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Bentarasko Benta Section 07
Page 06
Palms and species like the big tree of California were growing side by side with species akin to our own common trees. But in the animal world there were many strange forms. This was the age of reptiles. They domineered on the land, in the air, and in the sea. On the land there stalked huge reptiles fifty and sixty feet long, and, when standing erect, at least thirty feet high.<15> Some of these huge creatures were carnivorous, living on other animals. Others fed on the foliage of trees. In the air, huge reptilian bats, veritable flying dragons with a spread of wings from ten to twenty feet, disported themselves.<16> In the sea there swam great reptilian whales, seals, and walruses.<17> There was a marvelous abundance of reptilian life. At the present day, there are not more than six species of reptiles in the whole world having a length of over fifteen feet, and not more than eighteen species exceeding ten feet in length. But from one limited locality, representing but one era of this age in England, there have been discovered four or five species of carnivorous reptiles twenty to fifty feet long, ten or twelve species of crocodiles, lizards, and swimming reptiles from ten to sixty feet long--besides multitudes of great flying reptiles and turtles. Doubtless similar scenes of animal life were everywhere represented.
Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.
Often in former years the twitter of the birds glittering in the morning sun was the first sound that met my ear during the wakeful hours which frequently accompany illness after the worst crisis has passed, and you are recovering by degrees. The gutters ran beneath my bedroom windows, and I could see the steel-blue backs of the swallows as they sat on the rims of the gutter, twisting their little heads, opening their yellow-lined beaks, singing to their hearts' content. Whole families would perch there together, or the young would rest in rows of four or five, according to the nest-broods of each. How delightful to see them fed by their agile parents! how tantalizing to have them almost within reach of my hands, yet not to be able to catch them or give them a kiss, as they would cower in my hollow hands if I only could have got them in there!
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