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When a people once homogeneous are separated geographically in such a manner that thorough inter-communication is no longer preserved, all of the agencies by which languages change act separately in the distinct communities and produce different changes therein, and dialects are established. If the separation continues, such dialects become distinct languages in the sense that the people of one community are unable to understand the people of another. But such a development of languages is not differentiation in the sense in which this term is here used, and often used in biology, but is analogous to multiplication as understood in biology. The differentiation of an organ is its development for a special purpose, _i. e._, the organic, specialization is concomitant with functional specialization. When paws are differentiated into hands and feet, with the differentiation of the organs, there is a concomitant differentiation in the functions.

Those that have joined with their honor great travels, cares, or perils, are less subject to envy. For men think that they earn their honors hardly, and pity them sometimes; and pity ever healeth envy. Wherefore you shall observe, that the more deep and sober sort of politic persons, in their greataess, are ever bemoaning themselves, what a life they lead; chanting a quanta patimur! Not that they feel it so, but only to abate the edge of envy. But this is to be understood, of business that is laid upon men, and not such, as they call unto themselves. For nothing increaseth envy more, than an unnecessary and ambitious engrossing of business. And nothing doth extinguish envy more, than for a great person to preserve all other inferior officers, in their full lights and pre-eminences of their places. For by that means, there be so many screens between him and envy.

Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.

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