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Scalawag on the Web Sectory 14
Page 06
It is not surprising under these circumstances to learn that sticklebacks are successful and increasing animals. Their numbers are enormous, wherever they get a fair chance in life, because they multiply rapidly up to the extreme limit of the means of subsistence, and develop as fast as food remains for them. There the inexorable Malthusian law at last steps in: when there is not food enough for all some must starve; that is the long and the short of the great population question. But while provender is forthcoming they increase gayly. Sticklebacks live mainly on the spawn of other fish, though they are so careful of their own, and they are therefore naturally hated by trout-preservers and owners of fisheries in general. Thousands and thousands are caught each year; in some places, indeed, they are so numerous that they are used as manure. It is their numbers, of course, that make them formidable; they are the locusts of the streams, well armed and pugnacious, and provided with most remarkable parental instincts of a protective character, which enables them to fill up all vacancies in their ranks as fast as they occur with astonishing promptitude.
The brothers Maris have made a distinct impression on modern Dutch art, and, strange enough, each in a different way from the others. James Maris (1837-) studied at Paris, and is remarkable for fine, vigorous views of canals, towns, and landscapes. He is broad in handling, rather bleak in coloring, and excels in fine luminous skies and voyaging clouds. Matthew Maris (1835-), Parisian trained like his brother, lives in London, where little is seen of his work. He paints for himself and his friends, and is rather melancholy and mystical in his art. He is a recorder of visions and dreams rather than the substantial things of the earth, but always with richness of color and a fine decorative feeling. Willem Maris (1839-), sometimes called the "Silvery Maris," is a portrayer of cattle and landscape in warm sunlight and haze with a charm of color and tone often suggestive of Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a fine painter of marines and sea-shores, and Mauve (1838-1888), a cattle and sheep painter, with nice sentiment and tonality, whose renown is just now somewhat disproportionate to his artistic ability. In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner, Witsen, Haverman, Weissenbruch.
Whether the universe is really a paying concern, or whether it is an inflated bubble that must burst sooner or later, this is another matter. If people were to demand cash payment in irrefragable certainty for everything that they have taken hitherto as paper money on the credit of the bank of public opinion, is there money enough behind it all to stand so great a drain even on so great a reserve? Probably there is not, but happily there can be no such panic, for even though the cultured classes may do so, the uncultured are too dull to have brains enough to commit such stupendous folly. It takes a long course of academic training to educate a man up to the standard which he must reach before he can entertain such questions seriously, and by a merciful dispensation of Providence, university training is almost as costly as it is unprofitable. The majority will thus be always unable to afford it, and will base their opinions on mother wit and current opinion rather than on demonstration.
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