BARRENNESS OF THE IMAGINATIVE FACULTY IN THE PRODU

HOGARTHexcepted,canweproduceanyonepainterwithinthelastfiftyyears,orsincethehumourofexhibitingbegan,thathastreatedastoryimaginatively?Bythiswemean,uponwhomhissubjecthassoacted,thatithasseemedtodirecthim——nottobearrangedbyhim?Anyuponwhomitsleadingorcollateralpointshaveimpressedthemselvessotyrannically,thathedarednottreatitotherwise,lestheshouldfalsifyarevelation?Anythathasimpartedtohispositions,notmerelysomuchtruthasisenoughtoconveyastorywithclearness,butthatindividualisingproperty,whichshouldkeepthesubjectsotreateddistinctinfeaturefromeveryothersubject,howeversimilar,andtomonapprehensionsalmostidentical;soasthatwemightsay,thisandthispartcouldhavefoundanappropriateplaceinnootherpictureintheworldbutthis?Isthereanythinginmodernart——wewillnotdemandthatitshouldbeequal——butinanywayanalogoustowhatTitianhaseffected,inthatwonderfulbringingtogetheroftwotimesinthe"Ariadne,"intheNationalGallery?Precipitous,withhisreelingSatyrroutabouthim,repeoplingandre-illumingsuddenlythewasteplaces,drunkwithanewfurybeyondthegrape,Bacchus,borninfire,fire-likeflingshimselfattheCretan.Thisisthetimepresent.Withthistellingofthestoryanartist,andnoordinaryone,mightremainrichlyproud.Guido,inhisharmoniousversionofit,sawnofurther.ButfromthedepthsoftheimaginativespiritTitianhasrecalledpasttime,andlaiditcontributorywiththepresenttoonesimultaneouseffect.Withthedesertallringingwiththemadcymbalsofhisfollowers,madelucidwiththepresenceandnewoffersofagod,——asifunconsciousofBacchus,orbutidlycastinghereyesasuponsomeunconcerningpageant——hersoulundistractedfromTheseus——Ariadneisstillpacingthesolitaryshore,inasmuchheart-silence,andinalmostthesamelocalsolitude,withwhichsheawokeatdaybreaktocatchtheforlornlastglancesofthesailthatboreawaytheAthenian.

Herearetwopointsmiraculouslyco-uniting;fiercesociety,withthefeelingofsolitudestillabsolute;noon-dayrevelations,withtheaccidentsofthedullgreydawnunquenchedandlingering;thepresentBacchus,withthepastAriadne;twostories,withdoubleTime;separate,andharmonising.HadtheartistmadethewomanoneshadelessindifferenttotheGod;stillmore,hadsheexpressedaraptureathisadvent,wherewouldhavebeenthestoryofthemightydesolationoftheheartprevious?mergedintheinsipidaccidentofaflatteringoffermetwithaweleacceptance.ThebrokenheartforTheseuswasnotlightlytobepiecedupbyaGod.

