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In France, in the beginning of this century Watteau, 1684-1721, painted his interesting pictures of _La Belle Societe_, reproducing the court life, costumes, and manners of the reign of Louis XIV. with fidelity, grace, and vivacity. Later in the century, Greuze, 1725-1805, with his attractive, refined, and somewhat mannered style, had a certain influence. Claude Vernet, 1714-1789, and David, 1748-1825, each great in his way, influenced the nineteenth as well as the eighteenth century. Though Vien, 1716-1809, made a great effort to revive classic art, he found little sympathy with his aim until the works of his pupil David won recognition from the world of the First Empire.

Hiero, so long the faithful ally of Rome, died shortly after the battle of Cannae (B.C. 216), and was succeeded by his grandson Hieronymus, a vain youth, who abandoned the alliance of Rome for that of Carthage. But he was assassinated after a reign of fifteen months, and a republican form of government was established in Syracuse. A contest ensued between the Roman and Carthaginian parties in Syracuse, but the former ultimately prevailed, and Epicydes and Hippocrates, two brothers whom Hannibal had sent to Syracuse to espouse his interests, had to quit the city, and took refuge at Leontini. Such was the state of affairs when the Consul Marcellus arrived in Sicily (B.C. 214). He forthwith marched against Leontini, which Epicydes and Hippocrates defended with a considerable force. He took the city by storm, and, though he spared the inhabitants, executed in cold blood 2000 Roman deserters whom he found among the troops that had formed the garrison. This sanguinary act at once alienated the minds of the Sicilians, and alarmed the mercenary troops in the service of Syracuse. The latter immediately joined Hippocrates and Epicydes, who had made their escape to Herbessus; the gates of Syracuse were opened to them by their partisans within the walls, and the party hostile to Rome was thus established in the undisputed command of that city.

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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