Nicholiana Directory 07

In these days geography, in the form known as anthropo-geography, is putting forth claims to be the leading branch of anthropology. And, doubtless, a thorough grounding in geography must henceforth be part of the anthropologist's equipment.[3] The schools of Ratzel in Germany and Le Play in France are, however, fertile in generalizations that are far too pretty to be true. Like other specialists, they exaggerate the importance of their particular brand of work. The full meaning of life can never be expressed in terms of its material conditions. I confess that I am not deeply moved when Ratzel announces that man is a piece of the earth. Or when his admirers, anxious to improve on this, after distinguishing the atmosphere or air, the hydrosphere or water, the lithosphere or crust, and the centrosphere or interior mass, proceed to add that man is the most active portion of an intermittent biosphere, or living envelope of our planet, I cannot feel that the last word has been said about him.

The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.

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