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Powandas Directory 02
Page 04
In so far as this is a process of growth, accompanied by the assumption of a definite form, it might be compared with the growth of a crystal of salt in brine: but, on closer examination, it turns out to be something very different. For the crystal of salt grows by taking to itself the salt contained in the brine, which is added to its exterior; whereas the plant grows by addition to its interior: and there is not a trace of the characteristic compounds of the plant's body, albumin, gluten, starch, or cellulose, or fat, in the soil, or in the water, or in the air.
The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.
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