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Nicholiana Directory 09
Page 08
One wife, however, does not suffice to fill the nest with eggs; and the stickleback is a firm believer in the advantages of large families. So, as soon as his first mate has laid all her spawn, he sets out once more in search of another. Thus he goes on until the home is quite full of eggs, bringing back one wife after another, in proportion to his success in wooing and fighting. For, like almost all polygamists, your stickleback is a terrible fighter. The males join wager of battle with one another for possession of their mates; in their fierce duels they make fearful use of the formidable spines on their backs, sometimes entirely ripping up and cutting to pieces their ill-fated adversary. The spines thus answer to the spurs of the gamecock or the antlers of the deer; they are masculine weapons in the struggle for mates. Indeed, you may take it for granted that brilliant colors and decorative adjuncts in animals almost invariably go with irascible tempers, pugnacious habits, and the practice of fighting for the possession of the harem. The consequence is, with the sticklebacks, that many males get killed during the struggle for supremacy, so that the survivors wed half a dozen wives each, like little Turks that they are in their watery seraglios. Only the most beautiful and courageous fish succeed in gaining a harem of their own: and thus the wager of battle tells in the end for the advantage of the race, by eliminating the maimed, the ugly, and the cowardly, and encouraging the strong, the handsome, the enterprising, and the valiant. This is nature's way of preventing degeneracy.
Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.
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