.”
Within fifteen minutes the youngster found himself on Garnett’s knee.
Without knowing what Dobson had said, the old man whispered in the child’s
ear, “It is a privilege you will be glad to remember that you have met such a
man as Austin Dobson. Except for Salisbury’s desire to demean the post of
poet laureate, Dobson would hold that position today. Never forget that you
have met Austin Dobson.”
A few months after our return to America, Garnett died, and Dobson sent
me the following lines. I have never known of their publication:

RICHARD GARNETT
Sit tibi terra levis