|
|
MRAP Directory 12
Page 09
It is almost impossible to convey in words an idea of the quickness and graceful address of her movements: they may indeed be termed aerial, as she seems merely to touch in her progress the branches among which she exhibits her evolutions. In these feats her hands and arms are the sole organs of locomotion, her body, hanging as if suspended by a rope, sustained by one hand (the right, for example), she launches herself, by an energetic movement, to a distant branch, which she catches with the left hand; but her hold is less than momentary; the impulse for the next launch is acquired; the branch then aimed at is attained by the right hand again, and quitted instantaneously, and so on, in alternate succession. In this manner spaces of twelve and eighteen feet are cleared, with the greatest ease and uninterruptedly, for hours together, without the slightest appearance of fatigue being manifested; and it is evident that, if more space could be allowed, distances very greatly exceeding eighteen feet would be as easily cleared; so that Duvaucel's assertion that he has seen these animals launch themselves from one branch to another, forty feet asunder, startling as it is, may be well credited. Sometimes, on seizing a branch in her progress, she will throw herself, by the power of one arm only, completely round it, making a revolution with such rapidity as almost to deceive the eye, and continue her progress with undiminished velocity. It is singular to observe how suddenly this Gibbon can stop, when the impetus giving by the rapidity and distance of her swinging leaps would seem to require a gradual abatement of her movements. In the very midst of her flight a branch is seized, the body raised, and she is seen, as if by magic, quietly seated on it, grasping it with her feet. As suddenly she again throws herself into action.
Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.
They exhibit a remarkable degree of intelligence in their habits, and, on the part of the mother, much affection for their young. The second female described was upon a tree when first discovered, with her mate and two young ones (a male and a female). Her first impulse was to descend with great rapidity and make off into the thicket with her mate and female offspring. The young male remaining behind, she soon returned to the rescue. She ascended and took him in her arms, at which moment she was shot, the ball passing through the forearm of the young one, on the way to the heart of the mother....
|