Wehavebeforeusafineroughprint,fromapicturebyRaphaelintheVatican.ItisthePresentationofthenew-bornEvetoAdambytheAlmighty.Afairermotherofmankindwemightimagine,andagoodliersireperhapsofmensinceborn.Butthesearematterssubordinatetotheconceptionofthesituation,displayedinthisextraordinaryproduction.Atolerablymodernartistwouldhavebeensatisfiedwithtemperingcertainrapturesofconnubialanticipation,withasuitableacknowledgementtotheGiveroftheblessing,inthecountenanceofthefirstbridegroom;somethinglikethedividedattentionofthechild(Adamwashereachildman)betweenthegiventoy,andthemotherwhohadjustblestitwiththebauble.Thisistheobvious,thefirst-sightview,thesuperficial.Anartistofahighergrade,consideringtheawfulpresencetheywerein,wouldhavetakencaretosubtractsomethingfromtheexpressionofthemorehumanpassion,andtoheightenthemorespiritualone.Thiswouldbeasmuchasanexhibition-goer,fromtheopeningofSomersetHousetolastyearsshow,hasbeenencouragedtolookfor.Itisobvioustohintatalowerexpression,yetinapicture,thatforrespectsofdrawingandcolouring,mightbedeemednotwhollyinadmissiblewithintheseart-fosteringwalls,inwhichtherapturesshouldbeasninety-nine,thegratitudeasone,orperhapsZero!ByneithertheonepassionnortheotherhasRaphaelexpoundedthesituationofAdam.Singlyonhisbrowsitstheabsorbingsenseofwonderatthecreatedmiracle.Themomentisseizedbytheintuitiveartist,perhapsnotself-consciousofhisart,inwhichneitheroftheconflictingemotionsmomenthowabstract——havehadtimetospringup,ortobattleforindecorousmastery——Wehaveseenalandscapeofajustlyadmiredneoteric,inwhichheaimedatdelineatingafiction,oneofthemostseverelybeautifulinantiquity——thegardensoftheHesperides.TodoMr——justice,hebadpaintedlaudableorchard,withfittingseclusion,andaveritabledragon(ofwhichaPolyphemebyPoussinissomehowafac-simileforthesituation),lookingoverintotheworldshutoutbackwards,sothatnonebuta"still-climbingHercules"couldhopetocatchapeepattheadmiredTernaryofRecluses.Noconventualportercouldkeephiskeysbetterthanthiscustoswiththe"lidlesseye"HenotonlyseesthatnonedointrudeintothatPrivacy,but,asclearasdaylight,thatnonebutHerculesautDiabolusbyanymannerofmeanscan.Sofaralliswell.Wehaveabsolutesolitudehereornowhere.Abextrathedamselsaresnugenough.Butheretheartistscourageseemstohavefailedhim.Hebegantopityhisprettycharge,and,toforttheirksomeness,haspeopledtheirsolitudewithabevyoffairattendants,maidsofhonour,orladiesofthebed-chamber,accordingtotheapprovedetiquetteatacourtofthenineteenthcentury;givingtothewholescenetheairofafetechampetre,ifwewillbutexcusetheabsenceofthegentlemen.Thisiswell,andWatteauish.Butwhatisbeeofthesolitarymystery-the

Daughtersthree,

Thatsingaroundthegoldentree?

ThisisnotthewayinwhichPoussinwouldhavetreatedthissubject.

Thepaintingsorratherthestupendousarchitecturaldesigns,ofamodernartist,havebeenurgedasobjectionstothetheoryofourmotto.Theyareofacharacter,weconfess,tostaggerit.Histoweredstructuresareofthehighestorderofthematerialsublime.Whethertheyweredreams,ortranscriptsofsomeelderworkmanship——Assyrianruinsold——restoredbythismightyartist,theysatisfyourmoststretchedandcravingconceptionsofthegloriesoftheantiqueworld.Itisapitythattheywereeverpeopled.Onthatside,theimaginationoftheartisthalts,andappearsdefective.Letusexaminethepointofthestoryinthe"BelshazzarsFeast."Wewillintroduceitbyanappositeanecdote.

Thecourthistoriansofthedayrecord,thatatthefirstdinnergivenbythelateKing(thenPrinceRegent)atthePavilion,thefollowingcharacteristicfrolicwasplayedoff.Theguestswereselectandadmiring;thebanquetprofuseandadmirable;thelightslustrousandoriental;theeyewasperfectlydazzledwiththedisplayofplate,amongwhichthegreatgoldsalt-cellar,broughtfromtheregaliaintheTowerforthisespecialpurpose,itselfatower!stoodconspicuousforitsmagnitude.AndnowtheRev.****thethenadmiredcourtChaplain,wasproceedingwiththegrace,when,atasignalgiven,thelightsweresuddenlyovercast,andahugetransparencywasdiscovered,inwhichglitteredingoldenletter-

"Brighton——Earthquake——Swallow-up-alive!"

Imaginetheconfusionoftheguests;theGeorgesandgarters,jewels,bracelets,moultedupontheoccasion!Thefansdropt,andpickedupthenextmorningbytheslycourtpages.Mrs.Fitzwhats-her-namefainting,andtheCountessof****holdingthesmellingbottle,tillthegood-humouredPrincecausedharmonytoberestoredbycallinginfreshcandles,anddeclaringthatthewholewasnothingbutapantomimehoax,gotupbytheingeniousMr.Farley,ofCoventGarden,fromhintswhichhisRoyalHighnesshimselfhadfurnished!Thenimaginetheinfiniteapplausethatfollowed,themutualrallyings,thedeclarationsthat"theywerenotmuchfrightened,"oftheassembledgalaxy.

