[27] Andrew Guelph AND Og of Basan, DISCIPLES of ALDROVANDUS MAGNUS
THE obscure village of Basan, situated on the wilds of Pomerania, gave
birth to Andrew Guelph and to Og, from thence denominated, of Basan.
Andrew's parents were reputable farmers, who tilled their own lands,
and had the comfort of seeing their numerous herds grazing in their
own pastures. Without the delicacies of life, they enjoyed every necessary,
and being ignorant of a higher station were amply contented [28] with
their own. Geoffry Simons, or Sikimonds, the brother of Andrew's mother,
was esteemed the father of Og, tho' there are who assert he was of far
more illustrious extraction; as Prince Henry Suckingbottle and Felt
Marshal Swappingback had passed through his native village some nine
months before his birth, and had honoured his mother with particular
marks of condescension and affability. But whether they really were
his earthly fathers I will not pretend to determine; certain it is that
they stood by proxy as his godfathers, Feb. 3, 1519, in the parish church
of St. Sigismund, and by their desire he was baptized by the name of
Og, common to their illustrious ancestors.
The relationship between Og and An- [29] drew afforded them frequent
opportunities of being together, and the similarity of disposition united
them by much stronger ties than those of blood. Their employments frequently
called them into the fields, and it was in mutually delighting to observe
nature, that they first imbibed the desire of imitating her productions.
Seldom did the sun set before they had engraven on the rocks the resemblance
of some of the shrubs that grew from the fissures, or the likeness of
several of the goats that came to drink at the spring beneath. The desire
of excelling each other produced many surprizing efforts of genius,
and it happened after they had amused themselves almost five years in
covering the neighbouring rocks with their sculptures, that Og's mother
unfortunately lost a sheep, on which she had [30] placed her affections.
Searching for her lost favourite she climbed the rocks, to which her
son and his friend were accustomed to resort. The first object that
struck her eyes was the portrait of the animal she was looking for,
sketched out upon the stone. When she returned home she could not help
relating what she had seen to a Jew, who frequented her house, and who
had been educated a painter. The Jew offered to cultivate the talents
of Og, and Andrew ardently begged to receive his instructions together
with his friend. Their joint request granted, both learnt with the greatest
avidity; but at the end of two years finding they excelled their master,
they entreated their parents for permission to travel to Prague, where
they might improve under so great a [31] painter as the famous Aldrovandus.
The parents consented, and the young men set out in the depth
of winter for Bohemia, and arriving at Prague were received in the manner
I have related by Aldrovandus. After his death they sold a cabinet of
their own and their master's paintings for a considerable sum, and then
set out together for Tyrol, which they had a great desire to see, as
the wildness of the landscapes and the romantic grandeur of the mountains,
promised them excellent subjects for the pencil. A tent, two mules,
and an Hungarian servant (whose portrait Andrew took great delight in
drawing) was all the baggage and suite with which they were encumbered.
During the summer months they roved from one part of this beautiful
country to another; now pitching their [32] tent in a green valley by
a waterfall, now gaining the highlands and living amongst the mountaineers;
whose queer countenances and uncouth dresses furnished them with admirable
studies. The rude scenery of these mountains suited the melancholy of
Og's imagination, which delighted in solitude and gloom. He sequestered
himself from his companion, hid himself in the forests of pines, and
descended into caverns where no one had ever penetrated. Whilst Og was
delivering himself up to his genius in these wildernesses, Andrew, whose
imagination was less fervid, contented himself with the humbler prospects
of the valleys. He took pleasure in the conversation of the peasants,
and on a moonlight evening would take his guitar, and accompanying it
with his voice, enliven the [33] assembled peasants before their simple
habitations. There are said to have been two pictures in the Dusseldorp
collection by his hand, in which he has placed himself at the door of
a hovel, surrounded with a groupe of children; their eyes beaming with
mirth, and looking at a young man, who is capering under the shade of
a beech tree, through whose leaves quivers the light of the moon. On
a bank sit several young peasants, whispering to one another; their
features scarce discernible; their limbs finely proportioned and their
attitudes spirited. Behind lies a wide extended country, concealed by
a beautiful haze; the distribution of light and shade are very masterly,
the tints soft and mellow, and the aërial perspective admirable.
Many connoisseurs give this moon-light the preference to any they have
ever seen. Andrew, during his stay [34] in these vallies, applied himself
to botany, and introduced a vast variety of plants in the foreground
of his landscapes, which he never failed of finishing with the most
scrupulous exactness. Monsieur Van Slingelandt, of the Hague, is in
possession of one of these views from Tyrol, where the artist has faithfully
imitated the cataract of Brawling-bubble, shaded by a variety of trees,
and estimable on account of the innumerable aquatic plants he has placed
on the margin of the torrent. They are coloured with truth, and touched
with such lightness and facility as is truly surprizing. A bridge formed
of the stumps of fir-trees, and a rainbow produced by the spray of the
water, has the finest effect imaginable. The sky is warm and glowing:
several golden clouds envelope the setting sun, whose beams pierce through
[35] the thickets, and partially enlighten the off-skip; but a want
of keeping in the back ground, where the painter has brought some very
distant peaks too near the eye, offends the critical spectator. Andrew
waited near half the summer for his companion, and had nearly given
him up for lost, when one morning, as he was straying by the banks of
a rivulet, be saw a strange figure descending a precipice with wonderful
alertness. judge of his surprize, when shortly after be recollected
the well known features of Og of Basan, most reverently mantled in a
long beard. Andrew desired his friend to quit this savage state, and
then begged to know for what purpose be bad undertaken so wild an expedition.
