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Nicholeto Chordiman Directory 07
Page 01
The second fruit of friendship, is healthful and sovereign for the understanding, as the first is for the affections. For friendship maketh indeed a fair day in the affections, from storm and tempests; but it maketh daylight in the understanding, out of darkness, and confusion of thoughts. Neither is this to be understood only of faithful counsel, which a man receiveth from his friend; but before you come to that, certain it is, that whosoever hath his mind fraught with many thoughts, his wits and understanding do clarify and break up, in the communicating and discoursing with another; he tosseth his thoughts more easily; he marshalleth them more orderly, he seeth how they look when they are turned into words: finally, he waxeth wiser than himself; and that more by an hour's discourse, than by a day's meditation. It was well said by Themistocles, to the king of Persia, That speech was like cloth of Arras, opened and put abroad; whereby the imagery doth appear in figure; whereas in thoughts they lie but as in packs. Neither is this second fruit of friendship, in opening the understanding, restrained only to such friends as are able to give a man counsel; (they indeed are best;) but even without that, a man learneth of himself, and bringeth his own thoughts to light, and whetteth his wits as against a stone, which itself cuts not. In a word, a man were better relate himself to a statua, or picture, than to suffer his thoughts to pass in smother.
The reign of Tarquin was distinguished by great exploits in war and by great works in peace. He defeated the Sabines, and took their town Collatia, which he placed under his nephew Egerius, who was thence called Collatinus. He also captured many of the Latin towns, and became the ruler of all Latium; but the important works which he executed in peace have rendered his name still more famous. The great cloacae, or sewers, by which he drained the lower parts of the city, still remain, after so many ages, with not a stone displaced. He laid out the Circus Maximus, and instituted the great or Roman games performed in the circus. He also made some changes in the constitution of the state. He added to the Senate 100 new members, taken from the Luceres, the third tribe, and called _patres minorum gentium_, to distinguish them from the old Senators, who were now termed _patres majorum gentium_. To the three centuries of equites established by Romulus he wished to add three new centuries, and to call them after himself and two of his friends. But his plan was opposed by the augur Attus Navius, who said that the gods forbade it. The tale runs that the king, to test the augur, asked him to divine whether what he was thinking of could be done. After consulting the heavens, the augur replied that it could; whereupon the king said, "I was thinking that thou shouldst cut this whetstone with a razor." Navius, without a moment's hesitation, took a razor and cut it in twain. In consequence of this miracle, Tarquin gave up his design of establishing new centuries; but with each of the former centuries he associated another under the same name, so that henceforth there were the first and second Ramnes, Tities, and Luceres. The number of Vestal Virgins was also increased from four to six, the two new vestals being probably taken from the Luceres.
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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