COSMOS, VOL. II - World eBook Library
COSMOS, VOL. II - World eBook Library COSMOS, VOL. II - World eBook Library
LANDSCAPE PAINTING OF 16TH AND 1 7lH CENTURIES. 447 iiese school, adhered faithfully to this elevation of style. If, however, the great epoch of historical painting belong to the sixteenth century, that of landscape painting appertains undoubtedly to the seventeenth. As the riches of nature became more known, and more carefully observed, the feeling of art was likewise able to extend itself over a greater diversity of objects, while at the same time the means of technical representation had simultaneously been brought to a higher degree of perfection. The relations between the inner tone of feelings and the delineation of external nature became more intimate, and b the links thus established between the two, the gentle and mild expression of the beautiful in nature was elevated, and, as a consequence of this elevation, belief in the power of the external world over the emotions of the mind was simultaneously awakened. When this excitement, in conformity with the noble aim of all art, converts the actual into an ideal object of fancy, when it arouses within our minds a feeling of harmonious repose, the enjoyment is not unaccompanied by emotion, for the heart is touched whenever we look into the depths of nature or of humanity.* In the same century we find thronged together Claude Lor- raine, the idyllic painter of light and aerial distance ; Ruysdael, -with his dark woodland scenes and lowering skies; Gaspard and Nicholas Poussin, with their nobly delineated forms of trees and ; Everdingen, Hobbima, and Cuvp, so true to life in their delineations. f In this happy period of the development of art, a noble effort was manifested to introduce all the vegetable forms yielded by the North of Europe, Southern Italy, and the was embellished with Spanish Peninsula. The landscape * Wilhelmvon Humboklt, Gesammelte Werke, bd. iv. s. 37; see also, on the different gradations of the life of nature, and on the tone of mind awakened by the landscape around, Carus, in his interesting work, Briefen uber die Landschaftmalerei, 1831, s. 45. f The great century of painting comprehended the works of Johann Breughel, 1569-1625; Rubens, 1577-1640; Domenichino, 1581-1641 ; Philippe de Champaigne, 1602-1674; Nicolas Poussin, 1594-1655; Gaspar Poussin (Dughet). 1613-1675; Claude Lorraine, 1600-1682; Albert Cuyp, 1606-1672; Jan Both, 1610-1650; Salvator Rosa, 1615-1673; Everdingen, 1621-1675; Nicolaus Berghem, 1624-1683; Swanevelt, 1620-1690; Ruysdael, 1635-1681; Minderhoot Hobbima, Jan Wynants, Adriaan van de Yelde, 1639-1 C 72; Carl Dujardin, 1644-1C37.
448 COSMOS. oranges and laurels, with pines and date-trees; the lattet (which, with the exception of the small Chamaerops, originally a native of European sea-shores, was the only member of the noble family of palms known from personal observation), was generally represented as having a snake-like and scaly trunk,* and long served as the representative of tropical vegetation ; as, in like manner, Pinus pinea is even still very generally supposed to furnish an exclusive characteristic of the vegetable forms of Italy. The contour of high mountain- chains was but little studied, and snow-covered peaks, which projected beyond the green Alpine meadows, were, at that period, still regarded by naturalists and landscape painters as inaccessible. The physiognomy of rocky masses seems scarcely to have excited any attempt at accurate representation, excepting where a water-fall broke in foam over the mountain side. We may here remark another instance of the diversity of comprehension manifested by a free and artistic spirit in its intimate communion with nature. Rubens, who, in his great hunting pieces, had depicted the fierce movements of wild animals with inimitable animation, succeeded, as the delineator of historical events, in representing, with equal truth and vividness, the form of the landscape in the waste and rocky elevated plain surrounding the Escurial.f The delineation of natural objects included in the branch of art at present under consideration, could not have gained in diversity and exactness, until the geographical field of view became extended, the means of travelling in foreign countries facilitated, and the appreciation of the beauty and configuration of vegetable forms, and their arrangement in groups of natural families, excited. The discoveries of Columbus, Vasco de Gama, and Alvarez Cabral, in Central America, Southern Asia, and the Brazils the extensive trade in ; spices and drugs carried on by the Spaniards, Portuguese, Italians, and Flem- ings, and the establishment of botanical gardens at Pisa, Padua, and Bologna, between 1544 and 1568, although not yet furnished with hot-houses properly so called, certainly * Some strangely fanciful representations of date palms, which have a knob in the middle of the leafy crown, are to be seen in an old picture of Cima da Conegliano, of the school of Bellino (Dresden Gallery, 1835, No. 40). f Dresden Gallery, No. 917.
- Page 51 and 52: 896 COSMOS. earlier ages of their n
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- Page 57 and 58: 402 COSMOS. be gifted with voice, f
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- Page 79 and 80: 424 COSMOS. nature ; thus it is sup
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- Page 85 and 86: 430 COSMOS. treats chiefly of event
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- Page 97 and 98: 442 COSMOS. of the master-works of
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- Page 101: 446 . COSMOS. artists at this epoch
- Page 105 and 106: 450 COSMOS. These studies he himsel
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- Page 115 and 116: 460 COSMOS. ting effect of the ligh
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448 <strong>COSMOS</strong>.<br />
oranges and laurels, with pines and date-trees; the lattet<br />
(which, with the exception of the small Chamaerops, originally<br />
a native of European sea-shores, was the only member of<br />
the noble family of palms known from personal observation),<br />
was generally represented as having a snake-like and scaly<br />
trunk,* and long served as the representative of tropical<br />
vegetation ; as, in like manner, Pinus pinea is even still very<br />
generally supposed to furnish an exclusive characteristic of<br />
the vegetable forms of Italy. The contour of high mountain-<br />
chains was but little studied, and snow-covered peaks, which<br />
projected beyond the green Alpine meadows, were, at that<br />
period, still regarded by naturalists and landscape painters as<br />
inaccessible. The physiognomy of rocky masses seems scarcely<br />
to have excited any attempt at accurate representation,<br />
excepting where a water-fall broke in foam over the mountain<br />
side. We may here remark another instance of the<br />
diversity of comprehension manifested by a free and artistic<br />
spirit in its intimate communion with nature. Rubens, who,<br />
in his great hunting pieces, had depicted the fierce movements<br />
of wild animals with inimitable animation, succeeded,<br />
as the delineator of historical events, in representing, with<br />
equal truth and vividness, the form of the landscape in the<br />
waste and rocky elevated plain surrounding the Escurial.f<br />
The delineation of natural objects included in the branch of<br />
art at present under consideration, could not have gained in<br />
diversity and exactness, until the geographical field of view<br />
became extended, the means of travelling in foreign countries<br />
facilitated, and the appreciation of the beauty and configuration<br />
of vegetable forms, and their arrangement in groups of<br />
natural families, excited. The discoveries of Columbus, Vasco<br />
de Gama, and Alvarez Cabral, in Central America, Southern<br />
Asia, and the Brazils the extensive trade in ;<br />
spices and drugs<br />
carried on by the Spaniards, Portuguese, Italians, and Flem-<br />
ings, and the establishment of botanical gardens at Pisa,<br />
Padua, and Bologna, between 1544 and 1568, although not<br />
yet furnished with hot-houses properly so called, certainly<br />
* Some strangely fanciful representations of date palms, which have<br />
a knob in the middle of the leafy crown, are to be seen in an old picture<br />
of Cima da Conegliano, of the school of Bellino (Dresden Gallery,<br />
1835, No. 40).<br />
f Dresden Gallery, No. 917.