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Corpasenti Webulance Directory 06
Page 02
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.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
To those whose acquaintance with fish is mainly culinary, it may seem odd to hear that the father stickleback alone takes part in the care of the nursery. But this is the rule among the whole class of fish; wherever the young are tended, it is almost always the father, not the mother, who undertakes the duty of incubation. Only two instances occur where the female fish assumes maternal functions towards her young; about these I shall have more to say a little later on. We must remember that reptiles, birds, and mammals are in all probability descended from fish as ancestors, and it is therefore clear that the habit of handing over the care of the young to the female alone belongs to the higher grades of vertebrates--in other words, is of later origin. We need not be astonished, therefore, to find that in many cases among birds and other advanced vertebrates a partial reversion to the earlier habit not infrequently takes place. With doves, for example, the cock and hen birds sit equally on the eggs, taking turns about at the nest; and as for the ostriches, the male bird there does most of the incubation, for he accepts the whole of the night duty, and also assists at intervals during the daytime. There are numerous other cases where the father bird shares the tasks of the nursery at least equally with the mother. I will glance first, however, at one of the rare exceptions among fish where the main duty does not devolve on the devoted father.
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