Two steers, locking their horns, broke from the herd and swaying an instant so, separated and started side by side across the prairie. He settled in his saddle and put his cow-pony to a run, without any preliminary gait, going in a wide circle to head them back. Running across the ground, thick with coyote and dog holes, was decidedly perilous; men had their necks[Pg 164] broken in that way every few days; but it would not have mattered to him especially to have ended so. Wherefore he did not, but drove the steers back to the herd safely. And then he returned to the monotonous sentry work and continued thinking of himself.
Director
58Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.I see it! Dick located the tiny light well below them.How did you get into this? Sandys suspicions came uppermost.