|
|
Zamua-2 Directory 05
Page 08
The first care of the male stickleback, when he has acquired his courting suit, is to build a suitable home for his future wives and children. So he picks up stems of grass and water-weeds with his mouth, and weaves them deftly into a compact nest as perfect as a bird's, though some what different in shape and pattern, it rather resembles a barrel, open at both ends, as though the bottom were knocked out: this form is rendered necessary because the eggs, when laid, have to be constantly aerated by passing a current of water through the nest as I shall describe hereafter. No. 1 shows us such a nest when completed, with the female stickleback loitering about undecided as to whether or not she shall plunge and enter it. You will observe that the fabric is woven round a fixed support of some waving water-weeds; but the cunning little architect does not trust in this matter to his textile skill alone; he cements the straws and other materials together with a gummy mortar of mucous threads secreted for the purpose by his internal organs.
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.
|