such as gambling and drinking, which disproportionately affected the lower class and women were forbidden from showing their knees. Other regulations affected the wider population, such as prohibiting dancing, sexual activities and moderating food and drink intake. In Ireland, Catholics blamed the Reformation for the bad weather. The Annals of Loch Cé, in its entry for 1588, describes a midsummer snowstorm as "a wild apple was not larger than each stone of it" and blames it on the presence of a "wicked, heretical, bishop in Oilfinn", the Protestant Bishop of Elphin, John Lynch. Depictions of winter in European painting William James Burroughs analyzes the depiction of winter in paintings, as does Hans Neuberger. Burroughs asserts that it occurred almost entirely from 1565 to 1665 and was associated with the climatic decline from 1550 onwards. Burroughs claims that there had been almost no depictions of winter in art, and he "hypothesizes that the unusually harsh winter of 1565 inspired great artists to depict highly original images and that the decline in such paintings was a combination of the 'theme' having been fully explored and mild winters interrupting the flow of painting." Wintry scenes, which entail technical difficulties in painting, have been regularly and well handled since at least the early 15th century by artists in illuminated manuscript cycles that show the Labours of the Months, typically placed on the calendar pages of books of hours. January and February are typically shown as snowy, as in February in the famous cycle in the , painted in 1412–1416 and illustrated below. Since landscape painting had not yet developed as an independent genre in art, the absence of other winter scenes is not remarkable. On the other hand, snowy winter landscapes, particularly stormy seascapes, became artistic genres in the Dutch Golden Age painting during the coldest and stormiest decades of the Little Ice Age. Most modern scholars believe them to be full of symbolic messages and metaphors, which would have been clear to contemporary viewers. All of the famous winter landscape paintings by Pieter Brueghel the Elder, such as The Hunters in the Snow and the Massacre of the Innocents, are thought to have been painted around 1565. His son Pieter Brueghel the Younger (1564–1638) also painted many snowy landscapes, but according to Burroughs, he "slavishly copied his father's designs. The derivative nature of so much of this work makes it difficult to draw