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Alabaster Blue Sectory 13
Page 02
The first care of the male stickleback, when he has acquired his courting suit, is to build a suitable home for his future wives and children. So he picks up stems of grass and water-weeds with his mouth, and weaves them deftly into a compact nest as perfect as a bird's, though some what different in shape and pattern, it rather resembles a barrel, open at both ends, as though the bottom were knocked out: this form is rendered necessary because the eggs, when laid, have to be constantly aerated by passing a current of water through the nest as I shall describe hereafter. No. 1 shows us such a nest when completed, with the female stickleback loitering about undecided as to whether or not she shall plunge and enter it. You will observe that the fabric is woven round a fixed support of some waving water-weeds; but the cunning little architect does not trust in this matter to his textile skill alone; he cements the straws and other materials together with a gummy mortar of mucous threads secreted for the purpose by his internal organs.
Concerning the bounds of unity; the true placing of them, importeth exceedingly. There appear to be two extremes. For to certain zealants, all speech of pacification is odious. Is it peace, Jehu,? What hast thou to do with peace? turn thee behind me. Peace is not the matter, but following, and party. Contrariwise, certain Laodiceans, and lukewarm persons, think they may accommodate points of religion, by middle way, and taking part of both, and witty reconcilements; as if they would make an arbitrament between God and man. Both these extremes are to be avoided; which will be done, if the league of Christians, penned by our Savior himself, were in two cross clauses thereof, soundly and plainly expounded: He that is not with us, is against us; and again, He that is not against us, is with us; that is, if the points fundamental and of substance in religion, were truly discerned and distinguished, from points not merely of faith, but of opinion, order, or good intention. This is a thing may seem to many a matter trivial, and done already. But if it were done less partially, it would be embraced more generally.
Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.
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