There is a curious feeling, almost innate in men, that though they are bound to speak truth, in speaking to a single person, they may lie as much as they please, provided they lie to two or more people at once. There is the same feeling about killing: most people would shrink from shooting one innocent man; but will fire a mitrailleuse contentedly into an innocent regiment.
When you look down from the figure of the Science, to that of Cicero, beneath, you will at first think it entirely overthrows my conclusion that Rhetoric has no need of her hands. For Cicero, it appears, has three instead of two.
The uppermost, at his chin, is the only genuine one. That raised, with the finger up, is entirely false. That on the book, is repainted so as to defy conjecture of its original action.
But observe how the gesture of the true one confirms instead of overthrowing what I have said above. Cicero is not speaking at all, but profoundly thinking before he speaks. It is the most abstractedly thoughtful face to be found among all the philosophers; and very beautiful. The whole is under Solomon, in the line of Prophets.
Technical Points.—These two figures have suffered from restoration more than any others, but the right hand of Rhetoric is still entirely genuine, and the left, except the ends of the fingers. The ear, and hair just above it, are quite safe, the head well set on its original line, but the crown of leaves rudely retouched, and then faded. All the lower part of the figure of Cicero has been not only repainted but changed; the face is genuine—I believe retouched, but so cautiously and skilfully, that it is probably now more beautiful than at first.
III. LOGIC. The science of reasoning, or more accurately Reason herself, or pure intelligence.
Science to be gained after that of Expression, says Simon Memmi; so, young people, it appears, that though you must not speak before you have been taught how to speak, you may yet properly speak before you have been taught how to think.
For indeed, it is only by frank speaking that you can learn how to think. And it is no matter how wrong the first thoughts you have may be, provided you express them clearly;—and are willing to have them put right.
Fortunately, nearly all of this beautiful figure is practically safe, the outlines pure everywhere, and the face perfect: the prettiest, as far as I know, which exists in Italian art of this early date. It is subtle to the extreme in gradations of colour: the eyebrows drawn, not with a sweep of the brush, but with separate cross touches in the line of their growth—exquisitely pure in arch; the nose straight and fine; the lips—playful slightly, proud, unerringly cut; the hair flowing in sequent waves, ordered as if in musical time; head perfectly upright on the shoulders; the height of the brow completed by a crimson frontlet set with pearls, surmounted by a fleur-de-lys.
Her shoulders were exquisitely drawn, her white jacket fitting close to soft, yet scarcely rising breasts; her arms singularly strong, at perfect rest; her hands, exquisitely delicate. In her right, she holds a branching and leaf-bearing rod, (the syllogism); in her left, a scorpion with double sting, (the dilemma)—more generally, the powers of rational construction and dissolution.