Abelaide Ontogoya Sectory 05
Page 03

Mrs. Chapman, remembering that such events did not occur every day, resolved not to be outdone by any of them. She was sure a little display would not be wasted; and had spent four hours "getting herself elegant." She had more than half a suspicion that there would be some New York people present, and it would not do to be outshone by them in magnificence of toilet. Nor must I forget Bowles, who appeared shortly after breakfast in his new livery, with a tall hat half covered with a band and buckle, white gloves, and bright new boots and breeches. Bowles was a figure of immense importance, and contemplated himself with an air of amusing gravity, as he moved up and down in front of the house, much to the amusement of the visitors at Bright's Inn. A bunch of flowers had been provided for his button hole; and he was to drive the happy couple to and from church, an honor he seemed to appreciate fully.

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.

By the light of that fire a weird and almost tragic scene took place. Miguel came up to me, and said in a dramatic tone that for the sake of his wife and children I must let him go back, as we were marching to sure death. If I did not let him go back ... here he took his forehead between his hands--"God help me!" he said, and he burst into tears. He said he did not wish for his pay, as he had not fulfilled his contract. Whatever he had on his person he was willing to give me if I would only let him go back. I said I wished him to keep all his possessions, and as he did not wish to go along with me I would certainly let him go back the next morning. He would then also receive the pay according to the time he had been with me. Miguel went back near the fire, where he cried for some time. Accustomed to deal with Brazilians, I perceived that Miguel thought my promises too good to be true.

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