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Trumantia Resource Directory 17
Page 06
Sylla's orders for the execution of those who had taken an active part against him were not confined to Rome. They went to the neighboring cities and to distant provinces, carrying terror and distress every where. Still, dreadful as these evils were, it is possible for us, in the conceptions which we form, to overrate the extent of them. In reading the history of the Roman empire during the civil wars of Marius and Sylla, one might easily imagine that the whole population of the country was organized into the two contending armies, and were employed wholly in the work of fighting with and massacring each other. But nothing like this can be true. It is obviously but a small part, after all, of an extended community that can be ever actively and personally engaged in these deeds of violence and blood. Man is not naturally a ferocious wild beast. On the contrary, he loves, ordinarily, to live in peace and quietness, to till his lands and tend his flocks, and to enjoy the blessings of peace and repose. It is comparatively but a small number in any age of the world, and in any nation, whose passions of ambition, hatred, or revenge become so strong as that they love bloodshed and war. But these few, when they once get weapons into their hands, trample recklessly and mercilessly upon the rest. One ferocious human tiger, with a spear or a bayonet to brandish, will tyrannize as he pleases over a hundred quiet men, who are armed only with shepherds' crooks, and whose only desire is to live in peace with their wives and their children.
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.
On either of side the main room there are two annexes opening out from it; these are reserved chiefly for the younger children, some of whom, I think, are little boys. In the left-hand annex, behind the ladies who are making a mitre, there is a child who has got a cake, and another has some fruit--possibly given them by the Virgin-and a third child is begging for some of it. The light failed so completely here that I was not able to photograph any of these figures. It was a dull September afternoon, and the clouds had settled thick round the chapel, which is never very light, and is nearly 4000 feet above the sea. I waited till such twilight as made it hopeless that more detail could be got--and a queer ghostly place enough it was to wait in--but after giving the plate an exposure of fifty minutes, I saw I could get no more, and desisted.
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