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Searchology Directory 12
Page 10
There is an old and strange Eastern allegory of a man wandering in the desert; he draws near to a grove of trees, when he suddenly becomes aware that there is a lion on his track, hurrying and bounding along on the scent of his steps. The man flees for safety into the grove; he sees there a roughly built water-tank of stone, excavated in the ground, and built up of masonry much fringed with plants. He climbs swiftly down to where he sees a ledge close on the water; as he does this, he sees that in the water lies a great lizard, with open jaws, watching him with wicked eyes. He stops short, and he can just support himself among the stones by holding on to the branches of a plant which grows from a ledge above him. While he thus holds on, with death behind him and before, he feels the branches quivering, and sees above, out of reach, two mice, one black and one white, which are nibbling at the stems he holds and will soon sever them. He waits despairingly, and while he does so, he sees that there are drops of honey on the leaves which he holds; he puts his lips to them, licks them off, and finds them very sweet.
The brothers Maris have made a distinct impression on modern Dutch art, and, strange enough, each in a different way from the others. James Maris (1837-) studied at Paris, and is remarkable for fine, vigorous views of canals, towns, and landscapes. He is broad in handling, rather bleak in coloring, and excels in fine luminous skies and voyaging clouds. Matthew Maris (1835-), Parisian trained like his brother, lives in London, where little is seen of his work. He paints for himself and his friends, and is rather melancholy and mystical in his art. He is a recorder of visions and dreams rather than the substantial things of the earth, but always with richness of color and a fine decorative feeling. Willem Maris (1839-), sometimes called the "Silvery Maris," is a portrayer of cattle and landscape in warm sunlight and haze with a charm of color and tone often suggestive of Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a fine painter of marines and sea-shores, and Mauve (1838-1888), a cattle and sheep painter, with nice sentiment and tonality, whose renown is just now somewhat disproportionate to his artistic ability. In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner, Witsen, Haverman, Weissenbruch.
Any one who will look around upon the families of his acquaintance will observe that family characteristics and resemblances prevail not only in respect to stature, form, expression of countenance, and other outward and bodily tokens, but also in regard to the constitutional temperaments and capacities of the soul. Sometimes we find a group in which high intellectual powers and great energy of action prevail for many successive generations, and in all the branches into which the original stock divides; in other cases, the hereditary tendency is to gentleness and harmlessness of character, with a full development of all the feelings and sensibilities of the soul. Others, again, exhibit congenital tendencies to great physical strength and hardihood, and to powers of muscular exertion and endurance. These differences, notwithstanding all the exceptions and irregularities connected with them, are obviously, where they exist, deeply seated and permanent. They depend very slightly upon any mere external causes. They have, on the contrary, their foundation in some hidden principles connected with the origin of life, and with the mode of its transmission from parent to offspring, which the researches of philosophers have never yet been able to explore.
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