Spiratoria On Moranoria Sectory 15

In sea-urchins we often find two creatures superficially indistinguishable, but the one is a female with large ovaries and the other is a male with equally large testes. Here the physiological difference does not affect the body as a whole, but the reproductive organs or gonads only, though more intimate physiology would doubtless discover differences in the blood or in the chemical routine (metabolism). In a large number of cases, however, there are marked superficial differences between the sexes, and everyone is familiar with such contrasts as peacock and peahen, stag and hind. In such cases the physiological difference between the sperm-producer and the ovum-producer, for this is the essential difference, saturates through the body and expresses itself in masculine and feminine structures and modes of behaviour. The expression of the masculine and feminine characters is in some cases under the control of hormones or chemical messengers which are carried by the blood from the reproductive organs throughout the body, and pull the trigger which brings about the development of an antler or a wattle or a decorative plume or a capacity for vocal and saltatory display. In some cases it is certain that the female carries in a latent state the masculine features, but these are kept from expressing themselves by other chemical messengers from the ovary. Of these chemical messengers more must be said later on.

Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St. Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpassed by any fifteenth-century art.

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