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Searchology Directory 09
Page 09
Another of these emblems of joyous festivity which is frequently seen, is a vine, with its branches and purple clusters spreading in every direction, reminding us that in Eastern countries the vintage is the great holiday of the year. In the Jewish Church there was no festival so joyous as the Feast of Tabernacles, when they gathered the fruit of the vineyard, and in some of the earlier celebrations of the Nativity these festivities were closely copied. And as all down the ages pagan elements have mingled in the festivities of Christmas, so in the Catacombs they are not absent. There is Orpheus playing on his harp to the beasts; Bacchus as the god of the vintage; Psyche, the butterfly of the soul; the Jordan as the god of the rivers. The classical and the Christian, the Hebrew and the Hellenic elements had not yet parted; and the unearthing of these pictures after the lapse of centuries affords another interesting clue to the origin of some of the customs of Christmastide.
The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.
THE greatest trust, between man and man, is the trust of giving counsel. For in other confidences, men commit the parts of life; their lands, their goods, their children, their credit, some particular affair; but to such as they make their counsellors, they commit the whole: by how much the more, they are obliged to all faith and integrity. The wisest princes need not think it any diminution to their greatness, or derogation to their sufficiency, to rely upon counsel. God himself is not without, but hath made it one of the great names of his blessed Son: The Counsellor. Solomon hath pronounced, that in counsel is stability. Things will have their first, or second agitation: if they be not tossed upon the arguments of counsel, they will be tossed upon the waves of fortune; and be full of inconstancy, doing and undoing, like the reeling of a drunken man. Solomon's son found the force of counsel, as his father saw the necessity of it. For the beloved kingdom of God, was first rent, and broken, by ill counsel; upon which counsel, there are set for our instruction, the two marks whereby bad counsel is for ever best discerned; that it was young counsel, for the person; and violent counsel, for the matter.
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