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F. von Tschüdi, Les Alpes, Berne and Paris, 1859. Rooks sometimes hunt in burrows by ingeniously-concerted operations. Mr. Bernard has described the interesting way in which the Rook hunts voles or field-mice in Thuringia. His curiosity was excited by the way in which numerous rooks stood about a field cawing loudly.
According to his version of the Peruvian annals, the rule of the Incas began with the mythical Manco Capac, and lasted over five hundred years; and this version, with some variations in estimates of the time, has been repeated ever since. The dynastic line of the Incas thus determined is given in the work of Rivero and Von Tschudi as follows: 1.
In the work of Rivero and Von Tschudi, it is stated that a critical examination of the monuments “indicates two very different epochs in Peruvian art, at least so far as concerns architecture; one before and the other after the arrival of the first Inca.” Among the ruins which belong to the older civilization are those at Lake Titicaca, old Huanuco, Tiahuanaco, and Gran-Chimu, and it probably originated the roads and aqueducts.
Two papers have been written recently on the great earthquake of August 13th, 1868 one by Professor von Hochsteter, the other by Herr von Tschudi, which present an interesting account of the various effects, by land and by sea, which resulted from the tremendous upheaving force to which the western flanks of the Peruvian Andes were subjected on that day.
It is well known, in fact, that wolves gather in packs for hunting, and Tschudi left an excellent description of how they draw up in a half-circle, surround a cow which is grazing on a mountain slope, and then, suddenly appearing with a loud barking, make it roll in the abyss.
William II of Germany in 1899 wished to examine with his own eyes, trained by the black, muddy painting of Germany, the canvases of Monet, Pissarro, Sisley, Cézanne, and Manet, acquired by Director Tschudi for the Berlin National Gallery. He saw them all except the Cézanne. Herr Tschudi feared that the Parisian fat would be in the imperial fire if the Cézanne picture appeared. So he hid it.
To the end of his life he continued on friendly terms with Valentine Tschudi, his successor in Glarus, who, though cherishing all honor toward his former beloved teacher, did not approve of his frequent rough manner of proceeding, and without fear reminded him of the patience and mildness required by the Gospel.
Only a blockhead would try to gain such an end in such a way. This, however, is only another way of saying what has often been pointed out, that Gessler is simply a fairy-tale tyrant, copied very closely from Tschudi; a sort of typical bad man, whom the saga, after inventing him out of nothing, has made as black as possible in order the more clearly and strongly to justify the revolt.
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