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 65. Just the same in Holland, as the reports of the Synods show. (See the resolutions on the Maypole in the Reitmaas Collection, VI, 78, 139.)

66. That the "Renaissance of the Old Testament" and the Pietistic orientation to certain Christian attitudes hostile to beauty in art, which in the last analysis go back to Isaiah and the 22nd Psalm, must have contributed to making ugliness more of a possible object for art, and that the Puritan repudiation of idolatry of the flesh played a part, seems likely. But in detail everything seems uncertain. In the Roman Church quite different demagogic motives led to outwardly similar effects, but, however, with quite different artistic results. Standing before Rembrandt's Saul and David (in the Mauritshuis), one seems directly to feel the powerful influence of Puritan emotions. The excellent analysis of Dutch cultural influences in Carl Neumann's Rembrandt probably gives everything that for the time being we can know about how far ascetic Protestantism may be credited with a positive fructifying influence on art.

67. The most complex causes, into which we cannot go here, were responsible for the relatively smaller extent to which the Calvinistic ethic penetrated practical life there. The ascetic spirit began to weaken in Holland as early as the beginning of the seventeenth century (the English Congregationalists who fled to Holland in 1608 were disturbed by the lack of respect for the Sabbath there), but especially under the Stadtholder Frederick Henry. Moreover, Dutch Puritanism had in general much less expansive power than English. The reasons for it lay in part in the political constitution (particularistic confederation of towns and provinces) and in the far smaller degree of military force (the War of Independence was soon fought principally with the money of Amsterdam and mercenary armies. English preachers illustrated the Babylonian confusion of tongues by reference to the Dutch Army). Thus the burden of the war of religion was to a large extent passed on to others, but at the same time a part of their political power was lost. On the other hand, Cromwell's army, even though it was partly conscripted, felt that it was an army of citizens. It was, to be sure, all the more characteristic that just this army adopted the abolition of conscription in its programme, because one could fight justly only for the glory of God in a cause hallowed by conscience, but not at the whim of a sovereign. The constitution of the British Army, so immoral to traditional German ideas, had its historical origin in very moral motives, and was an attainment of soldiers who had never been beaten. Only after the Restoration was it placed in the service of the interests of the Crown.

The Dutch schutterijen, the champions of Calvinism in the period of the Great War, only half a generation after the Synod of Dordrecht, do not look in the least ascetic in the pictures of Hals. Protests of