The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . e is more dramatic than mostof his selections. In the Tyrolese Revolt in 1809the war was conducted by such men as innkeepers,herdsmen, shepherds, and even priests; one Capucinmonk went upon the field and fought with only ahuge ebony crucifix for his weapon. The peasantsarmed themselves in secret, making rude weaponsat all the forges and smithies in the mountain fast-nesses ; they laid in wait with all forms of missilesready to their hands, until the terrible word ofcom
The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . e is more dramatic than mostof his selections. In the Tyrolese Revolt in 1809the war was conducted by such men as innkeepers,herdsmen, shepherds, and even priests; one Capucinmonk went upon the field and fought with only ahuge ebony crucifix for his weapon. The peasantsarmed themselves in secret, making rude weaponsat all the forges and smithies in the mountain fast-nesses ; they laid in wait with all forms of missilesready to their hands, until the terrible word ofcommand was given, — In the Name of the HolyTrinity, cut all loose! upon which it is said thatthe very rocks, bushes, and crags seemed to beendowed with life, and all nature appeared to aidthe revolutionists, for they were hidden behindevery tree and hill, and they poured down stonesand billets of woods upon the enemy, who was notready for such an assault, firing as well with thetrue aim of huntsmen, never wasting their shots,and doing deadly execution. They were unsuccess-ful, however, and their chiefs were afterward put. /iDobern (Berman jflDasters 403 to death. But the spirit and force exhibited by theTyrolese on this occasion has appealed to theirartists, and is perpetuated nobly. Defregger washimself born in the Tyrol in 1835, and has usuallypreferred subjects dealing with the native life ofthat community. In this line he is far happier thanwhen he attempts a Madonna or an important his-torical picture. Until he was fifteen, Franz tookcare of his fathers flocks; bareheaded and bare-footed, he mixed with the country folk, the herds-men and milkmaids, laying a splendid foundationfor health, and growing in knowledge of the inti-macies of rustic life. He did not realize his artisticvocation until after he was twenty-three. He thenstudied with Piloty, in Munich, but turned for hisexpression to the vivid memories of his tendency of memory — that of idealizing theearly
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