"For the love of my art," replied Og with some warmth; "I
have beheld nature in her [36] sanctuary, I have contemplated the tempest
gathering at my feet, and venting its fury on these contemptible habitations.
You have idly remained amongst these herdsmen, these unfeeling clowns,
whilst I have discovered the source of rivers and the savage animals
that inhabit them. Here, take my papers and observe what scenes I have
imitated." Andrew took the drawings with impatience and devoured
them with his eyes. "What rocks!" exclaimed the transported
painter; "what energy in the strokes of this pencil!" "Indeed,"
continued he, turning to his friend, who was reciting some lines he
had composed amongst the mountains, "you have acquired a new manner.
Our master Aldrovandus never equalled the magnificent forests you have
represented. Then what harmony [37] in these tints! What a gradation
of shadow! But this sketch exceeds them all. What are these visionary
beings you have introduced? Is not that august figure, bending over
the torrent, Aldrovandus?" He continued a long while to interrogate
his friend, and then began a very serious conversation, in the course
of which they agreed to quit Tyrol and pass into Italy, to make their
talents known, and to cultivate the society of those illustrious painters,
whose fame had reached the very extremities of Europe. This resolution
taken was not long in executing, and passing over the mountains they
discovered the plains of Italy, for the first time, Sept. 1540.
Every city presented to them a multiplicity of objects with which they
were [38] unacquainted. Venice struck them with surprize, and being
long accustomed to scenes of nature, they were astonished, rather than
delighted, with those of art. It was in this city, at this period the
resort of foreigners from every part of the world, they became acquainted
with Soorcrout and Sucrewasser of Vienna, painters of whom we shall
make honourable mention in the subsequent part of our work. These young
men, who had already acquired a considerable reputation by their singular
style of painting, totally different from the manner of Aldrovandus
and his disciples, attempted to depreciate, by a meanness too remarkable
in several great artists, the pictures, and studies which Andrew and
Og of Basan bad brought from the rocks of Tyrol. They deemed them preposterous
and unmeaning, [39] found great fault with the varnish, peculiar to
Aldrovandus, condemned oils in general, and strenuously recommended
white of egg. Not contented with these criticisms, they openly attacked
the memory of Aldrovandus, treated him as a vile plagiary, who copied
nature instead of the antique models, which alone they regarded as the
standards of perfection; besides that, he had never been at Rome, was
ignorant of the divine Raphaello, and, to crown all, was born in Flanders.
Andrew Guelph, conscious of the ridiculous malignity of these assertions,
prudently left the public to decide, whether his paintings ought to
be condemned without trial; but Og of Basan, with his usual violence
of temper, insisted upon an assembly of the conoscenti being
summoned, and claimed the [40] privilege of confronting his works with
those of Sucrewasser and Soorcrout of Vienna. Accordingly the conoscenti
were convoked, a day appointed, and a casino chosen for the rendezvous
of the assembly.
Andrew Guelph prepared his moonlight for the occasion, and Og of Basan
a wilderness, in which he introduced the temptation of our Saviour.
His rivals brought each of them pieces, which they esteemed capital.
Signor Andrea Boccadolce, president of the society, having taken the
chair, and the pictures being placed in a row before him, silence was
proclaimed, and Og of Basan commanded to advance and vindicate the use
his master, Aldrovandus [41] Magnus, had made of nut oil, preferably
to white of egg, defended by Sucrewasser and Soorcrout.
Og of Basan obeyed, and with a modest assurance stepped into the middle
of the assembly, hemmed three times, cast a terrible eye upon his
antagonists,
bowed to the president, and began in the following terms. "Had
I even a third part of my master's merit, I should not without fear
hazard my opinion before so respectable an assembly, distinguished
by their profession, and still more by that rare knowledge, and that
taste
in it, which they have displayed on so many preceding occasions. Imagine
not, illustrious Signors! I am ignorant of my rivals' merit. Their
performances
have doubtless met with no more than deserved ap- [42] plause; and
had the hens of your sacred republic ceased depositing their eggs,
you would
then have unanimously allowed the beauty evident in every stroke; for
they might have been visible; but I must confess the splendor of their
incomparable varnish has bereft me of eyes to examine what, I doubt
not, merits the most exact attention." Here Soorcrout bit his
lip, and Sucrewasser scratched his elbow: Signor Boccadolce whistled
gently,
and the conoscenti looked at one another, as if they had never
thought of this before. Og proceeded. "Aldrovandus, whom the
Duke of Bohemia regretted to his last moments; Aldrovandus, the pupil
of
Hemmeline; Aldrovandus, who obtained the title of Magnus, anointed
his pictures with nut-oil; shew me a more illustrious example [43]
and
I will follow it. Ah! if we could recall this great man from the tomb,
in which I saw him interred, how ably would he defend the cause of
nut-oil.
