Medici had lately restored its golden age, painting, architecture, and
the arts of carving and of engraving on copper, were transplanted into
the Netherlands, where, in a new soil, they flourished with fresh vigor.
The Flemish school, a daughter of the Italian, soon vied with its mother
for the prize; and, in common with it, gave laws to the whole of Europe
in the fine arts. The manufactures and arts, on which the Netherlanders
principally founded their prosperity, and still partly base it, require
no particular enumeration. The weaving of tapestry, oil painting, the
art of painting on glass, even pocketwatches and sun-dials were, as
Guicciardini asserts, originally invented in the Netherlands. To them
we are indebted for the improvement of the compass, the points of which
are still known by Flemish names. About the year 1430 the invention of
typography is ascribed to Laurence Koster, of Haarlem; and whether or
not he is entitled to this honorable distinction, certain it is that the
Dutch were among the first to engraft this useful art among them; and
fate ordained that a century later it should reward its country with
liberty. The people of the Netherlands united with the most fertile
genius for inventions a happy talent for improving the discoveries of
others; there are probably few mechanical arts and manufactures which
they did not either produce or at least carry to a higher degree of
perfection.

Up to this time these provinces had formed the most enviable state in
Europe. Not one of the Burgundian dukes had ventured to indulge a
thought of overturning the constitution; it had remained sacred even to
the daring spirit of Charles the Bold, while he was preparing fetters
for foreign liberty. All these princes grew up with no higher hope than
to be the heads of a republic, and none of their territories afforded
them experience of a higher authority. Besides, these princes possessed
nothing but what the Netherlands gave them; no armies but those which