Replagegos Omnifurian Directory 05

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Replagegos Omnifurian Directory 05

In 1067 the Conqueror kept a grand Christmas in London. He had spent eight months of that year rewarding his warriors and gratifying his subjects in Normandy, where he had held a round of feasts and made a grand display of the valuable booty which he had won by his sword. A part of his plunder he sent to the Pope along with the banner of Harold. Another portion, consisting of gold, golden vases, and richly embroidered stuffs, was distributed among the abbeys, monasteries, and churches of his native duchy, "neither monks nor priests remaining without a guerdon." After spending the greater part of the year in splendid entertainments in Normandy, apparently undisturbed by the reports which had reached him of discontent and insurrection among his new subjects in England, William at length embarked at Dieppe on the 6th of December, 1067, and returned to London to celebrate the approaching festival of Christmas. With the object of quieting the discontent which prevailed, he invited a considerable number of the Saxon chiefs to take part in the Christmas festival, which was kept with unusual splendour; and he also caused a proclamation to be read in all the churches of the capital declaring it to be his will that "all the citizens of London should enjoy their national laws as in the days of King Edward." But his policy of friendship and conciliation was soon changed into one of cruelty and oppression.

This school probably got its sentimental inclination, shown in slight forms and tender expression, from France, but derived much of its technic from the Netherlands. Stephen Lochner, or Meister Stephen, (fl. 1450) leaned toward the Flemish methods, and in his celebrated picture, the Madonna of the Rose Garden, in the Cologne Museum, there is an indication of this; but there is also an individuality showing the growth of German independence in painting. The figures of his Dombild have little manliness or power, but considerable grace, pathos, and religious feeling. They are not abstract types but the spiritualized people of the country in native costumes, with much gold, jewelry, and armor. Gold was used instead of a landscape background, and the foreground was spattered with flowers and leaves. The outlines are rather hard, and none of the aerial perspective of the Flemings is given. After a time French sentiment was still further encroached upon by Flemish realism, as shown in the works of the Master of the Lyversberg Passion (fl. about 1463-1480), to be seen in the Cologne Museum.

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