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Bentarasko Benta Section 11
Page 02
In landscape the English have had something to say peculiarly their own. It has not always been well said, the coloring is often hot, the brush-work brittle, the attention to detail inconsistent with the large view of nature, yet such as it is it shows the English point of view and is valuable on that account. Richard Wilson (1713-1782) was the first landscapist of importance, though he was not so English in view as some others to follow. In fact, Wilson was nurtured on Claude Lorrain and Joseph Vernet and instead of painting the realistic English landscape he painted the pseudo-Italian landscape. He began working in portraiture under the tutorship of Wright, and achieved some success in this department; but in 1749 he went to Italy and devoted himself wholly to landscapes. These were of the classic type and somewhat conventional. The composition was usually a dark foreground with trees or buildings to right and left, an opening in the middle distance leading into the background, and a broad expanse of sunset sky. In the foreground he usually introduced a few figures for romantic or classic association. Considerable elevation of theme and spirit marks most of his pictures. There was good workmanship about the skies and the light, and an attentive study of nature was shown throughout. His canvases did not meet with much success at the time they were painted. In more modern days Wilson has been ranked as the true founder of landscape in England, and one of the most sincere of English painters.
As early as the Easter of 1171 Becket's sepulchre was the scene of many miracles, if Matthew Paris, the historian, is to be believed. What must have been the credulity of the people in an age when an historian could gravely write, as Matthew Paris did in 1171? "In this year, about Easter, it pleased the Lord Jesus Christ to irradiate his glorious martyr Thomas Becket with many miracles, that it might appear to all the world he had obtained a victory suitable to his merits. None who approached his sepulchre in faith returned without a cure. For strength was restored to the lame, hearing to the deaf, sight to the blind, speech to the dumb, health to the lepers, and life to the dead. Nay, not only men and women, but even birds and beasts were raised from death to life."
It is astonishing how many of the Catacomb decorations are taken from heathen sources and copied from heathen paintings; yet we need not wonder when we reflect that the vine was used by the early Christians as an emblem of gladness, and it was scarcely possible for them to celebrate the Feast of the Nativity--a festival of glad tidings--without some sort of _Bacchanalia_. Thus it appears that even beneath the palaces and temples of pagan Rome the birth of Christ was celebrated, this early undermining of paganism by Christianity being, as it were, the germ of the final victory, and the secret praise, which came like muffled music from the Catacombs in honour of the Nativity, the prelude to the triumph-song in which they shall unite who receive from Christ the unwithering crown.
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