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Boulder Place Directory 11
Page 09
Steen (1626?-1679) was almost the opposite of Terburg, a man of sarcastic flings and coarse humor who satirized his own time with little reserve. He developed under Hals and Van Ostade, favoring the latter in his interiors, family scenes, and drunken debauches. He was a master of physiognomy, and depicted it with rare if rather unpleasant truth. If he had little refinement in his themes he certainly handled them as a painter with delicacy. At his best his many figured groups were exceedingly well composed, his color was of good quality (with a fondness for yellows), and his brush was as limpid and graceful as though painting angels instead of Dutch boors. He was really one of the fine brushmen of Holland, a man greatly admired by Sir Joshua Reynolds, and many an artist since; but not a man of high intellectual pitch as compared with Terburg, for instance.
I say _almost_ universal, because even among birds there are a few kinds which have not to this day progressed beyond the alligator level. Australia is the happy hunting-ground of the zooelogist in search of antiquated forms, elsewhere extinct, and several Australian birds, such as the brush-turkeys, still treat their eggs essentially on the alligator method. The cock birds heap up huge mounds of earth and decaying vegetable matter, as much as would represent several cartloads of mould; and in this natural hot-bed the hens lay their eggs, burying each separately with a good stock of leaves around it. The heat of the sun and the fermenting mould hatch them out between them; to expedite the process, the birds uncover the eggs during the warmer part of the day, expose them to the sun, and bury them again in the hot-beds towards evening. Several intermediate steps may also be found between this early stage of communal nesting by proxy and the true hatching instinct; a good one is supplied by the ostrich, which partially buries its eggs in hot sand, but sits on them at intervals, both father and mother birds taking shares by turn in the duties of incubation.
This leads us to a consideration that I have delayed till now. The black image is the central feature of Oropa; it is the raison d'etre of the whole place, and all else is a mere incrustation, so to speak, around it. According to this image, then, which was carved by St. Luke himself, and than which nothing can be better authenticated, both the Madonna and the infant Christ were as black as anything can be conceived. It is not likely that they were as black as they have been painted; no one yet ever was so black as that; yet, even allowing for some exaggeration on St. Luke's part, they must have been exceedingly black if the portrait is to be accepted; and uncompromisingly black they accordingly are on most of the wayside chapels for many a mile around Oropa. Yet in the chapels we have been hitherto considering--works in which, as we know, the most punctilious regard has been shown to accuracy--both the Virgin and Christ are uncompromisingly white. As in the shops under the Colonnade where devotional knick-knacks are sold, you can buy a black china image or a white one, whichever you like; so with the pictures--the black and white are placed side by side--pagando il danaro si puo scegliere. It rests not with history or with the Church to say whether the Madonna and Child were black or white, but you may settle it for yourself, whichever way you please, or rather you are required, with the acquiescence of the Church, to hold that they were both black and white at one and the same time.
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