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This Book List Sectory 08
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.
Furthermore, it will be remembered that the British and French Governments violently protested when the plans were made public that the Dutch Government intended to fortify the mouth of the Scheldt in 1906. But in 1912, when the Balkan crisis became acute, the British went one step further. When Col. Bridges, in a conversation with Gen. Jungbluth, the Chief of the Belgian General Staff, said that England was ready to strike, that 160,000 men were ready to be landed and that they would land them as soon as any European conflict should break out, Gen. Jungbluth protested that for such a step the permission of Belgium was necessary. The cool reply was that the English knew it, but thought that, as Belgium was not strong enough alone to protect herself, England would land troops anyway. Gen. Jungbluth answered that Belgium felt strong enough to protect herself, which is in keeping with her declaration to France, when she offered to protect Belgium by five army corps, as reported in the British "White Book." The position of England was therefore that, while in 1906 they had already concerted plans for a joint action, in 1912 England intended action in any case, should a European conflagration break out.
Upon his arrival in Africa, Marius was not well pleased that a Quaestor had been assigned to him who was only known for his profligacy, and who had had no experience in war; but the zeal and energy with which Sulla attended to his new duties soon rendered him a useful and skillful officer, and gained for him the unqualified approbation of his commander, notwithstanding his previous prejudices against him. He was equally successful in winning the affections of the soldiers. He always addressed them with the greatest kindness, seized every opportunity of conferring favors upon them, was ever ready to take part in all the jests of the camp, and at the same time never shrank from sharing in all their labors and dangers. It is a curious circumstance that Marius gave to his future enemy and the destroyer of his family and party the first opportunity of distinguishing himself. The enemies of Marius claimed for Sulla the glory of the betrayal of Jugurtha, and Sulla himself took the credit of it by always wearing a signet ring representing the scene of the surrender.
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