prudence, and temperance. By the gold, which is the metal of the ring, is denoted wisdom, which excels among the gifts of Heaven, as gold does among metals. Thus it is said of the Messiah, that the spirit of wisdom shall rest upon him: nor is there any thing more necessary to a king, which made Solomon request it from God preferably to all other goods. As to the colour of the stones, the green of the emerald denotes faith; the purity of the saphire, hope; the red of the granite, charity; the clearness of the topaz, good works. You have therefore in the emerald what will increase your faith; in the saphire, what will encourage you to hope; in the granite, what<205> will prompt you to love; in the topaz, what will excite you to act; till, having mounted by degrees to the perfection of all the virtues, you come at last to see the God of gods in the celestial Sion.14
The famous golden bull of Germany, digested anno 1356 by Bartolus, a celebrated lawyer, and intended for a master-piece of composition, is replete with wild conceptions, without the least regard to truth, propriety, or connection. It begins with an apostrophe to Pride, to Satan, to Choler, and to Luxury: it asserts, that there must be seven electors for opposing the seven mortal sins: the fall of the angels, terrestrial paradise, Pompey, and Caesar, are introduced; and it is said, that Germany is founded on the Trinity, and on the three theological virtues. What can be more puerile! A sermon preached by the Bishop of Bitonto, at the opening of the council of Trent, excels in that mode of composition. He proves that a council is necessary; because several councils have extirpated heresy, and deposed kings and emperors; because the poets assemble councils of the gods; because Moses writes, that at the creation of man, and at confounding<206> the language of the giants, God acted in the manner of a council; because religion has three heads, doctrine, sacraments, and charity, and that these three are termed a council. He exhorts the members of the council to strict unity, like the heroes in the Trojan horse. He asserts, that the gates of paradise and of the council are the same; that the holy fathers should sprinkle their dry hearts with the living water that flowed from it; and that otherwise the Holy Ghost would open their mouths like those of Balaam and Caiaphas(a). James I. of Britain dedicates his Declaration against Vorstius to our Saviour, in the following words: “To the honour of our Lord and Saviour Jesus Christ, the eternal Son of the eternal Father, the only Theanthropos, mediator, and reconciler of mankind; in sign of thankfulness, his most humble and obliged servant, James, by the grace of God, King of Great Britain, France, and Ireland, Defender of the Faith, doth dedicate and consecrate this his Declaration.” Funeral orations were some time ago in fashion. Regnard, who was in Stockholm about the year 1680, <207> heard a funeral oration at the burial of a servant-maid. The priest, after mentioning her parents and the place of her birth, praised her as an excellent cook, and enlarged upon every ragout that she made in perfection. She had but one fault, he said, which was the salting her dishes too much; but that she showed thereby her prudence, of which salt is the symbol; a stroke of wit that probably was admired by the audience. Funeral orations are out of fashion: the futility of a trite panegyric purchased with money, and indecent flattery in circumstances that require sincerity and truth, could not long stand against improved taste. The yearly feast of the ass that carried the mother of God into Egypt, was a most ridiculous farce, highly relished in the dark ages of Christianity. See the description of that feast in Voltaire’s General History(b).
The public amusements of our forefathers, show the grossness of their taste after they were reduced to barbarism by the Goths and Vandals. The plays termed Mysteries, because they were borrowed from the scriptures, indicate gross man-<208>ners, as well as infantine taste; and yet in France, not farther back than three or four centuries, these Mysteries were such favourites as constantly to make a part at every public festival. In a Spanish play or mystery, Jesus Christ and the devil, ridiculously dressed, enter into a dispute about some point of controversy, are enflamed, proceed to blows, and finish the entertainment with a saraband. The reformation of religion, which roused a spirit of inquiry, banished that amusement, not only as low but as indecent. A sort of plays succeeded, termed Moralities, less indecent indeed, but little preferable in point of composition. These Moralities have also been long banished, except in Spain, where they still continue in vogue. The devil is commonly the hero: nor do the Spaniards make any difficulty, even in their more regular plays, to introduce supernatural and allegorical beings upon the same stage with men and women. The Cardinal Colonna carried into Spain a beautiful bust of the Emperor Caligula. In the war about the succession of Spain, after the death of its king Charles II., Lord Gallway, upon a painful search, found<209> that bust serving as a weight to a church-clock.
In the days of our unpolished forefathers, who were governed by pride as well as by hatred, princes and men of rank entertained a changeling, distinguished by the name of fool; who being the butt of their silly jokes, flattered their self-conceit. Such amusement, no less gross than inhuman, could not show its face even in the dawn of taste: it was rendered less insipid and less inhuman, by entertaining one of real wit, who, under disguise of a fool, was indulged in the most satirical truths. Upon a further purification of taste, it was discovered, that to draw amusement from folly, real or pretended, is below the dignity of human nature. More refined amusements were invented, such as balls, public spectacles, gaming, and society with women. Parasites, described by Plautus and Terence, were of such a rank as to be permitted to dine with gentlemen; and yet were so despicable as to be the butt of every man’s joke. They were placed at the lower end of the table; and the guests diverted themselves with daubing their faces, and even kicking and<210> cuffing them; all which was patiently borne for the sake of a plentiful meal. They resembled the fools and clowns of later times, being equally intended to be laughed at: but the parasite profession shows grosser manners; it being shockingly indelicate in a company of gentlemen to abuse one of their own number, however contemptible in point of character.
Pride, which introduced fools, brought dwarfs also into fashion. In Italy, that taste was carried to extravagance. “Being at Rome in the year 1566,” says a French writer, “I was invited by Cardinal Vitelli to a feast, where we were served by no fewer than thirty-four dwarfs, most of them horribly distorted.” Was not the taste of that Cardinal horribly distorted? The same author adds, that Francis I. and Henry II. Kings of France, had many dwarfs: one named Great John, was the least ever had been seen, except a dwarf at Milan, who was carried about in a cage.
In the eighth and ninth centuries, no sort of commerce was carried on in Europe but in markets and fairs. Artificers and<211> manufacturers were dispersed through the country, and so were monasteries; the towns being inhabited by none but clergymen, and those who immediately depended on them. The nobility lived on their estates, unless when they followed the court. The low people were not at liberty to desert the place of their birth: the villain was annexed to the estate, and the slave to the person of his lord. Slavery fostered rough manners; and there could be no improvement in manners, nor in taste, where there was no society. Of all the polite nations in Europe, the English were the latest of taking to a town-life; and their progress in taste and manners has been proportionally slow.15
Our celebrated poet Ben Johnson lived at a time, when turgid conceptions and bombast language were highly relished; and his compositions are in the perfection of that taste, witness the quotations from him in Elements of Criticism(a). He was but too faithfully imitated by Beaumont and Fletcher, and other writers of that age. We owe to Dryden the dawn of a better<212> taste. For though the mode of writing in his time led him to the bombast, yet a just imitation of nature frequently breaks forth, especially in his later compositions. And, as nature will always at last prevail, the copies of nature given by that eminent writer were highly relished, produced many happy imitations, and in time brought about a total revolution of taste, which kept pace with that of government, both equally happy for this nation. Here is a fair deduction of the progress of taste in Britain. But, according to that progress, what shall be said of the immortal Shakespeare, in whose works is displayed the perfection of taste? Was not his appearance at least a century too early? Such events happen sometimes contrary to the ordinary progress. This was the case of Roger Bacon, as well as of Shakespeare: they were blazing stars that gave but a temporary lustre, and left the world as void of light as before.16 Ben Johnson, accordingly, and even Beaumont and Fletcher, were greater national favourites than Shakespeare;
