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Zaproburno Yollanica Directory 20
Page 09
For their children; the tragedies likewise of dangers from them, have been many. And generally, the entering of fathers into suspicion of their children, hath been ever unfortunate. The destruction of Mustapha (that we named before) was so fatal to Solyman's line, as the succession of the Turks, from Solyman until this day, is suspected to be untrue, and of strange blood; for that Selymus the Second, was thought to be suppositious. The destruction of Crispus, a young prince of rare towardness, by Constantinus the Great, his father, was in like manner fatal to his house; for both Constantinus and Constance, his sons, died violent deaths; and Constantius, his other son, did little better; who died indeed of sickness, but after that Julianus had taken arms against him. The destruction of Demetrius, son to Philip the Second of Macedon, turned upon the father, who died of repentance. And many like examples there are; but few or none, where the fathers had good by such distrust; except it were, where the sons were up in open arms against them; as was Selymus the First against Bajazet; and the three sons of Henry the Second, King of England.
Tradition says that it was she who chose the Virgin's name, and if so, what a debt of gratitude do we not owe her for her judicious selection! It makes one shudder to think what might have happened if she had named the child Keren-Happuch, as poor Job's daughter was called. How could we have said, "Ave Keren-Happuch!" What would the musicians have done? I forget whether Maher-Shalal-Hash-Baz was a man or a woman, but there were plenty of names quite as unmanageable at the Virgin's grandmother's option, and we cannot sufficiently thank her for having chosen one that is so euphonious in every language which we need take into account. For this reason alone we should not grudge her her portrait, but we should try to draw the line here. I do not think we ought to give the Virgin's great-grandmother a statue. Where is it to end? It is like Mr. Crookes's ultimissimate atoms; we used to draw the line at ultimate atoms, and now it seems we are to go a step farther back and have ultimissimate atoms. How long, I wonder, will it be before we feel that it will be a material help to us to have ultimissimissimate atoms? Quavers stopped at demi-semi-demi, but there is no reason to suppose that either atoms or ancestresses of the Virgin will be so complacent.
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
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