The meaning of the design is not easily discoverable by moderns ignorant of all the circumstances environing the artist. It might typify the triumph of harmony over discord; it might refer to the ascendancy acquired by one acquaintance of the artist over another-the ruled being a powerful man, the ruler a puny creature. It might, through the names of the actors, satirize two individuals easily recognized by their fellow-citizens. It might be the embodiment of a graceful whim. A bird with a goat's head, holding down a cock's head with one claw, while with two hands she wields an axe to behead him, is supposed to represent the murder of Agamemnon, through his wife's treachery. In the Museum of Berlin is a stone on which is engraven a mouse dancing with all his might, while a cat makes music for him on a double flute. Another has a bear playing a tune for a squirrel. What if the mouse or squirrel represent the populus Romanus, the music, Circenses, and the cat or bear the tyrant who amused and devoured the people? In one graceful combination of foliage and scrolls a serpent rearing itself upright on its lower folds, and presenting very graceful contours, is conversing with a rat seated on a small shield, which rests on a twig curling upwards. In the Florence Museum there is a jasper-stone on which is delicately carved a fox seated in an antique chariot, whip in paw, and drawn by two cocks whom he governs by reins. The meaning is pretty obviousvigilance triumphantly conducting cunning, or cunning needing vigilance to succeed in life. Two others of this description are probably either special political allegories or mere pleasantries -a lion drawn by two cocks, and a dolphin, whip in mouth, urging on two caterpillars harnessed to his car. Continuing our explorations among the engraved stones, we come on a stork going to the wars, stepping out on one leg, and with the claw of the other shouldering a cross-bow. Near this, in the Museum of Florence, is a weary cricket travelling along the highway, and supporting two bundles with a stick resting on one shoulder. He has just stopped to examine the shadow on a sun-dial. Then there is a ploughing scene-one bee acting as ploughman and two others yoked to the beam. Grasshoppers have much business on hands, ringing bells as town-criers, and extracting music from Pandean pipes and lyres. Alluding to folk who will find fixed purposes in all the caprices of fancy, M. Cæsar Famin justly observes : "It frequently happens that commenhidden sense which was not in the intention tators exhaust themselves discovering a of the ancient artists. "The artists who painted the frescoes and arabesques in the tricliniums, and the boudoirs of Bais, of Pompeii, and of Herculaneum, abandoned themselves to all their unrestrained caprices, and the irregular flights of their ideas. They only sought to flatter the master's taste without once troubling themselves about the morality of art. "The commentators injure the interest of art by bringing forward violent and far-fetched explanations. It is better to leave an antique subject in that state of vague mystery which has a much greater charm for the amateur than this conflict of learning and mere science which is neither error nor truth.” NOXIOUS INSECTS IN AMBER. It is to be feared that the author of La Caricature Antique is not to be found among the devoted partisans of the Second Empire. A couple of statues representing the ferocious Caracalla as a wretched little dwarf,in one case attired as a gladiator, in the other distributing cakes to his soldiers, have been discovered, and have given him occasion to vent his indignation against all irresponsible power. Caracalla, we know, attempted the life of his father here in Britain, and murdered his brother Geta in the arms of his mother. Such were his cruelties and oppressions that he had not an attached subject, his soldiers excepted. These he pampered at the expense of the civilians, hence the little, villanouslooking, bow-legged dwarf distributing the cakes. Our author will have it that one of his wronged subjects executed the caricature statues, in order that those of after times might say, "this is the image of an emperor, the execrated of his people." Nearly three pages are devoted to denunciations of Commodus, who "had directed the publishing of the catalogue of his debaucheries and his cruelties." The reader may judge of "Admirable cry of revolt! It is a solace to hear such a noble cry. We breathe with expanded lungs; the oppressed rouses himself; and the indignation which escapes from his breast, makes the hearts of his fellow citizens palpitate. There are instances when revolt is even sublime, and brings forth these imprecations which belong not to popular art, but that art which is according to Shakespeare." In another part of the volume he observes how the old stone-artists of the middle ages permanently fixed the caricatures of obnoxious monks in convenient portions of the abbey and church walls without disturbing the quiet of church authorities, and how caricature of public men and measures in England may take any proportion it pleases without exciting the fear or resentment of the