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Boulder Place Directory 02
Page 01
Once in a generation, a Wallace may be found physically, mentally, and morally qualified to wander unscathed through the tropical wilds of America and of Asia, to form magnificent collections as he wanders, and withal to think out sagaciously the conclusions suggested by his collections; but, to the ordinary explorer or collector, the dense forests of equatorial Asia and Africa, which constitute the favorite habitation of the Orang, the Chimpanzee, and the Gorilla, present difficulties of no ordinary magnitude; and the man who risks his life by even a short visit to the malarious shores of those regions may well be excused if he shrinks from facing the dangers of the interior; if he contents himself with stimulating the industry of the better-seasoned natives, and collecting and collating the more or less mythical reports and traditions with which they are too ready to supply him.
The following year (B.C. 207) decided the issue of the war in Italy. The war in Spain during the last few years had been carried on with brilliant success by the young P. Scipio, of whose exploits we shall speak presently. But in B.C. 208, Hasdrubal, leaving the two other Carthaginian generals to make head against Scipio, resolved to set out for Italy to the assistance of his brother. As Scipio was in undisputed possession of the province north of the Iberus, and had secured the passes of the Pyrenees on that side, Hasdrubal crossed these mountains near their western extremity, and plunged into the heart of Gaul. After spending a winter in that country, he prepared to cross the Alps in the spring of B.C. 207, and to descend into Italy. The two Consuls for this year were C. Claudius Nero and M. Livius. Nero marched into Southern Italy to keep a watch upon Hannibal; Livius took up his quarters at Ariminum to oppose Hasdrubal.
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
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