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Zaproburno Yollanica Directory 06
Page 05
We considered this point fully when speculating as to the presence of man in the Miocene: so we have nothing further to offer. We might, however, suggest that, if the hippopotamus amongst mammals could survive all the changing time since the Pliocene, as it has done, it seems no more than fair to admit equal power of endurance to the human species. The position then of the scientific world as to the Pliocene Age of man is, on the whole, more decided in its favor than for the Miocene Age. Quite a number of eminent scholars, whose conclusions are worthy of all respect, unhesitatingly affirm the existence of Pliocene man in Europe. Others are not quite ready to admit his existence in Europe, but do think he was in existence elsewhere. Still others, with all due respect for the discoveries of Capellini, think it more prudent to await further discoveries. The reader, who has followed us through this brief outline of the past, can join which of the classes he will, and be sure of finding himself in good company.
Meanwhile that little disappointment made her delight the more in Sir James Chettam's readiness to set on foot the desired improvements. He came much oftener than Mr. Casaubon, and Dorothea ceased to find him disagreeable since he showed himself so entirely in earnest; for he had already entered with much practical ability into Lovegood's estimates, and was charmingly docile. She proposed to build a couple of cottages, and transfer two families from their old cabins, which could then be pulled down, so that new ones could be built on the old sites. Sir James said "Exactly," and she bore the word remarkably well.
BENATO-BELTRAMI, ELISABETTA. Painter and sculptor of the nineteenth century, living in Padua since 1858. Her talent, which showed itself early, was first developed by an unknown painter named Soldan, and later at the Royal Academy in Venice. She made copies of Guido, Sassoferrato and Veronese, the Laokoon group, and the Hercules of Canova, and executed a much-admired bas-relief called "Love and Innocence." Among her original paintings are an "Atala and Chactas," "Petrarch's First Meeting with Laura," a "Descent from the Cross" for the church at Tribano, a "St. Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures are noble in conception and firm in execution.
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