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Scalawag on the Web Sectory 17
Page 06
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 AEquians in their numerous attacks upon the Roman territory generally occupied Mount Algidus, which formed a part of the group of the Alban Hills in Latium. It was accordingly upon this mount that the battles between the Romans and AEquians most frequently took place. In the year 458 B.C. the Roman consul L. Minucius was defeated on the Algidus, and surrounded in his camp. Five horsemen, who made their escape before the Romans were completely encompassed, brought the tidings to Rome. The Senate forthwith appointed L. Cincinnatus dictator.
At length the wife of Marius, who was Caesar's aunt, died. She had lived in obscurity since her husband's proscription and death, his party having been put down so effectually that it was dangerous to appear to be her friend. Caesar, however, made preparations for a magnificent funeral for her. There was a place in the Forum, a sort of pulpit, where public orators were accustomed to stand in addressing the assembly on great occasions. This pulpit was adorned with the brazen beaks of ships which had been taken by the Romans in former wars The name of such a beak was _rostrum_; in the plural, _rostra_. The pulpit was itself, therefore, called the _Rostra_, that is, The Beaks; and the people were addressed from it on great public occasions.[2] Caesar pronounced a splendid panegyric upon the wife of Marius, at this her funeral, from the Rostra, in the presence of a vast concourse of spectators, and he had the boldness to bring out and display to the people certain household images of Marius, which had been concealed from view ever since his death. Producing them again on such an occasion was annulling, so far as a public orator could do it, the sentence of condemnation which Sylla and the patrician party had pronounced against him, and bringing him forward again as entitled to public admiration and applause. The patrician partisans who were present attempted to rebuke this bold maneuver with expressions of disapprobation, but these expressions were drowned in the loud and long-continued bursts of applause with which the great mass of the assembled multitude hailed and sanctioned it. The experiment was very bold and very hazardous, but it was triumphantly successful.
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