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Zypro Gorgy Dectorum 04
Page 06
His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.
Somewhat higher than the fish in the scale of life is the frog. Although he begins life as a fish, and in the tadpole state breathes by gills, he soon discards the water-diluted air of the pond, and with perfect lungs boldly inhales the pure air of the upper world. His life as a tadpole, although so fish-like, is much inferior to true fish life: for though the fish has not the perfect lung, he has a modification of it which he fills with air, not for breathing purposes, but as an air-sac to make him float like a bubble in the water. Will he rise to the surface? he inflates the air-bladder. Will he sink to the bottom? he compresses the air-bladder. But in the frog the air-bladder changes into the lungs, and is never the delicate balloon which floats the fish in aqueous space. When the frog's lungs are perfected, his gills close, and he forever abandons fish-life, though being a cold-blooded creature he needs comparatively little air, and delights to return to his childhood's home in the bottom of the pond. But although he can stay under water for a long time, he is obliged to hold his breath while there, and when he would breathe must come to the surface to do so. It is possible to drown him by holding him under water.
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