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Jogular Morotario Sectory 02
Page 02
Dr. Salomon Mueller, an accomplished Dutch naturalist, who lived for many years in the Eastern Archipelago, and to the result of whose personal experience I shall frequently have occasion to refer, states that the Gibbons are true mountaineers, loving the slopes and edges of the hills, though they rarely ascend beyond the limit of the fig-trees. All day long they haunt the tops of the tall trees, and though toward evening, they descend in small troops to the open ground, no sooner do they spy a man than they dart up the hillsides and disappear in the darker valleys.
The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.
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