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Galleporto Bavicarius Directory 02
Page 06
Dante is, or was a year or two ago, a waiter at Brissago on the Lago Maggiore, only he is better-tempered-looking, and has a more intellectual expression. He gave me his ideas upon beauty: "Tutto ch' e vero e bello," he exclaimed, with all his old self-confidence. I am not afraid of Dante. I know people by their friends, and he went about with Virgil, so I said with some severity, "No, Dante, il naso della Signora Robinson e vero, ma non e bello"; and he admitted I was right. Beatrice's name is Towler; she is waitress at a small inn in German Switzerland. I used to sit at my window and hear people call "Towler, Towler, Towler," fifty times in a forenoon. She was the exact antithesis to Abra; Abra, if I remember, used to come before they called her name, but no matter how often they called Towler, every one came before she did. I suppose they spelt her name Taula, but to me it sounded Towler; I never, however, met any one else with this name. She was a sweet, artless little hussy, who made me play the piano to her, and she said it was lovely. Of course I only played my own compositions; so I believed her, and it all went off very nicely. I thought it might save trouble if I did not tell her who she really was, so I said nothing about it.
A few concrete instances may help to illustrate the generalization that these are not fixed because racial characteristics, but variable ones dependent on the social order. Many years ago when the late Dr. Neesima, the founder, with Dr. Davis, of the Doshisha, was on the point of departure for the United States on account of his health, he made an address to the students. In the course of his remarks he stated that there were three principal considerations that made him regret the necessity for his departure at that time; the first was that the Doshisha was in a most critical position; it was but starting on its larger work, and he felt that all its friends should be on hand to help on the great undertaking. The second was that he was compelled to leave his aged parents, whom he might not find living on his return to Japan. The third was his sorrow at leaving his beloved wife. This public reference to his wife, and especially to his love for her, was so extraordinary that it created no little comment, not to say scandal; especially obnoxious was it to many, because he mentioned her after having mentioned his parents. In the reports of this speech given by his friends to the public press no reference was made to this expression of love for his wife. And a few months after his death, when Dr. Davis prepared a short biography of Dr. Neesima, he was severely criticised by some of the Japanese for reproducing the speech as Dr. Neesima gave it.
At Augsburg there was still another school, which came into prominence in the sixteenth century with Burkmair and the Holbeins. It was only a part of the Swabian school, a concentration of artistic force about Augsburg, which, toward the close of the fifteenth century, had come into competition with Nuremberg, and rather outranked it in splendor. It was at Augsburg that the Renaissance art in Germany showed in more restful composition, less angularity, better modelling and painting, and more sense of the _ensemble_ of a picture. Hans Burkmair (1473-1531) was the founder of the school, a pupil of Schoengauer, later influenced by Duerer, and finally showing the influence of Italian art. He was not, like Duerer, a religious painter, though doing religious subjects. He was more concerned with worldly appearance, of which he had a large knowledge, as may be seen from his illustrations for engraving. As a painter he was a rather fine colorist, indulging in the fantastic of architecture but with good taste, crude in drawing but forceful, and at times giving excellent effects of motion. He was rounder, fuller, calmer in composition than Duerer, but never so strong an artist.
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