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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."

The gait is shuffling; the motion of the body, which is never upright as in man, but bent forward, is somewhat rolling, or from side to side. The arms being longer than the Chimpanzee, it does not stoop as much in walking; like that animal, it makes progression by thrusting its arms forward, resting the hands on the ground, and then giving the body a half-jumping, half-swinging motion between them. In this act it is said not to flex the fingers, as does the Chimpanzee, resting on its knuckles, but to extend them, making a fulcrum of the hand. When it assumes the walking posture, to which it is said to be much inclined, it balances its huge body by flexing its arms upward.

Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.

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