Had my feeble voice but half the unction of his tongue, I should confound
you partizans of white of egg: I should drive you to despair: Ye
would
hide yourselves from this assembly: Ye would make an omelet of your
eggs and bury them in your own entrails." So saying, the artist
advanced towards his rivals, who retreated in proportion, and, with
a full swing of his arm, tore away the curtain from his picture, and
exposed his wilderness to view. A murmur of applause ran through
the
whole assembly, when they beheld this prodigy of art, where the tempter
stood confessed in all his wiles, and Signor Boccadolce pro- [44]
nounced,
that no varnish but nut-oil could smooth a wilderness, or give so amiable
a polish to the devil's horn. Andrew immediately uncovering his
moonlight,
compleated the astonishment of the spectators and the confusion of
his rivals, who, refusing to disclose their pieces, retired without
delay,
and left Venice the day following. Now all the conoscenti hurried
to compliment our artists upon the exquisite beauty of their performances,
and no other varnish but nut-oil was approved. The sketches they had
brought from Tyrol were purchased with avidity, and most of the nobles
desired them to make finished pictures after these bold designs, and
in a short space of time they found themselves growing exceedingly
rich.
The Pococurante family, in particular, commanded a [45] whole gallery
of paintings, which was to immortalize the mighty deeds of their ancestors.
The interesting conversation of Og of Basan, his natural eloquence
and address, procured him access to the first houses in Venice, where
he
often conversed with strangers, whose discourse was full of the praises
of Rome and Raphael, insomuch that he determined to visit that capital
of the world, and leaving Andrew to finish the Pococurante gallery,
he took the road of Bologna and hastened to Tivoli, whose cascades,
cool grottos, venerable temples and refreshing shades detained him
during the heats, which continued two months. He spent his mornings
in exploring
the subterraneous apartments (many of which he was the first that had
entered) and in copying the grotesques on the vaulted cielings, [46]
of which he published two volumes in folio, elegantly illuminated.
He was very fortunate in his researches after antiquities, having
discovered
some of the most estimable which now grace the Italian cabinets. His
evenings were dedicated to music and the reading of Ariosto, then
lately
given to the world.
A young native of Tivoli, whose name we are ignorant of, was partly
the cause of his lingerings in this enchanted region. Her form was perfectly
Grecian, and the contour of her face exceeded those of the antique Julia;
but it was her taste which captivated the heart of our artist. Like
him she delighted in woods and caverns, and was charmed, like him, with
the ruins that lay scattered over her country. She would often lead
him to meadows of greenswerd, where she had observed some [47] sculptured
marble overgrown with flowers; when the sun had cast his setting gleams
on the Sybil's temple, she would hasten to her love and conduct him
to a grove of cypresses, and sing under their shades till the moon dimly
discovered the waterfalls to her view. Then they would seat themselves
together on the brink of the stream which runs foaming through the valleys,
and when an universal stillness prevailed, interrupted alone by the
waters and the bell of some distant monastery, she would select those
stanzas in the Orlando which expressed her passion, and repeat them
with rapture. Many are the nights they passed together, and many the
mornings when they ascended the cliffs, and beheld the sun rising behind
the towers of Rome. At length Og recollected, he was born not to spend
all [48] his days at Tivoli, and whilst his beloved nymph was sleeping
by his side, be arose, and without venturing to cast one look behind,
fled like a criminal towards Rome: But let us leave him a prey to his
guilty reflections, and represent the distraction of the unhappy maid,
who awoke never to recover her lost happiness. At first she imagined
her lover in the neighbouring thicket, and putting aside the brambles
with her tender arms, searched every brake in vain. She lifted up her
voice, and filled all the valley with her cries. She ran in all the
wildness of grief to the river, and her troubled imagination represented
the body of her lover floating down the floods. A peasant, who was trimming
his vines, perceived her agitation, and running towards her, asked her
the cause of her affliction. [49] She described her lover in such a
manner as to admit of no doubt, and the peasant declared he had seen
him at the first dawn on the way to Rome. She started: A cold tremor
seized her whole frame: She would have fallen had not an aged pine sustained
her. She opened once more her eyes, and casting a last look on the scenes
of her former happiness, plunged headlong into the tide, and was seen
no more. Whilst this new Olimpia* added another victim to love, her
Bireno was graciously received by the Cardinal Grossocavallo, who lodged
him in his palace and presented him to his Holiness, who was pleased
to command two altar-pieces, and to name two famous miracles for their
subjects; the one St. Dennis bearing his own head, in- [50] tended as
a present for the King of France; the other St. Anthony preaching to
the fishes, which was to be sent to Frederick the Simple, King of Naples.
Og succeeded wonderfully in both performances. The astonishment in the
head at finding itself off its own shoulders was expressed to admiration,
and the attitude of the blessed St. Dennis as natural as that of any
man, who ever carried such a burthen.' In the second picture he placed
St. Anthony on a rock projecting over the sea, almost surrounded by
shoals of every species of fish, whose countenances, all different,
were highly expressive of the most profound attention and veneration.'
Many persons fancied they distinguished the likeness of most of the
Conclave in these animals; but this is generally believed to be a false
observa- [51] tion, as the painter had no pique against any of their
Eminences. What, however, gave rise to this idea, was, as I learn from
the best authority, some dislike he entertained against Cardinal Hippolito
d'Est, on account of his stupid treatment of his beloved poet Ariosto.
He was even heard to repeat one day, when this Cardinal was advancing
towards him, the following line from the Orlando:
Vi venia a bocca aperta il grosso tonno.
