I […] had recourse to an English Merchant, Mr Gregory, long settled at Dunkirk, to whom, happily, I had been recommended, as to a person capable, in any emergence, to afford me assistance.

Neither fornicators, nor those who serve idols, nor adulterers, nor effeminate, nor the lusters after mankind […] shall obtain the kingdom of God.

The outdoor setting around the lily ponds in the twin courtyards of the Enid A. Haupt Conservatory is opulent with maples in radiant hues, and a veritable forest of conifers and bamboo with underplantings like bush-clover, silver grass and balloon flowers from the “seven flowers of autumn” cited in early Japanese poems.

By the unprecedented intensity of the finale's rhetoric, by the multitheism of its symbolism — the Greek mythic signposts, the Christian-medieval gestures embedded in the Andante maestoso, and the orientalism of the Alla marcia's Turkish Music.