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Next to it is something not that fabulous: Roger de la Fresnaye’s “Artillery,” a stylish bit of tepid Cubism that clings to reality, tossing in a little Futurism for good measure.

The birds were worked out by himself after his return home, with the assistance of the well-known French ornithologist the Baron F. de la Fresnaye.

D’Orbigny’s types are now mostly in the French National Collection at Paris, though a few of them, which cannot be found there, are supposed to have been retained in the De la Fresnaye Collection, and if so are now in the museum of the Boston Society of Natural History.

In Vauquelin de la Fresnaye may be found most of the Aristotelian distinctions in regard to imitation, harmony, rhythm, and poetic theory in general; but these distinctions he derived, as has already been said, not directly from Aristotle, but in all probability from Minturno.

The Christian point of view, on the other hand, is found in Vauquelin de la Fresnaye, who differs from Ronsard and Du Bellay in his preference for scriptural themes in poetry.