A monk of the order of St. Benedict, Ermold the Penguin, had himself alone defaced four thousand Greek and Latin ma.n.u.scripts so as to copy out the Gospel of St. John four thousand times. Thus the masterpieces of ancient poetry and eloquence were destroyed in great numbers. Historians are unanimous in recognising that the Penguin convents were the refuge of learning during the Middle Ages.

Unending wars between the Penguins and the Porpoises filled the close of this period. It is extremely difficult to know the truth concerning these wars, not because accounts are wanting, but because there are so many of them. The Porpoise Chronicles contradict the Penguin Chronicles at every point. And, moreover, the Penguins contradict each other as well as the Porpoises. I have discovered two chronicles that are in agreement, but one has copied from the other. A single fact is certain, namely, that ma.s.sacres, rapes, conflagrations, and plunder succeeded one another without interruption.

Under the unhappy prince Bosco IX. the kingdom was at the verge of ruin. On the news that the Porpoise fleet, composed of six hundred great ships, was in sight of Alca, the bishop ordered a solemn procession. The cathedral chapter, the elected magistrates, the members of Parliament, and the clerics of the University entered the Cathedral and, taking up St. Orberosia's shrine, led it in procession through the town, followed by the entire people singing hymns. The holy patron of Penguinia was not invoked in vain. Nevertheless, the Porpoises besieged the town both by land and sea, took it by a.s.sault, and for three days and three nights killed, plundered, violated, and burned, with all the indifference that habit produces.

Our astonishment cannot be too great at the fact that, during those iron ages, the faith was preserved intact among the Penguins. The splendour of the truth in those times illumined all souls that had not been corrupted by sophisms. This is the explanation of the unity of belief.

A constant practice of the Church doubtless contributed also to maintain this happy communion of the faithful--every Penguin who thought differently from the others was immediately burned at the stake.

IV. LETTERS: JOHANNES TALPA

During the minority of King Gun, Johannes Talpa, in the monastery of Beargarden, where at the age of fourteen he had made his profession and from which he never departed for a single day throughout his life, composed his celebrated Latin chronicle in twelve books called "De Gestis Penguinorum."

The monastery of Beargarden lifts its high walls on the summit of an inaccessible peak. One sees around it only the blue tops of mountains, divided by the clouds.

When he began to write his "Gesta Penguinorum," Johannes Talpa was already old. The good monk has taken care to tell us this in his book: "My head has long since lost," he says, "its adornment of fair hair, and my scalp resembles those convex mirrors of metal which the Penguin ladies consult with so much care and zeal. My stature, naturally small, has with years become diminished and bent. My white beard gives warmth to my breast."

With a charming simplicity, Talpa informs us of certain circ.u.mstances in his life and some features in his character. "Descended," he tells us, "from a n.o.ble family, and destined from childhood for the ecclesiastical state, I was taught grammar and music. I learnt to read under the guidance of a master who was called Amicus, and who would have been better named Inimicus. As I did not easily attain to a knowledge of my letters, he beat me violently with rods so that I can say that he printed the alphabet in strokes upon my back."

In another pa.s.sage Talpa confesses his natural inclination towards pleasure. These are his expressive words: "In my youth the ardour of my senses was such that in the shadow of the woods I experienced a sensation of boiling in a pot rather than of breathing the fresh air. I fled from women, but in vain, for every object recalled them to me."

While he was writing his chronicle, a terrible war, at once foreign and domestic, laid waste the Penguin land. The soldiers of Crucha came to defend the monastery of Beargarden against the Penguin barbarians and established themselves strongly within its walls. In order to render it impregnable they pierced loop-holes through the walls and they took the lead off the church roof to make b.a.l.l.s for their slings. At night they lighted huge fires in the courts and cloisters and on them they roasted whole oxen which they spitted upon the ancient pine-trees of the mountain. Sitting around the flames, amid smoke filled with a mingled odour of resin and fat, they broached huge casks of wine and beer. Their songs, their blasphemies, and the noise of their quarrels drowned the sound of the morning bells.

At last the Porpoises, having crossed the defiles, laid siege to the monastery. They were warriors from the North, clad in copper armour.

