However, the remains of ancient allegory are not yet worn out: there are still many secret stores: the poets, and other monuments of antiquity, afford numbers of beautiful images. Those, who in our time, and that of our fathers, were busy in improving allegory, and in facilitating the endeavours of the artists; those, I say, should reasonably have had recourse to so rich and pure a fountain. But there was an epoch to appear, in which a shocking croud of pedants should, with downright madness, conspire in an universal uproar against every the lead glimpse of good taste. Nature, in their eyes, was puerile, and ought to be fashioned: blockheads, both young and old, vied in painting devices and emblems, for the benefit of artists, philosophers, and divines; and woe to him who made a compliment, without dressing it up in an emblem! Symbols void of sense were illustrated with inscriptions, giving an account of what they meant, and meant not: these are the treasures which are dug for, even in our times, and which, being then in high fashion, out-shone all antiquity had left.
The ancients, for instance, represented Munificence by a woman holding a Cornucopia in one hand, and the table of the Roman Congiarium in the other[251]: an image which looked too parsimonious for modern liberality; another therefore was contrived[252], with two horns; one of them inverted, the better to pour out its contents; an eagle, the meaning of which is too hard for me to guess at, was set upon her head; others painted her with a pot in each hand[253]. Eternity was, by the ancients, drawn either sitting on a Globe, or rather Sphere[254], with a Hasta in her hand; or standing[255], with the Sphere in one hand, and the Hasta in the other; or with the Sphere in her hand, and no Hasta; or else covered with a floating Veil[256]. These are the images of Eternity on the coins of the Empress Faustina: but there was not gravity enough in them for the modern artists. Eternity, so frightful to many, required a frightful image[257]; a form female down to the breast, with Globes in each hand; the rest of the Body a circling star-marked Snake turning into itself.
Providence very often has a Globe at her feet, and a Hasta in her left hand[258]. On a coin of the Emperor Pertinax[259], she stretches out both her hands, towards a Globe falling from the clouds. A female figure, with two heads, seemed more expressive to the moderns[260].
Constancy, on some of Claudius’s coins[261], is either fitting or standing, with a Helmet on her head, and a Hasta in her left hand; or without Helmet and Hasta, but always with a finger pointing to her face, as if closely debating some point. For distinction sake the moderns joined a couple of pillars[262].
It is very probable, that Ripa was often at a loss with his own figures. Chastity, in his Iconology, holds in one hand a Whip[263], (a strange incitement to virtue) in the other a Sieve: The first inventor, perhaps, hinted at Tuccia the vestal; which Ripa not remembring, indulges the most absurd whims, not worth repeating.
By thus contrasting ancient and modern allegory, I mean not to divert our times of their right of settling new allegories: but from the different manners of thinking, I shall draw some rules, for those that are to tread these paths.
The character of noble simplicity was the chief aim of the Greeks and Romans: of which Romeyn de Hooghe has given the very contrast. His book, in general, may very fitly be compared to the elm in Virgil’s hell:
Hanc sedem somnia vulgo
Vana tenere ferunt, foliisque sub omnibus hærent.