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Taglagallo Remarcafkus Directory 12
Page 05
During his absence from Rome Caesar went to Rhodes, where his former preceptor resided, and he continued to pursue there for some time his former studies. He looked forward still to appearing one day in the Roman Forum. In fact, he began to receive messages from his friends at home that they thought it would be safe for him to return. Sylla had gradually withdrawn from power, and finally had died. The aristocratical party were indeed still in the ascendency, but the party of Marius had begun to recover a little from the total overthrow with which Sylla's return, and his terrible military vengeance, had overwhelmed them. Caesar himself, therefore, they thought, might, with prudent management, be safe in returning to Rome.
It is a strange thing to observe, how high a rate great kings and monarchs do set upon this fruit of friendship, whereof we speak: so great, as they purchase it, many times, at the hazard of their own safety and greatness. For princes, in regard of the distance of their fortune from that of their subjects and servants, cannot gather this fruit, except (to make themselves capable thereof) they raise some persons to be, as it were, companions and almost equals to themselves, which many times sorteth to inconvenience. The modern languages give unto such persons the name of favorites, or privadoes; as if it were matter of grace, or conversation. But the Roman name attaineth the true use and cause thereof, naming them participes curarum; for it is that which tieth the knot. And we see plainly that this hath been done, not by weak and passionate princes only, but by the wisest and most politic that ever reigned; who have oftentimes joined to themselves some of their servants; whom both themselves have called friends, and allowed other likewise to call them in the same manner; using the word which is received between private men.
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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