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Gallegallo Revbrandia Sectory 08
Page 08
Another circumstance will illustrate the manners of the times. L. Flamininus, the brother of the conqueror of Philip, and Consul in B.C. 192, took with him into Cisalpine Gaul a beautiful Carthaginian boy, to whom he was attached. The youth complained of leaving Rome just before the exhibition of the games of the gladiators. Shortly after reaching the province, when Flamininus was feasting with his favorite, a Boian chief came into the Consul's tent to implore his protection. Flamininus seized this opportunity to please the boy, and, telling him that he should be rewarded for not seeing the gladiators, he ordered an attendant to stab the Gaul, that his favorite might enjoy the dying agonies of the man.
Against the right-hand wall are two lady-helps, each warming a towel at a glowing fire, to be ready against the baby should come out of its bath; while in the right-hand foreground we have the levatrice, who having discharged her task, and being now so disposed, has removed the bottle from the chimney-piece, and put it near some bread, fruit and a chicken, over which she is about to discuss the confinement with two other gossips. The levatrice is a very characteristic figure, but the best in the chapel is the one of the head nurse, near the middle of the composition; she has now the infant in full charge, and is showing it to St. Joachim, with an expression as though she were telling him that her husband was a merry man. I am afraid Shakespeare was dead before the sculptor was born, otherwise I should have felt certain that he had drawn Juliet's nurse from this figure. As for the little Virgin herself, I believe her to be a fine boy of about ten months old. Viewing the work as a whole, if I only felt more sure what artistic merit really is, I should say that, though the chapel cannot be rated very highly from some standpoints, there are others from which it may be praised warmly enough. It is innocent of anatomy-worship, free from affectation or swagger, and not devoid of a good deal of homely naivete. It can no more be compared with Tabachetti or Donatello than Hogarth can with Rembrandt or Giovanni Bellini; but as it does not transcend the limitations of its age, so neither is it wanting in whatever merits that age possessed; and there is no age without merits of some kind. There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor.
Yes, I believe that it is right and wholesome to do this, because the most treacherous and cowardly thing we can do is to disbelieve in life. Those old dreams and visions were true enough, and they will be true again. They represent the real life to which we must try to return. We must try to build up the conception afresh, not feebly to confess that we were all astray. We cannot abolish evil by confessing ourselves worsted by it; we can only overcome it by holding fast to our belief in labour and order and peace. It is a temptation which we must resist, to philosophise too much about war. Very few minds are large enough and clear enough to hold all the problems in their grasp. I do not believe for an instant that war has falsified our vision of peace. We must cling to it more than ever, we must emphasize it, we must dwell in it. I regard war as I regard an outbreak of pestilence; the best way to resist it is not to brood over it, but to practise joy and health. The ancient plagues which devastated Europe have not been overcome by philosophy, but by the upspringing desire of men to live cleaner and more wholesome lives. That instinct is not created by any philosophy or persuasion; it just arises everywhere and finds its way to the light.
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