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Callot's return to Nancy marked the close of the second period of his art, the period in which he painted battles with ten thousand episodes revealed in one plate, and so accurately that men of war kept his etchings among their text-books for professional reference.
In this momentary pause, the Abbot stood amongst the miscellaneous and grotesque forms by which he was surrounded, triumphant as Saint Anthony, in Callot's Temptations; but Howleglas would not so resign his purpose. "And how now, my masters!" said he, "is this fair play or no? Have you not chosen me Abbot of Unreason, and is it lawful for any of you to listen to common sense to-day?
A certain impersonality in the rendering, a serious almost melancholy austerity of touch robs the spectacle of its ignoble suggestion. Inspection of this remarkable plate makes it easy to realize Callot's supreme fitness for the tasks that shortly were to be laid upon him.
In the streets the lively crowd is dressed in the most fantastic costumes gigantic cabbages walk gravely about, buffaloes' heads bellow from men's shoulders, dogs walk on their hind legs; in the midst of all this a mask is lifted, and, as in Callot's Temptation of St. Anthony, a lovely face is exhibited, which we would fain follow, but from which we are separated by troops of fiends.
Félibien records that according to Callot's own account, when he found himself in such wicked company, "he lifted his heart to God and prayed for grace not to join in the disgusting debauchery that went on under his eyes."
Callot's painting of the battle of Marengo, Hue's of the retaking of Genoa, and Bouchat's of the 18th Brumaire, are of the highest order; while David has transmitted his fame to posterity, by his splendid painting of the Coronation of Napoleon and Josephine in Notre Dame.
At last the father, seeing resistance was in vain, gave his reluctant consent to Callot's prosecuting his studies at Rome. Thither he went accordingly; and this time he remained, diligently studying design and engraving for several years, under competent masters. On his way back to France, he was encouraged by Cosmo II. to remain at Florence, where he studied and worked for several years more.
Where the sunbeam shines mildly in on the prisoner, there also will the radiance of God shine into the heart. The painter Callot who does not know the name, at least from Hoffmann's "in Callot's manner?" has given a few excellent pictures of Italian beggars.
Neither Callot's high Lorraine heart nor his brilliant instrument was subjugated, however, and he respectfully begged the monarch to absolve him from a task so revolting to his patriotism. "Sire," he said, "I am of Lorraine, and I cannot believe it my duty to do anything contrary to the honor of my Prince and my Country."
In this dignified, imaginative countenance we have no hint of Callot's tremendous curiosity regarding the most fantastic side of the fantastic times in which he lived.
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