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Gallegallo Revbrandia Sectory 01
Page 12
The chief characteristics of Sofonisba's painting were grace and spirit. Her portrait of herself when at her best is in possession of the Lomellini. A second is the splendid picture at Althorpe, in which she is represented as playing the harpsichord. One can scarcely imagine a place in which a portrait would be more severely tested than in the gallery of the Earl of Spencer, beside portraits of lovely women and famous men, painted by master artists. Yet this work of Sofonisba's is praised by discerning critics and connoisseurs. Of the other portraits of herself, that in the Uffizi is signed by her as "of Cremona," which suggests that it was painted before she went to Spain. That in the Vienna Gallery is dated 1551, and inscribed Sophonisba Anguissola. Virgo. Sc. Ipsam Fecit. Still another, in which a man stands beside her, is in the Sienna Gallery. He holds a brush in his hand, and is probably one of her masters.
Affection for children is, however, not limited to the day of their birth or the period of their infancy. In judging of the relative possession by different races of affection for children, we must ask how the children are treated during all their succeeding years. It must be confessed that the advantage is then entirely on the side of the Occidental. Not only does this appear in the demonstrations of affection which are continued throughout childhood, often even throughout life, but more especially in the active parental solicitude for the children's welfare, striving to fit them for life's duties and watching carefully over their mental and moral education. In these respects the average Occidental is far in advance of the average Oriental.
Higher up in the scale of life we get many instances which show various stages in the same progressive development towards greater care for the safety and education of the young. Among the larger lizards, for example, a distinct advance may be traced between the comparatively uncivilized American alligator and his near ally, the much more cultivated African crocodile. On the banks of the Mississippi, the alligator lays a hundred eggs or thereabouts, which she deposits in a nest near the water's edge, and then covers them up with leaves and other decaying vegetable matter. The fermentation of these leaves produces heat and so does for the alligator's eggs what sitting does for those of hens and other birds: the mother deputes her maternal functions, so to speak, to a festering heap of decomposing plant-refuse. Nevertheless, she loiters about all the time, like Miriam round the ark which contained Moses, to see what happens; and when the eggs hatch out, she leads her little ones down to the river, and there makes alligators of them. This is a simple and relatively low stage in the nursery arrangements of the big lizards.
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