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Corpasenti Webulance Directory 14
Page 04
Twenty-three years elapsed between the First and Second Punic Wars. The power of Carthage, though crippled, was not destroyed; and Hamilcar returned home, burning with hatred against Rome, and determined to renew the war upon a favorable opportunity. But a new and terrible danger threatened Carthage upon her own soil. The mercenary troops, who had been transported from Sicily to Africa at the conclusion of the war, being unable to obtain their arrears of pay, rose in open mutiny. Their leaders were Spendius, a runaway Campanian slave, and Matho, a Libyan. They were quickly joined by the native Libyans, and brought Carthage almost to the brink of destruction. They laid waste the whole country with fire and sword, made themselves masters of all the towns except the capital, and committed the most frightful atrocities. Carthage owed her safety to the genius and abilities of Hamilcar. The struggle was fierce and sanguinary, but was at length brought to a successful issue, after it had lasted more than three years, by the destruction of all the mercenaries. It was called the War without Peace, or the Inexpiable War (B.C. 238).
Some years ago a German Artist was travelling in Norway, on foot, with his knapsack on his back and his stick in his hand. He lodged most of time in the cottages that he fell in with on his road. In one of them there was a seal, which the fisherman had found on the sand, after harpooning the mother of the poor animal. No sooner was it admitted into the cottage than the seal became the friend of the family and the playmate of the children. It played from morning till night with them, would lick their hands, and call them with a gentle little cry, which is not unlike the human voice, and it would look at them tenderly with its large blue eyes, shaded by long black lashes. It almost always followed its master to fish, swimming around the boat and taking a great many fish, which it delivered to the fisherman without even giving them a bite. A dog could not have been more devoted, faithful, teachable, or even more intelligent.
With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.
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