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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 buttocks; 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 God 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 assuming 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 pillars 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 breasts. He saw Auroras scattering roses, and a multitude 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 hell 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 class of medieval 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 Hell

In the fourteen hundred and fifty-third year of the incarnation of the Son of God, 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 hell. At that moment Brother Hilary happened to pass 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?”

I answered that I was reading in Virgil how the son of Anchises perceived Dido like a moon behind the foliage.6

“Brother Marbodius,” he replied, “I am certain that on all occasions Virgil gives expression to wise maxims and profound thoughts. But the songs that he modulates on his Syracusan flute hold such a lofty meaning and such exalted doctrine that I am continually puzzled by them.”

“Take care, father,” cried Brother Jacinth, in an agitated voice. “Virgil was a magician who wrought marvels by the help of demons. It is thus he pierced through a mountain near Naples and fashioned a bronze horse that had power to heal all the diseases of horses. He was a necromancer, and there is still shown, in a certain town in Italy, the mirror in which he made the dead appear. And yet a woman deceived this great sorcerer. A Neapolitan courtesan invited him to hoist himself up to her window in the basket that was used to bring the provisions, and she left him all night suspended between two storeys.”

Brother Hilary did not appear to hear these observations.

“Virgil is a prophet,” he replied, “and a prophet who leaves far behind him the sibyls with their sacred verses as well as the daughter of King Priam, and that great