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Nicholeto Chordiman Directory 09
Page 06
One wife, however, does not suffice to fill the nest with eggs; and the stickleback is a firm believer in the advantages of large families. So, as soon as his first mate has laid all her spawn, he sets out once more in search of another. Thus he goes on until the home is quite full of eggs, bringing back one wife after another, in proportion to his success in wooing and fighting. For, like almost all polygamists, your stickleback is a terrible fighter. The males join wager of battle with one another for possession of their mates; in their fierce duels they make fearful use of the formidable spines on their backs, sometimes entirely ripping up and cutting to pieces their ill-fated adversary. The spines thus answer to the spurs of the gamecock or the antlers of the deer; they are masculine weapons in the struggle for mates. Indeed, you may take it for granted that brilliant colors and decorative adjuncts in animals almost invariably go with irascible tempers, pugnacious habits, and the practice of fighting for the possession of the harem. The consequence is, with the sticklebacks, that many males get killed during the struggle for supremacy, so that the survivors wed half a dozen wives each, like little Turks that they are in their watery seraglios. Only the most beautiful and courageous fish succeed in gaining a harem of their own: and thus the wager of battle tells in the end for the advantage of the race, by eliminating the maimed, the ugly, and the cowardly, and encouraging the strong, the handsome, the enterprising, and the valiant. This is nature's way of preventing degeneracy.
So again it is with the things that gall us most. What is it that rises up against us at odd times and smites us in the face again and again for years after it has happened? That we spent all the best years of our life in learning what we have found to be a swindle, and to have been known to be a swindle by those who took money for misleading us? That those on whom we most leaned most betrayed us? That we have only come to feel our strength when there is little strength left of any kind to feel? These things will hardly much disturb a man of ordinary good temper. But that he should have said this or that little unkind and wanton saying; that he should have gone away from this or that hotel and given a shilling too little to the waiter; that his clothes were shabby at such or such a gardenparty--these things gall us as a corn will sometimes do, though the loss of a limb way not be seriously felt.
In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chance in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.
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