After he had finished the altar-pieces above-mentioned, and presented
them to his Holiness, he desired permission to study the works of Raphael,
dispersed in the apartments of the Vatican. So reasonable a request
was not denied, and our artist, permitted to visit every part of this
immense palace, spent two months in straying through the vast saloons,
exa- [52] mining the antiques with a critical eye, and copying the paintings
of Raphael. Charmed with the solitude of many of the coved halls in
this stupendous edifice, he frequently retired to them with a few books
he had chosen from the famous library, and his own volumes of designs.
It was with difficulty he could he forced from his retirement to take
the necessary sustenance. Thus delivered up to meditation, he composed
a treatise upon his art, and a dissertation upon the plurality of worlds,
not published till after his death. He was perfectly serene whilst occupied
in this manner; but when his treatise and dissertation were ended, and
his designs after Raphael completed, he abandoned himself to a melancholy,
which overcast all his happiness. He would now walk by moonlight through
[53] the lonely galleries, and revolve in his mind the instability of
human grandeur. The magnificence of the ancient Romans reduced to heaps
of mouldering ruins, objects continually before his eyes, reminded him
of the fall of empires, and this idea was attended by a series of others
still more gloomy. "So many great characters (said he, as he was
reading Tacitus on the capital of a broken column) passed away like
fleeting clouds, of which no traces remain, fill me with the most interesting
reflections. Where now are those crouds, which assisted at the dedication
of the capitol, that rended the air with their acclamations at the triumphs
of Pompey, that seated at the table of Lucullus? All are no more. The
time too must come, when these halls will be levelled with the plain,
these [54] arches fall to the ground, and that awful period may also
arrive when the moon shall cease to cast her gleam over their ruins."
The recollection of Tivoli now stole insensibly into his mind: He grew
troubled, and reproached himself a thousand times with having deserted
one who had sacrificed all for him. Tho' he was ignorant of her sad
fate, the delicacy of her sensations recurred to his memory with innumerable
circumstances, which revived all his former tenderness, and many dreadful
suspicions haunted his fancy. If he slept, his dreams represented her
in the well-known woods wailing as in anguish, or on the distant shore
of rapid torrents beckoning him to console her in vain, for the instant
he attempted to advance, tempests arose, and whirlwinds of fire snatched
her screaming [55] from his sight. Often he imagined himself reclining
by her side in meads of flowers, under a sky of the purest azure, and
suddenly she would become ghastly pale, and frowning on him, drive him
to a flood that rolled its black waves between terrifying precipices,
and dashing into its current drag him after her, and then he would wake
in horror, crying, I drown! I drown!" Indeed he seems to have been
selected as an example of divine vengeance. Alone in this great capital,
without a friend to administer consolation, or sustain his sinking spirits,
he returned to Tivoli , fully resolved to make every reparation to her
who had placed such unmerited confidence in his perjured breast. But
ye who have any sensibility, figure to yourselves the poignancy of his
grief, when the first object [56] he beheld was a young man, the brother
of her he bad loved, and who had lately taken the monastic habit, shuddering
at his sight, and exclaiming, "Avaunt, wretch! my sister plunged
into that torrent for thee-for thee she is lost forever-and scarce three
days did my mother survive her. Thou too shouldst join them, or I would
die a thousand deaths, did not my order forbid me to vindicate my wrongs.
'Tis to my future hopes thou owest thy present safety; but be gone,
lest I break my vow, and sacrifice thee to my revenge." Cowardice
generally accompanies guilt: Og, terrified at the resolute aspect of
the young man, and appalled by the lively sense of his wrongs, retired
without making any reply, and remounting his horse, which he had led
when he ascended the steeps of Tivoli, [57] galloped away with astonishing
swiftness, without determining where to direct his route. In every passing
wind, be fancied be beard voices upbraiding him with his crimes, and
cries denouncing vengeance seemed to issue from every thicket be left
behind. At length, harrassed by continual fears, be stopped towards
the close of the evening, near the sepulchre of Cecilia Metella, and
throwing himself from his wearied horse, which be left carelessly to
drink at a fountain, sought the interior of the structure. There, beneath
the covert of a solitary pine, he folded his arms and remained till
night in silence, the image of despair. The screeches of noxious birds,
which frequented the edifice, rouzed him from his trance. He started
up, and quitted the ruins with terror, as if he had been per- [58] sonally
guilty of the murder, and without looking for his horse, turned his
steps towards a garden he just distinguished in the twilight. As he
had taken no sustenance the whole day, some branches loaded with fruit,
that bung over the wall, offered themselves opportunely to allay his
hunger. Whilst he was gathering them the moon arose, and discovered
faintly the desolate scene around: There a pillar yet erect with an
humble shed beneath, whose roof leaned on its base: Here a tract of
uncultivated ground strewed with the fragments of superb edifices, long
since laid low: There the remains of fountains and aqueducts, whose
hollow arches still echoed the murmurs of rivulets, which forced their
feeble course with difficulty thro' heaps of mouldering marbles, and
[59] roots of fantastick laurels. Rome lay extended beyond, diversified
by its domes and spires, and marked by a dim haze, proceeding from the
lights in its palaces. Our wanderer listened to the confused sounds
of music, of revelry and triumph, which arose from the numerous habitations,
but it was with disgust. He loathed every thing that was allied to joy,
and abhorred all that bespoke festivity. He remained uneasy till the
uproar ceased, and, when the surrounding regions were hushed in the
most profound tranquility, began his complaints. He was on the very
point of depriving himself of existence, and walked to and fro, agitated
by all the violent emotions of despair. Half the night was spent in
vain lamentations, and the grey twilight was just beginning to be visible,
when, [60] wearied with inquietude, he sunk down on the ground and fell
into a slumber, in which the scene hovered before his fancy: A fictitious
city was stretched out before him, enlightened by a fictitious moon.
