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Bradantia Directory 04
Page 08
This was amid a thick undergrowth. Moving on into a passage of large, stately hemlocks, with only here and there a small beech or maple rising up into the perennial twilight, I paused to make out a note which was entirely new to me. It is still in my ear. Though unmistakably a bird note, it yet suggested the bleating of a tiny lambkin. Presently the birds appeared,--a pair of the solitary vireo. They came flitting from point to point, alighting only for a moment at a time, the male silent, but the female uttering this strange, tender note. It was a rendering into some new sylvan dialect of the human sentiment of maidenly love. It was really pathetic in its sweetness and childlike confidence and joy. I soon discovered that the pair were building a nest upon a low branch a few yards from me. The male flew cautiously to the spot, and adjusted something, and the twain moved on, the female calling to her mate at intervals, _love-e, love-e_, with a cadence and tenderness in the tone that rang in the ear long afterward. The nest was suspended to the fork of a small branch, as is usual with the vireos, plentifully lined with lichens, and bound and rebound with masses of coarse spider-webs. There was no attempt at concealment except in the neutral tints, which made it look like a natural growth of the dim, gray woods.
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.
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