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Parnloki Amblavius Directory 05
Page 02
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.
Marius continued his executions and massacres until the whole of Sylla's party had been slain or put to flight. He made every effort to discover Sylla's wife and child, with a view to destroying them also, but they could not be found. Some friends of Sylla, taking compassion on their innocence and helplessness, concealed them, and thus saved Marius from the commission of one intended crime. Marius was disappointed, too, in some other cases, where men whom he had intended to kill destroyed themselves to baffle his vengeance. One shut himself up in a room with burning charcoal, and was suffocated with the fumes. Another bled himself to death upon a public altar, calling down the judgments of the god to whom he offered this dreadful sacrifice, upon the head of the tyrant whose atrocious cruelty he was thus attempting to evade.
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