For Beauty’s tears are lovelier than her smile.
The combat deepens. On, ye brave, Who rush to glory or the grave! Wave, Munich! all thy banners wave, And charge with all thy chivalry!
Where the Scriptures speak, we speak; where the Scriptures are silent, we are silent.
Our purpose is to grow up and become love.
The popularity of that baby-faced boy, who possessed not even the elements of a good actor, was a hallucination in the public mind, and a disgrace to our theatrical history.
But sad as angels for the good man’s sin, Weep to record, and blush to give it in.
Coming events cast their shadows before.
On the green banks of Shannon, when Sheelah was nigh, No blithe Irish lad was so happy as I, No harp like my own could so cheerily play, And wherever I went was my poor dog Tray.
He scorn’d his own, who felt another’s woe.
O leave this barren spot to me! Spare, woodman, spare the beechen tree.
Tis distance lends enchantment to the view, and robes the mountain in its azure hue.
Ye are brothers! ye are men! And we conquer but to save.
What though my winged hours of bliss have been, Like angel visits, few and far between.
Truth ever lovely – since the world began, The foe of tyrants, and the friend of man.
The smaller your reality, the more convinced you are that you know everything.
The Metropolitan Museum has all of our collections online, all our scholarly publications and catalogues since 1965. We have online features like the timeline of art history.
European museums are all dependent on government financing. The moment European governments are under financial pressure, their budgets are cut.
My goal is that we should have a rich engagement online that caters to a general and scholarly audience and that can provide a seamless experience for people, whether they are up the road or on the other side of the world.
Schiaparelli’s collaborations with Dali and Cocteau as well as Prada’s Fondazione Prada push art and fashion ever closer, in a direct, synergistic, and culturally redefining relationship.
When I first started coming to New York in the early Nineties and seeing the vitality of the programme compared to what was going on back in London or Paris, it was just in a different league. It’s like a 16th-century court.
What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.