Bridgewater.
* * * * *
"EMBLEMATA HORATIANA."
Whatever may be proposed as to republishing works of English emblems, the
work published in Holland with the above title at all events deserves to be
better known. All the English works on the subject I ever saw, are poor
indeed compared with the above: indeed, I think most books of emblems are
either grounded or compiled from this interesting work; which is to the
artist a work of the deepest interest, since all the designs are by Otho
Venius, the master of Rubens. Not only are the morals conveyed lofty and
sound, but the figures are first-rate specimens of drawing. I believe it is
this work that Malone says Sir Joshua Reynolds learned to draw from: and if
he really did, he could have had nothing better, whatever age he might be.
"His principal fund of imitation," says Malone, "was Jacob Cat's book of
emblems, which his great-grandmother, by his father's side, who was a Dutch
woman, had brought with her from Holland." There is a small copy I think
published in England, but a very poor one: the original work, of which I
possess a portion only, is large, and engraved with great care. And I have
often thought it a pity such an admirable work should be so scarce and
little known. Whoever did it, it must have occupied many years, in those
slow days, to make the designs and engrave them. At the present day
lithography, or some of the easy modes of engraving, would soon multiply
it. The size of the engravings are rather more than seven inches. Many of
the figures have been used repeatedly by Rubens, and also some of the
compositions. And though he is certainly a better painter, he falls far
short in originality compared with his master; and, I may add, in richness
of material. I should say his chief works are to be found in that book. One
of my leaves is numbered 195: so I should judge the work to be very large,
and to embrace a variety of subjects. Some of the figures are worthy of
Raffaelle. I may instance one called the "Balance of Friendship." Two young
men have a balance between them; one side is filled with feathers, and the
other with weightier offerings: the meaning being, we should not allow
favours and gifts to come all from one side. The figures have their hands
joined, and appear to be in argument: their ample drapery is worthy of a
study for apostles.
"Undertake nothing beyond your Strength" is emblemised by the giants
scaling the heavens: one very fine figure, full of action, in the centre,
is most admirably drawn.
"Education and Habit" is another, full of meaning. Two dogs are running:
one after game, and another to a porringer. Some one has translated the
verses at the bottom on the back of the print as follows. This has a fine
group of figures in it:
"When taught by man, the hound pursues
The panting stag o'er hill and fell,
With steadfast eyes he keeps in view
The noble game he loves so well.
A mongrel coward slinks away,
The buck, the chase, ne'er warms his soul;
No huntsman's cheer can make him stay,
He runs to nothing, but his porridge bowl.
Throughout the race of men, 'tis still the same,
And all pursue a different kind of game.
Taverns and wine will form the tastes of some,
Others success in maids or wives undone.
To solid good, the wise pursues his way;
Nor for low pleasure ever deigns to stay.
Though in thy chamber all the live-long day,
In studious mood, you pass the hours away;
Or though you pace the noisy streets alone,
And silent watch day's burning orb go down;
_Nature_ to thee displays her honest page:
Read there--and see the follies of an age."
The taste for emblemata appears to have passed by, but a good selection
would be I think received with favour; particularly if access could be
obtained to a good collection. And I should like to {615} see any addition
to the REV. J. CORSER's list in the Number of the 14th of May.