The shade of her he loved skimmed along a colonnade, which cast its
shadows on the plain, and then stood leaning on the lonely pillar, uttered
a feeble groan and glided by his side. Her wet garments clinging round
her delicate shape, her swollen eyes and drooping hands, announced a
melancholy fate. She seemed to say, "Why do my affections still
linger on thee beyond the tomb! - Why doth my pale bosom still cherish
its wonted fires! - How comes it that I do not appear riding on a sulphureous
cloud, shaking a torch in my hand and screaming out Perjury! - No! my
[61] gentle nature forbids me to injure thee. But mark! Quit yonder
fatal city; seek the islands of the south, and may'st thou expiate thy
crime!" The form next shed some visionary tears, and seemed to
mingle with the mists of the morning. Og, awakened by the sun beams,
recollected his dream, and without even taking leave of the Cardinal
Grossocavallo, in whose care he had deposited a coffer containing the
rewards of his pencil, heedlessly took the road to Naples, resolving
to pass into Sicily, and end his days in that island.
For the sake of brevity, let us suppose him arrived as far as Naples,
ignorant of any person to whom he might address himself, without money
and ashamed to own himself in distress. This was a mortifying situation
to one who had been [62] accustomed to affluence and familiarized with
prosperity. A kind of false pride prevented his making use of his art
to extricate himself from these difficulties. "What," said
he, "shall I, who have been courted by the nobles of Venice and
the princes of Rome, whose pieces have been sought after by the Holy
Father himself, condescend to offer them to a Neapolitan rabble for
a morsel of bread? But were I to present myself to the King, and implore
his protection, my mean appearance, so different from the idea which
has been formed of me, would expose me to the derision of the whole
court. What shall I do? - To whom shall I apply for succour? Were I
to measure back my steps to Rome, that city would remind me of all my
misery, and renew all my sorrows; and must I not expect [63] to be received
as a man bereft of reason, a slave to inconsistency?"
It happened, whilst Og was bewailing himself in this manner, that a
vast concourse of people, all hurrying to enter a church, attracted
his attention, and, without rightly knowing what he did, he joined the
throng and followed it into a chapel, where, to his surprize, he beheld
his picture of St. Anthony preaching to the fishes placed over the altar
and admired with universal rapture. One person was charmed with the
position of the saint, his outstretched arm and enthusiastic countenance.
Another praised the amiable physiognomy of an huge thunny, first and
foremost amongst the auditors. A third impiously wished such fine fish
transferred to his own table, and a wag, [64] who was squinting in a
corner of the chapel, would have said a smart thing if he had dared.
In short, every body expressed their admiration after their own way,
and our painter was so affected with these impartial praises, that he
burst into tears, and made such an extravagant outcry that the priest
was ready to souse him for a demoniac. But no sooner did he declare
himself the author of that master-piece which excited such admiration,
and produce some designs he always carried about with him as credentials,
than the Count Zigzaggi stepping forwards welcomed him to Naples, invited
him to his house, and assured him of the King's protection. Though Og
was secretly overjoyed at so obliging an offer, yet his delicacy prevented
his immediately accepting it, and it was not till [65] after repeated
intreaties and innumerable compliments, that he could be prevailed upon
to accompany Signor Zigzaggi to his palace. As the pride of genius often
increases with poverty, Zigzaggi was dreadfully perplexed how to treat
his guest with sufficient respect; for Og, though encumbered with no
great change of raiment, would not accept of any from the Count, and
shutting himself up in a closet that looked towards the Bay, with his
pallet and pencils, refused to see any person till he had acquainted
Andrew Guelph with his condition. An express was speedily dispatched
to Venice, and, in seven weeks after, his faithful friend arrived with
a splendid suite, and a coffer filled with 15,000 sequines. Andrew had
employed his time in a different manner from Og. He had met with no
damsel [66] that died for love of him, and afterwards scared him in
his dreams. He had whined away no months in shady retirements, nor wasted
his youthful hours in sauntering through deserted galleries, or in moralizing
upon the decline of empires. Though he had written no dissertation upon
the plurality of worlds, he bad realized, by his application, the plurality
of sequines, with which he was far better contented, and Og, in his
present circumstances, thought he had great reason. Andrew had beard
of his friend's ridiculous conduct, and lamented his being carried away
by the impetuosity of his imagination; but he was so happy in being
restored to him, that he forgot all his faults, and from this time would
never believe be bad any. Og related his adventures with such a mov-
[67] ing simplicity, that his friend dissolved into tears, and mourned
the maid of Tivoli with unfeigned affliction. He tried to sooth Og's
melancholy by recounting what bad happened to himself, and describing
the ingenious productions of Schooreel, who had travelled to the Holy
Land, where he had painted the sepulchre of Christ. Andrew would not
allow his friend to depend long upon the Count's benevolence: he bought
a house and gardens on the shore opposite to the island of Ischia, and
provided himself with boats, in which be used to share the diversion
of fishing with his friend, whose mind, calmed by the lovely prospects
around this agreeable solitude, situated in one of the finest climates
of Europe, began to recover its long-lost serenity. Og, willing to leave
Zigzaggi a proof of his [68] gratitude, desired Andrew's assistance
in composing and finishing a picture, which should excel all his former
productions.
