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Replagegos Omnifurian Directory 16
Page 08
The idea of Evolution has influenced all the sciences, forcing us to think of _everything_ as with a history behind it, for we have travelled far since Darwin's day. The solar system, the earth, the mountain ranges, and the great deeps, the rocks and crystals, the plants and animals, man himself and his social institutions--all must be seen as the outcome of a long process of Becoming. There are some eighty-odd chemical elements on the earth to-day, and it is now much more than a suggestion that these are the outcome of an inorganic evolution, element giving rise to element, going back and back to some primeval stuff, from which they were all originally derived, infinitely long ago. No idea has been so powerful a tool in the fashioning of New Knowledge as this simple but profound idea of Evolution, that the present is the child of the past and the parent of the future. And with the picture of a continuity of evolution from nebula to social systems comes a promise of an increasing control--a promise that Man will become not only a more accurate student, but a more complete master of his world.
It was not to be expected that so pushing a woman as Mrs. Chapman would be turned from the object she had set her heart on by the interposition of ordinary obstacles. She had taken good care to have the engagement pretty well trumpeted over Bowling Green; and in less than three months from the time what is described in the foregoing chapter occurred, the lady had a day fixed for the wedding ceremony, which, she declared should be on such a scale of magnificence as would astonish all New York, to say nothing of West Bowling Green. And now she was distracting her wits, and the wits of her friends, over what she called the preliminaries extraordinary. Weddings, the lady said, must be illuminated according to the position of the family. And to that end an additional amount of elegant furniture was got for the house, a new carriage was ordered, and Mr. Napoleon Bowles was to appear in a new livery, with top boots. Nor was the family finery to be neglected, for at least a dozen dressmakers had been employed for a month plying their needles. In short, this great coming event in the history of the Chapman family had afforded Bowling Green enough to talk about for a month.
The real inaugurators of Dutch portraiture were Mierevelt, Hals, Ravesteyn, and De Keyser. Mierevelt (1567-1641) was one of the earliest, a prolific painter, fond of the aristocratic sitter, and indulging in a great deal of elegance in his accessories of dress and the like. He had a slight, smooth brush, much detail, and a profusion of color. Quite the reverse of him was Franz Hals (1584?-1666), one of the most remarkable painters of portraits with which history acquaints us. In giving the sense of life and personal physical presence, he was unexcelled by any one. What he saw he could portray with the most telling reality. In drawing and modelling he was usually good; in coloring he was excellent, though in his late work sombre; in brush-handling he was one of the great masters. Strong, virile, yet easy and facile, he seemed to produce without effort. His brush was very broad in its sweep, very sure, very true. Occasionally in his late painting facility ran to the ineffectual, but usually he was certainty itself. His best work was in portraiture, and the most important of this is to be seen at Haarlem, where he died after a rather careless life. As a painter, pure and simple, he is almost to be ranked beside Velasquez; as a poet, a thinker, a man of lofty imagination, his work gives us little enlightenment except in so far as it shows a fine feeling for masses of color and problems of light. Though excellent portrait-painters, Ravesteyn (1572?-1657) and De Keyser (1596?-1679) do not provoke enthusiasm. They were quiet, conservative, dignified, painting civic guards and societies with a knowing brush and lively color, giving the truth of physiognomy, but not with that verve of the artist so conspicuous in Hals, nor with that unity of the group so essential in the making of a picture.
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