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Zypro Gorgy Dectorum 04
Page 04
As the river seemed to describe a big loop, I had left it three days before, seeing plainly by the conformation of the country that we should strike it again sooner or later. We were marching once more by compass. My men, who had no faith whatever in the magnetic needle, were again almost paralysed with fear that we might not encounter the stream again. A thousand times a day they accused me of foolishness in leaving the river, as they said it would have been better to follow its tortuous course--notwithstanding the trouble we had in following it, owing to the dense vegetation near the water--rather than strike once more across country. They were beginning to lose heart altogether, when I told them I could see by the vegetation that we were once more near the water. Anybody accustomed as I am to marching through the forest could tell easily by the appearance of the vegetation some miles before actually getting to a stream.
M. Taine's philosophy which regards the art of any people or period as the necessary result of the conditions of race, religion, civilization, and manners in the midst of which the art was produced--and esteems a knowledge of these conditions as sufficient to account for the character of the art, seems to me to exclude many complex and mysterious influences, especially in individual cases, which must affect the work of the artists. At the same time an intelligent study of the art of any nation or period demands a study of the conditions in which it was produced, and I shall endeavor in this _resume_ of the history of women in Art--mere outline as it is--to give an idea of the atmosphere in which they lived and worked, and the influences which affected the results of their labor.
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