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Scalawag on the Web Sectory 02
Page 01
During these struggles between the two orders an event took place which is frequently referred to by later writers. In the year 440 B.C. there was a great famine at Rome. Sp. Maelius, one of the richest of the Plebeian knights, expended his fortune in buying up corn, which he sold to the poor at a small price, or distributed among them gratuitously. The Patricians thought, or pretended to think, that he was aiming at kingly power: and in the following year (439) the aged Quintius Cincinnatus, who had saved the Roman army on Mount Algidus, was appointed Dictator. He nominated C. Servilius Ahala his Master of the Horse. During the night the Capitol and all the strong posts were garrisoned by the Patricians, and in the morning Cincinnatus appeared in the forum with a strong force, and summoned Maelius to appear before his tribunal. But seeing the fate which awaited him, he refused to go, whereupon Ahala rushed into the crowd and struck him dead upon the spot. His property was confiscated, and his house was leveled to the ground. The deed of Ahala is frequently mentioned by Cicero and other writers in terms of the highest admiration, but it was regarded by the Plebeians at the time as an act of murder. Ahala was brought to trial, and only escaped condemnation by a voluntary exile.
The two women and their sons lived together. To amuse the children the mothers made them a wheel, but cautioned them never to roll it toward the north. Whenever he heard the sound of water, Kobadjischini, to seek its source, would leap straight into any torrent, and his mother hoped that the toy would deter him from falling into such danger. One day the two boys became curious to know what was in the north, so they rolled the wheel in that direction. It went straight on for a long time, then came to a ladder leading up the steep side of a rock, up which it rolled. The boys stopped in astonishment. The wheel rolled on down into a cave, where lived Yiye, a monster Owl, who ate human flesh. A young girl, Yiye's slave, was sent up to see who was outside. "Two young, fine-looking boys," she reported. Yiye sent her to tell them to come into the cave, but this they refused to do, even when he urged them himself, saying, "No! Give us our wheel!" But at last the boys yielded to Yiye's persuasions and proceeded up the ladder and down into the cave. Owl built a fire under a huge pot of water, seized the boys, and put them into it. He boiled them a long time, then lifted them out with a stick. They stood up and said, "Why do you not give us our wheel and let us go home?" Then Yiye became angry and thrust them into a great heap of hot ashes and built a fresh fire over them. After a long time he took them out, but they were still unharmed, and only asked, "Why do you not give us our wheel?" At this Owl became very angry and, seizing them, cut them into small pieces, put them into the pot, and boiled them again; but when he took them out they were alive and whole. Owl said not a word, but gave them their wheel and motioned them to go. All this time the mothers of the two boys knew from the Sun where they were, and by a burning stick could tell when their children were in danger; for if they were safe the flame burned high, but if in danger it burned low.
Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.
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