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Zypro Gorgy Dectorum 11
Page 12
In Borneo, the Orang-Utan of the Malays goes by the name of "_Mias_" among the Dyaks, who distinguish several kinds as _Mias Pappan_, or _Zimo_, _Mias Kassu_, and _Mias Rambi_. Whether these are distinct species, however, or whether they are mere races, and how far any of them are identical with the Sumatran Orang, as Mr. Wallace thinks the Mias Pappan to be, are problems which are at present undecided; and the variability of these great apes is so extensive that the settlement of the question is a matter of great difficulty. Of the form called "Mias Pappan," Mr. Wallace observes: "It is known by its large size, and by the lateral expansion of the face into fatty protuberances, or ridges, over the temporal muscles, which have been mistermed callosites, as they are perfectly soft, smooth, and flexible. Five of this form, measured by me, varied only from 4 feet 1 inch to 4 feet 2 inches in height, from the heel to the crown of the head, the girth of the body from 3 feet to 3 feet 71/2 inches, and the extent of the outstretched arms from 7 feet 2 inches to 7 feet 6 inches; the width of the face from 10 to 131/4 inches. The color and length of the hair varied in different individuals, and in different parts of the same individual; some possessed a rudimentary nail on the great toe, others none at all; but they otherwise present no external differences on which to establish even varieties of a species.
From Brussels Barent van Orley (1491?-1542) left early for Italy, and became essentially Italian, though retaining some Flemish color. He painted in oil, tempera, and for glass, and is supposed to have gained his brilliant colors by using a gilt ground. His early works remind one of David. Cocxie (1499-1592), the Flemish Raphael, was but an indifferent imitator of the Italian Raphael. At Liege the Romanists, so called, began with Lambert Lombard (1505-1566), of whose work nothing authentic remains except drawings. At Bruges Peeter Pourbus (1510?-1584) was about the last one of the good portrait-painters of the time. Another excellent portrait-painter, a pupil of Scorel, was Antonio Moro (1512?-1578?). He had much dignity, force, and elaborateness of costume, and stood quite by himself. There were other painters of the time who were born or trained in Flanders, and yet became so naturalized in other countries that in their work they do not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?), Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this group.
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