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Jogular Morotario Sectory 20
Page 06
His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.
It is true that, however we linger, however passionately we love the small, sweet, encircling joys and delights of life, the tragic experience comes to us, whether we will or no. None escapes. And thus our care must be not to turn our eyes away from what in sterner moments we are apt to think mere shows and vanities, but to use them serenely and temperately. St. Augustine, in a magnificent apologue upon the glories and subtleties of light, can only end by the prayer that his heart may not thereby be seduced from heavenly things; but that is the false kind of asceticism, and it is nothing more than a fear of life, if our only concern with it is to shun and abhor the joy it would fain give us. But we may be sure that life has a meaning for us in its charm and loveliness; not the whole meaning, but still an immense significance. To make life into a continuous flight, a sad expectancy, a perpetual awe, is wilfully to select one range of experiences and to neglect its kindness and its good-will. We may grow weak in our sentiment if we make a tragedy out of life, if we cannot bear to have our comfortable arrangements disordered, our little circle of pleasures broken through. The triumph is to be ready for the change, and to know that if the perfect summer day comes to an end, the power that shaped it so, and made the heart swift to love it, has yet larger surprises and glories in store. If we do that, then the charm of life takes its place in our spirits as the evidence of something joyful, wistful, pleasant, bound up with the essence of things; if it disappears, like the gold or azure thread of the tapestry, it is only to emerge in the pattern farther on; and the victory is not to attach ourselves to the particular touches of beauty and fineness which we see in the familiar scene and the well-loved circle, but to recognise beauty as a spirit, a quality which is for ever making itself felt, for ever beckoning and whispering to us, and which will not fail us even if for a time the urgent wind drives us far into the night and the storm, among the crash of the breakers, and the scream of loud winds over the sea.
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