Volume I Part 25 (2/2)

Aen. VI. This part of the exhibition seems to be represented in one of the compartments of the Portland vase.

Three figures of exquisite workmans.h.i.+p are placed by the side of a ruined column whose capital is fallen off, and lies at their feet with other disjointed stones, they sit on loose piles of stone beneath a tree, which has not the leaves of any evergreen of this climate, but may be supposed to be an elm, which Virgil places near the entrance of the infernal regions, and adds, that a dream was believed to dwell under every leaf of it. Aen. VI. l. 281. In the midst of this group reclines a female figure in a dying att.i.tude, in which extreme languor is beautifully represented, in her hand is an inverted torch, an antient emblem of extinguished life, the elbow of the same arm resting on a stone supports her as she sinks, while the other hand is raised and thrown over her drooping head, in some measure sustaining it and gives with great art the idea of fainting la.s.situde. On the right of her sits a man, and on the left a woman, both supporting themselves on their arms, as people are liable to do when they are thinking intensely. They have their backs towards the dying figure, yet with their faces turned towards her, as if seriously contemplating her situation, but without stretching out their hands to a.s.sist her.

This central figure then appears to me to be an hieroglyphic or Eleusinian emblem of MORTAL LIFE, that is, the lethum, or death, mentioned by Virgil amongst the terrible things exhibited at the beginning of the mysteries. The inverted torch shews the figure to be emblematic, if it had been designed to represent a real person in the act of dying there had been no necessity for the expiring torch, as the dying figure alone would have been sufficiently intelligible;--it would have been as absurd as to have put an inverted torch into the hand of a real person at the time of his expiring. Besides if this figure had represented a real dying person would not the other figures, or one of them at least, have stretched out a hand to support her, to have eased her fall among loose stones, or to have smoothed her pillow? These circ.u.mstances evince that the figure is an emblem, and therefore could not be a representation of the private history of any particular family or event.

The man and woman on each side of the dying figure must be considered as emblems, both from their similarity of situation and dress to the middle figure, and their being grouped along with it. These I think are hieroglyphic or Eleusinian emblems of HUMANKIND, with their backs toward the dying figure of MORTAL LIFE, unwilling to a.s.sociate with her, yet turning back their serious and attentive countenances, curious indeed to behold, yet sorry to contemplate their latter end. These figures bring strongly to one's mind the Adam and Eve of sacred writ, whom some have supposed to have been allegorical or hieroglyphic persons of Aegyptian origin, but of more antient date, amongst whom I think is Dr. Warburton.

According to this opinion Adam and Eve were the names of two hieroglyphic figures representing the early state of mankind; Abel was the name of an hieroglyphic figure representing the age of pasturage, and Cain the name of another hieroglyphic symbol representing the age of agriculture, at which time the uses of iron were discovered. And as the people who cultivated the earth and built houses would increase in numbers much faster by their greater production of food, they would readily conquer or destroy the people who were sustained by pasturage, which was typified by Cain slaying Abel.

2. On the other compartment of this celebrated vase is exhibited an emblem of immortality, the representation of which was well known to const.i.tute a very princ.i.p.al part of the shews at the Eleusinian mysteries, as Dr. Warburton has proved by variety of authority. The habitation of spirits or ghosts after death was supposed by the antients to be placed beneath the earth, where Pluto reigned, and dispensed rewards or punishments. Hence the first figure in this group is of the MANES or GHOST, who having pa.s.sed through an open portal is descending into a dusky region, pointing his toe with timid and unsteady step, feeling as it were his way in the gloom. This portal Aeneas enters, which is described by Virgil,--patet atri janua ditis, Aen. VI. l. 126; as well as the easy descent,--facilis descensus Averni. Ib. The darkness at the entrance to the shades is humorously described by Lucian. Div.

