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Pontiac Directory 08
Page 07
Many insects pass the winter in the quiescent or pupal stage; a state exceedingly well fitted for hibernating, requiring as it does, no food, and giving plenty of time for the marvellous changes which are then undergone. Some of these pupae are enclosed in dense silken cocoons, which are bound to the twigs of the plants upon which the larvae feed, and thus they swing securely in their silken hammocks through all the storms of winter. Perhaps the most common of these is that of the brown Cecropian moth, _Attacus cecropia_ L., the large oval cocoon of which is a conspicuous object in the winter on the twigs of our common shade and fruit trees. Many other pupae may be found beneath logs or on the under side of bark, and usually have the chrysalis surrounded by a thin covering of hairs, which are rather loosely arranged. A number pass the cold season in the earth with no protective covering whatever. Among these is a large brown chrysalis with a long tongue case bent over so as to resemble the handle of a jug. Every farm boy has ploughed or spaded it up in the spring, and is it but the pupa of a large sphinx moth, _Protoparce celeus_ Hub., the larva of which is the great green worm, with a "horn on its tail," so common on tomato plants in the late summer.
The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.
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