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This Book List Sectory 11
Page 04
We will add this in general, touching the affection of envy; that of all other affections, it is the most importune and continual. For of other affections, there is occasion given, but now and then; and therefore it was well said, Invidia festos dies non agit: for it is ever working upon some or other. And it is also noted, that love and envy do make a man pine, which other affections do not, because they are not so continual. It is also the vilest affection, and the most depraved; for which cause it is the proper attribute of the devil, who is called, the envious man, that soweth tares amongst the wheat by night; as it always cometh to pass, that envy worketh subtilly, and in the dark, and to the prejudice of good things, such as is the wheat.
Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.
In all our conversations the Colonel regularly informed me about the secret news which he had concerning the military circumstances and the situation of our eastern neighbors, &c. At the same time he emphasized that Belgium was under the imperative necessity to keep herself constantly informed of the happenings in the adjoining Rhinelands. I had to admit that with us the surveillance service abroad was, in times of peace, not directly in the hands of the General Staff, as our legations had no Military Attaches. But I was careful not to admit that I did not know whether the espionage service which is prescribed in our regulations was in working order or not. But I consider it my duty to point out this position which places us in a state of evident inferiority to our neighbors, our presumable enemies.
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