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Erasmus Darwin (1731-1802), probably influenced by Buffon, was another firm evolutionist, and the outline of his argument in the _Zoonomia_[11] might serve in part at least to-day. "When we revolve in our minds the metamorphoses of animals, as from the tadpole to the frog; secondly, the changes produced by artificial cultivation, as in the breeds of horses, dogs, and sheep; thirdly, the changes produced by conditions of climate and of season, as in the sheep of warm climates being covered with hair instead of wool, and the hares and partridges of northern climates becoming white in winter: when, further, we observe the changes of structure produced by habit, as seen especially in men of different occupations; or the changes produced by artificial mutilation and prenatal influences, as in the crossing of species and production of monsters; fourth, when we observe the essential unity of plan in all warm-blooded animals,--we are led to conclude that they have been alike produced from a similar living filament".... "From thus meditating upon the minute portion of time in which many of the above changes have been produced, would it be too bold to imagine, in the great length of time since the earth began to exist, perhaps millions of years before the commencement of the history of mankind, that all warm-blooded animals have arisen from one living filament?"... "This idea of the gradual generation of all things seems to have been as familiar to the ancient philosophers as to the modern ones, and to have given rise to the beautiful hieroglyphic figure of the [Greek: proton oon], or first great egg, produced by night, that is, whose origin is involved in obscurity, and animated by [Greek: Eros], that is, by Divine Love; from whence proceeded all things which exist."

We crossed two streamlets flowing north. After that we came upon a most troublesome patch of swampy land with high reeds in it, the leaves of which cut our hands like razors when we forced our way through them, struggling in mud and slush up to our knees, sometimes as high as our waists. A streamlet flowing north formed the marsh in that low place. The moment we had got out of the marsh the men threw themselves down and said they could go no farther. I pointed out to them that that spot was most unhealthy, and tried to persuade them to go some distance from that pestilential place. But they would not listen to reason, and there they would stay.

Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.

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