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Bentarasko Benta Section 17
Page 05
The woods hold not such another gem as the nest of the humming-bird. The finding of one is an event to date from. It is the next best thing to finding an eagle's nest. I have met with but two, both by chance. One was placed on the horizontal branch of a chestnut-tree, with a solitary green leaf, forming a complete canopy, about an inch and a half above it. The repeated spiteful dartings of the bird past my ears, as I stood under the tree, caused me to suspect that I was intruding upon some one's privacy; and following it with my eye, I soon saw the nest, which was in process of construction. Adopting my usual tactics of secreting myself near by, I had the satisfaction of seeing the tiny artist at work. It was the female, unassisted by her mate. At intervals of two or three minutes she would appear with a small tuft of some cottony substance in her beak, dart a few times through and around the tree, and alighting quickly in the nest arrange the material she had brought, using her breast as a model.
Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.
The boatmen had remained in the hall. Bright now invited them into his bar and filled mugs of ale for them, and joined them in drinking the health of the young man who had been round the world. He then dismissed them, saying he would take care of the young gentleman's baggage; and stepping up stairs, tapped gently at Chapman's door. "We were all retiring for the night," said Mrs. Chapman, opening the door slightly, and looking alarmed, for Bright was in a flutter of excitement, and it was nearly a minute before he could tell what he wanted. At length he stammered out: "There, there, there--there's a strange gentleman down stairs, mam--and he would like to see Miss Mattie, I am sure he would."
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