They chose a subject capable of displaying their various talents, and
secluding themselves from all society in their romantic villa, spent
a whole winter in bringing their scheme to perfection. The piece which
resulted from this application was so transcendent as to merit a very
particular description. Our painters had been reading an old Italian
poem, which related the deeds of the antediluvian giants and heroes,
their astonishing magnificence, and the wars they waged against the
cherubim that guarded the sacred mount of Paradise. It sung of Noah
and the inspirations he received from the Deity, by whose com- [69]
mand be had raised the ark and preserved himself and his children from
universal destruction. The approach of the deluge, the consternation
of mankind, the horrid despair of the giants, and the wreck of nature,
were all described with such energy as set the imagination of Og all
on fire, and totally possessed him with antediluvian subjects. He laboured
with his ideas, he could not rest till he had embodied them, and during
the whole time which he employed in painting the capital performance
I am going to describe, he was in a kind of rapture.
He represented a vast hall in the ark, supported by tall slender columns
of a strange unknown architecture. Above were domes, which admitted
a pale watery light, diffusing a sacred gloom over the [70] whole apartment.
On the foreground he placed the venerable patriarch in extasy at the
sight of an angel, descending majestically on a rainbow, which cast
its vivid tints on the cornices of the hall, gleaming with gems. These
bright hues were powerfully contrasted with the shade that prevailed
in the background, where a line of portals, inscribed with mysterious
characters, seemed just emerging from the darkness. The form of the
angel seemed to hover in the air. It was lucid and transparent, its
hair seemed like waving sun-beams, and its countenance was worthy of
a minister of the Deity. The rays which darted from the angel struck
upon several altars, vases and golden ornaments dispersed in various
parts of the apartment. These Andrew finished with his accustomed [71]
delicacy. But it would be in vain to attempt giving an idea of the patriarch's
countenance; so many expressions were united in his features. His arms
were extended in the very act of veiling his face with his ample robe,
which fell around him in variety of folds and partially covered the
cedar floor, rendered with the greatest truth. Every person that was
admitted to the sight of this performance, returned struck with astonishment.
Sig. Zigzaggi, though by no means able to comprehend the subject, or
admire its sublimity, gloried in possessing such a treasure, and encouraged
Og of Basan to paint its companion, who still adhering to his antediluvian
subject, designed another chamber in the ark, less awful than the former,
but more pleasing. Noah and his family appeared in [72] a spacious apartment
enlightened by lamps depending from the arched roof, which was studded
with stars. The painter had lavished a variety of splendid decorations
on the arcades which supported the edifice, under which Shem and his
spouse were seated on beds covered with the furs of animals. Ham and
Japhet were tending a number of quadrupeds, who were discovered behind
a range of lattices. Heaps of flowers and baskets of various fruits
occupied the space nearest the eye; where two children were sporting
with peacocks and other birds, whose plumage seemed to give way under
their pressure. Noah, with his hands clasped together, was represented
in a transport of gratitude, extolling that Being who guided the ark
through the waters, and forbad the waves [73] to dash it against the
peaks of the mountains. The imaginary costume was preserved with judgment,
and the light which the lamps yielded was warm, glowing, and well thrown
on the objects. This picture was esteemed above criticism, and its fame
reaching the King's ears, Og was sent for and conducted to a private
audience by the Count Zigzaggi. His Majesty, charmed with the painter's
eloquent conversation, took a rich diamond from his finger and presented
it to him. Zigzaggi placed the family-piece of the ark in one of the
royal apartments, from whence it was soon after transported to Spain,
and forms at present the principal ornament of the Escurial. Cardinal
Grossocavallo, who had beard of our artist's success at Naples, wrote
him a very obliging letter, accom- [74] panied by the coffer he had
placed under his care, which his Eminence had augmented by a considerable
present. The coffer and letter were delivered to Og by a young man the
Cardinal recommended to his notice. This was Benboaro Benbacaio, who
had studied under Julio Romano." but whose school he had quitted
to place himself under the direction of Og of Basan. Benboaro resembled
him in many respects; particularly in an imagination wild and singular,
and a taste acquired by a particular observation of nature. Above all,
an enthusiastic admiration of Og's productions prepossessed that painter
in his favour, who received him without any hesitation, and heard with
pleasure his critiques on the Roman school. "There they forced
me," said he, "eternally to repeat the same subjects; [75]
they obliged me to study anatomy, to which science I had ever a disgust;
they pinioned my imagination; in short, they enslaved my pencil, which
is at present free, and shall be dedicated to your service." Benboaro
had not remained a year with Og before the latter declared his resolution
to him of going into Sicily, where he proposed spending the remainder
of his days in the society of Andrew Guelph. "If," said he
to his disciple, "a youth like you can forego the pleasures of
this gay city, can spurn the allurements of the world and bury yourself
in the solitudes of Mongebello, you may follow me; if not, open my coffers,
and retire loaded with half their contents." The young man protested
the world had no charms to entice him from one to whom he was eternally
attached, and, throwing himself at his [76] feet, beseeched him not
