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Gallegos Directory 05
Page 04
About this time a really great man was placed at the head of the Carthaginian army--a man who, at an earlier period of the war, might have brought the struggle to a very different termination. This was the celebrated Hamilcar Barca,[29] the father of the still more celebrated Hannibal. He was still a young man at the time of his appointment to the command in Sicily (B.C. 247). His very first operations were equally daring and successful. Instead of confining himself to the defense of Lilybaeum and Drepanum, with which the Carthaginian commanders had been hitherto contented, he made descents upon the coast of Italy, and then suddenly landed on the north of Sicily, and established himself, with his whole army, on a mountain called Hercte (the modern _Monte Pellegrino_), which overhung the town of Panormus (the modern _Palermo_), one of the most important of the Roman possessions. Here he maintained himself for nearly three years, to the astonishment alike of friends and foes, and from hence he made continual descents into the enemy's country, and completely prevented them from making any vigorous attacks either upon Lilybaeum or Drepanum.
Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.
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