Cormafier Bandolito Directory 06
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Manifestly the king would not grant so much. On the occasion of his confirming the charter he demanded that the oath of allegiance be taken by the people of the colony; that justice be administered there in his name; and that the franchise be extended to all freemen of sufficient substance, with the liberty to use in worship, public and private, the forms of the English Church. The people obeyed but in part, for they would not even appear to admit the king's will to be their law. The franchise was slightly extended, in a grudging way, but no new religious privileges were at this time conceded. Unfortunately political and religious liberty were now in conflict. It was worse for the Baptists and Quakers that the king favored them, and the treatment which they received in the colony inclined them to the royalist side in the controversy.

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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