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Searchology Directory 19
Page 09
The king was no longer excommunicate, but the kingdom was still under the interdict, and the pope had no intention of annulling it until the question of compensation for their losses was settled to the satisfaction of the bishops and others whose lands had been in the hands of the king. That was not an easy question to settle. It was not a matter of arrears of revenue merely, for John had not been content with the annual income of the lands, but he had cut down forests and raised money in other extraordinary ways to the permanent injury of the property. In the end only a comparatively small sum was paid, and in all probability a full payment would have been entirely beyond the resources of the king, but at the beginning John seems to have intended to carry out his agreement in good faith. There is no reason to doubt the statement of a chronicler of the time that on the next day after his absolution the king sent out writs to all the sheriffs, ordering them to send to St. Albans at the beginning of August the reeve and four legal men from each township of the royal domains, that by their testimony and that of his own officers the amount of these losses might be determined. This would be to all England a familiar expedient, a simple use of the jury principle, with nothing new about it except the bringing of the local juries together in one place, nor must it be regarded as in any sense a beginning of representation. It has no historic connexion with the growth of that system, and cannot possibly indicate more than that the idea of uniting local juries in one place had occurred to some one. We have no evidence that this assembly was actually held, and it is highly probable that it was not. Nor can anything more be said with certainly of writs which were issued in November of this year directing the sheriffs to send four discreet men from each county to attend a meeting of the council at Oxford. John himself was busily occupied with a plan to transport the forces he had collected into Poitou to attack the king of France there, and he appointed the justiciar, Geoffrey Fitz Peter, and the Bishop of Winchester, Peter des Roches, as his representatives during his absence. These two held a great council at St. Albans in August at which formal proclamation was made of the restoration of good laws and the abolition of bad ones as the king had promised, the good laws now referred to being those of Henry I; and all sheriffs and other officers were strictly enjoined to abstain from violence and injustice for the future, but no decision was reached as to the sum to be paid the clergy.
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.
Well-born, ennobled by royalty, successful in both court and studio, Rubens lived brilliantly and his life was a series of triumphs. He painted enormous canvases, and the number of pictures, altar-pieces, mythological decorations, landscapes, portraits scattered throughout the galleries of Europe, and attributed to him, is simply amazing. He was undoubtedly helped in many of his canvases by his pupils, but the works painted by his own hand make a world of art in themselves. He was the greatest painter of the North, a full-rounded, complete genius, comparable to Titian in his universality. His precursors and masters, Van Noort (1562-1641) and Vaenius (1558-1629), gave no strong indication of the greatness of Ruben's art, and his many pupils, though echoing his methods, never rose to his height in mental or artistic grasp.
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