Puslapio vaizdai
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T is difficult to define the There should be no definite picture of the

charm of a day's riding country in the minds of the adventurers bein the West where the yond such suggestions as the local names afsun is hot, the country ford - Robie's Gulch, Sour-dough Dick's, the

barren, the horses gen- Idaho City road, the road to Silver Mountain. erally bad. It must be the There should be some discomfort to remember simplicity, the touch of reality with complacency when the ride is over, and so prized by children in their play, the stages should be long enough to give the

the truth to circumstances, that women of the party the simple pride of showdistinguish it, as a pursuit, from showy meets ing that they can keep the pace beside the men, of town and country clubs, anise-seed hunts, with the odds against them of a side-saddle and masquerading of one sort or another in instead of a pair of stirrups. There should be the saddle.

important changes of scenery by the way, such One must go far to find the indispensable as every few hundred feet of elevation will give conditions: they are usually the reward of a in the West, from plain or treeless park to lightly rather bad time in other ways. The play must wooded foothills; from these to the deep old be played in earnest, not with an eye to spec- timber upon the flanks of the range; and from tators. If possible, it should be part of the this again to the crooked trees and dwarfish business of one's life, yet only lately so, for nov- vegetation on the borders of the snow. elty is one of the conditions; good company, But a journey from valley to valley across and not too much of it, is another.

the divides between, if not so sensational, is One should start early in the morning, with more beautiful and less severe than a steady serious intentions. The horses should know climb; for in every valley there will be a their business as well as the men, and for this cabin or a ranch, if not a settlement, and the reason the horses of the country are the best. If sight of new faces and strange interiors is part there is a woman in the party, she should return of the rest. in spirit to her primitive condition of depend- Montaigne, who seems to have been one of ence upon direct masculine protection and lead- the most sensible as well as (by his own acership : by the abandonment of her rights she count) hardiest of horsemen, says: “I have will receive a corresponding measure of her learnt to frame my journeyes after the Spanprivileges. There should be food in the saddle- ish fashion, all at once and outright, great or bags; for women cannot travel as men can, reasonable. And in extreme heats I travell at hour after hour without eating, however sure of night, from sunne-set to sunne rising." their powers in this respect they may be at the It is impossible to read the mere statement start. Without food a woman's courage in the and think of the countries he traversed in this saddle, and frequently her temper, give out; manner without a vivid conception of his wisand it is not wisdom on a journey to strain dom. No woman who has ridden in the blazeither the one or the other more than is neces- ing West but can sympathize with him when sary. An inevitable strain a woman will endure he says, “ No weather is to me so contrary as with dignity, while a trifling but needless one the scorching heat of the parching sunne; for irritates her.

those umbrels or riding canopies which, since Copyright, 1889, by The Century Co. All rights reserved.

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the ancient Romans the Italians use, doe more moonlight, as he rides away into the desert; weary the armes than ease the head.” Quentin Durward mustering his little troop of

Have we not dreamed — all of us who are lances at the hour of midnight beneath the amateurs, and not proud, like the cowboy, of Dauphin's tower. The days of errant heiresses, wearing upon our cheeks “the shadowed livery of Lady Ediths in Palestine, are no more: the of the burnished sun”- of cool night marches Kenneths and the Quentins are engaged in during the season of unvarying weather, when earning their individual livings, instead of Perseus is striding up the east, and Lyra the guarding banners or convoying disguised ladies beautiful hangs like a lamp in the heavens ? across unscientific frontiers. Yet there are That lack of atmosphere which leaves the nights of the dry season as haunting in their traveler at the sun's mercy by day gives won- lonely beauty as the nights of Palestine or that derful brilliancy to the spectacle of the night hour of the rendezvous at the Dauphin's tower; sky. Soon after sunset the dry summer gale there are stretches of uncelebrated country as begins to blow; the stars “rush out”; the lovely by moonlight as the Syrian desert or cloudless sky is dark as on frosty winter nights. the majestic plain of the Loire. And there Or if there be a moon, the breadth and tender- may be a man, now and then, in the West, ness of her light in a wide and treeless land- though he rides a shock-haired cayuse instead scape will be a revelation to those who only of a stately war-horse, as brave in his way and know moonlight beset by shadows.

as simply true as the young gentlemen to whom All the night journeys in the fiction of one's those important undertakings were intrusted early reading come back to revive the rest- so long ago. And it is to be hoped that such lessness such nights will bring: Sir Kenneth, confidence as that of the noble ladies of Croye, exiled from honor and slave of the Arab phy- who asked but the name of their knight, his sician, looking back at the Crusaders' camp, degree, and one look at his face, may be ready at the tents and banners glimmering in the when called for in the women of the West.

a

ORCAGNA (ANDREA DI CIONE). 1308 – 1368.

(ITALIAN OLD MASTERS.)

HATEVER difficulty there and had so thoroughly assimilated Giotto's

might be in determining great maxims that he took painting where that the relative position of master left it and carried it on to new triumphs. Giotto and Memmi, the con- Orcagna came to the front in a time when temporary chiefs of the Flor- art had greatly degenerated in the hands of entine and Sienese schools, the Giottesques, and by recurring to the prin

through the unfortunate destruc- ciples on which Giotto had founded his art, tion of the work of the latter, there should be with the aid of all the light that the rival no question as to the rank of Orcagna; and if school of Siena threw upon it and a prowe do not put him higher than either of the foundly original insight into nature,-a healthy other great painters mentioned, it is because objective imagination,- he raised his school the general progress of art had made it possible from what seems like the Byzantine convenfor him to do what a greater mind could not tionalism of his immediate predecessors. This is do in the state of the arts in which Giotto the dangerous tendency of all subjective art, to found them; and we might give him credit for drop into formalities and conventionaliteration. what was due purely to the general develop- Orcagna was by nature versatile, and had he ment. But of all those who follow in the suc- lived in an era when nature asserted the incession of time and work Orcagna stands, like fluence over art which it exercised in the later Saul, head and shoulders above the crowd – schools, he certainly would have ranked among great in all the great qualities of art.

the greatest painters of that age. Vasari says Andrea di Cione was the second of four that Stefano Fiorentino and Giottino surpassed brothers, all architects, sculptors, or painters, Giotto in perspective; but Orcagna deserves though the others were incomparably his in- this praise far more than they, for, owing to feriors. During his lifetime he was always his studious scrutiny of Nature, he was better known as Arcagnolo, of which Orcagna is a able to conquer the difficulties of rendering corruption. He was at once painter, sculptor, her. In his frescos we find the figure drawn architect, and master in every branch of art, and foreshortened with much boldness, and

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