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Torquenado Directory 08
Page 02
Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.
And now at the present time we have twenty or more individuals of this Neanderthal type to compare. The latest discoveries are perhaps the most interesting, because in two and perhaps other cases the man has been properly buried. Thus at La Chapelle-aux-Saints, in the French department of Correze, a skeleton, which in its head-form closely recalls the Gibraltar example, was found in a pit dug in the floor of a low grotto. It lay on its back, head to the west, with one arm bent towards the head, the other outstretched, and the legs drawn up. Some bison bones lay in the grave as if a food-offering had been made. Hard by were flint implements of a well-marked Mousterian type. In the shelter of Le Moustier itself a similar burial was discovered. The body lay on its right side, with the right arm bent so as to support the head upon a carefully arranged pillow of flints; whilst the left arm was stretched out, so that the hand might be near a magnificent oval stone-weapon chipped on both faces, evidently laid there by design. So much for these men of the Neanderthal type, denizens of the mid-palaeolithic world at the very latest. Ape-like they doubtless are in their head-form up to a certain point, though almost all their separate features occur here and there amongst modern Australian natives. And yet they were men enough, had brains enough, to believe in a life after death. There is something to think about in that.
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