Legat. Vol. I. p. 241. And the horror of the gates of h.e.l.l was in the time of Homer become a proverb; Achilles says to Ulysses, ”I hate a liar worse than the gates of h.e.l.l;” the same expression is used in Isaiah, ch. x.x.xviii. v. 10. The MANES or GHOST appears lingering and fearful, and wishes to drag after him a part of his mortal garment, which however adheres to the side of the portal through which he has pa.s.sed. The beauty of this allegory would have been expressed by Mr. Pope, by ”We feel the ruling pa.s.sion strong in death.”

A little lower down in the group the manes or ghost is received by a beautiful female, a symbol of IMMORTAL LIFE. This is evinced by her fondling between her knees a large and playful serpent, which from its annually renewing its external skin has from great antiquity, even as early as the fable of Prometheus, been esteemed an emblem of renovated youth. The story of the serpent acquiring immortal life from the a.s.s of Prometheus, who carried it on his back, is told in Bacon's Works, Vol.

V. p. 462. Quarto edit. Lond. 1778. For a similar purpose a serpent was wrapped round the large hieroglyphic egg in the temple of Dioscuri, as an emblem of the renewal of life from a state of death. Bryant's Mythology, Vol II. p. 359. sec. edit. On this account also the serpent was an attendant on Aesculapius, which seems to have been the name of the hieroglyphic figure of medicine. This serpent shews this figure to be an emblem, as the torch shewed the central figure of the other compartment to be an emblem, hence they agreeably correspond, and explain each other, one representing MORTAL LIFE, and the other IMMORTAL LIFE.

This emblematic figure of immortal life sits down with her feet towards the figure of Pluto, but, turning back her face towards the timid ghost, she stretches forth her hand, and taking hold of his elbow, supports his tottering steps, as well as encourages him to advance, both which circ.u.mstances are thus with wonderful ingenuity brought to the eye. At the same time the spirit loosely lays his hand upon her arm, as one walking in the dark would naturally do for the greater certainty of following his conductress, while the general part of the symbol of IMMORTAL LIFE, being turned toward the figure of Pluto, shews that she is leading the phantom to his realms.

In the Pamphili gardens at Rome, Perseus in a.s.sisting Andromeda to descend from the rock takes hold of her elbow to steady or support her step, and she lays her hand loosely on his arm as in this figure. Admir.

Roman. Antiq.

The figure of PLUTO can not be mistaken, as is agreed by most of the writers who have mentioned this vase; his grisley beard, and his having one foot buried in the earth, denotes the infernal monarch. He is placed at the lowest part of the group, and resting his chin on his hand, and his arm upon his knee, receives the stranger-spirit with inquisitive attention; it was before observed that when people think attentively they naturally rest their bodies in some easy att.i.tude, that more animal power may be employed on the thinking faculty. In this group of figures there is great art shewn in giving an idea of a descending plain, viz.

from earth to Elysium, and yet all the figures are in reality on an horizontal one. This wonderful deception is produced first by the descending step of the manes or ghost; secondly, by the arm of the sitting figure of immortal life being raised up to receive him as he descends; and lastly, by Pluto having one foot sunk into the earth.

There is yet another figure which is concerned in conducing the manes or ghost to the realms of Pluto, and this is LOVE. He precedes the descending spirit on expanded wings, lights him with his torch, and turning back his beautiful countenance beckons him to advance. The antient G.o.d of love was of much higher dignity than the modern Cupid. He was the first that came out of the great egg of night, (Hesiod. Theog.

V. CXX. Bryant's Mythol. Vol. II. p. 348.) and is said to possess the keys of the sky, sea, and earth. As he therefore led the way into this life, he seems to const.i.tute proper emblem for leading the way to a future life. See Bacon's works. Vol. I. p. 568. and Vol. III. p. 582.

Quarto edit.

