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At first these scales were scattered over the surface of the wing, but gradually they concentrated themselves, and formed broad, velvety bands, or strong, prominent brushes, and they attained their highest pitch of evolution when they became enclosed within pits or folds of the skin, which could be opened to let the delicious fragrance stream forth suddenly towards the female. Thus in this case also we see that characters, the original use of which was to bring the sexes together, and so to maintain the species, have been evolved in the males into means for exciting the female. And we can hardly doubt, that the females are most readily enticed to yield to the butterfly that sends out the strongest fragrance,--that is to say, that excites them to the highest degree. It is a pity that our organs of smell are not fine enough to examine the fragrance of male Lepidoptera in general, and to compare it with other perfumes which attract these insects.[43] As far as we can perceive them they resemble the fragrance of flowers, but there are Lepidoptera whose scent suggests musk. A smell of musk is also given off by several plants: it is a sexual excitant in the musk-deer, the musk-sheep, and the crocodile.

BLAU, TINA. Honorable mention in Paris, 1883, for her "Spring in the Prater." Her "Land Party" is in the possession of the Emperor of Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. This talented landscape painter was born in Vienna, 1847. She was a pupil of Schaeffer in Vienna, and of W. Lindenschmitt in Munich. After travelling in Austria, Holland, and Italy, she followed her predilection for landscape, and chose her themes in great part from those countries. In 1884 she married Heinrich Lang, painter of battle scenes (who died in 1891), and she now works alternately in Munich and Vienna. In 1890 she gave an exhibition of her pictures in Munich; they were thought to show great vigor of composition and color and much delicacy of artistic perception. Her foreign scenes, especially, are characterized by unusual local truth and color. Among her best works are "Studies from the Prater in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of Titus in Rome," "Street in Venice," and "Late Summer."

All the Holothurians or sea-cucumbers have in the skin calcereous bodies of different forms, usually thick and irregular, which make the skin tough and resistant. In a small group of them--the species of Synapta--the calcareous bodies occur in the form of delicate anchors of microscopic size. Up till 1897 these anchors, like many other delicate microscopic structures, were regarded as curiosities, as natural marvels. But a Swedish observer, Oestergren, has recently shown that they have a biological significance: they serve the footless Synapta as auxiliary organs of locomotion, since, when the body swells up in the act of creeping, they press firmly with their tips, which are embedded in the skin, against the substratum on which the animal creeps, and thus prevent slipping backwards. In other Holothurians this slipping is made impossible by the fixing of the tube-feet. The anchors act automatically, sinking their tips towards the ground when the corresponding part of the body thickens, and returning to the original position at an angle of 45 degrees to the upper surface when the part becomes thin again. The arms of the anchor do not lie in the same plane as the shaft, and thus the curve of the arms forms the outermost part of the anchor, and offers no further resistance to the gliding of the animal. Every detail of the anchor, the curved portion, the little teeth at the head, the arms, etc., can be interpreted in the most beautiful way, above all the form of the anchor itself, for the two arms prevent it from swaying round to the side. The position of the anchors, too, is definite and significant; they lie obliquely to the longitudinal axis of the animal, and therefore they act alike whether the animal is creeping backwards or forwards. Moreover, the tips would pierce through the skin if the anchors lay in the longitudinal direction. Synapta burrows in the sand; it first pushes in the thin anterior end, and thickens this again, thus enlarging the hole, then the anterior tentacles displace more sand, the body is worked in a little farther, and the process begins anew. In the first act the anchors are passive, but they begin to take an active share in the forward movement when the body is contracted again. Frequently the animal retains only the posterior end buried in the sand, and then the anchors keep it in position, and make rapid withdrawal possible.

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