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Corpasenti Webulance Directory 06
The guilt of the Belgian Government in this matter consists, in the first place, in making and concerting plans with the English and French Governments as to what steps to take in case of war. A plan of the French mobilization was found in the same docket, and it cannot be presumed that the conference between British and French experts was unknown to the British Military Attache in Brussels. It is furthermore impossible to believe that the French railway for the shipping of British troops from Calais, Dunkirk, and Boulogne into Belgium in Belgian cars could have been used without the knowledge of the French authorities. Secondly, that Belgium did not heed the advice of Baron Greindl and did not try to insure her independence in the same way by approaching Germany and making a similar contract with her. This disposes of the contention that the Belgian conversation had a purely defensive character as against all comers. It shows the one-sidedness of the inclination, which is evidenced also by the placing of all Belgium's fortresses on the eastern frontier.
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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