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For a long time the marvellously complex _radiate_ and _lattice-work_ skeletons of Radiolarians were regarded as a mere outflow of "Nature's infinite wealth of form," as an instance of a purely morphological character with no biological significance. But recent investigations have shown that these, too, have an adaptive significance (Haecker). The same thing has been shown by Schuett in regard to the lowly unicellular plants, the Peridineae, which abound alike on the surface of the ocean and in its depths. It has been shown that the long skeletal processes which grow out from these organisms have significance not merely as a supporting skeleton, but also as an extension of the superficial area, which increases the contact with the water-particles, and prevents the floating organisms from sinking. It has been established that the processes are considerably shorter in the colder layers of the ocean, and that they may be twelve times as long[36] in the warmer layers, thus corresponding to the greater or smaller amount of friction which takes place in the denser and less dense layers of the water.

The predominance of the greater powers could be secured either by the representatives having multiple votes, according to the population represented, or by some sort of proportional representation. Each power could appoint its representatives through its Foreign Office or by whatever other means it thought fit. They could as conveniently be elected by a legislature or a nation. And such a body would not only be of enormous authority in the statement, interpretation, and enforcement of treaties, but it could also discharge a hundred useful functions in relation to world hygiene, international trade and travel, the control of the ocean, the exploration and conservation of the world's supplies of raw material and food supply. It would be, in fact, a World Council.

In landscape the English have had something to say peculiarly their own. It has not always been well said, the coloring is often hot, the brush-work brittle, the attention to detail inconsistent with the large view of nature, yet such as it is it shows the English point of view and is valuable on that account. Richard Wilson (1713-1782) was the first landscapist of importance, though he was not so English in view as some others to follow. In fact, Wilson was nurtured on Claude Lorrain and Joseph Vernet and instead of painting the realistic English landscape he painted the pseudo-Italian landscape. He began working in portraiture under the tutorship of Wright, and achieved some success in this department; but in 1749 he went to Italy and devoted himself wholly to landscapes. These were of the classic type and somewhat conventional. The composition was usually a dark foreground with trees or buildings to right and left, an opening in the middle distance leading into the background, and a broad expanse of sunset sky. In the foreground he usually introduced a few figures for romantic or classic association. Considerable elevation of theme and spirit marks most of his pictures. There was good workmanship about the skies and the light, and an attentive study of nature was shown throughout. His canvases did not meet with much success at the time they were painted. In more modern days Wilson has been ranked as the true founder of landscape in England, and one of the most sincere of English painters.

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