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Gallegico Directory 07
Page 02
At Piriatingalini and Puchalini we found light cable suspension bridges, very shaky, which swung to and fro as you rode over them. Most of them were not more than four feet wide and had no parapet at all. I cannot say that I felt particularly happy when my mule--sure-footed, I grant--took me across, the bridge swinging, quivering, and squeaking with our weight on it, especially when we were in the middle. The rivers were extremely picturesque, with high mountains on either side, among which they wound their way in a snake-like fashion over a rocky bed, forming a series of cascades. We went that day 25 kil., and arrived at the _tambo_ of Azupizu, which was in charge of a deserter from the French navy. He was an extraordinary character. He had forgotten French, and had neither learnt Spanish nor the local language of the Campas Indians.
Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.
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