Travidian Vectallus Sectory 16

The Anglo-Saxons commenced their career as pirates and robbers, and as pirates and robbers of the most desperate and dangerous description. In fact, the character which the Anglo-Saxons have obtained in modern times for energy and enterprise, and for desperate daring in their conflicts with foes, is no recent fame. The progenitors of the present race were celebrated every where, and every where feared and dreaded, not only in the days of Alfred, but several centuries before. All the historians of those days that speak of them at all, describe them as universally distinguished above their neighbors for their energy and vehemence of character, their mental and physical superiority, and for the wild and daring expeditions to which their spirit of enterprise and activity were continually impelling them. They built vessels, in which they boldly put forth on the waters of the German Ocean or of the Baltic Sea on excursions for conquest or plunder. Like their present posterity on the British isles and on the shores of the Atlantic, they cared not, in these voyages, whether it was summer or winter, calm or storm. In fact, they sailed often in tempests and storms by choice, so as to come upon their enemies the more unexpectedly.

Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.

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