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Among many animals, however, the females at first withdraw from the males; they are coy, and have to be sought out, and sometimes held by force. This tracking and grasping of the females by the males has given rise to many different characters in the latter, as, for instance, the larger eyes of the male bee, and especially of the males of the Ephemerids (May-flies), some species of which show, in addition to the usual compound eyes, large, so-called turban-eyes, so that the whole head is covered with seeing surfaces. In these species the females are very greatly in the minority (1-100), and it is easy to understand that a keen competition for them must take place, and that, when the insects of both sexes are floating freely in the air, an unusually wide range of vision will carry with it a decided advantage. Here again the actual adaptations are in accordance with the preliminary postulates of the theory. We do not know the stages through which the eye has passed to its present perfected state, but, since the number of simple eyes (facets) has become very much greater in the male than in the female, we may assume that their increase is due to a gradual duplication of the determinants of the ommatidium in the germ-plasm, as I have already indicated in regard to sense-organs in general. In this case, again, the selection-value of the initial stages hardly admits of doubt; better vision _directly_ secures reproduction.

In No. 3 the nest is seen full of eggs, and the excellent father now comes out in his best light as their guardian and protector. He watches over them with ceaseless care, freeing them from parasites, and warding off the attacks of would-be enemies who desire to devour them, even though the intruder be several times his own size. The spines on his back here stand him once more in good stead: for small as he is, the stickleback is not an antagonist to be lightly despised: he can inflict a wound which a perch or a trout knows how to estimate at its full value. But that is not all the good parent's duty. He takes the eggs out of the nest every now and then with his snout, airs them a little in the fresh water outside, and then replaces and rearranges them, so that all may get a fair share of oxygen and may hatch out about simultaneously. It is this question of oxygen, indeed, which gives the father fish all the greatest trouble. That necessary of life is dissolved in water in very small quantities; and it is absolutely needed by every egg in order to enable it to undergo those vital changes which we know as hatching. To keep up a due supply of oxygen, therefore, the father stickleback ungrudgingly devotes laborious days in poising himself delicately just above the nest, as you see in No. 3, and fanning the eggs with his fins and tail, so as to set up a constant current of water through the centre of the barrel. He sits upon the eggs just as truly as a hen does; only, he sits upon them, not for warmth, but for aeration.

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.

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