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His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.

In the course of them, as is well known, masters and slaves were supposed to be on an equality; indeed, the former waited on the latter.[4] Presents were mutually given and received, as Christmas presents in these days. Towards the end of the feast, when the sun was on its return, and the world was considered to be renovated, a king or ruler was chosen, with considerable power granted to him during his ephemeral reign, whence may have sprung some of the Twelfth-Night revels, mingled with those in honour of the Manifestation and Adoration of the Magi. And, in all probability, some other Christmas customs are adopted from the festivals of the ancients, as decking with evergreens and mistletoe (relics of Druidism) and the wassail bowl. It is not surprising, therefore, that Bacchanalian illustrations have been found among the decorations in the early Christian Churches. The illustration on the following page is from a mosaic in the Church of St. Constantine, Rome, A.D. 320.

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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