[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_).
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