Classicism in the shape of solid, respectable Hummel on the one hand, and Carl Czerny, a trifle flippant, perhaps, and inclined to appeal to the gallery, on the other, these gave the musical parentage of young Liszt.
It also escaped the classicism of the Renaissance with its insistence upon the test - either fact or fiction.
His classicism led to his great limitations as an historian.
Lamartine has been extolled as a pattern of combined passion and restraint, as a model of nobility of sentiment, and as a harmonizer of pure French classicism in taste and expression with much, if not all, the better part of Romanticism itself.
Under the influence of this reading he now finally broke with classicism and became one of the leaders of the new Sturm and Drang movement.
The new humanism was a kind of revival of the Renaissance, which had been retarded by the Reformation in Germany and by the Counter-Reformation in Italy, or had at least been degraded to the dull classicism of the schools.
Goethe's classicism brought him into inevitable antagonism with the new Romantic movement which had been inaugurated in 1798 by the Athenaeum, edited by the brothers Schlegel.
About the middle of the 18th century a learned Dalmatian monk, Andrea Kachich Mioshich by name, emancipated himself from the yoke of pseudo-classicism and slavery to Western models.
The pseudo-classicism of the period of Marietta's foundation is indicated by the names - Capitolium for one of the public squares, Sacra Via for one of the principal streets, and Campus Martius for the fortification.
Lessing was the exponent of German classicism; Herder, on the contrary, was a pioneer of the romantic movement.
The newspapers sacrificed theiraudience to their erudition and preferred classicism to circulation.
He has not the excessive classicism of style which mars even the fine prose of Jean Calvin, and which makes that of some of Calvin's followers intolerably stiff.
Romanticism, that reaction in which Sir Walter Scott, the Schlegels and Victor Hugo so largely figured, was as far from understanding what it admired as classicism had been from what it hated.
The calm beauty of Greek tragedy is seen in the new iambic version of Iphigenie auf Tauris (1787); the classicism of the Renaissance gives the ground-tone to the wonderful drama of Torquato Tasso (1790), in which the conflict of poetic genius with the prosaic world is transmuted into imperishable poetry.
Less important than Die Wahlverwandtschaften was Pandora (181 o), the final product of Goethe's classicism, and the most uncompromisingly classical and allegorical of all his works.