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Taglagallo Remarcafkus Directory 15
Page 06
AFFECTED dispatch is one of the most dangerous things to business that can be. It is like that, which the physicians call predigestion, or hasty digestion; which is sure to fill the body full of crudities, and secret seeds of diseases. Therefore measure not dispatch, by the times of sitting, but by the advancement of the business. And as in races it is not the large stride or high lift that makes the speed; so in business, the keeping close to the matter, and not taking of it too much at once, procureth dispatch. It is the care of some, only to come off speedily for the time; or to contrive some false periods of business, because they may seem men of dispatch. But it is one thing, to abbreviate by contracting, another by cutting off . And business so handled, at several sittings or meetings, goeth commonly backward and forward in an unsteady manner. I knew a wise man that had it for a byword, when he saw men hasten to a conclusion, Stay a little, that we may make an end the sooner.
Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.
However, thanks to the great civility of the managers of the Booth Line at Manaos, and to the extreme thoughtfulness of the captain of the _Atahualpa_, I was made quite comfortable in the chart-room of the ship, which was as far away as possible from the noise. We were most of the time in mid-stream. The river was so wide that we could not see anything on either side. We steamed up day after day, occasionally passing islands of some beauty rising above the muddy waters of the Solimoes. Navigation of that river was difficult, as the navigable channels were constantly changing, islands disappearing and new islands forming all the time. Elich Island, in the Timbuctuba group, was fast disappearing, while another island was forming just below it.
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