The introduction of love into this part of the mysteries requires a little further explanation. The Psyche of the Aegyptians was one of their most favourite emblems, and represented the soul, or a future life; it was originally no other than the aurelia, or b.u.t.terfly, but in after times was represented by a lovely female child with the beautiful wings of that insect. The aurelia, after its first stage as an eruca or caterpillar, lies for a season in a manner dead, and is inclosed in a sort of coffin, in this state of darkness it remains all the winter, but at the return of spring it bursts its bonds and comes out with new life, and in the most beautiful attire. The Aegyptians thought this a very proper picture of the soul of man, and of the immortality to which it aspired. But as this was all owing to divine Love, of which EROS was an emblem, we find this person frequently introduced as a concomitant of the soul in general or Psyche. (Bryant's Mythol. Vol. II. p. 386.) EROS, or divine Love, is for the same reason a proper attendant on the manes or soul after death, and much contributes to tell the story, that is, to shew that a soul or manes is designed by the descending figure. From this figure of Love M. D'Hancarville imagines that Orpheus and Eurydice are typified under the figure of the manes and immortal life as above described. It may be sufficient to answer, first, that Orpheus is always represented with a lyre, of which there are prints of four different gems in Spence's Polymetis, and Virgil so describes him, Aen. VI.

cythara fretus. And secondly, that it is absurd to suppose that Eurydice was fondling and playing with a serpent that had slain her. Add to this that Love seems to have been an inhabitant of the infernal regions, as exhibited in the mysteries, for Claudian, who treats more openly of the Eleusinian mysteries, when they were held in less veneration, invokes the deities to disclose to him their secrets, and amongst other things by what torch Love softens Pluto.

Dii, quibus in numerum, &c.

Vos mihi sacrarum penetralia pandite rerum, Et vestri secreta poli, qua lampade Ditem Flexit amor.

In this compartment there are two trees, whose branches spread over the figures, one of them has smoother leaves like some evergreens, and might thence be supposed to have some allusion to immortality, but they may perhaps have been designed only as ornaments, or to relieve the figures, or because it was in groves, where these mysteries were originally celebrated. Thus Homer speaks of the woods of Proserpine, and mentions many trees in Tartarus, as presenting their fruits to Tantalus; Virgil speaks of the pleasant groves of Elysium; and in Spence's Polymetis there are prints of two antient gems, one of Orpheus charming Cerberus with his lyre, and the other of Hercules binding him in a cord, each of them standing by a tree. Polymet. p. 284. As however these trees have all different foliage so clearly marked by the artist, they may have had specific meanings in the exhibitions of the mysteries, which have not reached posterity, of this kind seem to have been the tree of knowledge of good and evil, and the tree of life, in sacred writ, both which must have been emblematic or allegorical. The masks, hanging to the handles of the vase, seem to indicate that there is a concealed meaning in the figures besides their general appearance. And the priestess at the bottom, which I come now to describe, seems to shew this concealed meaning to be of the sacred or Eleusinian kind.

3. The figure on the bottom of the vase is on a larger scale than the others, and less finely finished, and less elevated, and as this bottom part was afterwards cemented to the upper part, it might be executed by another artist for the sake of expedition, but there seems no reason to suppose that it was not originally designed for the upper part of it as some have conjectured. As the mysteries of Ceres were celebrated by female priests, for Porphyrius says the antients called the priestesses of Ceres, Melissai, or bees, which were emblems of chast.i.ty. Div. Leg.

Vol. I. p. 235. And as, in his Satire against the s.e.x, Juvenal says, that few women are worthy to be priestesses of Ceres. Sat. VI. the figure at the bottom of the vase would seem to represent a PRIESTESS or HIEROPHANT, whose office it was to introduce the initiated, and point out to them, and explain the exhibitions in the mysteries, and to exclude the uninitiated, calling out to them, ”Far, far retire, ye profane!” and to guard the secrets of the temple. Thus the introductory hymn sung by the hierophant, according to Eusebius, begins, ”I will declare a secret to the initiated, but let the doors be shut against the profane.” Div. Leg. Vol. I. p. 177. The priestess or hierophant appears in this figure with a close hood, and dressed in linen, which fits close about her; except a light cloak, which flutters in the wind. Wool, as taken from slaughtered animals, was esteemed profane by the priests of Aegypt, who were always dressed in linen. Apuleus, p. 64. Div. Leg. Vol.

I. p. 318. Thus Eli made for Samuel a linen ephod. Samuel i. 3.

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