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Nicholeto Chordiman Directory 17
Page 07
By the light of that fire a weird and almost tragic scene took place. Miguel came up to me, and said in a dramatic tone that for the sake of his wife and children I must let him go back, as we were marching to sure death. If I did not let him go back ... here he took his forehead between his hands--"God help me!" he said, and he burst into tears. He said he did not wish for his pay, as he had not fulfilled his contract. Whatever he had on his person he was willing to give me if I would only let him go back. I said I wished him to keep all his possessions, and as he did not wish to go along with me I would certainly let him go back the next morning. He would then also receive the pay according to the time he had been with me. Miguel went back near the fire, where he cried for some time. Accustomed to deal with Brazilians, I perceived that Miguel thought my promises too good to be true.
When a thing is old, broken, and useless we throw it on the dustheap, but when it is sufficiently old, sufficiently broken, and sufficiently useless we give money for it, put it into a museum, and read papers over it which people come long distances to hear. Byand-by, when the whirligig of time has brought on another revenge, the museum itself becomes a dust-heap, and remains so till after long ages it is re-discovered, and valued as belonging to a neorubbish age--containing, perhaps, traces of a still older paleorubbish civilisation. So when people are old, indigent, and in all respects incapable, we hold them in greater and greater contempt as their poverty and impotence increase, till they reach the pitch when they are actually at the point to die, whereon they become sublime. Then we place every resource our hospitals can command at their disposal, and show no stint in our consideration for them.
Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.
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