Summary

Portrait of Edith Wharton Edith Wharton The Valley of Decision — Book I, Chapter 9 (1901)

From this centre of aesthetic reaction Alfieri had returned to the Gallicized Turin, with its preference for the graceful and ingenious rather than for the large, the noble, the restrained; bringing to bear on the taste of his native city the influence of a view raised but perhaps narrowed by close study of the past: the view of a generation of architects in whom archeological curiosity had stifled the artistic instinct, and who, instead of assimilating the spirit of the past like their great predecessors, were engrossed in a sterile restoration of the letter.
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Portrait of Edith Wharton Edith Wharton The Valley of Decision — Book I, Chapter 9 (1901)

Among the youth of their class they were perhaps the only two who already felt, however obscurely, the stirring of unborn ideals, the pressure of that tide of renovation that was to sweep them, on widely-sundered currents, to the same uncharted deep. Alfieri, at any rate, represented to the younger lad the seer who held in his hands the keys of knowledge and beauty. Odo could never forget the youth who first leant him Annibale Caro's Aeneid and Metastasio's opera libretti, Voltaire's Zaire and the comedies of Goldoni
Source: Wikisource

Portrait of Edith Wharton Edith Wharton The Valley of Decision — Book I, Chapter 9 (1901)

As with most thoughtful natures, Odo's first disillusionment was to come from discovering not what his God condemned, but what He condoned. Between Cantapresto's coarse philosophy of pleasure and the refined complaisances of his new confessor he felt the distinction to be one rather of taste than of principle; and it seemed to him that the religion of the aristocracy might not unfairly be summed up in the ex-soprano's cynical aphorism: "As respectful children of our Heavenly Father it behoves us not to speak till we are spoken to."
Source: Wikisource

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