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Carbelide Nelicanya Sectory 09
Page 09
For the ordering of the ground, within the great hedge, I leave it to variety of device; advising nevertheless, that whatsoever form you cast it into, first, it be not too busy, or full of work. Wherein I, for my part, do not like images cut out in juniper or other garden stuff; they be for children. Little low hedges, round, like welts, with some pretty pyramids, I like well; and in some places, fair columns upon frames of carpenter's work. I would also have the alleys, spacious and fair. You may have closer alleys, upon the side grounds, but none in the main garden. I wish also, in the very middle, a fair mount, with three ascents, and alleys, enough for four to walk abreast; which I would have to be perfect circles, without any bulwarks or embossments; and the whole mount to be thirty foot high; and some fine banqueting-house, with some chimneys neatly cast, and without too much glass.
Some 13 kil. farther, the river being smooth but swift, we came to a basin 700 m. broad, where the river described a turn toward the north-east. We came upon a large clearing on the hill-side on the left bank. There we saw the remains of two or three huts which had been destroyed by fire. We perceived one or two people, and we landed. We found that it was the shed of an enterprising Peruvian trader who had established himself there in order to collect rubber. Only a few days before we arrived a great fire had taken place, which had destroyed nearly all he possessed; but--fortunately for us--they had saved a few things, and I was able to purchase a quantity of rice, biscuits, dried meat, beans, _farinha_, condensed milk, _banho_ (liquid lard in tins), and a number of other things, such as clothes, shirts, rope, nails, axes, etc., which we needed badly.
His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.
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