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Boulder Place Directory 11
Page 01
More interesting to me than the river itself were the wonderful effects of the ever-changing light in the sky. I saw no more the wonderful radiations which had given me so much pleasure in Matto Grosso, but we beheld here a great haze of delicate tones up to a great height and a light blue sky above it. The clouds seemed to possess no well-defined form, but were more like masses of mist, the edges blending gradually with the blue of the sky. Only to the west was there an attempt at globular formation in the clouds. The clouds of heavy smoke which rose and rolled about over the landscape helped to render the otherwise monotonous scene a little more picturesque.
The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.
If a clew to the character of a nation is gained by a study of the nature of the gods it worships, no less valuable an insight is gained by a study of its heroes. Such a study confirms the impression that the emotional life is fundamental in the Japanese temperament. Japan is a nation of hero-worshipers. This is no exaggeration. Not only is the primitive religion, Shintoism, systematic hero-worship, but every hero known to history is deified, and has a shrine or temple. These heroes, too, are all men of conspicuous valor or strength, famed for mighty deeds of daring. They are men of passion. The most popular story in Japanese literature is that of "The Forty-seven Ronin," who avenged the death of their liege-lord after years of waiting and plotting. This revenge administered, they committed harakiri in accordance with the etiquette of the ethical code of feudal Japan. Their tombs are to this day among the most frequented shrines in the capital of the land, and one of the most popular dramas presented in the theaters is based on this same heroic tragedy.
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