RECORDING IMP.
ST. KATHERINE’S,
REGENT’S PARK.
(Initial added).aving examined the various lower forms given by man to his great enemy, and now noting that to such forms may be added the human figure in whole or part, we will next take in review a few of the sins which bring erring humanity into the clutches of Satan; for we find some of the most grotesque of antique carvings devoted to representation of what may be called the finale of the Sinner’s Progress. These are probably largely derived from the Mystery Plays; for the moral teaching has the same direct soundness. The ideas are often jocosely put, but the principle is one of mere retribution. The Devil cannot hurt the Saint and he pays out to the Wicked the exact price of his wrong-doing. Thus in nearly all of what may be termed the Sin series there is a Recording Imp who bears a tablet or scroll, on which we are to suppose the evil commissions and omissions of the sinner are duly entered, entitling the fiend to take possession. This reminds of the Egyptian Mercury, Thoth, who recorded upon his tablets the actions of men, in order that at the Judgment there might be proper evidence.
The Unseen Witness, Ely.
The Account Presented. Satan Satisfied. The Record of Sin.
There is a series of carvings, examplified at Ely, New College, Oxford, St. Katherine’s (removed from near the Tower to the Regent’s Park) and Gayton, which have Satan encouraging or embracing two figures apparently engaged in conversation. I have placed these among the Sins, for though no very particular explanation is forthcoming as to the meaning of the group, it is clear that the two human beings are engaged in some occupation highly agreeable to the fiend. This evidently has a connection with the monkish story told of St. Britius. One day, while St. Martin was saying mass, Britius, who was officiating as deacon, saw the devil behind the altar, writing on a slip of parchment “as long as a proctor’s bill” the sins which the congregation were then and there committing. The people, both men and women, appear to have been doing many other things besides listening to St. Martin, for the devil soon filled his scroll on both sides. Thus far our carvings.
The story goes further, and states that the devil, having further sins to record, but no further space on which to write them, attempted to stretch the parchment with teeth and claws, which, however, broke the record, the devil falling back against a wall. The story then betrays itself. Britius laughed loudly, whereat St. Martin, highly displeased, demanded the reason, when Britius told him what he had seen, which relation the other saint accepted as being true.
This story is one of a class common among mediæval pulpit anecdotes. It cannot well be considered that the carvings arose from the story, nor the story from the carvings. Probably both arose from something else, accounting for the number of sinners being uniformly two, and for the attitude of the fiend in each case being so similar. With regard to the latter I must leave the matter as it is.
I venture, as to the signification of the two figures, to make a suggestion to stand good until a better be found. In the Mystery Play entitled the “Trial of Mary and Joseph” (Cotton MS., Pageant xiv., amplified out of the Apocryphal New Testament, Protevan, xi.), the story runs that Mary and Joseph, particularly the former, are defamed by two Slanderers. The Bishop sends his Summoner for the two accused persons, and orders that they drink the water of vengeance “which is for trial,” a kind of miraculous ordeal by poison. Joseph drinks and is unhurt; Mary likewise and is declared a pure maid in spite of facts. One of the Slanderers declares that the drink has been changed because the Virgin was of the High Priest’s kindred, upon which the Slanderer is himself ordered to drink what is left in the cup. Doing so he instantly becomes frantic. All ask pardon of Mary for their suspicions, and, that being granted, the play is ended.