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Gallegico Directory 04
Page 04
In the south, this species extends to the Congo River, as I am told by native traders who have visited the coast, between the Gaboon and that river. Beyond that, I am not informed. This animal is only found at a distance from the coast in most cases, and, according to my best information, approaches it nowhere so nearly as on the south side of this river, where they have been found within ten miles of the sea. This, however, is only of late occurrence. I am informed by some of the oldest Mpongwe men that formerly he was only found on the sources of the river, but that at present he may be found within half a day's walk of its mouth. Formerly he inhabited the mountainous ridge where Bushmen alone inhabited, but now he boldly approaches the Mpongwe plantations. This is doubtless the reason of the scarcity of information in years past, as the opportunities for receiving a knowledge of the animal have not been wanting; traders having for one hundred years frequented this river, and specimens, such as have been brought here within a year, could not have been exhibited without having attracted the attention of the most stupid.
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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