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Pontiac Directory 04
Page 01
On January 24th we continued our journey over horrible deep mud-holes, which made the trail extremely dangerous. On that particular day we were travelling over sticky soil, so that when the mules trod in the deep holes they stuck with their hoofs and fell over, immediately struggling wildly to free themselves. One of my men was nearly thrown down a precipice that day, and all of us, as well as all the pack animals, had many unpleasant falls during that march. Swampy places like that were encountered for hundreds of metres at a time. In one place that day we had two kilometres of continuous swampy mud. In the afternoon I had a nasty fall, the mule rolling right on the top of me and nearly breaking my right leg. The animal in falling had sunk its head in the sticky mud, and was struggling madly to release itself. The animals were then marching chest-deep in mud. In my helpless condition I tried to get off when the animal fell, but sank up to my waist and stuck fast with my legs in the mud. When the mule rolled over, it knocked me down on the edge of the precipice, my leg remaining caught under the animal. Had not one of my muleteers been by my side at the moment and rushed to my rescue, I should have fared badly indeed.
In landscape the English have had something to say peculiarly their own. It has not always been well said, the coloring is often hot, the brush-work brittle, the attention to detail inconsistent with the large view of nature, yet such as it is it shows the English point of view and is valuable on that account. Richard Wilson (1713-1782) was the first landscapist of importance, though he was not so English in view as some others to follow. In fact, Wilson was nurtured on Claude Lorrain and Joseph Vernet and instead of painting the realistic English landscape he painted the pseudo-Italian landscape. He began working in portraiture under the tutorship of Wright, and achieved some success in this department; but in 1749 he went to Italy and devoted himself wholly to landscapes. These were of the classic type and somewhat conventional. The composition was usually a dark foreground with trees or buildings to right and left, an opening in the middle distance leading into the background, and a broad expanse of sunset sky. In the foreground he usually introduced a few figures for romantic or classic association. Considerable elevation of theme and spirit marks most of his pictures. There was good workmanship about the skies and the light, and an attentive study of nature was shown throughout. His canvases did not meet with much success at the time they were painted. In more modern days Wilson has been ranked as the true founder of landscape in England, and one of the most sincere of English painters.
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