Scalawag on the Web Sectory 14

In Italy (B.C. 212) the two Consuls Appius Claudius and Q. Fulvius began to draw together their forces for the purpose of besieging Capua. Hannibal advanced to relieve it, and compelled the Consuls to withdraw; but he was unable to force either of them to fight. Shortly afterward he returned again to the south to urge on the siege of the citadel of Tarentum, which still held out; and he spent the winter and the whole of the ensuing spring (B.C. 211) in its immediate neighborhood. But during his absence the Consuls had renewed the siege of Capua, and prosecuted it with such activity, that they had succeeded in surrounding the city with a double line of intrenchments. The pressing danger once more summoned Hannibal to its relief. He accordingly presented himself before the Roman camp, and attacked their lines from without, while the garrison co-operated with him by a vigorous sally from the walls.

The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.

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