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The old man sits, his legs stretched out before him, musing in silence; the young man half reclines and softly strums on a cheap accordion. A lantern with a tallow candle in it is hanging on the wall near them. The van is quite full.
Tied by the head to the stern, and by the tail to the bows, the whale now lies with its black hull close to the vessel's, and seen through the darkness of the night, which obscured the spars and rigging aloft, the two ship and whale, seemed yoked together like colossal bullocks, whereof one reclines while the other remains standing.* *A little item may as well be related here.
Anna reclines on a couch covered with drapery, and a pillow under her head; two handmaids sustain her; a third fans her, or presents refreshments; more in front a group of women are busied about the new-born child. It has been the custom, I know not on what authority, to introduce neighbours and friends, who come to congratulate the parents.
When you return home and are seated before the fire, do not strike your forehead with your hands, and allow sorrow to moisten your cheeks with tears; do not anxiously cast your eyes about here and there as if searching for a friend; do not, under any circumstances, think of those who, under some thatched roof, enjoy a tranquil life and who sleep holding each other by the hand; for before you on your luxurious bed reclines a pale creature who loves your money.
If this be done, as with some men, best amidst the din and the discord, be it so; if, as with him, best in silence, be it so too. And the next day he reclines with Helen by the seashore, gazing calmly as before on the measureless sunlit ocean; and Helen, looking into his face, sees that it is sunlit as the deep.
If Vasari can be trusted, it was during this residence at Florence, when his hands were so fully occupied, that Michelangelo found time to carve the two tondi, Madonnas in relief enclosed in circular spaces, which we still possess. One of them, made for Taddeo Taddei, is now at Burlington House, having been acquired by the Royal Academy through the medium of Sir George Beaumont. This ranks among the best things belonging to that Corporation. The other, made for Bartolommeo Pitti, will be found in the Palazzo del Bargello at Florence. Of the two, that of our Royal Academy is the more ambitious in design, combining singular grace and dignity in the Madonna with action playfully suggested in the infant Christ and little S. John. That of the Bargello is simpler, more tranquil, and more stately. The one recalls the motive of the Bruges Madonna, the other almost anticipates the Delphic Sibyl. We might fancifully call them a pair of native pearls or uncut gems, lovely by reason even of their sketchiness. Whether by intention, as some critics have supposed, or for want of time to finish, as I am inclined to believe, these two reliefs are left in a state of incompleteness which is highly suggestive. Taking the Royal Academy group first, the absolute roughness of the groundwork supplies an admirable background to the figures, which seem to emerge from it as though the whole of them were there, ready to be disentangled. The most important portions of the composition Madonna's head and throat, the drapery of her powerful breast, on which the child Christ reclines, and the naked body of the boy are wrought to a point which only demands finish. Yet parts of these two figures remain undetermined. Christ's feet are still imprisoned in the clinging marble; His left arm and hand are only indicated, and His right hand is resting on a mass of broken stone, which hides a portion of His mother's drapery, but leaves the position of her hand uncertain. The infant S. John, upright upon his feet, balancing the chief group, is hazily subordinate. The whole of his form looms blurred through the veil of stone, and what his two hands and arms are doing with the hidden right arm and hand of the Virgin may hardly be conjectured. It is clear that on this side of the composition the marble was to have been more deeply cut, and that we have the highest surfaces of the relief brought into prominence at those points where, as I have said, little is wanting but the finish of the graver and the file. The Bargello group is simpler and more intelligible. Its composition by masses being quite apparent, we can easily construct the incomplete figure of S. John in the background. What results from the study of these two circular sketches in marble is that, although Michelangelo believed all sculpture to be imperfect in so far as it approached the style of painting, yet he did not disdain to labour in stone with various planes of relief which should produce the effect of chiaroscuro. Furthermore, they illustrate what Cellini and Vasari have already taught us about his method. He refused to work by piecemeal, but began by disengaging the first, the second, then the third surfaces, following a model and a drawing which controlled the cutting. Whether he preferred to leave off when his idea was sufficiently indicated, or whether his numerous engagements prevented him from excavating the lowest surfaces, and lastly polishing the whole, is a question which must for ever remain undecided. Considering the exquisite elaboration given to the Piet
But to him who is bravely faithful to the passing of that last fence, who reclines under that tree even for so long as one aspiration, comes a substantial gain: ever after, when he goes into any solitude, he becomes more than himself. Then he reads the first lesson of the tree of Truth, which is that the spirit of Life ages yet is ageless; and suffers yet is joyous.
Southey's notes inform us: "The foot-bearer shall hold the feet of the King in his lap, from the time he reclines at the board till he goes to rest, and he shall chafe them with a towel; and during all that time shall watch that no harm befalls the King. He shall eat of the shame dish from which the King takes his food; he shall light the first candle before the King."
In attendance too are Repute and Might; and all about your lady's person flutter and cling embodied Praises like tiny Loves. Or you may have seen a painted Nilus; he reclines himself upon a crocodile or hippopotamus, with which his stream abounds, and round him play the tiny children they call in Egypt his Cubits; so play the Praises about Rhetoric.
French skies never produced a more glorious August sunset than I saw through the Corot trees of that village, which stands or reclines beneath the cliffs and looks off toward the river that has receded far to the westward.
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