ne's inclination has as
much to do with the matter as one's temperament.

[Footnote 152: _Revue musicale_, November, 1902.]

However that may be, M. d'Indy hails from the Middle Ages, and not from
antiquity (which does not exist for him[153]), or from the Renaissance,
which he confounds with the Reformation (though the two sisters are
enemies) in order to crush it the better.[154] "Let us take for models,"
he says, "the fine workers in art of the Middle Ages."[155]

* * * * *

In this return to the Gothic spirit, in this awakening of faith, there
is a name--a modern one this time--that they are fond of quoting at the
_Schola_; it is that of Cesar Franck, under whose direction the little
Conservatoire in the Rue Saint-Jacques was placed. And indeed they could
quote no better name than that of this simple-hearted man. Nearly all
who came into contact with him felt his irresistible charm--a charm that
has perhaps a great deal to do with the influence that his works still
have on French music to-day. None has felt Franck's power, both morally
and musically, more than M. Vincent d'Indy; and none holds a more
profound reverence for the man whose pupil he was for so long.

[Footnote 153: "The only documents extant on ancient music are either
criticisms or appreciations, and not musical texts" (_Cours de
Composition_).]

[Footnote 154: "The influence of the Renaissance, with its pretension
and vanity, caused a check in all the arts--the effect of which we are
still feeling" (_Traite de Composition_, p. 89. See also the passage
quoted before on Pride).]

[Footnote 155: _Tribune de Saint-Gervais_, November, 1900.]

The first time I saw M. d'Indy was at a concert of the _Societe
nationale_, in the Salle Pleyel, in 1888. They were playing several of
Franck's works; among others, for the first time, his admirable _Theme,
fugue, et variation_, for the harmonium and pianoforte, a composition in
which the spirit of Bach is mingled with a quite modern tenderness.
Franck was conducting, and M. d'Indy was at the pianoforte. I shall
always remember his reverential manner towards the old musician, and how
careful he was to follow his directions; one would have said he was a
diligent and obedient pupil. It was a touching homage from one who had
already proved himself a master by works like _Le Chant de la cloche_,
_Wallenstein_, _La Symphonie sur un theme montagnard_, and who was
perhaps at that time b