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There is good testimony that various species of Gibbon readily take to the erect posture. Mr. George Bennett, a very excellent observer, in describing the habits of a male _Hylobates syndactylus_ which remained for some time in his possession, says: "He invariably walks in the erect posture when on a level surface; and then the arms either hang down, enabling him to assist himself with his knuckles; or, what is more usual, he keeps his arms uplifted in nearly an erect position, with the hands pendent ready to seize a rope, and climb up on the approach of danger or on the obtrusion of strangers. He walks rather quick in the erect posture, but with a waddling gait, and is soon run down if, while pursued, he has no opportunity of escaping by climbing.... When he walks in the erect posture, he turns the leg and foot outward, which occasions him to have a waddling gait and to seem bow-legged."

The fact, of course, is that it is just the variety of experience which makes life interesting,--toil and rest, pain and relief, hope and satisfaction, danger and security,--and if we once remove the idea of vicissitude from life, it all becomes an indolent and uninspiring affair. It is the process of change which is delightful, the finding out what we can do and what we cannot, going from ignorance to knowledge, from clumsiness to skill; even our relations with those whom we love are all bound up with the discoveries we make about them and the degree in which we can help them and affect them. What the mind instinctively dislikes is stationariness; and an existence in which there was nothing to escape from, nothing more to hope for, to learn, to desire, would be frankly unendurable.

Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.

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