|
|
Alabaster Blue Sectory 11
Page 05
He forced his way through the passes of Antigonea, which were occupied by the enemy, invaded Thessaly, and took up his winter quarters in Phocis and Locris. In the following year (B.C. 197) the struggle was brought to a termination by the battle of Cynoscephalae (Dogs' Heads), a range of hills near Scotussa, in Thessaly. The Roman legions gained an easy victory over the once formidable Macedonian phalanx: 8000 Macedonians were killed and 5000 taken prisoners, while Flamininus lost only 700 men. Philip was obliged to sue for peace, and in the following year (B.C. 196) a treaty was ratified by which the Macedonians were compelled to renounce their supremacy, to withdraw their garrisons from the Grecian towns, to surrender their fleet, and to pay 1000 talents for the expenses of the war, half at once, and half by annual instalments in the course of ten years. Thus ended the SECOND MACEDONIAN WAR.
In 1859 T. Adolphus Trollope, in his "Decade of Italian Women," in which he wrote of the scholarly women of the Renaissance, says: "The degree in which any social system has succeeded in ascertaining woman's proper position, and in putting her into it, will be a very accurate test of the progress it has made in civilization. And the very general and growing conviction that our own social arrangements, as they exist at present, have not attained any satisfactory measure of success in this respect, would seem, therefore, to indicate that England in her nineteenth century has not yet reached years of discretion after all."
The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.
|
bravenet.com