and other works of devotion—we are amazed beyond expression to discover upon their brilliant pages a similar taste in ornamentation. The school scene on the previous page, in which monkey-headed children are playing school, dates back to the thirteenth century.
Burlesque tournaments, in the same taste, often figure in the prayer-books among representations of the Madonna, the crucifixion, and scenes in the lives of the patriarchs. The gallant hare tilts at the fierce cock of the barn-yard, or sly Reynard parries the thrust of the clumsy bear.
From a Manuscript Mass-book of the Fourteenth Century.
One of the most curious relics of those religious centuries is a French prayer-book preserved in the British Museum, where it was discovered and described by Mr. Malcolm, one of the first persons who ever attempted to elucidate the subject of caricature. Besides the "Hours of the Blessed Virgin," it contains various prayers and collects, the office for the dead, and some psalms, all in Latin. It is illustrated by several brilliantly colored, well-drawn, but most grotesque and incomprehensible figures, designed, as has been conjectured, to "expose the wicked and inordinate lives of the clergy, who were hated by the manuscript writers as taking away much of their business." This was the explanation given of these remarkable pictures to the trustees of the Museum by the collector of whom they bought the volume. Several of them are submitted to the reader's ingenuity on the following page.
Besides the specimens given, there is a wolf growling at a snake twisting itself round its hind-leg; there is "a grinning-match" between a human head on an animal's body and a boar's head on a monkey's body; there is a creature like a pea-hen, with two bodies, one neck, and two dogs' heads; there is an animal with four bodies and one head; there is a bearded man's face and a woman's on one neck, and the body has no limbs, but an enormous tail; there is a turret, on the top of which a monkey sits, and a savage below is aiming an arrow at him. In the British Museum—that unequaled repository of all that is curious and rare—there is the famous and splendid psalter of Richard II., containing many strange pictures in the taste of the period. On the second page, for example, along with two pictures of the kind usual in Catholic works of devotion, there is a third which represents an absurd combat within lists between the court-fool and the court-giant. The fool, who is also a dwarf, is belaboring the giant with an instrument like those hollow clubs used in our pantomimes when the clown is to be whacked with great violence. The giant shrinks from the blows, and the king, pointing at the dwarf, seems to say, "Go it, little one; I bet upon you."
From a French Prayer-book of the Thirteenth Century, in the British Museum.
Mr. Malcolm, who copied this picture from the original, where, he says, it is most superbly finished, interprets it to be a caricature of the famous combat between David and Goliath in the presence of King Saul and his court. In the same mass-book there is a highly ridiculous representation of Jonah on board ship, with a blue Boreas with cheeks puffed out raising the tempest, and a black devil clawing the sail from the yard. In selecting a few of the more innocent pictures from the prayer-book of Queen Mary, daughter of Henry VIII. of England, Mr. Malcolm gives expression to his amazement at the character of the drawings, which he dared not exhibit to a British public! Was this book, he asks, made on purpose for the queen? Was it a gift or a purchase? But whether she bought or whether she accepted it, he thinks she must have "delighted in ludicrous and improper ideas," or else "her inclination for absurdity and caricature conquered even her religion, in defense of which she spread ruin and desolation through her kingdom."
From Queen Mary's Prayer-book, A.D. 1553.
As the reader has now before his eyes a sufficient number of specimens of the grotesque ecclesiastical ornamentation of the period under consideration, he is prepared to consider the question which has perplexed so many students besides Mr. Malcolm: How are we to account for these indecencies in places and books consecrated to devotion? A voice from the Church of the fifth century gives us the hint of the true answer. "You ask me," writes St. Nilus to Olympiodorus of Alexandria, "if it is becoming in us to cover the walls of the sanctuary with representations of animals of all kinds, so that we see upon them snares set, hares, goats, and other beasts in full flight before hunters exhausting themselves in taking and pursuing them with their dogs; and, again, upon the bank of a river, all kinds of fish caught by fishermen. I answer you that this is a puerility with which to amuse the eyes of the faithful."[4] To one who is acquainted with the history and genius of the Roman Catholic Church, this very simple explanation of the incongruity is sufficient. The policy of that wonderful organization in every age has been to make every possible concession to ignorance that is compatible with the continuance of ignorance. It has sought always to amuse, to edify, to moralize, and console ignorance, but never to enlighten it. The mind that planned the magnificent cathedral at Rheims, of which Mr. Tomes was so much enamored, and the artists who designed the glorious San Carlo that kindled rapture in the poetical mind of Mr. Howells, did indeed permit the scandalous burlesques that disfigure their walls; but they only permitted them. It was a concession which they had to grant to the ignorant multitude whose unquestioning faith alone made these enormous structures possible.
We touch here the question insinuated by Gibbon in his first volume, where he plainly enough intimates his belief that Christianity was a lapse into barbarism rather than a deliverance from it. Plausible arguments in the same direction have been frequently made since Gibbon's time by comparing the best of Roman civilization with the worst of the self-torturing monkery of the early Christian centuries. In a debate on this subject in New York not long since between a member of the bar and a doctor of divinity, both of them gentlemen of learning, ability, and candor, the lawyer pointed to the famous picture of St. Jerome (A.D. 375), naked, grasping a human skull, his magnificent head showing vast capacity paralyzed by an absorbing terror, and exclaimed, "Behold the lapse from Virgil, Horace, Cicero, Seneca, the Plinys, and the Antonines!" The answer made by the clergyman was, "That is not Christianity! In the Christian books no hint of that, no utterance justifying that, can be found." Perhaps neither of the disputants succeeded in expressing the whole truth on this point. The vaunted Roman civilization was, in truth, only a thin crust upon the surface of the empire, embracing but one small class in each province, the people everywhere being ignorant slaves. Into that inert mass of servile ignorance Christianity enters, and receives from it the interpretation which ignorance always puts upon ideas advanced or new, interpreting it as hungry French peasants in 1792 and South Carolina negroes in 1870 interpreted modern ideas of human rights. The new leaven set the mass heaving and swelling until the crust was broken to pieces. The civilization of Marcus Aurelius was lost. From parchment scrolls poetry and philosophy were obliterated, that the sheets might be used for prayers and meditations. The system of which St. Jerome was the product and representative was a baleful mixture, of which nine-tenths were Hindoo and the remaining tenth was half Christian and half Plato.
The true inference to be drawn is that no civilization is safe, nor even genuine, until it embraces all classes of the community; and the promulgation of Christianity was the first step toward that.
As the centuries wore on, the best of the clergy grew restive under this monstrous style of ornamentation. "What purpose," wrote St. Bernard, about A.D. 1140, "serve in our cloisters, under the eyes of the brothers and during their pious readings, those ridiculous monstrosities, those prodigies of beauties deformed or deformities made beautiful? Why those nasty monkeys, those furious lions, those monstrous centaurs, those animals half human, those spotted tigers, those soldiers in combat, those huntsmen sounding the horn? Here a single head is fitted to several bodies; there upon a single body there are several heads; now a quadruped has a serpent's tail, and now a quadruped's head figures upon a fish's body. Sometimes it is a monster with the fore parts of a horse and the hinder parts of a goat; again an animal with horns ends with the hind quarters of a horse. Everywhere is seen a variety of strange forms, so numerous and so odd that the brothers occupy themselves more in deciphering the marbles than their books, and pass whole days in studying