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Gallegallo Revbrandia Sectory 02
Page 03
In Switzerland, one of the chief employments of the people is that of herdsmen and shepherds, and nearly the half of the surface of the country is occupied as mountain pastures and meadows. Here you see the woman tending the sheep and goats, and spinning industriously, while her husband is busy with some other part of the duties of tending the sheep. It is often painful to see how much the poor sheep and oxen suffer while being driven through the streets. It is pitiful to see them looking in vain for some place of rest and shelter. Little boys in towns sometimes like to HELP--as they call it--to drive cattle, but they generally increase the terror and confusion of the poor beasts, and little think of the pain they are causing. Sheep and goats are very useful to us; besides serving us for food, they supply our cloth and flannel clothes, blankets, and other warm coverings.
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.
There was a bright light in two of the upper windows, but below the house was nearly dark, and Bright was in his bar-room, settling up the business of the day. Suddenly the light in the windows became brighter, then the shadow of a female figure was seen crossing and recrossing the room every few seconds. Tite watched and watched that flitting shadow, for he read in it the object of his heart's love, read in it the joy that was in store for him, perhaps--perhaps the sorrow. The figure was Mattie's, and it was her shadow that was causing him all this heart-aching. Now the figure took the place of the shadow, and stood looking out at the window, as if contemplating the moon and the stars, for nearly a minute. Yes, there was Mattie, watching and wondering what had become of the man who was at that moment contemplating her movements. Then the figure and the shadow disappeared, but it was only to increase Tite's impatience to see her.
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