Blackwood's Edinburgh Magazine, Volume 64, No.394, August, 1848. Various
several more. Unable to drive the gallant trapper from his retreat, the savages took advantage of a favourable wind which sprang up suddenly, and fired the long and dried-up grass which surrounded the tree. The rotten log catching fire at length compelled the hunter to leave his retreat, and, clubbing his rifle, he charged amongst the Indians, and fell at last pierced through and through with wounds, but not before two more of his assailants had fallen by his hand.
The two squaws were carried off, and, shortly after, one was sold to some white men at the trading ports on the Platte; but La Bonté never recovered the "Bending Reed," nor even heard of her existence from that day. So once more was the mountaineer bereft of his better half; and when he returned to the rendezvous, a troop of wolves were feasting on the bodies of his late companions, and of the Indians killed in the affray, of which he only heard the particulars a long time after from a trapper, who had been present when one of the squaws was offered at the trading post for sale, and who had recounted the miserable fate of her husband and his companions on the forks of the creek, which, from the fact of that trapper being the leader of the party, is still called La Bonté's Creek.
Nevertheless, he continued his solitary hunt, passing through the midst of the Crow and Blackfeet country; encountering many perils, often hunted by the Indians, but escaping all; and speedily loading both his animals with beaver, he thought of bending his steps to some of the trading rendezvous on the other side of the mountains, where employés of the Great Northwest Fur Company meet the trappers with the produce of their hunts, on Lewis's fork of the Columbia, or one of its numerous affluents, and intending to pass the winter at some of the company's trading posts in Oregon, into which country he had never yet penetrated.
ART – ITS PROSPECTS. CLEGHORN'S ANCIENT AND MODERN ART
7As the age in which Shakspeare wrote, had he not been in existence, would still have been remarkable on account of its dramatic writers, so the Cinque Cento is equally distinguished as the era of the arts. Yet has no very satisfactory cause been assigned for the direction of the human mind to these particular pursuits at these precise periods; for, simultaneously in countries differing in climate, governments, and manners, have the requisite men of genius arisen.
It might be easier to account for the depression than the rise of the noblest arts. Of this we shall presently speak; aware, at the same time, how ungracious will be the words which will admit of a decadence among ourselves. When we boast of our "enlightened age," it would not be amiss that we stay for a moment our pride, look back, and consider how much we have absolutely lost; in how much we are inferior. Every age seems destined to do its own work, which it does nearly to the perfection of its given art or science. Succeeding ages are destined rather to invent new than to improve upon the old. What has been done, becomes an accumulated wealth that Time deposits ever, and passes on to continual work to add fresh materials, and stock the world with the means of general improvement and happiness. There is always progression, but it is a progression of invention; the destined works are too vast, too infinite to allow a long delay in the advancement of any one accomplishment. It is rapidly completed; we are scarcely allowed time to stand and wonder; we must pass on to perform something new. Yet, if such attained thing shall be lost, or nearly so, the power to create it again may be again given; but it works de novo, adapting itself to the new principle which has rendered the reproduction advantageous, if not necessary. Thus, for instance, in the ages which we are pleased to call dark, to what magnitude and what exactness of beauty did not architecture reach, and that in a particularly inventive style – the Gothic – borrowing not from what had before been, and which had been held perfect, a style upon which we do not now even hope to improve, but content ourselves with admiring and copying. Thus it should seem that where any thing like a practical continuance of an art has been permitted, the entirely new direction it has taken would show that invention, required for the age, was the object, and that, too, bounded by a limit. "For this purpose have I raised thee up," would appear to be the text upon which the histories of the arts, as of every thing human, may be considered the comment.
It is to the total loss of ancient art that mankind are indebted for its revival, its re-discovery, as it were; for little or nothing was left from which, as from an old stock, art was to begin.
The new Christian principle created a new mind, to which there was little consonant in what was known, however imperfectly, of ancient works. Hence what is termed revival might, with more aptitude of expression, be called the re-discovery.
Had art been uninterruptedly continued from the days of Apelles, it would probably have degenerated to its lowest state. The destruction, the altogether vanishing away of the former glory, was essential to the rise of the new. All was nearly obliterated. Of the innumerable statues of which Greece was plundered by the Romans, but six were to be found – five of marble, and one of brass – in the city of Rome, at the beginning of the fifteenth century; so that art may be said to have been defunct. The decadence of architecture seems also to have been required for the originating the Gothic, for the inventing altogether a new style, which had no prototype. It was necessary to the establishing the Christian principle operatively, that the mind should be wrested powerfully from former and antagonistic ideas. And this could scarcely have been effected had any thing like a continual, an important succession of vigorous life in these arts been allowed.
It seems to have been the work of a great guiding will, that the way should be prepared for renovation, by the almost entire loss or mutilation of the greatest works of former periods, and by the veil of ignorance which victorious barbarism spread before all eyes, that they should not distinguish through that cloud the remnant of a glory which was too great to be altogether destroyed. The very language which spoke of it was a buried charm, that the oblivion might be more perfect. And not until the now grown Christian mind required the re-discovery of art, was that tongue loosened. The revival of ancient literature and the birth of new art were simultaneous. With the latter, at least, it was more than a sleep from which it arose – it was from a death, with all the marks of its corruption.
We do not mean to assert that art rose at once full-grown, as Pallas from the head of Jove. It had undoubtedly its progression; but it did not grow from an old stock; and hence it did grow and arose unimpeded and unchoked by an unwholesome exuberance, to the greatest splendour and glory. Whether there can be again any new principle which will require new inventions, it would be almost presumptuous to consider; but we do feel assured that should it be so, there will not be an adaptation of present means to it, but that the wing of oblivion must have to sweep over, overshadow, and obliterate the present multifarious form and body of art. The fine arts are not like the exact sciences, always progressing from accumulative knowledge towards their final and sure establishment of truth; on the contrary, their great truths recede further from view, as knowledge is accumulated, and practice, deteriorates by example. Science is truth to be dug out of the earth, as it were; a precious ore, not strictly ours, but by and for our use. The fine arts are in a far greater degree ours, for they are of the mind's creation; they are the product of a faculty given, indeed, but given to create and not to gather, and dig up ready-made for our purpose; they are of that faculty which has given the name to the poet, as altogether the maker. They give that to the world which it never could have received by any accumulation of fact and knowledge. Take away the individual genius, the inventive, the creating mind of the one man, the Homer, the Dante, the Shakspeare, the Michael Angelo, the Raffaelle, and the whole product is annihilated; we cannot even conceive of its existence, know of no mine wherein to dig, no facts, no knowledge out of which it can grow. That creating power may, indeed, turn all existing things to its use, all facts and all knowledge; but it commands and is not governed by them – is a power in no degree dependant on them, which would still be, though they existed not – a power which, if it exhausted worlds, would invent new for its purpose. To whom, then, are such powers given? for what purpose? – and are they of a gift deteriorated in its use and abuse? Alas! they are still of the "corruptible," and cannot, in our present state, "put on incorruption." They are, however, of the mind, which may be purified and strengthened, or corrupted and degraded.
They effect in a great degree, and suitably to the age's requirement, their purpose. Corrupted from the ardour and sincerity of their first passion, and by the admission, little by little, of what is vicious, and yet which, we must confess, has its beauty; their very aim becomes