By the machinations of the Jesuits he was therefore invited to Rome, and treacherously detained there for three years, in defiance of all canonical regulations. In the meantime the Pope {223} appointed Theodore de Cock in his place, with the intention of crushing the Jansenists in Holland. Codde thereupon made his escape from Rome, and the well-known struggle of the Jansenists of Utrecht and Haarlem for a legitimate episcopal succession began.
This was the juncture at which our copperplate was to do duty a second time, and for such different ends.
It has been divorced from its letterpress, altered in certain details and slightly cut away at the top and bottom. Like those dealing with the Head Smith and Tongue Sharpener, as will be seen in the next chapter, it has been appropriated to the uses of “Roma Perturbata.” It is now entitled on the panel which has been inserted at the spring of the arches “Door Munnike-Jagt, Word Babel Verkracht” (By chasing monks, Babel is assailed), and the piratical publisher has made many ingenious alterations. The possibly punning publication line runs: “Benedictus Antisolitarius excudit Rom.” Above this appears the chronograph: “HOS HEROS MONACHOS APPRENDE BATAVE REBELLES.” {224}
The Lion (1) still represents Holland and hunts the Beast of Babel (2) assisted by the winged Revenge (3), whose lightnings have now been increased to seven to represent the heraldic arrows of the Seven United Provinces. This device also now appears on the shield of Holland’s Knight (7) in place of that of St. Michael and the Dragon. The banner of his followers is now inscribed “Pro Secularibus.” As champion of the Jansenists the Knight puts to rout “all the bald heads (4, 4, 4, 4), together with ‘their protector Kok’” (6), who “in disguise” rides between the wings of the Beast with an illegitimate child (5) on his lap, from whose right hand the toy windmill of the infant Pretender has been removed. In the background to the left, others, in the quaint words of the Dutch letterpress (10), “escape quickly from the town by water, while they are clothed like gentlemen in order not to be known as monks.” In the background to the right, others flee “like great gentlemen in carriages,” a fairly ingenious adaptation of James II.’s flight and Louis’ welcome of the fugitives. {225}
The group in the middle background is now made to represent Codde (8.B), who has escaped from Rome and is being welcomed back by the representatives of the State (9, 9).
CHAPTER XI ADAPTED OR PALIMPSEST PLATES (continued).
IN the last chapter I claim to have introduced the reader to a phase of print-collecting which has in it a sporting element of a peculiarly enticing character. The pursuit of what I have called palimpsest copperplates offers entertainment of the very best to one who would make it a speciality, and, perhaps, the most alluring thing about this curious quarry is that the hunter will never be satisfied after running it to earth until he has secured and coupled it in his portfolio with its necessary and enchanting fellow.
I propose in this chapter to give a few more specimens of these curious adapted plates.
Many examples of reheaded statues and adapted portraits lie around us. Mr. Augustus Hare tells of a representation of Lady Georgina Fane in Brympton Church, which consists of the head of {227} that ready-witted lady “added to the body of an ancestress who was headless,” whilst any visitor to Yarmouth Church, Isle of Wight, may see the imposing marble effigy of Admiral Sir Robert Holmes, which consists of the head of that gallant sailor surmounting the body of Louis XIV. It appears that Sir Robert, having captured the vessel in which the Italian-made torso of the Grand Monarque was being conveyed to France for the modelling of the head, retained the unfinished work and crowned it with his own august features—a good example of the resourcefulness of the English character.
Again, Macaulay, enlarging upon the popularity of Frederick the Great in England, tells how at one time enthusiasm reached such a height that the sign-painters were everywhere employed in touching up the portraits of Admiral Vernon, which hung outside innumerable public-houses, into the likeness of the King of Prussia, a curious commentary, by the way, on the family motto, “Ver non semper virit.”[43] Further, it is on record {228} that after Trafalgar such was Nelson’s popularity, that Daniel Orme, engraver to George III., bought a plate of Napoleon at the sale of a Ludgate Hill printseller’s effects, and altered it into a portrait of our national hero.