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MRAP Directory 05
Page 09
The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.
We travelled along that great table-land, occasionally seeing a herd of llamas stampede away at the approach of the train, now and then observing circular stone walls erected by shepherds as shelters. A gable-roofed hut was occasionally seen. Picturesque natives in their _ponchos_ and red or yellow scarves gazed, astonished, at the train throbbing along slowly upon the steep gradient of that elevated barren country. The cold seemed intense after the tropical heat of Lima. It was snowing hard. In the daytime I generally travelled seated in front of the engine, in order to have a better view of the landscape. In the train everybody suffered from _soroche_ or mountain-sickness, which attacked most people when brought up quickly by the railway from the sea to such high elevations. I was driven away from the front of the engine by the cold rain and sleet beating with great force into my face, and obscuring the landscape to such an extent that I could see nothing at all.
Every one has seen a cornfield. If you pluck up one of the innumerable wheat plants which are fixed in the soil of the field, about harvest time, you will find that it consists of a stem which ends in a root at one end and an ear at the other, and that blades or leaves are attached to the sides of the stem. The ear contains a multitude of oval grains which are the seeds of the wheat plant. You know that when these seeds are cleared from the husk or bran in which they are enveloped, they are ground into fine powder in mills, and that this powder is the flour of which bread is made. If a handful of flour mixed with a little cold water is tied up in a coarse cloth bag, and the bag is then put into a large vessel of water and well kneaded with the hands, it will become pasty, while the water will become white. If this water is poured away into another vessel, and the kneading process continued with some fresh water, the same thing will happen. But if the operation is repeated the paste will become more and more sticky, while the water will be rendered less and less white, and at last will remain colorless. The sticky substance which is thus obtained by itself is called gluten; in commerce it is the substance known as maccaroni.
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