MRAP Directory 12

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.

Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.

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