|
|
Tamoskaro Directory 07
Page 10
By 8.30 in the morning of December 5th we entered the mouth of the Madeira River. I was surprised at the sudden change in the appearance of the two rivers. We saw in the Madeira high, gently sloping banks, covered with verdant grass and neat trees and palms along the top of them; whereas along the Amazon the trees stood almost in the water on the recently formed islands and banks. The left bank of the Madeira was of grey and reddish clay (grey below, red above), cut vertically, sometimes actually in steps. Blocks of a rectangular shape, in getting dried up, split and fell over, leaving the banks vertical. The right bank, on the contrary, was gently sloping, descending with a beautiful carpet of green grass into the stream. The islands were charming, with lovely lawns all round. Blackish and deep red rock, vertical and fluted, and with innumerable perforations, could be seen here and there, covered over with a padding of earth from ten to twenty feet deep.
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.
Among the dozen or more butterflies and moths which winter in the perfect state, the most common and the most handsome is the "Camberwell beauty" or "mourning cloak," _Vanessa antiopa_ L., a large butterfly whose wings are a rich purplish brown above, duller beneath, and broadly margined with a yellowish band. It is often found in winter beneath chunks which are raised a short distance above the ground, or in the crevices of old snags and fence rails. It is then apparently lifeless, with the antennae resting close along the back, above which the wings are folded. But one or two warm days are necessary to restore it to activity, and I have seen it on the wing as early as the 2d of March, hovering over the open flowers of the little snow trillium.
|
