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Scalawag on the Web Sectory 08
Page 02
The immediate effects of this brilliant success were immense. Many of the Spanish tribes deserted the Carthaginian cause; and when Scipio took the field in the following year (B.C. 209) Mandonius and Indibilis, two of the most powerful and hitherto the most faithful supporters of Carthage, quitted the camp of Hasdrubal Barca, and awaited the arrival of the Roman commander. Hasdrubal was encamped in a strong position near the town of Baecula, in the upper valley of the Baetis (Guadalquiver), where he was attacked and defeated by Scipio. He succeeded, however, in making good his retreat, and retired into northern Spain. He subsequently crossed the Pyrenees, and marched into Italy to the assistance of his brother Hannibal, as already narrated.
They exhibit a remarkable degree of intelligence in their habits, and, on the part of the mother, much affection for their young. The second female described was upon a tree when first discovered, with her mate and two young ones (a male and a female). Her first impulse was to descend with great rapidity and make off into the thicket with her mate and female offspring. The young male remaining behind, she soon returned to the rescue. She ascended and took him in her arms, at which moment she was shot, the ball passing through the forearm of the young one, on the way to the heart of the mother....
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.
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