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A volume might be filled with stories of the strange and exciting incidents that grew out of this pretended popish plot. Its consequences extended disastrously through many years, and involved a vast number of innocent persons in irretrievable ruin. The true character of Oates and his accomplices was, however, at length fully proved, and they themselves suffered the fate at last which they had brought upon others. The whole affair was a disgrace to the age. There is no circumstance connected with it which can be looked upon with any pleasure except King Charles's fidelity to his injured wife in refusing to abandon her, though he no longer loved her. His defense of her innocence, involving, as it did, a continuance of the matrimonial tie, which bound them together when all the world supposed that he wished it sundered, seems to have resulted from a conscientious sense of duty, and implies certain latent traits of generosity and nobleness in Charles's character, which, though ordinarily overpowered and nullified by the influences of folly and vice, still always seem to have maintained their hold, and to come out to view from time to time, in the course of the gay monarch's life, whenever any emergency occurred sufficient to call them into action.

The Apache-Mohave and the Tontos were placed on a reservation on the Rio Verde; the Coyoteros were taken to the White Mountain district near Fort Apache; the Pinalenos and parts of other bands surrendered and were established at San Carlos; in all, approximately three thousand Apache had been brought under control. About one thousand hostiles yet remained in the mountains, but by 1874 they had become so nearly subjugated as to make it seem advisable to transfer the Arizona reservations from the War Department to the Office of Indian Affairs, which was done. The policy of the Indian Office from the beginning had been to concentrate the various bands upon one reservation at San Carlos. Disaffection arose between different bands until this became a despicable place to nearly all, while continued adherence to the removal policy drove the Chiricahua from their southern Arizona reservation to seek refuge with the Ojo Caliente Apache in southwestern New Mexico, in 1876, although they had been living in comparative peace for four years. In 1877 these Chiricahua and the Ojo Caliente band were forcibly removed to San Carlos, but while en route Victorio and a party of forty warriors made their escape. In September of the same year three hundred more fled from San Carlos and settler after settler was murdered. In February, 1878, Victorio and his notorious band surrendered at Ojo Caliente, but gave notice that they would die fighting before submitting to removal to San Carlos. The major portion of the three hundred Chiricahua who had left San Carlos surrendered at Fort Wingate, New Mexico, shortly before. All these were taken to the Mescalero reservation in New Mexico.

Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.

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