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Gormlaki Audacia Directory 01
Page 08
Among the various wild animals which inhabit the earth, it is difficult to decide which are really friendly and which are really hostile to man's interests. The actual fact appears to be that there is neither hostility nor friendship. If farmers and gardeners kill off too many birds, nature revenges herself by sending a plague of insects which the small birds, if alive, would have eaten. Gamekeepers ruthlessly shoot hawks and kites, or snare stoats and polecats, with the result that their game grows up too thick for its feeding ground, sickly specimens are allowed to linger on, and a destructive murrain follows. The rook, no doubt, is fond of eggs; but nevertheless he does the farmer good service when he devours the grubs which are turned up by the plow; and as the salmon disease, which of late has proved so destructive, is attributed by the best authorities to overcrowding, that glossy-coated fisherman, the otter, is really a benefactor to the followers of Izaak Walton's gentle craft.
Besides the albumin, the gluten, and the starch, other substances about which this rough method of analysis gives us no information, are contained in the wheat grain. For example, there is woody matter or cellulose, and a certain quantity of sugar and fat. It would be possible to obtain a substance similar to albumin, starch, saccharine, and fatty matters, and cellulose, by treating the stem, leaves, and root in a similar fashion, but the cellulose would be in far larger proportion. Straw, in fact, which consists of the dry stem and leaves of the wheat plant, is almost wholly made up of cellulose. Besides this, however, it contains a certain proportion of mineral bodies, among them, pure flint or silica; and, if you should ever see a wheat rick burnt, you will find more or less of this silica, in a glassy condition, in the embers. In the living plant, all these bodies are combined with a large proportion of water, or are dissolved, or suspended in that fluid. The relative quantity of water is much greater in the stem and leaves than in the seed.
At Augsburg there was still another school, which came into prominence in the sixteenth century with Burkmair and the Holbeins. It was only a part of the Swabian school, a concentration of artistic force about Augsburg, which, toward the close of the fifteenth century, had come into competition with Nuremberg, and rather outranked it in splendor. It was at Augsburg that the Renaissance art in Germany showed in more restful composition, less angularity, better modelling and painting, and more sense of the _ensemble_ of a picture. Hans Burkmair (1473-1531) was the founder of the school, a pupil of Schoengauer, later influenced by Duerer, and finally showing the influence of Italian art. He was not, like Duerer, a religious painter, though doing religious subjects. He was more concerned with worldly appearance, of which he had a large knowledge, as may be seen from his illustrations for engraving. As a painter he was a rather fine colorist, indulging in the fantastic of architecture but with good taste, crude in drawing but forceful, and at times giving excellent effects of motion. He was rounder, fuller, calmer in composition than Duerer, but never so strong an artist.
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