Thepointoftimeinthepictureexactlyanswerstotheappearanceofthetransparencyintheanecdote.Thehuddle,theflutter,thebustle,theescape,thealarm,andthemockalarm;theprettinessesheightenedbyconsternation;thecourtiersfearwhichwasflattery,andtheladyswhichwasaffectation;allthatwemayconceivetohavetakenplaceinamobofBrightoncourtiers,sympathisingwiththewell-actedsurpriseoftheirsovereignallthis,andnomore,isexhibitedbythewell-dressedlordsandladiesintheHallofBelus.Justthissortofconsternationwehaveseenamongaflockofdisquietedwildgeeseatthereportonlyofagunhavinggoneoff!

Butisthisvulgarfright,thismereanimalanxietyforthepreservationoftheirpersons,suchaswehavewitnessedatatheatre,whenaslightalarmoffirehasbeengiven——anadequateexponentofasupernaturalterror?thewayinwhichthefingerofGod,writingjudgments,wouldhavebeenmetbythewitheredconscienceThereisahumanfear,andadivinefear.Theoneisdisturbed,restless,andbentuponescape.Theotherisboweddown,effortless,passive.WhenthespiritappearedbeforeEliphaz,inthevisionsofthenight,andthehairofhisfleshstoodup,wasitinthethoughtsoftheTemanitetoringthebellofhischamber,ortocalluptheservants?Butletusseeinthetextwhatthereistojustifyallthishuddleofvulgarconsternation.

FromthewordsofDanielitappearsthatBelshazzarhadmadeagreatfeasttoathousandofhislords,anddrankwinebeforethethousand.Thegoldenandsilvervesselsaregorgeouslyenumerated,withtheprinces,thekingsconcubines,andhiswives.Thenfollows——

"Inthesamehourcameforthfingersofamanshand,andwroteoveragainstthecandlestickupontheplasterofthewallofthekingspalace;andthekingsawthepartofthehandthatwrote.Thenthekingscountenancewaschanged,andhisthoughtstroubledhim,sothatthejointsofhisloinswereloosened,andhiskneessmoteoneagainstanother."

Thisistheplaintext.Bynohintcanitbeotherwiseinferred,butthattheappearancewassolelyconfinedtothefancyofBelshazzar,thathissinglebrainwastroubled.Notawordisspokenofitsbeingseenbyanyelsetherepresent,notevenbythequeenherself,whomerelyundertakesfortheinterpretationofthephenomenon,asrelatedtoher,doubtless,byherhusband.Thelordaresimplysaidtoheastonished;i.e.atthetroubleandthechangeofcountenanceintheirsovereign.Eventheprophetdoesnotappeartohaveseenthescroll,whichthekingsaw.Herecallsitonly,asJosephdidtheDreamtotheKingofEgypt."Thenwasthepartofthehandsentfromhim[theLord]andthiswritingwaswritten."Hespeaksofthephantasmaspast.

Thenwhatbeesofthisneedlessmultiplicationofthemiracle?thismessagetoaroyalconscience,singlyexpressed——foritwassaid,"thykingdomisdivided,"simultaneouslyimpresseduponthefanciesofathousandcourtiers,whowereimpliedinitneitherdirectlynorgrammatically?

Butadmittingtheartistsownversionofthestory,andthatthesightwasseenalsobythethousandcourtiers——letithavebeenvisibletoallBabylon——thekneesofBelshazzarwereshaken,andhiscountenancetroubled,evensowouldthekneesofeverymaninBabylon,andtheircountenances,asofanindividualman,beentroubled;bowed,bentdown,sotheywouldhaveremained,stupor-fixed,withnothoughtofstrugglingwiththatinevitablejudgment.

Notallthatisopticallypossibletobeseen,istobeshownineverypicture.Theeyedelightedlydwellsuponthebrilliantindividualitiesina"MarriageatCana,"byVeronese,orTitian,totheverytextureandcolouroftheweddinggarments,theringglitteringuponthebridesfingers,themetalandfashionofthewinepots;foratsuchseasonsthereisleisureandluxurytobecurious.Butina"dayofjudgment,"orina"dayoflesserhorrorsyetdivine,"attheimpiousfeastofBelshazzar,theimmediatescene,astheactualeyeofanagentorpatientintheimmediatescenewouldsee,onlyinmassesandindistinction.Notonlythefemaleattireandjewelryexposedtothecriticaleyeofthefashion,asminutelyasthedressesinaladysmagazine,inthecriticisedpicture,——butperhapsthecuriositiesofanatomicalscience,andstudieddiversitiesofpostureinthefallingangelsandsinnersofMichaelAngelo,——havenobusinessintheirgreatsubjects.Therewasnoleisureofthem.

