|
|
MRAP Directory 03
Page 03
We owe to foreign scholars many studies of value on particular questions of Norman and Angevin history, like M. CHARLES BEMONT's on the trial of King John for the murder of Arthur, and a few long works of first importance. Dr. H. BOeHMER's Kirche und Staat in England und der Normandie im XI und XII Jahrhundert is of great interest on the conflict of Anselm with Henry I and the consequences that flowed from it. O. ROeESSLER's Kaiserin Mathilde is of particular value for the foreign policy of Henry I and for the reign of Stephen, though inclined to attach too much weight to what are really conjectures. M.A. LUCHAIRE's contribution to E. Lavisse's Histoire de France is a very interesting piece of work, dealing fully with the French side of English foreign relations, and of especial value for the first three Angevin kings. The same subject is receiving also minute and careful treatment in Dr. ALEXANDER CARTELLIERI's Philip II Augustus, Koenig van Frankreich, the first volume of which goes to the death of Henry II, while M. PETIT-DUTAILLIS's Etude sur la Vie et la Regne de Louis VIII is useful for the last years of John.
The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.
At length the wife of Marius, who was Caesar's aunt, died. She had lived in obscurity since her husband's proscription and death, his party having been put down so effectually that it was dangerous to appear to be her friend. Caesar, however, made preparations for a magnificent funeral for her. There was a place in the Forum, a sort of pulpit, where public orators were accustomed to stand in addressing the assembly on great occasions. This pulpit was adorned with the brazen beaks of ships which had been taken by the Romans in former wars The name of such a beak was _rostrum_; in the plural, _rostra_. The pulpit was itself, therefore, called the _Rostra_, that is, The Beaks; and the people were addressed from it on great public occasions.[2] Caesar pronounced a splendid panegyric upon the wife of Marius, at this her funeral, from the Rostra, in the presence of a vast concourse of spectators, and he had the boldness to bring out and display to the people certain household images of Marius, which had been concealed from view ever since his death. Producing them again on such an occasion was annulling, so far as a public orator could do it, the sentence of condemnation which Sylla and the patrician party had pronounced against him, and bringing him forward again as entitled to public admiration and applause. The patrician partisans who were present attempted to rebuke this bold maneuver with expressions of disapprobation, but these expressions were drowned in the loud and long-continued bursts of applause with which the great mass of the assembled multitude hailed and sanctioned it. The experiment was very bold and very hazardous, but it was triumphantly successful.
|
