Spiratoria On Moranoria Sectory 21

A few female fish, on the other hand, even hatch the eggs within their own bodies, and so apparently bring forth their young alive, like the English lizard among reptiles. This, however, is far from a common case: indeed, in an immense number of instances, neither parent pays the slightest attention to the eggs after they are once laid and got rid of: the spawn is left to lie on the bottom and be eaten or spared as chance directs, while the young fry have to take care of themselves, without the aid of parental advice and education. But exceptions occur where both parents show signs of realizing the responsibilities of their position. In some little South American river fish, for instance, the father and mother together build a nest of dead leaves for the spawn, and watch over it in unison until the young are hatched. This case is exactly analogous to that of the doves among birds: I may add that wherever such instances occur they always seem to be accompanied by a markedly gentle and affectionate nature. Brilliantly-coloured fighting polygamous fishes are fierce and cruel: monogamous and faithful animals are seldom bright-hued, but they mate for life and are usually remarkable for their domestic felicity. The doves and love-birds are familiar instances.

This school probably got its sentimental inclination, shown in slight forms and tender expression, from France, but derived much of its technic from the Netherlands. Stephen Lochner, or Meister Stephen, (fl. 1450) leaned toward the Flemish methods, and in his celebrated picture, the Madonna of the Rose Garden, in the Cologne Museum, there is an indication of this; but there is also an individuality showing the growth of German independence in painting. The figures of his Dombild have little manliness or power, but considerable grace, pathos, and religious feeling. They are not abstract types but the spiritualized people of the country in native costumes, with much gold, jewelry, and armor. Gold was used instead of a landscape background, and the foreground was spattered with flowers and leaves. The outlines are rather hard, and none of the aerial perspective of the Flemings is given. After a time French sentiment was still further encroached upon by Flemish realism, as shown in the works of the Master of the Lyversberg Passion (fl. about 1463-1480), to be seen in the Cologne Museum.

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