My Web Site Page 127 Ovations 03

Ovations

Sitemaps

Somewhat higher than the fish in the scale of life is the frog. Although he begins life as a fish, and in the tadpole state breathes by gills, he soon discards the water-diluted air of the pond, and with perfect lungs boldly inhales the pure air of the upper world. His life as a tadpole, although so fish-like, is much inferior to true fish life: for though the fish has not the perfect lung, he has a modification of it which he fills with air, not for breathing purposes, but as an air-sac to make him float like a bubble in the water. Will he rise to the surface? he inflates the air-bladder. Will he sink to the bottom? he compresses the air-bladder. But in the frog the air-bladder changes into the lungs, and is never the delicate balloon which floats the fish in aqueous space. When the frog's lungs are perfected, his gills close, and he forever abandons fish-life, though being a cold-blooded creature he needs comparatively little air, and delights to return to his childhood's home in the bottom of the pond. But although he can stay under water for a long time, he is obliged to hold his breath while there, and when he would breathe must come to the surface to do so. It is possible to drown him by holding him under water.

He continued, however, during his reign, to manifest the peaceful, quiet, and serious character which had led him to enter the monastery, and which had probably been strengthened and confirmed by the influences and habits to which he had been accustomed there. He had, however, a very able, energetic, and warlike minister, who managed his affairs with great ability and success for a long course of years. Ethelwolf, in the mean time, leaving public affairs to his minister, continued to devote himself to the pursuits to which his predilections inclined him. He visited monasteries; he cultivated learning; he endowed the Church; he made journeys to Rome. All this time, his kingdom, which had before almost swallowed up the other kingdoms of the Heptarchy, became more and more firmly established, until, at length, the Danes came in, as is described in the last chapter, and brought the whole land into the most extreme and imminent danger. The case did not, however, become absolutely desperate until after Ethelwolf's death, as will be hereafter explained.

In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chance in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.

This page is Copyright © After Burner. All Rights Reserved. My Web Site Page 127 is a production of After Burner and may not be reproduced electronically or graphically for commercial uses. Personal reproductions and browser or search engine caching are acceptable.

Ovations provided by My Web Site Page 127 are included only for information. The entertainment value of My Web Site Page 127's ovations may vary on the basis of your personal needs. After Burner and My Web Site Page 127 take no responsibility for the content provided by other Web sites. Links are provided "as is" without liability or warranty.