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The idea of selection set forth by the two naturalists was at the time absolutely new, but it was also so simple that Huxley could say of it later, "How extremely stupid not to have thought of that." As Darwin was led to the general doctrine of descent, not through the labours of his predecessors in the early years of the century, but by his own observations, so it was in regard to the principle of selection. He was struck by the innumerable cases of adaptation, as, for instance, that of the woodpeckers and tree-frogs to climbing, or the hooks and feather-like appendages of seeds, which aid in the distribution of plants, and he said to himself that an explanation of adaptations was the first thing to be sought for in attempting to formulate a theory of evolution.

The real inaugurators of Dutch portraiture were Mierevelt, Hals, Ravesteyn, and De Keyser. Mierevelt (1567-1641) was one of the earliest, a prolific painter, fond of the aristocratic sitter, and indulging in a great deal of elegance in his accessories of dress and the like. He had a slight, smooth brush, much detail, and a profusion of color. Quite the reverse of him was Franz Hals (1584?-1666), one of the most remarkable painters of portraits with which history acquaints us. In giving the sense of life and personal physical presence, he was unexcelled by any one. What he saw he could portray with the most telling reality. In drawing and modelling he was usually good; in coloring he was excellent, though in his late work sombre; in brush-handling he was one of the great masters. Strong, virile, yet easy and facile, he seemed to produce without effort. His brush was very broad in its sweep, very sure, very true. Occasionally in his late painting facility ran to the ineffectual, but usually he was certainty itself. His best work was in portraiture, and the most important of this is to be seen at Haarlem, where he died after a rather careless life. As a painter, pure and simple, he is almost to be ranked beside Velasquez; as a poet, a thinker, a man of lofty imagination, his work gives us little enlightenment except in so far as it shows a fine feeling for masses of color and problems of light. Though excellent portrait-painters, Ravesteyn (1572?-1657) and De Keyser (1596?-1679) do not provoke enthusiasm. They were quiet, conservative, dignified, painting civic guards and societies with a knowing brush and lively color, giving the truth of physiognomy, but not with that verve of the artist so conspicuous in Hals, nor with that unity of the group so essential in the making of a picture.

This good lady, whose name by the way was Bromfield, had a fine high temper of her own, or thought it politic to affect one. One night when the boys were particularly noisy she burst like a hurricane into the hall, collared a youngster, and told him he was "the rampingest-scampingest-rackety-tackety-tow-row-roaringest boy in the whole school." Would Mrs. Newton have been able to set the aunt and the dog before us so vividly if she had been more highly educated? Would Mrs. Bromfield have been able to forge and hurl her thunderbolt of a word if she had been taught how to do so, or indeed been at much pains to create it at all? It came. It was her [Greek text]. She did not probably know that she had done what the greatest scholar would have had to rack his brains over for many an hour before he could even approach. Tradition says that having brought down her boy she looked round the hall in triumph, and then after a moment's lull said, "Young gentlemen, prayers are excused," and left them.

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