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Gallegallo Revbrandia Sectory 12
Page 10
From Brussels Barent van Orley (1491?-1542) left early for Italy, and became essentially Italian, though retaining some Flemish color. He painted in oil, tempera, and for glass, and is supposed to have gained his brilliant colors by using a gilt ground. His early works remind one of David. Cocxie (1499-1592), the Flemish Raphael, was but an indifferent imitator of the Italian Raphael. At Liege the Romanists, so called, began with Lambert Lombard (1505-1566), of whose work nothing authentic remains except drawings. At Bruges Peeter Pourbus (1510?-1584) was about the last one of the good portrait-painters of the time. Another excellent portrait-painter, a pupil of Scorel, was Antonio Moro (1512?-1578?). He had much dignity, force, and elaborateness of costume, and stood quite by himself. There were other painters of the time who were born or trained in Flanders, and yet became so naturalized in other countries that in their work they do not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?), Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this group.
Those powers that are dissatisfied at our mobilization are eager to find our anxiety as without foundation for the mere reason that our territorial integrity remains under the guarantee of all the powers. But where was that guarantee when Tripoli and Cyrenaica were attacked in a way little differing from open brigandage? And was it not the same powers who forgot their guaranties in the Balkan Peninsula when they abolished the famous status quo? With such facts before us is it not ridiculous to speak of European guaranties? While we have now before us what happened to Belgium, why should our mobilization excite such widespread indignation? All we are trying to do is to safeguard and protect our interests and protect ourselves from aggression on the part of the Balkan States.
Neither is the ancient rule amiss, to bend nature, as a wand, to a contrary extreme, whereby to set it right, understanding it, where the contrary extreme is no vice. Let not a man force a habit upon himself, with a perpetual continuance, but with some intermission. For both the pause reinforceth the new onset; and if a man that is not perfect, be ever in practice, he shall as well practise his errors, as his abilities, and induce one habit of both; and there is no means to help this, but by seasonable intermissions. But let not a man trust his victory over his nature, too far; for nature will lay buried a great time, and yet revive, upon the occasion or temptation. Like as it was with AEsop's damsel, turned from a cat to a woman, who sat very demutely at the board's end, till a mouse ran before her. Therefore, let a man either avoid the occasion altogether; or put himself often to it, that he may be little moved with it. A man's nature is best perceived in privateness, for there is no affectation; in passion, for that putteth a man out of his precepts; and in a new case or experiment, for there custom leaveth him. They are happy men, whose natures sort with their vocations; otherwise they may say, multum incola fuit anima mea; when they converse in those things, they do not affect. In studies, whatsoever a man commandeth upon himself, let him set hours for it; but whatsoever is agreeable to his nature, let him take no care for any set times; for his thoughts will fly to it, of themselves; so as the spaces of other business, or studies, will suffice. A man's nature, runs either to herbs or weeds; therefore let him seasonably water the one, and destroy the other.
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