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MRAP Directory 19
Page 06
And yet if, on the other hand, one compares the subsequent fame of men of action with the fame of men of letters, the contrast is indeed bewildering. Who attaches the smallest idea to the personality of the Lord Lichfield whom Dr. Johnson envied? Who that adores the memory of Wordsworth knows anything about Lord Goderich, a contemporary prime minister? The world reads and re-reads the memoirs of dead poets, goes on pilgrimage to the tiny cottages where they lived in poverty, cherishes the smallest records and souvenirs of them. The names of statesmen and generals become dim except to professed historians, while the memories of great romancers and lyrists, and even of lesser writers still, go on being revived and redecorated. What would Keats have thought, as he lay dying in his high, hot, noisy room at Rome, if he had known that a century later every smallest detail of his life, his most careless letters, would be scanned by eager eyes, when few save historians would be able to name a single member of the cabinet in power at the time of his death?
Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.
Hannibal perished in the same year as his great opponent. Scipio was the only member of the Senate who opposed the unworthy persecution which the Romans employed against their once dreaded foe. Each of these great men, possessing true nobility of soul, could appreciate the other's merits. A story is told that Scipio was one of the embassadors sent to Antiochus at Ephesus, at whose court Hannibal was then residing, and that he there had an interview with the great Carthaginian, who declared him the greatest general that ever lived. The compliment was paid in a manner the most flattering to Scipio. The latter had asked, "Who was the greatest general?" "Alexander the Great," was Hannibal's reply. "Who was the second?" "Pyrrhus." "Who was the third?" "Myself," replied the Carthaginian. "What would you have said, then, if you had conquered me?" asked Scipio, in astonishment. "I should then have placed myself above Alexander, Pyrrhus, and all other generals."
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