[12] On the Flight of Birds, of Bats and of Insects, in reference to the subject of Aerial Locomotion, by L. de Lucy (Paris).
[13] E.J. Marey, Revue des cours scientifiques de la France et de l’étranger (1869).
[14] “The Aero-bi-plane, or First Steps to Flight,” Ninth Annual Report of the Aeronautical Society of Great Britain, 1874.
[15] “Resistance to Falling Planes on a Path of Translation,” Ninth Annual Report of the Aeronautical Society of Great Britain, 1874.
[16] The Aeronaut for January 1872 and February 1875.
[17] Cayley’s screws, as explained, were made of feathers, and consequently elastic. As, however, no allusion is made in his writings to the superior advantages possessed by elastic over rigid screws, it is to be presumed that feathers were employed simply for convenience and lightness. Pettigrew, there is reason to believe, was the first to advocate the employment of elastic screws for aerial purposes.
[18] Stringfellow constructed a second model, which is described and figured further on (fig. 44).
[19] “On Aerial Locomotion,” Aeronautical Society’s Report for 1867.
FLINCK, GOVERT (1615-1660), Dutch painter, born at Cleves in 1615, was apprenticed by his father to a silk mercer, but having secretly acquired a passion for drawing, was sent to Leuwarden, where he boarded in the house of Lambert Jacobszon, a Mennonite, better known as an itinerant preacher than as a painter. Here Flinck was joined by Jacob Backer, and the companionship of a youth determined like himself to be an artist only confirmed his passion for painting. Amongst the neighbours of Jacobszon at Leuwarden were the sons and relations of Rombert Ulenburg, whose daughter Saske married Rembrandt in 1634. Other members of the same family lived at Amsterdam, cultivating the arts either professionally or as amateurs. The pupils of Lambert probably gained some knowledge of Rembrandt by intercourse with the Ulenburgs. Certainly J. von Sandrart, who visited Holland in 1637, found Flinck acknowledged as one of Rembrandt’s best pupils, and living habitually in the house of the dealer Hendrik Ulenburg at Amsterdam. For many years Flinck laboured on the lines of Rembrandt, following that master’s style in all the works which he executed between 1636 and 1648; then he fell into peculiar mannerisms by imitating the swelling forms and grand action of Rubens’s creations. Finally he sailed with unfortunate complacency into the Dead Sea of official and diplomatic painting. Flinck’s relations with Cleves became in time very important. He was introduced to the court of the Great Elector, Frederick William of Brandenburg, who married in 1646 Louisa of Orange. He obtained the patronage of John Maurice of Orange, who was made stadtholder of Cleves in 1649. In 1652 a citizen of Amsterdam, Flinck married in 1656 an heiress, daughter of Ver Hoeven, a director of the Dutch East India Company. He was already well known even then in the patrician circles over which the burgomasters De Graef and the Echevin Six presided; he was on terms of intimacy with the poet Vondel and the treasurer Uitenbogaard. In his house, adorned with antique casts, costumes, and a noble collection of prints, he often received the stadtholder John Maurice, whose portrait is still preserved in the work of the learned Barleius.