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Let us now inquire as to the animals that roamed through these great forests we have been describing. The Miocene period extended over a long lapse of time, and considerable change took place among the animals belonging to the different parts of this age. We will only give a general outline for the whole period. The marsupials lingered along into the early stages of this period, and then disappeared from Europe. The rhinoceros were present in the early stages, and continued through the entire age. We meet in this period animals of the elephant kind, two species, the mastodon and deinotherium. Antelopes and gazelles wandered in vast troops over the plains of Hungary, Spain, and Southern France. Carnivorous animals resembling tigers and hyenas found abundance of animal food. Herds of horse-like animals fed on the rich herbage of the meadows. The birds were largely represented. In the woods were to be seen flocks of gayly feathered paroquets and trogons. On the plains secretarybirds hunted the serpents and reptiles, which furnished them food--and eagles were on the watch for their prey. Cranes waded in the rivers for fish. Geese, herons, and pheasants must have been abundant.

The war was now confined to Sicily; but, since the defeat of Regulus, the Roman soldiers had been so greatly alarmed by the elephants, that their generals did not venture to attack the Carthaginians. At length, in B.C. 250, the Roman proconsul, L. Metellus, accepted battle under the walls of Panormus, and gained a decisive victory. The Carthaginians lost 20,000 men; 13 of their generals adorned the triumph of Metellus; and 104 elephants were also led in the triumphal procession. This was the most important battle that had been yet fought in Sicily, and had a decisive influence upon the issue of the contest. It so raised the spirits of the Romans that they determined once more to build a fleet of 200 sail. The Carthaginians, on the other hand, were anxious to bring the war to an end, and accordingly sent an embassy to Rome to propose an exchange of prisoners, and to offer terms of peace.

From Brussels Barent van Orley (1491?-1542) left early for Italy, and became essentially Italian, though retaining some Flemish color. He painted in oil, tempera, and for glass, and is supposed to have gained his brilliant colors by using a gilt ground. His early works remind one of David. Cocxie (1499-1592), the Flemish Raphael, was but an indifferent imitator of the Italian Raphael. At Liege the Romanists, so called, began with Lambert Lombard (1505-1566), of whose work nothing authentic remains except drawings. At Bruges Peeter Pourbus (1510?-1584) was about the last one of the good portrait-painters of the time. Another excellent portrait-painter, a pupil of Scorel, was Antonio Moro (1512?-1578?). He had much dignity, force, and elaborateness of costume, and stood quite by himself. There were other painters of the time who were born or trained in Flanders, and yet became so naturalized in other countries that in their work they do not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?), Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this group.

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