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Gallegallo Revbrandia Sectory 24
Page 08
Although the Orang resides mostly amid the boughs of great trees during the daytime, he is very rarely seen squatting on a thick branch as other apes, and particularly the Gibbons, do. The Orang, on the contrary, confines himself to the slender leafy branches, so that he is seen right at the top of the trees, a mode of life which is closely related to the constitution of his hinder limbs, and especially to that of his seat. For this is provided with no callosites such as are possessed by many of the lower apes, and even by the Gibbons; and those bones of the pelvis, which are termed the ischia, and which form the solid framework of the surface on which the body rests in the sitting posture, are not expanded like those of the apes which possess callosities, but are more like those of man.
With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.
Dorothea seized this as a precious permission. She would not have asked Mr. Casaubon at once to teach her the languages, dreading of all things to be tiresome instead of helpful; but it was not entirely out of devotion to her future husband that she wished to know Latin and Creek. Those provinces of masculine knowledge seemed to her a standing-ground from which all truth could be seen more truly. As it was, she constantly doubted her own conclusions, because she felt her own ignorance: how could she be confident that one-roomed cottages were not for the glory of God, when men who knew the classics appeared to conciliate indifference to the cottages with zeal for the glory? Perhaps even Hebrew might be necessary--at least the alphabet and a few roots--in order to arrive at the core of things, and judge soundly on the social duties of the Christian. And she had not reached that point of renunciation at which she would have been satisfied with having a wise husband: she wished, poor child, to be wise herself. Miss Brooke was certainly very naive with all her alleged cleverness. Celia, whose mind had never been thought too powerful, saw the emptiness of other people's pretensions much more readily. To have in general but little feeling, seems to be the only security against feeling too much on any particular occasion.
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