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Plato Profile Directory 18
Page 08
Cn. Flavius, the son of a Freedman, and Secretary to Appius Claudius, divulged the forms and times to be observed in legal proceedings. These the Patricians had hitherto kept secret; they alone knew the days when the courts would be held, and the technical pleadings according to which all actions must proceed. But Flavius, having become acquainted with these secrets, by means of his patron, published in a book a list of the formularies to be observed in the several kinds of actions, and also set up in the forum a whited tablet containing a list of all the days on which the courts could be held. In spite of his ignominious birth, he was made a Senator by Appius Claudius, and was elected Curule AEdile by the people.
The war was now confined to Sicily; but, since the defeat of Regulus, the Roman soldiers had been so greatly alarmed by the elephants, that their generals did not venture to attack the Carthaginians. At length, in B.C. 250, the Roman proconsul, L. Metellus, accepted battle under the walls of Panormus, and gained a decisive victory. The Carthaginians lost 20,000 men; 13 of their generals adorned the triumph of Metellus; and 104 elephants were also led in the triumphal procession. This was the most important battle that had been yet fought in Sicily, and had a decisive influence upon the issue of the contest. It so raised the spirits of the Romans that they determined once more to build a fleet of 200 sail. The Carthaginians, on the other hand, were anxious to bring the war to an end, and accordingly sent an embassy to Rome to propose an exchange of prisoners, and to offer terms of peace.
Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.
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