Neoclassicism and Romanticism


 


(Neoclassicism, Romanticism and Art Styles in 19th century - Art Map)



 

 



DAVID ROBERTS






A Journey in the





Holy Land





 


 

 

 


 

 

View of Nazareth

On 19 April, after one and one-half hours of travel up a winding trail, Roberts saw below him "the beautiful hamlet of Nazareth nestled as it were in the bosom of the lulls by which it is surrounded." The city, which today counts almost forty thousand inhabitants, was at the time only a small group of houses encircling the monastery, founded in 1620, of the Franciscan fathers who extended their hospitality to Roberts. The locality, where the Archangel Gabriel appeared to Mary at the Annunciation and in which Jesus lived until Ins baptism, was a destination of pilgrimage as early as the time of Constantine.



 


 

Nazareth. The Fountain of the Virgin

"This fountain, with the groups of young women round it currying their water jars was more suited for a picture than anything I have seen in the Holy Land," wrote Roberts, on 20 April, of the only fountain in Nazareth. It was here, according to one of the apocryphal Gospels, that the Virgin received the first visitation of the Archangel Gabriel as she drew water together with other young women her age. The fountain that is today shown to pilgrims - built in 1882 and restored in 1967 - does not stand on the exact spot as that which so fascinated Roberts.



 


 

Nazareth. The Church of the Annunciation

Since the earliest limes of Christendom, Jesus" disciples and the descendants of the family of Mary venerated the place in which the Virgin lived and in which the miracle of the Annunciation took place. The first Western-style basilica was budt here in the 5th century; on the remains of that monument, Tancred, as Prince of Galilee, ordered the construction of a sumptuous Romanesque church with a central nave and two aisles. When it was demolished in 1263 by the Turks, all that remained of the entire complex was the grotto bearing the still-legible inscription Verbum caro hie factum est ("Here the Word was made Flesh"). In 1730, the Franciscan fathers obtained official permission to build a new church; it is its interior that appears in Roberts' drawing. The building was enlarged in 1895 and then demolished in 1955 to make room for yet another new church, consecrated in 1969.



 


 

Saint Jean d'Acre, from the Sea

Saint Jean d'Acre enchanted Roberts at first sight, when at about three in the afternoon on 23 April, coming from Tiberias, he caught his first glimpse of the city "with the blue Mediterranean.'" Its fortifications, which resisted even Napoleon Bonaparte, the fleet of warships arrayed offshore, the Carmel promontory ... all appeared, to his eyes, "a picture which would have satisfied Turner himself." Spoken of as Akko in the Bible, known later as Ptolemais at the time of the Maccabeans and later yet as Colonia Claudii Caesaris in honor of the Emperor Claudius, during the Cnisades the city, today again known as Akko, took the name of Saint Jean d'Acre after the military order of Saint John. In Roberts' time, the memory of Napoleon s wounded soldiers, whom the Muslims had massacred in the Carmelite convent where they had sought rejuge, had not yet, faded, and the exploits of Ibrahim Pasha, who following a six-month siege succeeded in breaking down the city's resistance, were still recent history. In Roberts' view from the, sea, we, note the, dome of the splendid al-Jazzar mosque, built on the. model of Saint Sophia, and the fortified citadel which was later used as the central prison of the State of Israel.



 


 

Cape Blanco

Roberts arrived in Cape Blanco, one of the most suggestive natural beauty spots on the entire Syrian coast, on 25 April, in bad weather. This was an unfortunate circumstance for die traveller ("A heavy rain in the morning obliged us to wait until the middle of the day...") but favorable for the artist, who was thus able to depict Cape Blanco as a thunderstorm approached: "The sky was dark and louring; heavy clouds swept ewer our heads, and the rolling surge beat with a thundering noise on the rocks. It was certainly the most sublime scene, I had yet beheld on the coast of Syria." Both the drawing and Roberts' observations in his journal concerning the scene testify to the sensitivity to the sublime in the natural world, typical of the Romantic: age, of this self-taught artist who was very much in touch with the spirit of his times and anything but immune to its manifestations.

 





 


 

View of Sidon

Following a short stop in Tyre, Roberts proceeded to Sidon, where he stayed for two days, 27 and 28 April.
The ancient Phoenician city, first contemplated by the artist "from a little farmhouse with gardens of olive and mulberry trees", seemed to him to be "one of the finest I have ever seen in this country" and inspired many paintings. One of these is the view on the next page of the fortified Citadel, a construction probably dating back to Crusader times, which, is linked to the mainland by a causeway bridge on four arches.



 


 

Baalbek. Remains of the Western Portico of the Temple of Jupiter ...

During his stay in the city, from 4 through 8 May, Roberts drew the. magnificent remains of the temples of Baalbek from many different perspectives. This plate shows the Temple of Jupiter, the largest of all and built of a material similar to marble. Nine columns on the northern face. Jour on the southern face and six on the western side are the only ones still standing.



 


 

... and a Portion of the Eastern Portico

In this drawing, also inspired by a throughly Romantic attraction for the ancient ruins, depicts the remains of the Eastern Portico of the Temple of Jupiter. The fragments of columns, with their Corinthian capitals, strike the
visitor's imagination for their grandeur in comparison with the the human figures and the massive majesty of the pillars.




 


 

Baalbek, General View

Once he had entered Le'banon and before heading south to Beirut, Roberts took a side trip to Baalbek, a city of ancient origin with superb ruins which had already attracted many European visitors. The Baalbek of old owed its importance to its position along the routes that linked Tyre and Palmyra. Some believe that the name Baalbek derives from the ancient Semitic deity Baal; others that it is a corruption of the Hebrew word bekaa, meaning mulberry, a very common tree in the area. In the Hellenistic Age the city was re-named Heliopolis. The Romans held it in high esteem for its strategic position: during Augustus' rule they built a fortress and under Antoninius Pius, numerous grandiose temples. Under Constantine, the buildings were first abandoned and then converted into Christian churches before they finally fell into ruin following the Arab invasion.



 


 

Baalbek. The Circular Temple

Better preserved than that consecrated to Jupiter, the Circular Temple, although smaller than its imposing neighbor, was still larger than the Parthenon of Athens. It was originally conceived on two levels, both colonnaded; the lower order with Ionic capitals, the upper with Corinthian capitals. Visiting the ruins of this temple, and indeed those of all the monuments of Baalbek, was for a long time made impossible by the Lebanese Civil War.



 


 

Baalbek. From the Fountain

Touched by the poetry of the ruins, as were many other Western travellers of the age of Romanticism, Roberts confided to the page of his journal dated 4 May the feelings aroused in him during his stay in the Lebanese city: "Alas! what a change in all bid nature herself - the fountain, the temple, the mosque are a mass of ruins overgrown with lichen and wild flowers through the midst of which the crystal stream still -winds its way; but where are the gay citizens that once frequented its banks, where the maids who resorted here to make their offerings to its protecting deity, where the wealth and plenty that once belonged to this proud city?"
Although Roberts" exclamation might have a rhetorical sound to it and his prose is certainly less than original expression, his pictorial transpositions of his impressions, such as the romantic "landscape with ruins' reproduced here, are much more convincing.
Shortly after having completed this masterpiece, Roberts ''took a last look of glorious Baalbek" and '"took leave of Palestine." On 13 May 1839 he embarked at Beirut on the Magana for Alexandria. He reached London "on 21st July, after having been eleven months absent."