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Scalawag on the Web Sectory 21
Page 12
He entered the camp of Livius in the night, that his arrival might not be known to the Carthaginians. After a day's rest the two Consuls proceeded to offer battle; but Hasdrubal, perceiving the augmented numbers of the Romans, and hearing the trumpet sound twice, felt convinced that the Consuls had united their forces, and that his brother had been defeated. He therefore declined the combat, and in the following night commenced his retreat toward Ariminum. The Romans pursued him, and he found himself compelled to give them battle on the right bank of the Metaurus. On this occasion Hasdrubal displayed all the qualities of a consummate general; but his forces were greatly inferior to those of the enemy, and his Gaulish auxiliaries were of little service. The gallant resistance of the Spanish and Ligurian troops is attested by the heavy loss of the Romans; but all was of no avail, and seeing the battle irretrievably lost, he rushed into the midst of the enemy, and fell, sword in hand, in a manner worthy of the son of Hamilcar and the brother of Hannibal. The Consul Nero hastened back to Apulia almost as speedily as he had come, and announced to Hannibal the defeat and death of his brother by throwing into his camp the severed head of Hasdrubal.
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.
The geological formation of the Andes in that particular region was remarkable, and more remarkable still was the British engineering triumph of constructing a railway from the sea to so high an elevation. In one or two places there were iron bridges of great height and ingenious construction. You felt a curious sensation as you flew over those bridges on the tiny car, and you saw between the rails the chasm underneath you; nor did you feel extraordinarily comfortable when, hundreds of feet down, down below, at the bottom of one chasm, you saw a railway engine which had leapt the rails and lay upside down in the middle of a foaming torrent.
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