101
Roskill titled his important treatise that attempts to lay out a “code,” apprehended
early on by Pausanias and Vitruvius in their grasp of “varietates topiorum” (subjects
from nature).
We are speaking of a cipher linking human imagination to the countryside.
19
This
so-called code is crucial to gaining insight regarding the reading of texts, sub-texts,
species, sub-species, populations, genera, phyla, the worlds of biology in general,
and all leading to this similitude of individuals at the fantastic core of interdependency and reciprocity potential.
Kim Sajet, in an essay entitled “Providing Solace in the Age of Discontent,” and
focusing upon what has been called the “Dutch Utopia” among a group of artists
from the US between 1880 and 1914, writes, “Having no clearly defined agenda,
crossing societal boundaries, and employing various methods of protest, reformers
of the period were not a coherent group.”
20
It is a code, both coherent and incoherent
at once, that stands out in such artists’ precursor, Peter DeWint (1784–1849) who
was much noted as having devoted himself as a painter “For the common observer
of life and nature.”
21
A correspondence in all that nervous expression that made for
Henri Jourdain’s gorgeous illustrations accompanying the spectacular edition of
Gustave Flaubert’s Madame Bovary (L’Imprimerie Nationale, Paris 1911) or that
greatest of all nineteenth-century British landscape publications Scotland Delineated
in a Series of Views, with Historical, Antiquarian and Descriptive Letterpress, by
John Parker Lawson.
22
Such artistic champions of the personage as Nature provide
some insight into our ancestors, bringing true closure to the paradox of their lives by
our very gratitude for their having lived. This is that Nature in every conceivable
sine qua non of what Carl Jung described—in his considerations of “Two Kinds Of
Thinking”—as the Logos of centuries, by which scholastics invested their faith, “a
dialectical gymnastics”
23
(Fig. 10.2).
For the poets of early Western Civilization, sixth-century Africa (in the voices of
Appuleius and Saint Augustine), Italy (Maximianus and Ennodius), western-most
Europe (Columba, Aldhelm writing in Hisperic Latin, and the great poets Venantius
Fortunatus and Isidore of Seville), the Jungian transformations are those of what
Press, Philadelphia, PA, 1982.
19 Mark Roskill, The Languages Of Landscape, The Pennsylvania State University Press, University
Park, PA, 1997, p. 14.
20 In Dutch Utopia – American Artists in Holland, 1880–1914, Edited and with an introduction by
Annette Stott, Organizing Curator, Holly Koons McCullough, Essays by Nina Lübbren, Emke
Raasen-Kruimel, Kim Sajet and Annette Stott, Organized by the Telfair Museum of Art, Savannah,
Georgia in association with the Singer Laren Museum, the Netherlands, Telfair Books, Savannah,
Georgia, 2009, p. 21.
21 Peter DeWint 1784-1849 – ‘For the common observer of life and nature’, Edited by John Lord,
With essays by Peter Bower, Jim Cheshire, John Ellis, John Lord and Ian Waites, Lund Humphries,
Aldershot and Burlington, 2007.
22 E. Gambart & Co., Joseph Hogarth., London., 1854. 2 vols. Folio.
23 See Symbols Of Transformation – An Analysis Of The Prelude To A Case Of Schizophrenia, by
C. G. Jung, Translated by R. F. C. Hull, Bollingen Series XX, Second Edition, Princeton University
Press, 1970, p. 20.
10.3 The Argument for Equilibria
Roskill titled his important treatise that attempts to lay out a “code,” apprehended
early on by Pausanias and Vitruvius in their grasp of “varietates topiorum” (subjects
from nature).
We are speaking of a cipher linking human imagination to the countryside.
19
This
so-called code is crucial to gaining insight regarding the reading of texts, sub-texts,
species, sub-species, populations, genera, phyla, the worlds of biology in general,
and all leading to this similitude of individuals at the fantastic core of interdependency and reciprocity potential.
Kim Sajet, in an essay entitled “Providing Solace in the Age of Discontent,” and
focusing upon what has been called the “Dutch Utopia” among a group of artists
from the US between 1880 and 1914, writes, “Having no clearly defined agenda,
crossing societal boundaries, and employing various methods of protest, reformers
of the period were not a coherent group.”
20
It is a code, both coherent and incoherent
at once, that stands out in such artists’ precursor, Peter DeWint (1784–1849) who
was much noted as having devoted himself as a painter “For the common observer
of life and nature.”
21
A correspondence in all that nervous expression that made for
Henri Jourdain’s gorgeous illustrations accompanying the spectacular edition of
Gustave Flaubert’s Madame Bovary (L’Imprimerie Nationale, Paris 1911) or that
greatest of all nineteenth-century British landscape publications Scotland Delineated
in a Series of Views, with Historical, Antiquarian and Descriptive Letterpress, by
John Parker Lawson.
22
Such artistic champions of the personage as Nature provide
some insight into our ancestors, bringing true closure to the paradox of their lives by
our very gratitude for their having lived. This is that Nature in every conceivable
sine qua non of what Carl Jung described—in his considerations of “Two Kinds Of
Thinking”—as the Logos of centuries, by which scholastics invested their faith, “a
dialectical gymnastics”
23
(Fig. 10.2).
For the poets of early Western Civilization, sixth-century Africa (in the voices of
Appuleius and Saint Augustine), Italy (Maximianus and Ennodius), western-most
Europe (Columba, Aldhelm writing in Hisperic Latin, and the great poets Venantius
Fortunatus and Isidore of Seville), the Jungian transformations are those of what
Press, Philadelphia, PA, 1982.
19 Mark Roskill, The Languages Of Landscape, The Pennsylvania State University Press, University
Park, PA, 1997, p. 14.
20 In Dutch Utopia – American Artists in Holland, 1880–1914, Edited and with an introduction by
Annette Stott, Organizing Curator, Holly Koons McCullough, Essays by Nina Lübbren, Emke
Raasen-Kruimel, Kim Sajet and Annette Stott, Organized by the Telfair Museum of Art, Savannah,
Georgia in association with the Singer Laren Museum, the Netherlands, Telfair Books, Savannah,
Georgia, 2009, p. 21.
21 Peter DeWint 1784-1849 – ‘For the common observer of life and nature’, Edited by John Lord,
With essays by Peter Bower, Jim Cheshire, John Ellis, John Lord and Ian Waites, Lund Humphries,
Aldershot and Burlington, 2007.
22 E. Gambart & Co., Joseph Hogarth., London., 1854. 2 vols. Folio.
23 See Symbols Of Transformation – An Analysis Of The Prelude To A Case Of Schizophrenia, by
C. G. Jung, Translated by R. F. C. Hull, Bollingen Series XX, Second Edition, Princeton University
Press, 1970, p. 20.
10.3 The Argument for Equilibria