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Scalawag on the Web Sectory 11
Page 07
On leaving Montrigone, with a pleasant sense of having made acquaintance with a new and, in many respects, interesting work, I could not get the sacristan and our difference of opinion out of my head. What, I asked myself, are the differences that unhappily divide Christendom, and what are those that divide Christendom from modern schools of thought, but a seeing of Joachims as the Virgin's grandmothers on a larger scale? True, we cannot call figures Joachim when we know perfectly well that they are nothing of the kind; but I registered a vow that henceforward when I called Joachims the Virgin's grandmothers I would bear more in mind than I have perhaps always hitherto done, how hard it is for those who have been taught to see them as Joachims to think of them as something different. I trust that I have not been unfaithful to this vow in the preceding article. If the reader differs from me, let me ask him to remember how hard it is for one who has got a figure well into his head as the Virgin's grandmother to see it as Joachim.
This school probably got its sentimental inclination, shown in slight forms and tender expression, from France, but derived much of its technic from the Netherlands. Stephen Lochner, or Meister Stephen, (fl. 1450) leaned toward the Flemish methods, and in his celebrated picture, the Madonna of the Rose Garden, in the Cologne Museum, there is an indication of this; but there is also an individuality showing the growth of German independence in painting. The figures of his Dombild have little manliness or power, but considerable grace, pathos, and religious feeling. They are not abstract types but the spiritualized people of the country in native costumes, with much gold, jewelry, and armor. Gold was used instead of a landscape background, and the foreground was spattered with flowers and leaves. The outlines are rather hard, and none of the aerial perspective of the Flemings is given. After a time French sentiment was still further encroached upon by Flemish realism, as shown in the works of the Master of the Lyversberg Passion (fl. about 1463-1480), to be seen in the Cologne Museum.
Lizards and other reptiles make an obvious advance on the frog type; they lay relatively few eggs, but they begin to care for their young. The family is not here abandoned at birth, as among frogs, but is frequently tended and fed and overlooked by the mother. In birds we have a still higher development of the same marked parental tendency; only three or four eggs are laid each year, as a rule, and on these eggs the mother sits, while both parents feed the callow nestlings till such time as they are able to take care of themselves and pick up their own living. Among mammals, which stand undoubtedly at the head of created nature, the lower types, like mice and rabbits, have frequent broods of many young at a time; but the more advanced groups, such as the horses, cows, deer, and elephants, have usually one foal or calf at a birth, and seldom produce more than a couple. Moreover, in all these higher cases alike, the young are fed with milk by the mother, and so spared the trouble of providing for themselves in their early days, like the young codfish or the baby tadpole. Starvation at the outset is reduced to a minimum.
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