|
|
Stuff Domains Sectory 09
Page 07
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
This boat was 72 feet in length, and her greatest height was 12 feet, while the greatest breadth was 8 feet, tapering off to points at the end. Capt. Murray Sueter in his book on submarines gives these and other particulars of the vessel. At either end the boat had a cabin, the air in which remained good for about three hours, and in the middle of the boat was a large paddlewheel rotated by clockwork mechanism, which, it was claimed, would run for eight hours when once wound up. The iron tips at the ends of the vessel were intended for ramming, and the inventor was confident he could sink the biggest English ship afloat by crushing in her hull under water. The boat was duly launched, but on trial of the machinery being made the paddlewheel, though it revolved in air, would not move in the water, the machinery being not powerful enough. This, says Capt. Sueter, was apparently the only reason for de Son's failure, for his principles were distinctly sound, and he was certainly the first inventor of the mechanically propelled semi-submarine boat. After her failure de Son exhibited her for a trifle to any casual passer-by.
|