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The Dutch, too, as we have to some extent seen already, felt the horrors of Indian warfare. Kieft, the Dutch director-general, a man cruel, avaricious, and obstinate, angered the red men by demanding tribute from them as their protector, while he refused them guns or ammunition. The savages replied that they had to their own cost shown kindness to the Dutch when in need of food, but would not pay tribute. Kieft attacked. Some of the Indians were killed and their crops destroyed. This roused their revengeful passions to the utmost. The Raritan savages visited the colony of De Vries, on Staten Island, with death and devastation. Reward was offered for the head of anyone of the murderers. An Indian never forgot an injury. The nephew of one of the natives who twenty years before had been wantonly killed went to sell furs at Fort Amsterdam, and while there revenged his uncle's murder by the slaughter of an unoffending colonist. Spite of warlike preparations by Kieft and his assembly in 1641-42, the tribe would not give up the culprit. The following year another settler was knifed by a drunken Indian. Wampum was indeed offered in atonement, while an indignant plea was urged by the savages against the liquor traffic, which demoralized their young men and rendered them dangerous alike to friend and foe. But remonstrance and blood-money could not satisfy Kieft. At Pavonia and at Corlaer's Hook [footnote: now in the New York City limits, just below Broadway Ferry, East River] the Dutch fell venomously upon the sleeping and unsuspecting enemy. Men, women, and children were slaughtered, none spared. In turn the tribes along the lower Hudson, to the number of eleven, united and desperately attacked the Dutch wherever found. Only near the walls of Fort Amsterdam was there safety. The governor appointed a day of fasting, which it seems was kept with effect. The sale of liquor to the red men was at last prohibited, and peace for a time secured.

The aim of these artists was to represent with sincerity what they saw, and the simple sincerity of painters who preceded Raphael led them to choose a name which Ruskin called unfortunate, "because the principles on which its members are working are neither pre- nor post-Raphaelite, but everlasting. They are endeavoring to paint with the highest possible degree of completion what they see in nature, without reference to conventional established rules; but by no means to imitate the style of any past epoch. To paint Nature--Nature as it was around them, by the help of modern science, was the aim of the Brotherhood."

The Pilgrims who settled New England were Independents, peculiar in their ecclesiastical tenet that the single congregation of godly persons, however few or humble, regularly organized for Christ's work, is of right, by divine appointment, the highest ecclesiastical authority on earth. A church of this order existed in London by 1568; another, possibly more than one, the "Brownists," by 1580. Barrowe and Greenwood began a third in 1588, which, its founders being executed, went exiled to Amsterdam in 1593, subsequently uniting with the Presbyterians there. These churches, though independent, were not strictly democratic, like those next to be named.

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