government. All this evidences smothered resentment, which would explode if opportunity served. An engraving is given in the volume, apparently a caricature of Apollo receiving the brave old Centaur Chiron at Delphi, and restoring him to sight and vigour-the original painted on a vase, being in the possession of William Hope in London. Portions of the design are worthy of the pencil of a Chinese artist. Apollo himself in the robe of a charlatan, at the top of his stage ladder, partially bald and rejoicing in a huge nose and thick lips, with tufts of hair and beard black as the raven's wing, is pulling up poor old Chiron, represented by two men, one of whom presents the body and hind legs of the horse. The anxious vulgar character of Apollo's face, his blubber lips, and scrubby black beard, give him a ridiculous resemblance to Sancho Panza. He and the hindmost man wear full-skirted black-bordered frocks, hardly reaching the thigh, and the legs are covered with a sort of pantaloons made rather loose. Long essays have been written on the subject matter of this composition, and recondite significations extracted from different portions of it by German and French scholars. But in truth it seems nothing more than what one gifted with ordinary judgment might pronounce it-an irreverent parody, in the spirit of Lucian, of a religious ceremony. The very remembrance of the ludicrously fussy visage of Sancho Apollo is sufficient to excite a laugh in any one who has seen vase or engraving. We find nothing like the chastened and exquisite humour of our modern Doyles, our Leslies, our Leeches, and our Wilkies, in these satiric or purely comic relics of Rome or Greece. The character of the ancient humour may be gathered from the masks so expressive of whatever feeling dominated the characters for whom they were intended; every thing was vigorous, coarse, and undisguised. True delicacy was rare; it would, in fact, have been hardly intelligible to the ordinary pagan mind. We find the Assyrians, when they wished to present a true moral portrait of a great man, giving him the body of the lion or bull, intimating thereby his strength, his resolution. The Egyptians worshipped their divinities under the semblance of irrational animals, and this animal nature became in their eyes superior to that merely human. So in their represen tations of men they spiritualized and ennobled the seat of intelligence by substituting the head of a hawk, or dog, or fox, for that of the human creature. The Greeks derived much of their religion and philosophy from the Egyptian sages, hence the different personages sharing the human and brute natures, such as the Centaur, the Satyr, the Faun. Some statuettes have been discovered in the Roman territories representing senators in their togas with rolls of *The place to which the corpses of the gladiators were dragged in order to be stripped (spoliata). parchment, and presenting, where the human face divine ought to be, the head and muzzle of rat or bear. In introducing the subject of these mixed figures, the author furnishes a specimen of Gallic licence even on the most sacred topics. "The Bible teaches us that in the primitive formation of creatures, man was created last, an object the most perfect that could be realized. We see nature serve a sort of apprenticeship, grope along, go sometimes astray, give being to monsters, check itself, find forms better balanced, produce admirably endowed animals from the earth, and always march from progress to progress, until the seventh day, when the master workman might take his repose, having created his chief handy work, man.' This bit of serious irreverence will recall to the admirers of Burns a distich alluding to the creation of man and woman, and awarding the greater glory to Eve; but the Scot might claim a privilege in right of his verse and his frolic to which the Frenchman is by no means entitled. THE ANCESTORS OF THE LILLIPUTIANS. The representations of the wars of the Pygmies and Cranes in old frescoes were not in many cases intended for caricature. Homer probably believed in the existence of the little folk when he was describing the descent made on them by the birds. Pliny thought he found traces of them in Thrace, Asia Minor, India, and Egypt. In the last-named place they were at extremities with these birds for picking up the seed. Unfortunately our philosopher was somewhat credulous, and we are not surer of the existence of the poor little people than of those others mentioned by him-the dogheaded race, the mouthless race, or those who had two pupils in one eye, and the effigy of a horse in the other. Here is his account of the Pygmies. "At the extremities of the mountains of India are settled the Pygmies, who are only twenty-seven inches in height. They enjoy a salubrious atmosphere and a perpetual spring, defended as they are by the mountains against the north wind. It is said that, being mounted on the backs of rams and goats, and armed with bows and arrows, all come down in the spring to the sea shore, and eat up the eggs and the young of cranes. This expedition endures for three months, and were it not made, they could never withstand the