Bredimacian Dynagum Directory 01

In making his preparations for a descent upon the English coast, he prepared for a very determined contest, knowing well the character of the foes with whom he would have now to deal. He built two enormous ships, much larger than those of the ordinary size, and armed and equipped them in the most perfect manner. He filled them with selected men, and sailing down along the coast of Scotland, he watched for a place and an opportunity to land. Winds and storms are almost always raging among the dark and gloomy mountains and islands of Scotland. Ragnar's ships were caught on one of these gales and driven on shore. The ships were lost, but the men escaped to the land. Ragnar, nothing daunted, organized and marshaled them as an army, and marched into the interior to attack any force which might appear against them. His course led him to Northumbria, the most northerly Saxon kingdom. Here he soon encountered a very large and superior force, under the command of Ella, the king; but, with the reckless desperation which so strongly marked his character, he advanced to attack them. Three times, it is said, he pierced the enemy's lines, cutting his way entirely through them with his little column. He was, however, at length overpowered. His men were cut to pieces, and he was himself taken prisoner. We regret to have to add that our cruel ancestors put their captive to death in a very barbarous manner. They filled a den with poisonous snakes, and then drove the wretched Ragnar into it. The horrid reptiles killed him with their stings. It was Ella, the king of Northumbria, who ordered and directed this punishment.

Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.

• Nicholas Bredimus
• Nicholas Bredimus
• Nicholas Bredimus
• Nicholas Bredimus
• Nicholas Bredimus
• Nicholas Bredimus

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