|
|
Gallegallo Revbrandia Sectory 19
Page 10
After thus successfully accomplishing the great object of their expedition, it was to have been hoped that they would leave the island and return to their Danish homes. But they evinced no disposition to do this. On the contrary, they commenced a course of ravage and conquest in all parts of England, which continued for several years. The parts of the country which attempted to oppose them they destroyed by fire and sword. They seized cities, garrisoned and occupied them, and settled in them as if to make them their permanent homes. One kingdom after another was subdued. The kingdom of Wessex seemed alone to remain, and that was the subject of contest. Ethelred was the king. The Danes advanced into his dominions to attack him. In the battle that ensued, Ethelred was killed. The successor to his throne was his brother Alfred, the subject of this history, who thus found himself suddenly and unexpectedly called upon to assume the responsibilities and powers of supreme command, in as dark and trying a crisis of national calamity and danger as can well be conceived. The manner in which Alfred acted in the emergency, rescuing his country from her perils, and laying the foundations, as he did, of all the greatness and glory which has since accrued to her, has caused his memory to be held in the highest estimation among all nations, and has immortalized his name.
The day will come when the port of Arica on the Pacific Ocean will be joined to Oruro, on the Antofagasta line, the well-known junction in Bolivia, and eventually to Santa Cruz. The present plan is to build a line from the already existing railway at Cochabamba to Porto Velarde on the Rio Grande (Rio Mamore), then to Santa Cruz. The Brazilians on their side will eventually connect Sao Paulo with Cuyaba and Corumba. It will then be possible to travel by rail right across the South American continent in its richest part.
Once more I must caution the reader against expecting to find highly-finished gems of art in the chapels I have been describing. A wooden figure not more than two feet high clogged with many coats of paint can hardly claim to be taken very seriously, and even those few that were cut by Tabachetti himself were not meant to have attention concentrated on themselves alone. As mere wood-carving the Saas-Fee chapels will not stand comparison, for example, with the triptych of unknown authorship in the Church of St. Anne at Gliss, close to Brieg. But, in the first place, the work at Gliss is worthy of Holbein himself: I know no wood-carving that can so rivet the attention; moreover it is coloured with water-colour and not oil, so that it is tinted, not painted; and, in the second place, the Gliss triptych belongs to a date (1519) when artists held neither time nor impressionism as objects, and hence, though greatly better than the Saas-Fee chapels as regards a certain Japanese curiousness of finish and naivete of literal transcription, it cannot even enter the lists with the Saas work as regards elan and dramatic effectiveness. The difference between the two classes of work is much that between, say, John Van Eyck or Memling and Rubens or Rembrandt, or, again, between Giovanni Bellini and Tintoretto; the aims of the one class of work are incompatible with those of the other. Moreover, in the Gliss triptych the intention of the designer is carried out (whether by himself or no) with admirable skill; whereas at Saas the wisdom of the workman is rather of OberAmmergau than of the Egyptians, and the voice of the poet is not a little drowned in that of his mouthpiece. If, however, the reader will bear in mind these somewhat obvious considerations, and will also remember the pathetic circumstances under which the chapels were designed--for Tabachetti when he reached Saas was no doubt shattered in body and mind by his four years' imprisonment--he will probably be not less attracted to them than I observed were many of the visitors both at Saas-Grund and Saas-Fee with whom I had the pleasure of examining them.
|
