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Tamoskaro-2 Directory 20
Page 06
Two months passed, and the weather was becoming cold. The old man was up earlier than usual one morning; still he seemed more feeble. He tottered about the cabin, his frame shook and trembled, and his whole system seemed to be under some new excitement. He had formed a strong attachment for Tite, whom he now approached with his hands extended. "Like you," he said, grasping his hand firmly and looking up imploringly into his face, "I was young and handsome once. I am old and ugly now. Crime has written its ugly finger all over my face; has thrust its poison into this poor heart of mine. Never let it lay one ugly finger on your face. Make yours a life of joy, so that you may die happy. Oh, these poor old gray hairs of mine, this head that has sinned so much." And he raised his hard, bony hand to his head, and tossed the long white hair back over his shoulders.
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.
During Scipio's absence in Africa a formidable insurrection had broken out in Spain; but on his return it was speedily put down, and terrible vengeance was inflicted upon the town of Illiturgis, which had taken the principal share in the revolt. Scarcely had this danger passed away when Scipio was seized with a dangerous illness. Eight thousand of the Roman soldiers, discontented with not having received their usual pay, availed themselves of this opportunity to break out into open mutiny; but Scipio quelled it with his usual promptitude and energy. He crushed the last remains of the insurrection in Spain; and to crown his other successes, Gades at last surrendered to the Romans. Mago had quitted Spain, and crossed over into Liguria, to effect a diversion in favor of his brother Hannibal, and there was therefore now no longer any enemy left in Spain.
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