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Plato Profile Directory 05
Page 07
Many insects pass the winter in the quiescent or pupal stage; a state exceedingly well fitted for hibernating, requiring as it does, no food, and giving plenty of time for the marvellous changes which are then undergone. Some of these pupae are enclosed in dense silken cocoons, which are bound to the twigs of the plants upon which the larvae feed, and thus they swing securely in their silken hammocks through all the storms of winter. Perhaps the most common of these is that of the brown Cecropian moth, _Attacus cecropia_ L., the large oval cocoon of which is a conspicuous object in the winter on the twigs of our common shade and fruit trees. Many other pupae may be found beneath logs or on the under side of bark, and usually have the chrysalis surrounded by a thin covering of hairs, which are rather loosely arranged. A number pass the cold season in the earth with no protective covering whatever. Among these is a large brown chrysalis with a long tongue case bent over so as to resemble the handle of a jug. Every farm boy has ploughed or spaded it up in the spring, and is it but the pupa of a large sphinx moth, _Protoparce celeus_ Hub., the larva of which is the great green worm, with a "horn on its tail," so common on tomato plants in the late summer.
The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.
He now felt strong enough to aspire to the office of consul, which was the highest office of the Roman state. When the line of kings had been deposed, the Romans had vested the supreme magistracy in the hands of two consuls, who were chosen annually in a general election, the formalities of which were all very carefully arranged. The current of popular opinion was, of course, in Caesar's favor, but he had many powerful rivals and enemies among the great, who, however, hated and opposed each other as well as him. There was at that time a very bitter feud between Pompey and Crassus, each of them struggling for power against the efforts of the other. Pompey possessed great influence through his splendid abilities and his military renown. Crassus, as has already been stated, was powerful through his wealth. Caesar, who had some influence with them both, now conceived the bold design of reconciling them, and then of availing himself of their united aid in accomplishing his own particular ends.
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