to leave him behind. Og consented; and the week following embarked with
his disciple and Andrew Guelph for the island, in which he was to cast
his last look on the face of nature. It was in the beginning of summer,
the sea calm and reflecting the varied shores of the bay of Naples,
when their bark was rowed out of port. At night they touched at the
island of Caprea, where they landed, and pitched their tents in a little
green spot, shaded with woods and in the midst of rocks and ruins. As
soon as the morning star appeared on the horizon, they quitted Caprea,
and taking advantage of a brisk gale, crowded their sails and reached
Cape Policastro before sun-set. The face of the country seemed so delightfully
wooded, that they cast anchor off a pro- [77] montory, and landing,
began to penetrate into the forests which covered the shores. Among
them they found many irregular lawns, hemmed in by thickets of laurel
and bay, with here and there a tall pine rising from amongst them, whose
stems were loaded with luxuriant woodbines. The sun had just sunk into
the ocean when they attained these pleasing regions, where the freshness
of the breezes, the clearness of the springs, and the odour of the plants
and flowers, which began to be diffused in every gale, tempted them
to erect their tents and remain there till the full of the moon. Another
circumstance which persuaded them to stay was the neighbourhood of a
ruin, where some very hospitable peasants had erected sheds to screen
their herds from the heats. These good folks supplied them with
milk, bread [78] and fruit in abundance. Being rather fatigued with
their voyage, the lowing of the cattle and the buzzing of night-flies,
soon lulled them to sleep. Six days were spent in seeking herbs in the
woods, drawing under the shade, and dancing with the peasants on the
green. Benboaro declared he never knew happiness till now, and being
charmed with the wild beauties of some of his rustic partners, he would
fain have persuaded Og of Basan to fix his abode near their cottages;
but his designs were unalterable, and on the full of the moon he ordered
him to descend the hillocks and repair to the shore, where the vessel
was ready to receive them. He obeyed, not without reluctance, and kept
his eyes fixed on the smoak which ascended from the cottages, whose
roofs just peeped above [79] the thickets, till the moon concealed herself
behind a cloud. This moment of darkness plunged Og into a reverie; he
thought of Tivoli and sighed. Andrew slept, and Benboaro wished himself
with the cottagers. Before morning they were off Policastro, and the
next day coasted the shores of Calabria, whose distant mountains were
tinged with a deep azure. The vast forests which reached quite from
the feet of the highlands to the water's edge concealed the ruins of
Pestum, at that time unknown. Towards evening it fell calm, and our
voyagers put their oars in motion till they approached a shady bay,
where they rested on them and enjoyed the refreshing fragrance of the
vegetation, washed by a gentle shower. The calm continuing, they landed
in the bay, with [80] some difficulty on account of the rocks, which
bordered the shore. A ridge of cliffs projected into the sea, covered
by dark thickets of oak. Below were several coves that received the
waters and afforded convenient baths. Above were jagged pinnacles, shaded
by Italian pines and trodden alone by goats, who were frisking carelessly
amongst them. Whilst Og and his companions were examining this sylvan
scene, they perceived a flight of birds, pursued by eagles, take refuge
in a grotto which had escaped their observation. It was spacious and
lofty, its sides seemed worn by the course of waters into variety of
uncouth shapes, and a rill trickled along the pavement, which was strewed
with dry leaves. The whole scene reminded them of Virgil's description
of a bay in the first Eneid. [81]
Hinc atque hinc vastae rupes, geminique minantur
In coelum scopuli, quorum sub verticelatè
Aequora tuta silent: tum sylvis Scenacoruscis
Desuper, horrentique atrum memusimminet umbrâ.
Fronte sub adversâ scopulis pendentibus Antrum:
Intus aquae dulces vivoque sedilia saxo,
Nympharum domus.
Here they kindled a fire and spent the night in conversation. At the
first dawn they set sail for the streights, and leaving the Lipari islands
behind, arrived within sight of Messina just as its magnificent buildings
and the galliots in its harbour were illuminated by the setting sun.
They enjoyed the perfume of the clover fields which surround the city,
and Og smiled with complacency on the island, where he promised himself
many happy [82] years of peaceful retirement. No sooner were they landed
than some of the Sicilian nobles, who had notice of their arrival, came
down to the port to receive them, and desired they might lodge them
in their houses. Og drew a favourable augury from this reception, and
his disciple, pleased with the gay prospect of the city, and flattered
by the compliments of the Sicilians, forgot his cottagers, and began
secretly to wish his master might postpone his project of retirement.
He could not conceal his pleasure at finding himself in an illuminated
palace, at a splendid table, covered with delicacies and sparkling with
wines, environed by fair Sicilians warbling the soft airs of their country.
Andrew, who was of a very social disposition, blessed the art which
procured him such company, and Og of [83] Basan thought no more, at
present, of the solitudes of Mongebello. After the repast succeeded
a lively ball, at which Og danced, though rather untowardly; but when
he was known to be the famous painter, nobody cared to laugh. The next
day his kind patrons introduced him to the principal citizens of Messina,
who delighted in the fine arts: to these he presented several volumes
of sketches and designs after nature. During two years which he passed
at Messina, he, together with his friend and his disciple, adorned many
churches and cabinets with their paintings; but tired at length with
the bustle of a city life he languished after retirement.