They fastened ladders a hundred and fifty fathoms long to the sides of the cliffs and sometimes in the darkness and storm these broke beneath the weight of men and arms, and bunches of the besiegers were hurled into the ravines and precipices. A prolonged wail would be heard going down into the darkness, and the a.s.sault would begin again. The Penguins poured streams of burning wax upon their a.s.sailants, which made them blaze like torches. Sixty times the enraged Porpoises attempted to scale the monastery and sixty times they were repulsed.

For six months they had closely invested the monastery, when, on the day of the Epiphany, a shepherd of the valley showed them a hidden path by which they climbed the mountain, penetrated into the vaults of the abbey, ran through the cloisters, the kitchens, the church, the chapter halls, the library, the laundry, the cells, the refectories, and the dormitories, and burned the buildings, killing and violating without distinction of age or s.e.x. The Penguins, awakened unexpectedly, ran to arms, but in the darkness and alarm they struck at one another, whilst the Porpoises with blows of their axes disputed the sacred vessels, the censers, the candlesticks, dalmatics, reliquaries, golden crosses, and precious stones.

The air was filled with an acrid odour of burnt flesh. Groans and death-cries arose in the midst of the flames, and on the edges of the crumbling roofs monks ran in thousands like ants, and fell into the valley. Yet Johannes Talpa kept on writing his Chronicle. The soldiers of Crucha retreated speedily and filled up all the issues from the monastery with pieces of rock so as to shut up the Porpoises in the burning buildings. And to crush the enemy beneath the ruin they employed the trunks of old oaks as battering-rams. The burning timbers fell in with a noise like thunder and the lofty arches of the naves crumbled beneath the shock of these giant trees when moved by six hundred men together. Soon there was left nothing of the rich and extensive abbey but the cell of Johannes Talpa, which, by a marvellous chance, hung from the ruin of a smoking gable. The old chronicler still kept writing.

This admirable intensity of thought may seem excessive in the case of an annalist who applies himself to relate the events of his own time.

However abstracted and detached we may be from surrounding things, we nevertheless resent their influence. I have consulted the original ma.n.u.script of Johannes Talpa in the National Library, where it is preserved (Monumenta Peng., K. L6., 12390 four). It is a parchment ma.n.u.script of 628 leaves. The writing is extremely confused, the letters instead of being in a straight line, stray in all directions and are mingled together in great disorder, or, more correctly speaking, in absolute confusion. They are so badly formed that for the most part it is impossible not merely to say what they are, but even to distinguish them from the splashes of ink with which they are plentifully interspersed. Those inestimable pages bear witness in this way to the troubles amid which they were written. To read them is difficult. On the other hand, the monk of Beargarden's style shows no trace of emotion.

The tone of the "Gesta Penguinorum" never departs from simplicity.

The narration is rapid and of a conciseness that sometimes approaches dryness. The reflections are rare and, as a rule, judicious.

V. THE ARTS: THE PRIMITIVES OF PENGUIN PAINTING

The Penguin critics vie with one another in affirming that Penguin art has from its origin been distinguished by a powerful and pleasing originality, and that we may look elsewhere in vain for the qualities of grace and reason that characterise its earliest works. But the Porpoises claim that their artists were undoubtedly the instructors and masters of the Penguins. It is difficult to form an opinion on the matter, because the Penguins, before they began to admire their primitive painters, destroyed all their works.

We cannot be too sorry for this loss. For my own part I feel it cruelly, for I venerate the Penguin antiquities and I adore the primitives.

They are delightful. I do not say the are all alike, for that would be untrue, but they have common characters that are found in all schools--I mean formulas from which they never depart--and there is besides something finished in their work, for what they know they know well.

Luckily we can form a notion of the Penguin primitives from the Italian, Flemish, and Dutch primitives, and from the French primitives, who are superior to all the rest; as M. Gruyer tells us they are more logical, logic being a peculiarly French quality. Even if this is denied it must at least be admitted that to France belongs the credit of having kept primitives when the other nations knew them no longer. The Exhibition of French Primitives at the Pavilion Marsan in 1904 contained several little panels contemporary with the later Valois kings and with Henry IV.

I have made many journeys to see the pictures of the brothers Van Eyck, of Memling, of Roger van der Weyden, of the painter of the death of Mary, of Ambrogio Lorenzetti, and of the old Umbrian masters. It was, however, neither Bruges, nor Cologne, nor Sienna, nor Perugia, that completed my initiation; it was in the little town of Arezzo that I became a conscious adept in primitive painting. That was ten years ago or even longer. At that period of indigence and simplicity, the munic.i.p.al museums, though usually kept shut, were always opened to foreigners. One evening an old woman with a candle showed me, for half a lira, the sordid museum of Arezzo, and in it I discovered a painting by Margaritone, a "St. Francis," the pious sadness of which moved me to tears. I was deeply touched, and Margaritone, of Arezzo became from that day my dearest primitive.

