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Pontiac Directory 06
Page 01
"That is very ungracious," I said. "You are as perverse as I was about Byron when the old banker quoted him with tears. I was going to say, and I will say it, that Tennyson, with all his faults, was a great lord of music; and he put into words the fine, homely domestic emotion of the race--the poetry of labour, order, and peace. It was new and rich and splendid, and because it seems to you old-fashioned, you call it mere respectability; but it was the marching music of the world, because he showed men that faith was enlarged and not overturned by science. These two were great, because they saw far and wide; they knew by instinct just what the ordinary man was thinking, who yet wished his life to be set to music. These little men of yours don't see that. They have their moments of ecstasy, as we all have, in the blossoming orchard full of the songs of birds. And that will always and for ever give us the lyric, if the skill is there. But I want something more than that; I, you, thousands of people, are feeling something that makes the brain thrill and the heart leap. The mischief is that we don't know what it is, and I want a great poet to come and tell us."
Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.
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