A CHAPTER OF BULLS.
I confess it is what the English call a bull, in the expression, though the sense be manifest enough.—POPE.
We are friends to the exposition of the weak sides of great men, inasmuch as it reads them a valuable lesson on their own infallibility, and tends to lower the molehills of conceit that are raised in the world as stumbling-blocks along every road of petty ambition. It would, however, be but a sorry toil for the most cynical critic to illustrate these vagaries otherwise than so many slips and trippings of the tongue and pen, to which all men are liable in their unguarded moments—from Homer to Anacreon Moore, or Demosthenes to Mr. Brougham. Our course is rather that of a good-humoured exposé, the worst effect of which will be to raise a laugh at the expense of poor humanity, or a merited smile at our own dulness and mistaken sense of the ridiculous.
First, of the ancient Poets, who make departed spirits know things past and to come, yet ignorant of things present. Agamemnon foretels what should happen to Ulysses, yet ignorantly inquires what is become of his own son. The ghosts are afraid of swords in Homer, yet Sibylla tells Aeneas in Virgil, that the then habit of spirits was beyond the force of weapons. The spirits put off their malice with their bodies; and Caesar and Pompey accord in Latin hell; yet Ajax in Homer, endures not a conference with Ulysses.
In Painting alone we have a rich harvest. Burgoyne in his travels, notices a painting in Spain, where Abraham is preparing to shoot Isaac with a pistol!
There is a painting at Windsor, of Antonio Verrio, in which, he has introduced himself, Sir Godfrey Kneller, and Bap. May, surveyor of the works, in long periwigs, as spectators of Christ healing the sick.
In the Luxembourg is a picture of Reubens, in which are the queen-mother in council, with two cardinals, and Mercury!
There may be, also, a sort of anachronism of the limbs, as in the case of the painter of Toledo, who painted the story of the three wise men of the east coming to worship, and bringing their presents to our Lord, upon his birth, at Bethlehem, whence he presents them as three Arabian, or Indian kings; two of them are white, and one of them black; but, unhappily, when he drew the latter part of them kneeling, which, to be sure, was done after their faces, their legs being necessarily a little intermixed, he made three black feet for the negro king, and but three white feet for the two white kings; and yet never discovered the mistake till the piece was presented to the king, and hung up in the great church.
There was, also, in the Houghton Hall collection, Velvet Brughel's Adoration of the Magi, in which were a multitude of figures, all finished with the greatest Dutch exactness; in fact, the ideas are rather a little too Dutch, for the Ethiopian king is dressed in a surplice, with boots and spurs, and brings, for a present, a gold model of a modern ship.
The monks of a certain monastery at Messina, exhibited, with great triumph, a letter written by the Virgin Mary with her own hand. Unluckily for them, this was not, as it easily might have been, written on the ancient papyrus, but on paper made of rags. On some occasion, a visiter, to whom this was shown, observed, with affected solemnity, that the letter involved also a miracle, for the paper on which it was written was not in existence till several hundred years after the mother of our Lord had ascended into heaven.
In the church of St. Zacharia, at Venice, is the picture of a Virgin and Child, whom an angel is entertaining with an air upon the violin. Jean Belin was the artist, in 1500. So, also, in the college library of Aberdeen, to a very neat Dutch missal, are appended elegant paintings on the margin, of the angels appearing to the shepherds, with one of the men playing on the bagpipes.
There is a picture in a church at Bruges that puts not only all chronology, but all else, out of countenance. It is the marriage of Jesus Christ with Saint Catherine of Sienna. But who marries them? St. Dominic, the patron of the church. Who joins their hands? Why, the Virgin Mary. And to crown the anachronism, King David plays the harp at the wedding!
Albert Durer represented an angel in a flounced petticoat, driving Adam and Eve from Paradise.
Lewis Cigoli painted a picture of the Circumcision of the Holy Child, Jesus, and drew the high priest, Simeon, with spectacles on his nose; upon a supposition, probably, that, in respect of his great age, that aid would be necessary. Spectacles, however, were not known for fourteen centuries afterwards.
In a picture painted by F. Chello della Puera, the Virgin Mary is placed on a velvet sofa, playing with a cat and a paroquet, and about to help herself to coffee from an engraved coffee-pot.
In another, painted by Peter of Cortona, representing the reconciliation of Jacob and Laban, (now in the French Museum), the painter has represented a steeple or belfry rising over the trees. A belfry in the mountains of Mesopotamia, in the time of Jacob!
N. Poussin's celebrated picture, at the same place, of Rebecca at the Well, has the whole back-ground decorated with Grecian architecture.
Paul Veronese placed Benedictine fathers and Swiss soldiers among his paintings from the Old Testament.
A painter, intending to describe the miracle of the fishes listening to the preaching of St. Anthony of Padua, painted the lobsters, who were stretching out of the water, red! probably having never seen them in their natural state. Being asked how he could justify this anachronism, he extricated himself by observing, that the whole affair was a miracle, and that thus the miracle was made still greater.
In the Notices des MSS. du Roi VI. 120, in the illuminations of a manuscript Bible at Paris, under the Psalms, are two persons playing at cards; and under Job and the Prophets are coats of arms and a windmill.
Poussin, in his picture of the Deluge has painted boats, not then invented. St. Jerome, in another place, with a clock by his side; a thing unknown in that saint's days.—Nous revenons.