Loses Windmill, An Antique Art Print Engraving.
Artist: A. C. Gow.
Engraver: J. C. Armytage.
Print Title: Miller Loses Windmill.
Print Date: This engraving was printed in 1885.
Print Size: Overall print size is 9 inches by 12 inches
including the white boarders. The actual print size is 7 inches
by 10 1/2 inches.
Print Paper: The paper qualith is woven rag stock paper.
The Original Description: Among the many words which the
wise have used from time to time to express the transfer of property
against the wish of the owner, one or two have had a special use
of circumstance and time. Very large operations, some twenty-five
years ago, had the diplomatic name of rectification of frontier,
or the franker one of annexation; and during the Franco-German
War the orders for those smaller sacrifices which private right
is constrained to make the general claim, came under the term
of "requisition." The word was turned into barbarous
verbs and participles, as a useful word is apt to be, and it was
terrible to others than grammarians. The rustic mind especially
was incredulous as to the final effect of the official receipts
for goods surrendered which the Teutonic invader was so punctual
in presenting; and a sense of the sacredness of personal property
is to be expected from a miller. His good consist of that elementary
form of riches in which the idea of possession is not constantly
confused by merely representative and arbitrary coin. The man
who brings wheat into his workshop, and by the operation of the
simple forces of the winds sends it out as flour, is rich in a
sense profoundly natural, simple, and lawful. He might, indeed
be pardoned for boasting if such riches. If no man may be pruse-proud,
let us agree that haeal-bag pride should be accounted a venial
Mr. Gow's miller is hard to convince, but argument is a matter
of form on the part of his visitors, and will not be prolonged.
From afar the hussars have seen the great arms of his windmill
turning against the horizon sky, and have spurred across the open
land towards its useful treasury. The artist, by the way, has
denied himself the always pictorial effect of the body of a mill,
with its shadow-throwing arms and sails, for he gives little but
the piers and props, the little forest of timber supports, and
the ladder steps of the stem. Perhaps it is to association that
the windmill owes much of its charm; for until the painter of
the period succeeds in making us renounce all our senses but the
sense of seeing, association will still have power. And we associate
the idea of a windmill with that of a flat wide country in which
the gales go free, in which the sky may be seen in all its immensity
and in all its gradation of color and light, and on which the
suns and moons rise clear up from the very limits of the world.
The mill reminds us of the walls of Flemish towns and of the dykes
that bound the flowering fields of Hoillard-of landscape that
is free from the effectiveness of scenery. We associate it too
with that always beautiful industry in which little or nothing
comes between nature and the strength of man, and which is concerned
with the satisfaction of wants, and not with that of artificial
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