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On October 1st we had more trouble cutting our way through, as we again found great ferns and palms, especially near streamlets of water, and quantities of fallen trees, which made us continually deviate from our direction. The forest was indeed dirty and much entangled in that section, and thus made our march painful, liane catching my feet and head all the time, tearing my ears and nose--especially when the man who walked in front of me let them go suddenly and they swung right in my face. Thorns dug big grooves into my legs, arms and hands. To make matters worse, the high fever seemed to exhaust me terribly. Worse luck, a huge boil, as big as an egg, developed under my left knee, while another of equal size appeared on my right ankle, already much swollen and aching. The huge shoes given me by the trader--of the cheapest manufacture--had already fallen to pieces. I had turned the soles of them into sandals, held up by numerous bits of string, which cut my toes and ankles very badly every time I knocked my feet against a tree or stone. My feet were full of thorns, so numerous that I had not the energy to remove them. The left leg was absolutely stiff with the big boil, and I could not bend it.

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.

The following year (B.C. 274) closed the career of Pyrrhus in Italy. The Consul M'. Curius marched into Samnium, and his colleague into Lucania. Pyrrhus advanced against Curius, who was encamped in the neighborhood of Beneventum, and resolved to fight with him before he was joined by his colleague. As Curius did not wish to risk a battle with his own army alone, Pyrrhus planned a night-attack upon his camp. But he miscalculated the time and the distance; the torches burnt out, the men missed their way, and it was already broad daylight when he reached the heights above the Roman camp. Still their arrival was quite unexpected; but, as a battle was now inevitable, Curius led out his men. The troops of Pyrrhus, exhausted by fatigue, were easily put to the rout; two elephants were killed and eight more taken. Encouraged by this success, Curius no longer hesitated to meet the king in the open plain, and gained a decisive victory. Pyrrhus arrived at Tarentum with only a few horsemen. Shortly afterward he crossed over to Greece, leaving Milo with a garrison at Tarentum. Two years afterward he perished in an attack upon Argos, ingloriously slain by a tile hurled by a woman from the roof of a house.

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