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Cornugaya Directory 03
Page 10
The fresh-water mussels and snails and the crayfish burrow deep into
the mud and silt at the bottom of ponds and streams where they lie
motionless during the winter. The land snails, in late autumn, crawl
beneath logs, and, burrowing deep into the soft mould, they withdraw
far into their shells. Then each one forms with a mucous secretion two
thin transparent membranes, one across the opening of the shell and
one a little farther within, thus making the interior of the shell
perfectly air-tight. There for five or six months he sleeps, free from
the pangs of hunger and the blasts of winter, and when the balmy
breezes of spring blow up from the south he breaks down and devours
the protecting membrane and goes forth with his home on his back to
seek fresh leaves for food and to find for himself a mate.
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.
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