Byawisefalsification,thegreatmastersofpaintinggotattheirtrueconclusions;bynotshowingtheactualappearances,thatis,allthatwastobeseenatanygivenmomentbyanindifferenteye,butonlywhattheeyemightbesupposedtoseeinthedoingorsufferingofsomeportentousaction.SupposethemomentoftheswallowingupofPompeii.Theretheyweretobeseen——houses,columns,architecturalproportions,differencesofpublicandprivatebuildings,menandwomenattheirstandingoccupations,thediversifiedthousandpostures,attitudes,dresses,insomeconfusiontruly,butphysicallytheywerevisible.Butwhateyesawthematthateclipsingmoment,whichreducesconfusiontoakindofunity,andwhenthesensesareupturnedfromtheirproprieties,whensightandhearingareafeelingonly?Athousandyearshavepassed,andweareatleisuretocontemplatetheweaverfixedstandingathisshuttle,thebakerathisoven,andtoturnoverwithantiquariancoolnessthepotsandpansofPompeii.

"Sun,standthoustilluponGibeah,andthou,Moon,inthevalleyofAjalon."Who,inreadingthismagnificentHebraism,inhisconception,seesaughtbuttheheroicsonofNun,withtheout-stretchedarm,andthegreaterandlesserlightobsequious?Doubtlessthereweretobeseenhillanddale,andchariotsandhorsemen,onopenplain,orwindingbysecretdefiles,andallthecircumstancesandstratagemsofwar.Butwhoseeyeswouldhavebeenconsciousofthisarrayattheinterpositionofthesynchronicmiracle?Yetinthepictureofthissubjectbytheartistofthe"BelshazzarsFeast"noignobleworkeither——themarshallingandlandscapeofthewariseverything,themiraclesinksintoananecdoteoftheday;andtheeyemay"dartthroughrankandfiletraverse"forsomeminutes,beforeitshalldiscover,amonghisarmedfollowers,whichisJoshua!Notmodernartalone,butancient,whereonlyitistobefoundifanywhere,canbedetectederring,fromdefectofthisimaginativefaculty.Theworldhasnothingtoshowofthepreternaturalinpainting,transcendingthefigureofLazarusburstinghisgrave-clothesinthegreatpictureatAngersteins.Itseemsathingbetweentwobeings.Aghastlyhorroratitselfstruggleswithnewlyapprehendinggratitudeatsecondlifebestowed.Itcannotforgetthatitwasaghost.Ithashardlyfeltthatitisabody.Ithastotelloftheworldofspirits.Wasitfromafeeling,thatthecrowdofhalf-impassionedby-standers,andthestillmoreirrelevantherdofpassers-byatadistance,whohavenotheardorbutfaintlyhavebeentoldofthepassingmiracle,admirableastheareindesignandhue——foritisaglorifiedwork——donotrespondadequatelytotheaction——thatthesinglefigureoftheLazarushasbeenattributedtoMichaelAngelo,andthemightySebastianunfairlyrobbedofthefameofthegreaterhalfoftheinterest?Nowthattherewerenotindifferentpassers-bywithinactualscopeoftheeyesofthosepresentatthemiracle,towhomthesoundofithadbutfaintly,ornotatall,reached,itwouldbehardihoodtodeny;butwouldtheyseethem?orcanthemindintheconceptionofitadmitofsuchunconcerningobjects?canitthinkofthematall?orwhatassociatingleaguetotheimaginationcantherebebetweentheseers,andtheseersnot,ofapresentialmiracle?