I picture to myself the Penguin primitives in conformity with the works of that master. It will not therefore be thought superfluous if in this place I consider his works with some attention, if not in detail, at least under their more general and, if I dare say so, most representative aspect.

We possess five or six pictures signed with his hand. His masterpiece, preserved in the National Gallery of London, represents the Virgin seated on a throne and holding the infant Jesus in her arms. What strikes one first when one looks at this figure is the proportion. The body from the neck to the feet is only twice as long as the head, so that it appears extremely short and podgy. This work is not less remarkable for its painting than for its drawing. The great Margaritone had but a limited number of colours in his possession, and he used them in all their purity without ever modifying the tones. From this it follows that his colouring has more vivacity than harmony. The cheeks of the Virgin and those of the Child are of a bright vermilion which the old master, from a naive preference for clear definitions, has placed on each face in two circ.u.mferences as exact as if they had been traced out by a pair of compa.s.ses.

A learned critic of the eighteenth century, the Abbe Lanzi, has treated Margaritone's works with profound disdain. "They are," he says, "merely crude daubs. In those unfortunate times people could neither draw nor paint." Such was the common opinion of the connoisseurs of the days of powdered wigs. But the great Margaritone and his contemporaries were soon to be avenged for this cruel contempt. There was born in the nineteenth century, in the biblical villages and reformed cottages of pious England, a mult.i.tude of little Samuels and little St. Johns, with hair curling like lambs, who, about 1840, and 1850, became spectacled professors and founded the cult of the primitives.

That eminent theorist of Pre-Raphaelitism, Sir James Tuckett, does not shrink from placing the Madonna of the National Gallery on a level with the masterpieces of Christian art. "By giving to the Virgin's head,"

says Sir James Tuckett, "a third of the total height of the figure, the old master attracts the spectator's attention and keeps it directed towards the more sublime parts of the human figure, and in particular the eyes, which we ordinarily describe as the spiritual organs. In this picture, colouring and design conspire to produce an ideal and mystical impression. The vermilion of the cheeks does not recall the natural appearance of the skin; it rather seems as if the old master has applied the roses of Paradise to the faces of the Mother and the Child."

We see, in such a criticism as this, a shining reflection, so to speak, of the work which it exalts; yet MacSilly, the seraphic aesthete of Edinburgh, has expressed in a still more moving and penetrating fashion the impression produced upon his mind by the sight of this primitive painting. "The Madonna of Margaritone," says the revered MacSilly, "attains the transcendent end of art. It inspires its beholders with feelings of innocence and purity; it makes them like little children.

And so true is this, that at the age of sixty-six, after having had the joy of contemplating it closely for three hours, I felt myself suddenly transformed into a little child. While my cab was taking me through Trafalgar Square I kept laughing and prattling and shaking my spectacle-case as if it were a rattle. And when the maid in my boarding-house had served my meal I kept pouring spoonfuls of soup into my ear with all the artlessness of childhood."

"It is by such results," adds MacSilly, "that the excellence of a work of art is proved."

Margaritone, according to Vasari, died at the age of seventy-seven, "regretting that he had lived to see a new form of art arising and the new artists crowned with fame."

These lines, which I translate literally, have inspired Sir James Tuckett with what are perhaps the finest pages in his work. They form part of his "Breviary for Aesthetes"; all the Pre-Raphaelites know them by heart. I place them here as the most precious ornament of this book.

You will agree that nothing more sublime has been written since the days of the Hebrew prophets.

MARGARITONE'S VISION

Margaritone, full of years and labours, went one day to visit the studio of a young painter who had lately settled in the town. He noticed in the studio a freshly painted Madonna, which, although severe and rigid, nevertheless, by a certain exactness in the proportions and a devilish mingling of light and shade, a.s.sumed an appearance of relief and life.

