Thus, when the peasants of Cardigan, who were not versed in Pontine architecture, looked on the bridge which the monks of Yspitty C’en Vaen had thrown across the torrent of the Monach, they could not believe it a work of human, but of infernal, hands, and called it the “Devil’s Bridge.”
On my ascent of the Vann mountain in Brecon, there often came a mass of limestone rolling down the precipice. “Ah sure,” said the old shepherd, who was watching his fold on the mountain-side, “the fairies are at their gambols, master, for they sometimes do play at bowls with these chalk stones.” Such was his explanation; but, on my gaining another ridge of the Brecon Beacon, I startled a whole herd of these fairies, who scudded off as fast as their legs could carry them, having first changed themselves into a flock of sheep.
There was once a caravan journeying from Nubia to Cairo, which met the Savans attending on the expedition of Napoleon into Egypt, among whom was Rigo, the painter. Struck with the deep character of expression in the face of one of the Nubians, Rigo induced him, with gold, to sit for his portrait. The African sat calmly perusing its progress until the laying on of the colours, when, with a cry of terror, he rushed from the house, and, to his awe-struck companions, affirmed that his head and half his body had been cut off by an enchanter. And this impression was not solitary, for an assemblage of the Nubians were equally terror-struck, and (somewhat like those monomaniacs who refuse to drink water which reflects their faces, believing that they are swallowing their friends,) could never be dispossessed of the notion that the picture was formed of the loppings and toppings of the human frame.
We believe these influences the more, because we see that, even to some few men wiser than they, a leaning to superstition will warp a simple fact into a wonder; and that mere sensitiveness of mind may work as great a fear.
Suetonius tells us that Caligula and Augustus were the most abject cowards in a thunder-storm; and the bishop of Langres D’Escaro fell in a fainting-fit whenever an eclipse took place,—a weakness which at length proved his death.
There was an old house in Angoulême, the “Chateau du Diable,” on the spot where the sable fiend was wont to repair to enjoy his moonlight walk. The house was never finished, for the devil, jealous of this usurpation, like Michael Scott’s spirit, destroyed every night the walls which had been erected during the day. At length the men abandoned their work in despair. On the twenty-fifth night in May (1840), the ruined windows seemed on an instant in brilliant illumination, which struck the inhabitants of the little village of “Petit-Rochford” with wonder and dismay. Some dauntless heroes, however, sallied forth with weapons to storm the enchanted castle. In an upper room, lighted by eight blood-red wax candles, they discovered a man of a strange and melancholy aspect, tracing cabalistic figures on the sanded floor. He was conveyed to the maire, and was proved to be a poor sawyer, named Favreau, who, bound by a superstitious oath, self-administered, had thus created a sensation of terror throughout a whole community.
In the records of the Harleian Miscellany, the curious reader may discover one which might impress his mind with some terrific ideas of the natural history of the south of England in the seventeenth and eighteenth centuries. It is styled, “The True and Wonderful.” The portion of the MSS. to which I allude is the “Legend of the Serpent of St. Leonard’s Forest.” This terrific legend of my own native town was a favourite of my boyish days; it has moulted some feather of its once awful interest, and is now but the shadow of a memory; and those who were once converts to its reality, now laugh the legend to scorn.
ILLUSIONS OF ART.
“If in Naples
I should report this now, would they believe me?”