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Plato Profile Directory 12
Page 10
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.
In the Council, generally called _Concilium Africanum_, held A.D. 408, "stage-playes and spectacles are forbidden on the Lord's-day, Christmas-day, and other solemn Christian festivalls." Theodosius the younger, in his laws _de Spectaculis_, in 425, forbade shows or games on the Nativity, and some other feasts. And in the Council of Auxerre, in Burgundy, in 578, disguisings are again forbidden, and at another Council, in 614, it was found necessary to repeat the prohibitory canons in stronger terms, declaring it to be unlawful to make any indecent plays upon the Kalends of January, according to the profane practices of the pagans. But it is also recorded that the more devout Christians in these early times celebrated the festival without indulging in the forbidden excesses.
As in language, so in mythology, investigation has proceeded from, the known to the unknown--from the higher to the lower mythologies. In each step of the progress of opinion on this subject a particular phenomenon may be observed. As each lower status of mythology is discovered it is assumed to be the first in origin, the primordial mythology, and all lower but imperfectly understood mythologies are interpreted as degradations, from this assumed original belief; thus polytheism was interpreted as a degeneracy from monotheism; nature worship, from psychotheism; zooelotry, from ancestor worship; and, in order, monotheism has been held to be the original mythology, then polytheism, then physitheism or nature worship, then ancestor worship.
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