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Bredimacian Dynagum Directory 10
Page 01
The real inaugurators of Dutch portraiture were Mierevelt, Hals, Ravesteyn, and De Keyser. Mierevelt (1567-1641) was one of the earliest, a prolific painter, fond of the aristocratic sitter, and indulging in a great deal of elegance in his accessories of dress and the like. He had a slight, smooth brush, much detail, and a profusion of color. Quite the reverse of him was Franz Hals (1584?-1666), one of the most remarkable painters of portraits with which history acquaints us. In giving the sense of life and personal physical presence, he was unexcelled by any one. What he saw he could portray with the most telling reality. In drawing and modelling he was usually good; in coloring he was excellent, though in his late work sombre; in brush-handling he was one of the great masters. Strong, virile, yet easy and facile, he seemed to produce without effort. His brush was very broad in its sweep, very sure, very true. Occasionally in his late painting facility ran to the ineffectual, but usually he was certainty itself. His best work was in portraiture, and the most important of this is to be seen at Haarlem, where he died after a rather careless life. As a painter, pure and simple, he is almost to be ranked beside Velasquez; as a poet, a thinker, a man of lofty imagination, his work gives us little enlightenment except in so far as it shows a fine feeling for masses of color and problems of light. Though excellent portrait-painters, Ravesteyn (1572?-1657) and De Keyser (1596?-1679) do not provoke enthusiasm. They were quiet, conservative, dignified, painting civic guards and societies with a knowing brush and lively color, giving the truth of physiognomy, but not with that verve of the artist so conspicuous in Hals, nor with that unity of the group so essential in the making of a picture.
For removing discontentments, or at least the danger of them; there is in every state (as we know) two portions of subjects; the noblesse and the commonalty. When one of these is discontent, the danger is not great; for common people are of slow motion, if they be not excited by the greater sort; and the greater sort are of small strength, except the multitude be apt, and ready to move of themselves. Then is the danger, when the greater sort, do but wait for the troubling of the waters amongst the meaner, that then they may declare themselves. The poets feign, that the rest of the gods would have bound Jupiter; which he hearing of, by the counsel of Pallas, sent for Briareus, with his hundred hands, to come in to his aid. An emblem, no doubt, to show how safe it is for monarchs, to make sure of the good will of common people. To give moderate liberty for griefs and discontentments to evaporate (so it be without too great insolency or bravery), is a safe way. For he that turneth the humors back, and maketh the wound bleed inwards, endangereth malign ulcers, and pernicious imposthumations.
He took up his position between the towns of Pandosia and Heraclea, on the River Siris. The Romans, who were encamped on the other side of the river, were the first to begin the battle. They crossed the river, and were immediately attacked by the cavalry of Pyrrhus, who led them to the charge in person, and distinguished himself as usual by the most daring acts of valor. The Romans, however, bravely sustained the attack; and Pyrrhus, finding that his cavalry could not decide the day, ordered his infantry to advance. The battle was still contested most furiously: seven times did both armies advance and retreat; and it was not till Pyrrhus brought forward his elephants, which bore down every thing before them, that the Romans took to flight, leaving their camp to the conqueror (B.C. 280).
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