At this sight the artless and sublime worker of Arezzo perceived with horror what the future of painting would be. With his brow clasped in his hands he exclaimed:

"What things of shame does not this figure show forth! I discern in it the end of that Christian art which paints the soul and inspires the beholder with an ardent desire for heaven. Future painters will not restrain themselves as does this one to portraying on the side of a wall or on a wooden panel the cursed matter of which our bodies are formed; they will celebrate and glorify it. They will clothe their figures with dangerous appearances of flesh, and these figures will seem like real persons. Their bodies will be seen; their forms will appear through their clothing. St. Magdalen will have a bosom. St. Martha a belly, St.

Barbara hips, St. Agnes b.u.t.tocks; St. Sebastian will unveil his youthful beauty, and St. George will display beneath his armour the muscular wealth of a robust virility; apostles, confessors, doctors, and G.o.d the Father himself will appear as ordinary beings like you and me; the angels will affect an equivocal, ambiguous, mysterious beauty which will trouble hearts. What desire for heaven will these representations impart? None; but from them you will learn to take pleasure in the forms of terrestrial life. Where will painters stop in their indiscreet inquiries? They will stop nowhere. They will go so far as to show men and women naked like the idols of the Romans. There will be a sacred art and a profane art, and the sacred art will not be less profane than the other."

"Get ye behind me, demons," exclaimed the old master. For in prophetic vision he saw the righteous and the saints a.s.suming the appearance of melancholy athletes. He saw Apollos playing the lute on a flowery hill, in the midst of the Muses wearing light tunics. He saw Venuses lying under shady myrtles and the Danae exposing their charming sides to the golden rain. He saw pictures of Jesus under the pillar's of the temple amidst patricians, fair ladies, musicians, pages, negroes, dogs, and parrots. He saw in an inextricable confusion of human limbs, outspread wings, and flying draperies, crowds of tumultuous Nativities, opulent Holy Families, emphatic Crucifixions. He saw St. Catherines, St.

Barbaras, St. Agneses humiliating patricians by the sumptuousness of their velvets, their brocades, and their pearls, and by the splendour of their b.r.e.a.s.t.s. He saw Auroras scattering roses, and a mult.i.tude of naked Dianas and Nymphs surprised on the banks of retired streams. And the great Margaritone died, strangled by so horrible a presentiment of the Renaissance and the Bolognese School.

VI. MARBODIUS

We possess a precious monument of the Penguin literature of the fifteenth century. It is a narrative of a journey to h.e.l.l undertaken by the monk Marbodius, of the order of St. Benedict, who professed a fervent admiration for the poet Virgil. This narrative, written in fairly good Latin, has been published by M. du Clos des Limes. It is here translated for the first time. I believe that I am doing a service to my fellow-countrymen in making them acquainted with these pages, though doubtless they are far from forming a unique example of this cla.s.s of mediaeval Latin literature. Among the fictions that may be compared with them we may mention "The Voyage of St. Brendan,"

"The Vision of Albericus," and "St. Patrick's Purgatory," imaginary descriptions, like Dante Alighieri's "Divine Comedy," of the supposed abode of the dead. The narrative of Marbodius is one of the latest works dealing with this theme, but it is not the least singular.

THE DESCENT OF MARBODIUS INTO h.e.l.l

In the fourteen hundred and fifty-third year of the incarnation of the Son of G.o.d, a few days before the enemies of the Cross entered the city of Helena and the great Constantine, it was given to me, Brother Marbodius, an unworthy monk, to see and to hear what none had hitherto seen or heard. I have composed a faithful narrative of those things so that their memory may not perish with me, for man's time is short.

On the first day of May in the aforesaid year, at the hour of vespers, I was seated in the Abbey of Corrigan on a stone in the cloisters and, as my custom was, I read the verses of the poet whom I love best of all, Virgil, who has sung of the labours: of the field, of shepherds, and of heroes. Evening was hanging its purple folds from the arches of the cloisters and in a voice of emotion I was murmuring the verses which describe how Dido, the Phoenician queen, wanders with her ever-bleeding wound beneath the myrtles of h.e.l.l. At that moment Brother Hilary happened to pa.s.s by, followed by Brother Jacinth, the porter.

Brought up in the barbarous ages before the resurrection of the Muses, Brother Hilary has not been initiated into the wisdom of the ancients; nevertheless, the poetry of the Mantuan has, like a subtle torch, shed some gleams of light into his understanding.

"Brother Marbodius," he asked me, "do those verses that you utter with swelling breast and sparkling eyes--do they belong to that great 'Aeneid' from which morning or evening your glances are never withheld?"