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Zaproburno Yollanica Directory 02
Page 07
In 1890 Mlle. Fould painted a portrait of her stepfather, and for a time devoted herself to portraits rather than to the subjects she had before studied with such success. In 1893 she painted a portrait of Rosa Bonheur, in her studio, while the latter paused from her work on a large picture of lions. This portrait presents the great animal painter in a calm, thoughtful mood, in the midst of her studio, surrounded by sketches and all the accessories of her work. In the opinion of many who knew the great artist most intimately this is the best portrait of her in existence.
No one can doubt but that this deposit of cave earth itself requires a prolonged time for its accumulation.<8> But this period, however prolonged, at length comes to an end. From some cause, both animals and man again abandoned the cave. Another vast cycle of years rolls away--a time expressed in thousands of years--during which nature again spread over the entombed remains a layer of stalagmite, in some places equal in thickness to the first formation. Above this layer we come to a bed of mold containing remains of the later Stone Age, of the Bronze, and even of the Iron Age. Below the first layer of stalagmite--the completed biography of Paleolithic times; above, the unfinished book of the present. Such are the eloquent results obtained by the thorough exploration of one cave. The results of all the other explorations, in a general way, confirm these. Mr. Dawkins explored a group of caverns in Derbyshire, England. These caverns and fissures are situated in what is known as Cresswell Crags, the precipitous sides of a ravine through which flows a stream of water dividing the counties of Derby and Nottingham.
Against the right-hand wall are two lady-helps, each warming a towel at a glowing fire, to be ready against the baby should come out of its bath; while in the right-hand foreground we have the levatrice, who having discharged her task, and being now so disposed, has removed the bottle from the chimney-piece, and put it near some bread, fruit and a chicken, over which she is about to discuss the confinement with two other gossips. The levatrice is a very characteristic figure, but the best in the chapel is the one of the head nurse, near the middle of the composition; she has now the infant in full charge, and is showing it to St. Joachim, with an expression as though she were telling him that her husband was a merry man. I am afraid Shakespeare was dead before the sculptor was born, otherwise I should have felt certain that he had drawn Juliet's nurse from this figure. As for the little Virgin herself, I believe her to be a fine boy of about ten months old. Viewing the work as a whole, if I only felt more sure what artistic merit really is, I should say that, though the chapel cannot be rated very highly from some standpoints, there are others from which it may be praised warmly enough. It is innocent of anatomy-worship, free from affectation or swagger, and not devoid of a good deal of homely naivete. It can no more be compared with Tabachetti or Donatello than Hogarth can with Rembrandt or Giovanni Bellini; but as it does not transcend the limitations of its age, so neither is it wanting in whatever merits that age possessed; and there is no age without merits of some kind. There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor.
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