WereanartisttopaintupondemandapictureofaDryad,wewillaskwhether,inthepresentlowstateofexpectation,thepatronwouldnot,oroughtnottobefullysatisfiedwithabeautifulnakedfigurerecumbentunderwide-stretchedoaks?Disseatthosewoods,andplacethesamefigureamongfountains,andfallsofpellucidwater,andyouhavea——Naiad!NotsoinaroughprintwehaveseenafterJulioRomano,wethink——foritislongsince——there,bynoprocess,withmerechangeofscene,couldthefigurehavereciprocatedcharacters.Long,grotesque,fantastic,yetwithagraceofherown,beautifulinconvolutionanddistortion,linkedtoherconnaturaltree,co-twistingwithitslimbsherown,tillbothseemedeither——these,animatedbranches;those,disanimatedmembers——yettheanimalandvegetablelivessufficientlykeptdistinct——hisDryadlay——anapproximationoftwonatures,whichtoconceive,itmustbeseen;analogousto,notthesamewith,thedelicaciesofOvidiantransformations.

Tothelowestsubjects,and,toasuperficialprehension,themostbarren,theGreatMastersgaveloftinessandfruitfulness.ThelargeeyeofgeniussawinthemeannessofpresentsubjectstheircapabilitiesoftreatmentfromtheirrelationstosomeandPastorFuture.HowhasRaphael——wemuststilllingerabouttheVatican——treatedthehumblecraftoftheship-builder,inhis"BuildingoftheArk?"Itisinthatscripturalseries,towhichwehavereferred,andwhich,judgingfromsomefinerougholdgraphicsketchesofthemwhichwepossess,seemtobeofahigherandmorepoeticgradethaneventheCartoons.Thedimofsightarethetimidandtheshrinking.Thereisacowardiceinmodernart.AstheFrenchmen,ofwhomColeridgesfriendmadethepropheticguessatRome,fromthebeardandhornsoftheMosesofMichaelAngelocollectednoinferencesbeyondthatofaHeGoatandCornuto;sofromthissubject,ofmeremechanicpromise,itwouldinstinctivelyturnaway,asfromoneincapableofinvestiturewithanygrandeur.Thedock-yardsatWoolwichwouldobjectderogatoryassociations.ThedepotatChathamwouldhethemoteandthebeaminitsintellectualeye.ButnottothenauticalpreparationsintheshipyardsofCivitaVecchiadidRaphaellookforinstructions,whenheimaginedtheBuildingoftheVesselthatwastobeconservatoryofthewrecksofthespeciesofdrownedmankind.Intheintensityoftheaction,hekeepseveroutofsightthemeannessoftheoperation.ThereisthePatriarch,incalmforethought,andwithholyprescience,givingdirections.Andtherearehisagents——thesolitarybutsufficientThreehewing,sawing,everyonewiththemightandearnestnessofaDemiurgus;undersomeinstinctiveratherthantechnicalguidance;giant-muscled;everyoneaHercules,orlikertothoseVulcanianThree,thatinsoundingcavernsunderMongibellowroughtinfire——Brontes,andblackSteropes,andPyracmon,Soworktheworkmenthatshouldrepairaworld!

