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Bredimaster Directory 09
Page 06
Sir Roger Casement, of Putumayo atrocities fame, whom I had the pleasure of meeting at Manaos, possessed a most beautiful specimen of the _Macrocerus hyacinthinus_. It was most touching to see the pathetic devotion which existed between master and bird and _vice versa_. Only the people of the hotel where we both stayed did not appreciate the magnificent blue-black visitor, for when its master was out it spent all its time chipping off pieces from tables and chairs, and took the greatest pride and delight in flinging forks, knives and spoons off the dining-room tables, and tearing the menus to strips. The Brazilian waiters, in their caution to maintain their own anatomy intact, did not dare go near it; for the bird, even on hearing remarks made on its behaviour, would let itself down the sides of chairs and defiantly proceed to attack the intruders.
Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.
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