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Schwartz adores “cerulean and azure swaths” of “open sea,” the adjective “sibylline,” fabrics like “almond-coloured velvet” and “rough linen,” sunlight dappled by leaves.

I was underwhelmed by Colin Matthews’s “A Voice to Wake,” with its vocal line that felt somehow both sibylline and mechanical.

Even when representing the self, many of these artists tend to the sibylline.

It is as old as the sibylline books.

Also because I was influenced by a late-blooming acquaintance with Wagner operas, discovering that their aesthetic, which I had assumed to be bombastic, really relies on sibylline continuities.