Artistsagainerrintheconfoundingofpoeticwithpictorialobjects.Inthelatter,theexterioraccidentsarenearlyeverything,theunseenqualitiesasnothing.Othelloscolor——theinfirmitiesandcorpulenceofaSirJohnFalstaff——dotheyhauntusperpetuallyinthereading?oraretheyobtrudeduponourconceptionsonetimeforninety-ninethatwearelostinadmirationattherespectivemoralorintellectualattributesofthecharacter?ButinapictureOthelloisalwaysaBlackamoor;andtheotheronlyPlumpJack.Deeplycorporealisedandenchainedhopelesslyinthegrovellingfettersofexternality,mustbethemind,towhich,initsbettermoments,theimageofthehigh-souled,high-intelligencedQuixote——theerrantStarofKnighthood,mademoretenderbyeclipse——hasneverpresenteditself,divestedfromtheunhallowedacpanimentofaSancho,orarabblementattheheelsofRosinante.Thatmanhasreadhisbookbyhalves;hehaslaughedmistakinghisauthorspurport,whichwas——tears.TheartistthatpicturesQuixote(anditisinthisdegradingpointthatheiseveryseasonheldupatourExhibitions)intheshallowhopeofexcitingmirth,wouldhavejoinedtherabbleattheheelsofhisstarvedsteed.Wewishnottoseethatcounterfeited,whichwewouldnothavewishedtoseeinthereality.ConsciousoftheheroicinsideofthenobleQuixote,who,onhearingthathiswitheredpersonwaspassing,wouldhavesteppedoverhisthresholdtogazeuponhisforlornhabiliments,anthe"strangebedfellowswhichmiserybringsamanacquaintedwith?"ShadeofCervantes!whointhySecondPartcouldputintothemouthofthyQuixotethosehighaspirationsofasuper-chivalrousgallantry,whereherepliestooneoftheshepherdesses,apprehensivethathewouldspoiltheirprettynet-works,andinvitinghimtobeaguestwiththem,inaccentslikethese:"Truly,fairestLady,ActaeonwasnotmoreastonishedwhenhesawDianabathingherselfatthefountain,thanIhavebeeninbeholdingyourbeauty:Imendthemannerofyourpastime,andthankyouforyourkindoffers;and,ifImayserveyou,soImaybesureyouwillbeobeyed,youmaymandme:formyprofessionisthis,Toshewmyselfthankful,andadoerofgoodtoallsortsofpeople,especiallyoftherankthatyourpersonshowsyoutobe;andifthosenets,astheytakeupbutalittlepieceofground,shouldtakeupthewholeworld,Iwouldseekoutnewworldstopassthrough,ratherthanbreakthem:and(headds,)thatyoumaygivecredittothismyexaggeration,beholdatleasthethatpromisethyouthis,isDonQuixotedelaMancha,ifhaplythisnamehathetoyourhearing."IllustriousRomancer!werethe"finefrenzies,"whichpossessedthebrainofthyownQuixote,afitsubject,asinthisSecondPart,tobeexposedtothejeersofDuennasandServingMen?tobemonstered,andshownupattheheartlessbanquetsofgreatmen?Wasthatpitiableinfirmity,whichinthyFirstPartmisleadshim,alwaysfromwithin,intohalf-ludicrous,butmorethanhalf-passionableandadmirableerrors,notinflictionenoughfromheaven,thatmenbystudiedartificesmustdeviseandpractiseuponthehumour,toinflamewheretheyshouldsootheit?Why,Gonerilwouldhaveblushedtopractiseupontheabdicatedkingatthisrate,andtheshe-wolfRegannothaveenduredtoplaythepranksonhisfledwits,whichthouhastmadethyQuixotesufferinDuchesseshalls,andatthehandsofthatunworthynobleman.*

IntheFirstAdventures,even,itneededalltheartofthemostconsummateartistintheBookwaythattheworldhathyetseen,tokeepupinthemindofthereadertheheroicattributesofthecharacterwithoutrelaxing;soasabsolutelythattheyshallsuffernoalloyfromthedebasingfellowshipoftheclown.Ifiteverobtrudesitselfasadisharmony,areweinclinedtolaugh;ornot,rather,toindulgeacontraryemotion?Cervantes,stung,perchance,bytherelishwithwhichhisReadingPublichadreceivedthefooleriesoftheman,moretotheirpalatesthanthegenerositiesofthemaster,inthesequellethispenrunriot,losttheharmonyandthebalance,andsacrificedagreatideatothetasteofhiscontemporaries.WeknowthatinthepresentdaytheKnighthasfeweradmirersthantheSquire.Anticipating,whatdidactuallyhappentohim——asafterwardsitdidtohisscarceinferiorfollower,theAuthorof"GuzmandeAlfarache"-thatsomelessknowinghandwouldpreventhimbyaspuriousSecondPart:andjudging,thatitwouldbeeasierforhispetitortoout——bidhimintheicalities,thanintheromance,ofhiswork,heabandonedhisKnight,andhasfairlysetuptheSquireforhisHero.ForwhatelsehasheunsealedtheeyesofSancho;andinsteadofthattwilightstateofsemi-insanity——themadnessatsecondhand——thecontagion,caughtfromastrongermindinfected——thatwarbetweennativecunning,andhereditarydeference,withwhichhehashithertoacpaniedhismaster——twoforapairalmost——doeshesubstituteadownrightKnave,withopeneyes,forhisownendsonlyfollowingaconfessedMadman;andofferingatonetimetolay,ifnotactuallylayinghandsuponhim!FromthemomentthatSancholoseshisreverence,DonQuixoteisbeea——treatablelunatic.Ourartistshandlehimaccordingly.

*YetfromthisSecondPart,ourcried-uppicturesaremostlyselected;thewaiting-womenwithbeards,&c.