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Majoric Polyglamour Sectory 04
Page 12
This same multis utile bellum, is an assured and infallible sign, of a state disposed to seditions and troubles. And if this poverty and broken estate in the better sort, be joined with a want and necessity in the mean people, the danger is imminent and great. For the rebellions of the belly are the worst. As for discontentments, they are, in the politic body, like to humors in the natural, which are apt to gather a preternatural heat, and to inflame. And let no prince measure the danger of them by this, whether they be just or unjust: for that were to imagine people, to be too reasonable; who do often spurn at their own good: nor yet by this, whether the griefs whereupon they rise, be in fact great or small: for they are the most dangerous discontentments, where the fear is greater than the feeling. Dolendi modus, timendi non item. Besides, in great oppressions, the same things that provoke the patience, do withal mate the courage; but in fears it is not so. Neither let any prince, or state, be secure concerning discontentments, because they have been often, or have been long, and yet no peril hath ensued: for as it is true, that every vapor or fume doth not turn into a storm; so it is nevertheless true, that storms, though they blow over divers times, yet may fall at last; and, as the Spanish proverb noteth well, The cord breaketh at the last by the weakest pull.
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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