The poets feign that Vulcan attempted the chastity of Minerva, and
impatient of refusal, had recourse to force; the consequence of which
was the birth of Ericthonius, whose body from the middle upwards was
comely and well-proportioned, but his thighs and legs small, shrunk,
and deformed, like an eel. Conscious of this defect, he became the
inventor of chariots, so as to show the graceful, but conceal the
deformed part of his body.
EXPLANATION.—This strange fable seems to carry this meaning. Art is
here represented under the person of Vulcan, by reason of the various
uses it makes of fire; and nature, under the person of Minerva, by
reason of the industry employed in her works. Art, therefore, whenever
it offers violence to nature, in order to conquer, subdue, and bend
her to its purpose, by tortures and force of all kinds, seldom obtains
the end proposed; yet upon great struggle and application, there
proceed certain imperfect births, or lame abortive works, specious in
appearance, but weak and unstable in use; which are, nevertheless,
with great pomp and deceitful appearances, triumphantly carried about,
and shown by impostors. A procedure very familiar, and remarkable in
chemical productions, and new mechanical inventions; especially when
the inventors rather hug their errors than improve upon them, and go on
struggling with nature, not courting her.