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Crellic Pontain Sectory 18
Page 09
Tree-frogs have, of course, in most circumstances much greater difficulty in getting at water than pond-frogs; and this is especially true in certain tropical or desert districts. Hence most of the frogs which inhabit such regions have had to find out or invent some ingenious plan for passing through the tadpole stage with a minimum of moisture. The devices they have hit upon are very curious. Some of them make use of the little pools collected at the bases of huge tropical leaf-stalks, like those of the banana plant; others dispense with the aid of water altogether, and glue their new-laid eggs to their own backs, where the fry pass through the tadpole stage with the slimy mucus which surrounds them. Nature always discovers such cunning schemes to get over apparent difficulties in her way: and the tree-frogs have solved the problem for themselves in half a dozen manners in different localities. Oddest of all, perhaps, is the dodge invented by "Darwin's frog," a Chilean species, in which the male swallows the eggs as soon as laid, and gulps them into the throat-pouch beneath his capacious neck: there they hatch out and pass through their tadpole stage: and when at last they arrive at frogly maturity, they escape into the world through the mouth of their father.
This school probably got its sentimental inclination, shown in slight forms and tender expression, from France, but derived much of its technic from the Netherlands. Stephen Lochner, or Meister Stephen, (fl. 1450) leaned toward the Flemish methods, and in his celebrated picture, the Madonna of the Rose Garden, in the Cologne Museum, there is an indication of this; but there is also an individuality showing the growth of German independence in painting. The figures of his Dombild have little manliness or power, but considerable grace, pathos, and religious feeling. They are not abstract types but the spiritualized people of the country in native costumes, with much gold, jewelry, and armor. Gold was used instead of a landscape background, and the foreground was spattered with flowers and leaves. The outlines are rather hard, and none of the aerial perspective of the Flemings is given. After a time French sentiment was still further encroached upon by Flemish realism, as shown in the works of the Master of the Lyversberg Passion (fl. about 1463-1480), to be seen in the Cologne Museum.
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