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Bredimacian Dynagum Directory 09
Page 01
Without taking into account insects and such other "small deer,"--to quote Shakespeare's expression,--this fundamental principle of population will become at once apparent if we examine merely familiar instances of back-boned or vertebrate animals. The lowest vertebrates are clearly the fishes: and the true fishes have almost invariably gigantic families. A single cod, for example, is said to produce, roughly speaking, nine million eggs at a birth (I cannot pretend I have checked this calculation); but supposing they were only a million, and that one-tenth of those eggs alone ever came to maturity, there would still be a hundred thousand codfish in the sea this year for every pair that swam in it last year: and these would increase to a hundred thousand times that number next year; and so on, till in four or five years' time the whole sea would be but one solid mass of closely-packed cod-banks. We can see for ourselves that nothing of the sort actually occurs--practically speaking, there are about the same number of cod one year as another. In spite of this enormous birth-rate, therefore, the cod population is not increasing--it is at a standstill. What does that imply? Why, that taking one brood and one year with another, only a pair of cod, roughly speaking, survive to maturity out of each eight or nine million eggs. The mother cod lays its millions, in order that two may arrive at the period of spawning. All the rest get devoured as eggs, or snapped up as young fry, or else die of starvation, or are otherwise unaccounted for. It seems to us a wasteful way of replenishing the earth: but it is nature's way; we can only bow respectfully to her final decision.
On the infrequent occasions when the dry-paintings are employed, the medicine-man in charge of the ceremony directs his assistants, at daylight, to begin the painting. When it is finished he takes his station close to the easternmost figure of the painting, on its northern side. At the right of the medicine-man sit twelve chosen singers with a drum. The four masked _gaun_, or gods, at the same time take their places at the cardinal points. The patient then enters from the east and sits down on the head of the large figure in the centre of the dry-painting. As he does so the medicine-man commences to sing, and is joined by the chorus at once. They may sing the song four times, or sing four different songs, or any multiple of four, at the pleasure of the medicine-man. When the songs are finished the four masked personages scrape the colored earths into a heap about the patient and rub them in handfuls over his body. If this ceremony proves to be ineffectual, it is believed to be the will of the gods that the patient be not cured.
Memling (1425?-1495?), one of the greatest of the school, is another man about whose life little is known. He was probably associated with Van der Weyden in some way. His art is founded on the Van Eyck school, and is remarkable for sincerity, purity, and frankness of attitude. As a religious painter, he was perhaps beyond all his contemporaries in tenderness and pathos. In portraiture he was exceedingly strong in characterization, and in his figures very graceful. His flesh painting was excellent, but in textures or landscape work he was not remarkable. His best followers were Van der Meire (1427?-1474?) and Gheeraert David (1450?-1523). The latter was famous for the fine, broad landscapes in the backgrounds of his pictures, said, however, by critics to have been painted by Joachim Patinir. He was realistically horrible in many subjects, and though a close recorder of detail he was much broader than any of his predecessors.
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