increasing multitudes of these birds. Their cabins are constructed with mud, and the egg-shells and feathers of the birds." Legends of dwarfs are rife among the Teutonic nations, and in the early Celtic stories they also figure, but to a less extent. These accounts may be far-off echoes of the recollections of the earliest races spread over Europe, small of stature, and using implements of flint and bone. Their frequent mention in terms of disparagement among the classic writers may arise from the ill-feeling borne to dwarfs and mis-shapen jesters, kept about the houses of chiefs and kings, and privileged to say all manner of biting things to painters, parasites, poets, and partizans. Possibly the poets and painters, in order to avenge their wrongs, invented the Pygmy race, and represented them as in continual fear of an inoffensive and unwarlike bird. In the frescoes we find them encumbered with huge helmets and shields, poising their javelins in act to throw, or piercing the breasts of the pestilent fowl, while not a few are sprawling at the mercy of the claws and beaks of the tall foe. In some pictures they are represented as bald weakly creatures, dwelling on the Nile-banks, and conveying oil in jars to some market in their little boats; the hippopotamus opening his big mouth, figures in some of these designs, and in one instance a crocodile is making a mouthful of one poor fellow, while two of his friends seem to utter piercing cries on a neighbouring rock. The little men were at the disposal of every satirist to sharpen their bitter jokes. Palladas thus uses them to throw contempt on a certain Caius more than suspected of cowardice. "When they are recruiting an army to contend with the gnats, the beetles, the blue bottles, the mounted fleas, or the frogs, tremble, O Caius, lest you be enrolled as a soldier worthy of such enemies! But if the call is for worthy men, for men of The Romans courage, be at rest, fear not. make no war on cranes, nor enlist pygmies." The poet Julian thus counselled another of Caius' tribe : "Remain, remain in the city, lest you be assailed by some crane, eager for the blood of the pygmies." The old Roman satirist and the Kerry satirist of yesterday, managed their weapons alike. A shopkeeper of Tralee, learning that the Banshee had been heard crying the night before in his neighbourhood, expressed fear of sudden death occurring to his neighbours or himself. "Make your mind easy," said the local poet, "the Bean Sighe wails but for the O'Brien, the O'Donoghue, the MacCarthy Mhor, or such like. The Tralee shopkeeper may listen to her lamentations without fear." Several of the interiors of Herculaneum were painted with landscapes, in which the little fellows pursued their rural occupations among buildings resembling feudal keeps, chapels, monuments of the dead, gigantic toadstools, and cypress trees; dogs and domestic fowl disporting among them. Three or four charming little sketches are given of these views in the book, as well as of drinking vessels, round the rims of which the little troops are engaged in conflict. The old pagans were no laggards about the wine-cup. The goblets represented are fashioned like rams' or boars' heads, the shut mouth at the lowest point of the vessel when full; so the toper was obliged, as the cup necessarily lay upon its side except when supported, to take his drink at one breath, or at least keep the vessel in his hand -a singularity easily detected-till the contents were drained.* THE CERAMIC ART IN GAUL. Some years since, under the pas tures in the neighbourhood of Moulins, were discovered the ruins of an ancient Romano-Gallic pottery. There were the furnaces, poorly executed figures of Venus, Minerva, Lucina, and other goddesses and gods, and a considerable supply of monkeys! Contrary to what might be expected, there is no symptom of the ordinary restlessness of these animals visible. They are as staid as senators, one hand generally laid over the stomach, the other over the nose or under the chin; sometimes both that the still attitudes were adopted hands over the nose. It is supposed for the more easy and quick execution by workmen of little skill. One of these little animals was certainly designed by a master-hand. He is furnished with a cowl descending low on his forehead, and going up into a point, tied under his chin and falling over his shoulder. Sitting on with head bent forward, and hands a little pedestal in a musing posture, resting on knees, and all this taken in unison with his concave nose and projecting mouth, he presents one of the pleasantest and drollest little figures that can well be fancied. The waters of Vichy were known even in the pagan times to possess healing qualities. The patients finding relief from them, were accustomed to set up a little image of the god of laughter in gratitude for their cure. Smiling capuchined little images of and other parts of France. But if Risus have been discovered in Vichy, we owned the contemplative little monkey, conceived in the genuine spirit of humour, we would not exchange him for a dozen smirking little gods of laughter. OUR OWN LEGACIES (?) TO FOSTERITY. These remains of the