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Gallegico Directory 08
Page 10
Hasdrubal did not venture to make his appearance again in Carthage, and Syphax once more fled into Numidia. Scipio did not give the Numidian prince any repose; he was pursued by Laelius and Masinissa, and finally taken prisoner. Among the captives who fell into their hands was Sophonisba, the wife of Syphax, whom Masinissa had long loved, and had expected to marry when she was given to his rival. Masinissa now not only promised to preserve her from captivity, but, to prevent her falling into the hands of the Romans, determined to marry her himself. Their nuptials were accordingly celebrated without delay; but Scipio, fearful of the influence which she might exercise over his ally, sternly upbraided him with his weakness, and insisted on the immediate surrender of the princess. Unable to resist this command, Masinissa spared her the humiliation of captivity by sending her a bowl of poison, which she drank without hesitation, and thus put an end to her own life.
Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.
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