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MRAP Directory 08
Page 06
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
The Saas chronicler, indeed, avers that the chapels were not built till 1709--a statement apparently corroborated by a date now visible on one chapel; but we must remember that the chronicler did not write until a century or so later than 1709, and though, indeed, his statement may have been taken from the lost earlier manuscript of 1738, we know nothing about this either one way or the other. The writer may have gone by the still existing 1709 on the Ascension chapel, whereas this date may in fact have referred to a restoration, and not to an original construction. There is nothing, as I have said, in the choice of the chapel on which the date appears, to suggest that it was intended to govern the others. I have explained that the work is isolated and exotic. It is by one in whom Flemish and Italian influences are alike equally predominant; by one who was saturated with Tabachetti's Varallo work, and who can improve upon it, but over whom the other Varallo sculptors have no power. The style of the work is of the sixteenth and not of the eighteenth century--with a few obvious exceptions that suit the year 1709 exceedingly well. Against such considerations as these, a statement made at the beginning of this century referring to a century earlier, and a promiscuous date upon one chapel, can carry but little weight. I shall assume, therefore, henceforward, that we have here groups designed in a plastic material by Tabachetti, and reproduced in wood by the best local wood-sculptor available, with the exception of a few figures cut by the artist himself.
In her foreign wars Carthage depended upon mercenary troops, which her great wealth enabled her to procure in abundance from Spain, Italy, and Greece, as well as from Libya. Sardinia and Corsica were among her earliest conquests, and Sicily was also one of the first objects of her military enterprise. The Phoenician colonies in this island came under her dominion as the power of Tyre declined; and having thus obtained a firm footing in Sicily, she carried on a long struggle for the supremacy with the Greek cities. It was here that she came into contact with the Roman arms. The relations of Rome and Carthage had hitherto been peaceful, and a treaty, concluded between the two states in the first years of the Roman republic, had been renewed more than once. But the extension of Roman dominion had excited the jealousy of Carthage, and Rome began to turn longing eyes to the fair island at the foot of her empire. It was evident that a struggle was not far distant, and Pyrrhus could not help exclaiming, as he quitted Sicily, "How fine a battle-field are we leaving to the Romans and Carthaginians!"
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