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Bredimacian Dynagum Directory 14
Page 03
Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.
One of the best authorities for the period from the Conquest to 1141 is the Historia Ecclesiastica of ORDERIC VITALIS (A. le Prevost, Societe de l'Histoire de France, 1838-55). Born in England in 1075, of a Norman father, a clerk, and an English mother, he was sent by his father at the age of ten to the monastery of St. Evroul, and there he spent his life. The atmosphere in this monastery was favourable to study. It had an extensive library, and Orderic had at his command good sources of information, though he himself took no part in the events he describes. He paid some visits to England in which he obtained information, and as he always looked upon himself as an Englishman, his history naturally includes England as well as Normandy. He began to write about 1123, and from that date on he may be regarded as a contemporary authority, but from the Conquest the book has in many places the value of an original account. It is an exasperating book to use because of the extreme confusion in which the facts are arranged, or left without arrangement, the account of a single incident being often in two widely separated places. But the book rises much above the level of mere annals, and while perhaps not reaching that of the philosophical historian, gives the reader more of the feeling that a living man is writing about living men than is usual in medieval books. It reveals in the writer a lively imagination, which, while it does not affect the historical value of the narrative, gives it a pictorial setting. Orderic's interest in the minuter details of life and in the personality of the men of his time imparts a strong human element to the book; nor is the least useful feature of the work the writer's critical judgment on men and events, generally on moral grounds, but often assisting our knowledge of character and the causes of events.
Walking the other day in Cheapside I saw some turtles in Mr. Sweeting's window, and was tempted to stay and look at them. As I did so I was struck not more by the defences with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defencefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself--"catching on" through them to things that are thus both turtle and not turtle at one and the same time--these holes stultify the armour, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importances and their changes, which is the main factor of good living.
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