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Bredimacian Dynagum Directory 19
Page 01
It also seems to us that those who hold to the view that man was living in other parts of the world, as Asia, during the Miocene Age, ought readily to admit that a few wandering bands might penetrate into Europe.<50> The climate was tropical, there was an abundance of animal life, and, if man was living anywhere, it is very reasonable to suppose that, at some epoch during the course of the Miocene Age, he would have found his way to Europe, unless shut off by the sea. It therefore seems to us that the presence of those cut flints is conclusive of the presence of man in Europe during the Miocene Age. At the same time we can not affirm that this is the conclusion of the scientific world. They seem to have heeded the remark of Quatrefages, that "in such a matter there is no great urgency," and are waiting for further discoveries.
The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.
The chapels are fifteen in number, and lead up to a larger and singularly graceful one, rather more than half-way between Saas and Saas-Fee. This is commonly but wrongly called the chapel of St. Joseph, for it is dedicated to the Virgin, and its situation is of such extreme beauty--the great Fee glaciers showing through the open portico--that it is in itself worth a pilgrimage. It is surrounded by noble larches and overhung by rock; in front of the portico there is a small open space covered with grass, and a huge larch, the stem of which is girt by a rude stone seat. The portico itself contains seats for worshippers, and a pulpit from which the preacher's voice can reach the many who must stand outside. The walls of the inner chapel are hung with votive pictures, some of them very quaint and pleasing, and not overweighted by those qualities that are usually dubbed by the name of artistic merit. Innumerable wooden and waxen representations of arms, legs, eyes, ears and babies tell of the cures that have been effected during two centuries of devotion, and can hardly fail to awaken a kindly sympathy with the long dead and forgotten folks who placed them where they are.
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