ludicrous and satirical with which we have been occupied, existed within a period, the farthest point of which is separated from us by upwards of three thousand years, the nearest by fifteen or sixteen centuries. Could we reasonably expect the best productions of our satiric artists in stone, or colours, or mere outlines on walls, to endure for such a period? We possess few satirical pieces in plaster, and if we did they would hardly exist for a centuryjudging from the illustrations in St. Stephen's. We have no caricatures in stone, and not many in china or delft. Those we possess on canvas or panel will scarcely be extant four centuries Literature and art have swarmed with diminutive beings since their origin. Allegorical designs still abound with little naked boys. Books of science and art have their frontispieces well supplied with very young navigators, artisans, &c., all busily engaged. Painters of sacred subjects crowd the air with little angels. Our legendary literature is enriched with the darling little fairies. Even children delight in dressing little dolls. Love of little pets is the primary cause. hence. The only thing we can depend on to furnish that South Sea Islander of whom we are heartily tired, with an idea of our style of caricature, are our engravings after Wilkie and Leslie and others, and our wood cuts so lavishly flung on his country by Mr. Punch's artists. Our confidence in the future curators of the British Museum is great, but it is evident from Macaulay's prophetic picture, that fire, or storm, or water, will have done their worst on that useful institution before the Polynesean gentleman arrives. All this is uncomfortable enough, but it is scarcely wise to trouble ourselves excessively about the state of things in the fortieth generation hence. Meanwhile let us acknowledge that long ago there were "pretty fellows," and skilful hands, and thoughtful and clear heads in the world, and no interruption of thinkers and workers, since the pile was raised on Shindar. Let us not entertain exaggerated opinions of our own superiority, but give due honour to the thinkers and workers of early times, and feel grateful to the filial and reverential care of those who have helped to preserve the results of their genius, skill, and diligence, and thus enabled us to mark the progress of philosophy, science, and art, during the succession of ages. THE AUTHOR OF ANCIENT CARICATURE." Let us say a word in conclusion of the author whose book we have introduced to the British public in the foregoing pages. M. Champfleury, author of sundry novelettes, and critical pieces on artistic and dramatic subjects, was born at Laon, 10th September, 1821. His grandfather changed the family name to Fleury, so his present representative saw no evil in eking out the new property by an additional field. Thus our author's descendants, if such exist, will be Champfleurys till some better title suggest itself. He seems to have earned the title of Petit Drole at school, and has left us the woes of his master and his own knavish tricks on record, in the "Sufferings of Professor Delteil," the only one of his works we have met with in an English dress. Having rested from his fatigues for six months, and then rendered some very unsatisfactorily assistance in his father's printing-office, he returned to Paris, and joined that thoughtless and merry band of literary Bohemians, whose sayings and doings are so pleasantly and graphically recorded by poor Henri Murger, one of the initiated. He feelingly described the career of an engraver of the fraternity whom he called "Chien Caillou." He Several tales were written by him in succession, many distinguished by bonhommie and apparent artlessness, and sympathy with the aspirations and feelings of the lower classes, but others quite unfit for perusal. also employed himself in the construction of pantomimes and other dramatic pieces. He contributed to Le Corsaire, L'Artiste, La Revue de Paris, L'Evenement and La Voix du Peuple, Mr. Proudhon's paper. "Les Oies de Noël" (Christmas Geese) appeared in this last periodical in the very crisis of the '48. One evening during that feverish time, taking some refreshment in a low restaurant, and a heedless companion letting his name escape, an ouvrier with long beard and of a very truculent countenance, approached him from neighbouring table. "Is your name Champfleury?" "Yes." "Are you the author of the 'Oies de Noël ?' "Yes." "Sacre bleu, but I must embrasse you. I read your feuilleton every day: it is superb. Come, don't stand on ceremony! Embrassemoi!" a In his "Confessions de Sylvius" he has recorded his Bohemian experiences. Among his chief productions are his "Essai sur les Frères Lénain Peintres de Laon," "Une Etude sur Balzac," Contes Posthumes de Hoffman," and "M. de Bois d'Hyver," perhaps his most characteristic work, which appeared in La Presse, 1856. As mentioned already, none of his works have been translated into English except the Miseries of Mons. Delteil," a most amusing book for boys. Our invariable rule with regard to foreign literature is, not to take as subject of a paper any work which has already appeared in a translation. |