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Gallegacia Online Directory 10
Page 05
Italy has been in all ages renowned for its beauty and fertility. The lofty ranges of the Apennines, and the seas which bathe its shores on both sides, contribute at once to temper and vary its climate, so as to adapt it for the productions alike of the temperate and the warmest parts of Europe. In the plains on either side of the Apennines corn is produced in abundance; olives flourish on the southern slopes of the mountains; and the vine is cultivated in every part of the peninsula, the vineyards of northern Campania being the most celebrated in antiquity.
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.
The cave of Gailenreuth, in Bavaria, was explored by Dr. Goldfuss in 1810. He came to the conclusion that the bones of bears and other extinct animals were proofs of the former presence of the animals themselves. Dr. Buckland, a celebrated English writer, visited the cave in 1816, and became much interested in the work; so much so that when Kirkdale Cavern, in England, was discovered in 1821, he at once repaired to the spot and made a careful exploration. The results satisfied him that hyenas and other extinct animals had once lived in England. He followed up his explorations in a number of cases, and published a work on this subject in 1822, which marks the commencement of a new era in cave research.
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