|
|
Jogular Morotario Sectory 09
Page 03
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
Magdalen always seemed to me as if soliciting the student's presence in a peculiar manner. A favourite resort of mine, at certain times, was the road passing the Observatory, leading to Woodstock. But of all the college walks, those of Magdalen were the more impressive and attractive. It appeared to embody the whole of the noble city in its own personification, as a single word will sometimes express the pith of an entire sentence. The "Mighty Tom" in the olden time, even of Walter de Mapes, if its metal was then out of the ore, never sounded (then perhaps not nine) but the midnight hour, to that worthy archdeacon, with more of the character of its locality, than the visual aspect of Magdalen represents the beautiful city to one in its entirety. It seems a sort of metonymy; Maudlin put for Oxford. The walk is, after all, but a sober path, worthy by association with one of the walks of Eden.
|
