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Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.

William, called of Poitiers, though a Norman, chaplain of William I and Archdeacon of Lisieux, wrote a biography of the king, Gesta Willelmi Duels Normannorum et Regis Anglice (in Migne's Patrologia Latina,149), of much value for the period immediately following the Conquest. It has been thought that he was not present at the battle of Hastings, but the account of William's movements between the battle and his coronation contains several indications of first--hand knowledge, matters of detail likely to be noted by an eye--witness; and though he was a strong partisan and panegyrist of the king, his statements of what happened may generally be accepted. His comments and opinions, however, must be used with the greatest caution. His work originally ended in 1071, but the last part is now wanting, and it ends abruptly in the spring of 1067. The entire book was used, however, by Orderic Vitalis as one of the chief sources of his narrative, and in that form we probably have all the main facts it contained.

In the case of the _green caterpillars with bright longitudinal stripes_, numerous individuals exhibiting this useful variation must have been produced to start with. In all higher, that is, multicellular organisms, the germ-substance is the source of all transmissible variations, and this germ-plasm is not a simple substance but is made up of many primary constituents. The question can therefore be more precisely stated thus: How does it come about that in so many cases the useful variations present themselves in numbers just where they are required, the white oblique lines in the leaf-caterpillar on the under surface of the body, the accompanying coloured stripes just above them? And, further, how has it come about that in grass caterpillars, not oblique but longitudinal stripes, which are more effective for concealment among grass and plants, have been evolved? And finally, how is it that the same Hawk-moth caterpillars, which to-day show oblique stripes, possessed longitudinal stripes in Tertiary times? We can read this fact from the history of their development, and I have before attempted to show the biological significance of this change of colour.[38]

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