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Scalawag on the Web Sectory 12
Page 09
The Apache-Mohave and the Tontos were placed on a reservation on the Rio Verde; the Coyoteros were taken to the White Mountain district near Fort Apache; the Pinalenos and parts of other bands surrendered and were established at San Carlos; in all, approximately three thousand Apache had been brought under control. About one thousand hostiles yet remained in the mountains, but by 1874 they had become so nearly subjugated as to make it seem advisable to transfer the Arizona reservations from the War Department to the Office of Indian Affairs, which was done. The policy of the Indian Office from the beginning had been to concentrate the various bands upon one reservation at San Carlos. Disaffection arose between different bands until this became a despicable place to nearly all, while continued adherence to the removal policy drove the Chiricahua from their southern Arizona reservation to seek refuge with the Ojo Caliente Apache in southwestern New Mexico, in 1876, although they had been living in comparative peace for four years. In 1877 these Chiricahua and the Ojo Caliente band were forcibly removed to San Carlos, but while en route Victorio and a party of forty warriors made their escape. In September of the same year three hundred more fled from San Carlos and settler after settler was murdered. In February, 1878, Victorio and his notorious band surrendered at Ojo Caliente, but gave notice that they would die fighting before submitting to removal to San Carlos. The major portion of the three hundred Chiricahua who had left San Carlos surrendered at Fort Wingate, New Mexico, shortly before. All these were taken to the Mescalero reservation in New Mexico.
On January 24th we continued our journey over horrible deep mud-holes, which made the trail extremely dangerous. On that particular day we were travelling over sticky soil, so that when the mules trod in the deep holes they stuck with their hoofs and fell over, immediately struggling wildly to free themselves. One of my men was nearly thrown down a precipice that day, and all of us, as well as all the pack animals, had many unpleasant falls during that march. Swampy places like that were encountered for hundreds of metres at a time. In one place that day we had two kilometres of continuous swampy mud. In the afternoon I had a nasty fall, the mule rolling right on the top of me and nearly breaking my right leg. The animal in falling had sunk its head in the sticky mud, and was struggling madly to release itself. The animals were then marching chest-deep in mud. In my helpless condition I tried to get off when the animal fell, but sank up to my waist and stuck fast with my legs in the mud. When the mule rolled over, it knocked me down on the edge of the precipice, my leg remaining caught under the animal. Had not one of my muleteers been by my side at the moment and rushed to my rescue, I should have fared badly indeed.
Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.
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