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Trumantia Resource Directory 05
Page 10
Perhaps he married somebody's daughter. If a man would get hold of the public ear, he must pay, marry, or fight. I have never understood that AEschylus was a man of means, and the fighters do not write poetry, so I suppose he must have married a theatrical manager's daughter, and got his plays brought out that way. The ear of any age or country is like its land, air, and water; it seems limitless but is really limited, and is already in the keeping of those who naturally enough will have no squatting on such valuable property. It is written and talked up to as closely as the means of subsistence are bred up to by a teeming population. There is not a square inch of it but is in private hands, and he who would freehold any part of it must do so by purchase, marriage, or fighting, in the usual way--and fighting gives the longest, safest tenure. The public itself has hardly more voice in the question who shall have its ear, than the land has in choosing its owners. It is farmed as those who own it think most profitable to themselves, and small blame to them; nevertheless, it has a residuum of mulishness which the land has not, and does sometimes dispossess its tenants. It is in this residuum that those who fight place their hope and trust.
Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.
After the planting, First Man, First Woman, Wolf Chief, and Mountain Lion Chief each made a speech advising the creation of a number of mountains similar to the ones they had had in the lower world. This was agreeable to all, and accordingly the work was begun. The handfuls of earth caught up hurriedly from the tops of the mountains below as they were driven off by the rising flood were taken to the cardinal points and deposited in the same relative positions, an equal distance apart, as were the submerged mountains from which the earth had been taken. First Si{~COMBINING BREVE~}snajini, the White Mountain, was made in the east; then Tsotzilh, the Blue Mountain, in the south; next Dokooeslit, the Yellow Mountain, in the west, and lastly Depe{~COMBINING BREVE~}nsa, the Black Mountain, in the north. Having yet portions of each handful of earth remaining, two more mountains, called Choili and Tzilhnuhodihli, were made near the point of emergence in the middle of the rectangle formed by the creation of the other four. To give each mountain color, white shell, turquoise, abalone, and jet were used for those at the cardinal points, while the middle two were colored with a mixture of all these substances.
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