Andrew Guelph, who had lately married a beautiful Sicilian with considerable
[84] riches, was by no means ready to accomplish this design, and pleaded
the cares of a family for his excuse. As for Benboaro, he would never
quit his master; neither the charms of Messina, nor its gay inhabitants,
nor the amusements of a lively society, could induce him to abandon
him, and without discovering any reluctance, he followed Og into the
forests and wilds, which skirt the little mountains and extinguished
volcanoes around mount Etna. They wandered together over all the regions
of this famous mountain, and at last pitched upon a spot near the celebrated
chesnut trees, where they built a hut and fixed their residence. After
they had remained about two months in this sequestered habitation, Og
grew restless and melancholy. The parting injunction of the maid of
Tivoli [85] rushed fresh into his mind, and with redoubled force. He
had now visited those regions, which he doubted not were meant by the
islands of the south, to which she had commanded him to fly. Recollecting
her last wish, that be might expiate his crime, he was one day overheard
to say, "Ah! those last words, so softened by her affection, were
surely not so much a wish as a prophecy; and I, who till this moment
fondly thought myself pursuing a calm and long retirement, in this delicious
climate, have been making my progress hither but to finish my course.
The time of expiating my baseness draws near, and methinks at this instant
I see the pale form of her I betrayed hovering over me, and beckoning
me up to the summit of yonder volcano. Yes, there must be the fated
scene [86] of expiation. Nor shall it be long, gentle spirit! ere I
obey thy summons. I shall willingly submit to my doom, not despairing
it may one day render me worthy of thy society and friendship in a happier
world."
Nothing could exceed the astonishment of Benboaro, who caught every
syllable of this strange soliloquy. The youth, concluding his master's
senses and imagination disturbed, neglected no means in his power to
comfort, or assuage him. All his attention, however, failed to alleviate
the sorrow which preyed upon Og's mind, and one morning he ordered him
in a peremptory manner to leave him in entire solitude. Benboaro refusing
to comply, his master rushed into the thicket of the forests, and was
shortly concealed [87] from his sight. Seven days the youth sought him
in vain, traversing wildernesses where no one had ever penetrated, and
ascending precipices which the boldest peasant was afraid to scale,
subsisting all the while on the fruits and berries be casually met with.
The region of snow which encircles the Crater did not deter his enquiries.
With incredible labour he struggled over rocks of ice, seeking his master's
vestiges in vain. By night he was directed by the mournful light of
those eternal fires which issue from the peak of the mountain, and by
day a few straggling crucifixes, erected over the graves of unhappy
travellers, who had perished inthe expedition, served him at once as
a mark and a memorial of the perils of his route. On the fourth day,
after a night spent almost without sleep, [88] he arose, and lifting
up his eyes saw before him the mouth of that tremendous volcano, which
the superstition of the times led him to believe the entrance of Hell.
The solitude in which he found himself, the sullen murmur of the volcano,
and all the horrors of the scene worked so strongly on his imagination,
that he fancied he beheld strange shapes descending and ascending the
steeps of the fiery gulph. He even believed he heard the screams of
desolation and the cries of torment issuing from the abyss. Such was
his terror, that he neglected to turn his eyes on the vast prospects
below, and hastening from the edge of the Crater, where he had stood
petrified for some minutes, returned over the deserts of snow, fainting
with his toils, and in despair of ever beholding his master more.
[89] As soon as he reached the verge of the woods, he fell on the ground
in a deep sleep, from which he was awakened by some peasants, who were
collecting sulphur. Of these he eagerly enquired, whether they had seen
a man with a long beard and armed with a scymitar? "Yes,"
answered they, "we have seen him: the vile sorcerer has blasted
us with his haggard eyes. He passed us just beneath the cliffs, which
hang over the great chesnut-tree, muttering execrations and talking
to the winds. A violent tempest ensued, which has destroyed three of
our cottages, and in the midst of the storm we saw the wretch that occasioned
it fall from the cliff, wrapped in a blue flame. The Virgin preserve
us from his maledictions!" Benboaro wished to hear no more; and
quitting the [90] peasants without making any reply, he returned weeping
to his hut, doubting no longer of his master's unhappy fate. Having
provided himself with chesnuts, he crossed the wilds between the foot
of the mountain and Messina, sleeping in the day and travelling in the
cool of the evening. All the way he bewailed the dangers and extravagances
to which genius is exposed, and arrived pale with grief and fatigue
at Andrew's house. His countenance told his tale before he related it.
Andrew was almost distracted with the news, and never ceased till his
death, which happened three years after, to lament the despair of his
unhappy friend. Benboaro, still in search of instruction, sailed to
Italy, shortly after his return from the mountain, in the beginning
of the year 1547, where he greatly distin- [91] guished himself. The
family of Andrew still subsist in Sicily, and have inherited many of
his valuable paintings: his son had a taste for the art, and has left
behind him several pieces dispersed in the cabinets of the curious.
For distinction, the father is called Old Andrew Guelph.
* Alluding to a story in the 10th canto of the Orlando Furioso.