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Galleporto Bavicarius Directory 10
Page 08
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.
As they had not been able to spend a single penny since we had left Diamantino they had accumulated a considerable sum of cash. I warned them, as I had done with Benedicto, to be careful and not waste their money. They went out for a walk. Some hours later they returned, dressed up in wonderful costumes with fancy silk ties, patent leather shoes, gold chains and watches, and gaudy scarf-pins. In a few hours they had wasted away nearly the entire sum I had paid out to them. Everything was extremely expensive in Para--certainly three or four times the price which things would fetch in London or New York.
I say _almost_ universal, because even among birds there are a few kinds which have not to this day progressed beyond the alligator level. Australia is the happy hunting-ground of the zooelogist in search of antiquated forms, elsewhere extinct, and several Australian birds, such as the brush-turkeys, still treat their eggs essentially on the alligator method. The cock birds heap up huge mounds of earth and decaying vegetable matter, as much as would represent several cartloads of mould; and in this natural hot-bed the hens lay their eggs, burying each separately with a good stock of leaves around it. The heat of the sun and the fermenting mould hatch them out between them; to expedite the process, the birds uncover the eggs during the warmer part of the day, expose them to the sun, and bury them again in the hot-beds towards evening. Several intermediate steps may also be found between this early stage of communal nesting by proxy and the true hatching instinct; a good one is supplied by the ostrich, which partially buries its eggs in hot sand, but sits on them at intervals, both father and mother birds taking shares by turn in the duties of incubation.
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