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Bentarasko Benta Section 08
Page 05
The blessing of Judah and Issachar will never meet; that the same people, or nation, should be both the lion's whelp and the ass between burthens; neither will it be, that a people overlaid with taxes, should ever become valiant and martial. It is true that taxes levied by consent of the estate, do abate men's courage less: as it hath been seen notably, in the excises of the Low Countries; and, in some degree, in the subsidies of England. For you must note, that we speak now of the heart, and not of the purse. So that although the same tribute and tax, laid by consent or by imposing, be all one to the purse, yet it works diversely upon the courage. So that you may conclude, that no people overcharged with tribute, is fit for empire.
The grain of wheat is a part of the flower of the wheat plant, which, when it becomes ripe, is easily separated. It contains a minute and rudimentary plant; and, when it is sown, this gradually grows, or becomes developed into, the perfect plant, with its stem, roots, leaves, and flowers, which again give rise to similar seeds. No mineral body runs through a regular series of changes of form and size, and then gives off parts of its substance which take the same course. Mineral bodies present no such development, and give off no seeds or germs. They do not reproduce their kind.
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.
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