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TEE POPULAR SCIENCE MONTHLY.— SUPPLEMENT. 



richly wrought with carvings in relief, said to be ' 

 the work of John of Pisa and his scholars — into 

 the question who really did them I cannot enter. 

 They are among the most masterly inventions in 

 the whole range of sculpture, some of them very 

 grim and terrible ; but, besides the terror and 

 grimness, those lovely subjects of the creation 

 of Adam and Eve, each birth being represented 

 in two separate scenes, appeal to us with all the 

 purer charm. 



To return to the Campanile, it is in the third 

 subject that our sculptor begins to assert his 

 originality and his special purpose. In ordinary 

 course, we should now expect the sequence of 

 the temptation — the fall and the expulsion. We 

 find, instead, Adam and Eve at labor after the 

 fall, and their labor conceived not as a curse, but 

 rather as the type and source of all necessary and 

 beneficent industries. It is a charming natural 

 picture of the days when Adam delved and Eve 

 span — the man working patiently with his spade, 

 the woman standing beside him with her loaded 

 distaff, both clad in suits of skins. Next, we go 

 on to the origin of pastoral industry. In this, 

 and in two or three more subjects of the series, 

 the artist has continued to think of the book of 

 Genesis and to seek his types among the patri- 

 archs of the Old Testament. The quaint aged 

 figure sitting cross-legged at the entrance of his 

 tent is Jabal, the father of such as dwell in tents 

 and of such as have cattle. With a few simple 

 strokes, not without humor, the sculptor has ex- 

 pressed the whole root and essence of the matter. 

 The form of the tent fits conveniently into the 

 top of the hexagon ; the cross-legged patriarch 

 lifts the tent-flap to look out upon his wealth in 

 flocks and herds, which is symbolized by three 

 grazing sheep and a shepherd-pup too young for 

 responsible service — the squatted, blunt-muzzled 

 puppy whom Mr. Ruskin has made famous, and in 

 whose lineaments all the pertness of his kind seems 

 concentrated. After the first shepherd follows the 

 first musician — after Jabal his brother Jubal, the 

 father of all such as handle the harp and organ. 

 This patriarch's tent, again fitted naturally into 

 the two upper and two perpendicular sides of the 

 hexagon, is looped up so as to be almost quite 

 open ; we see him seated in profile at his work- 

 table, the end of which is fitted with a tool-rack, 

 and carved with mouldings in the taste of the 

 Tuscan-Gothic of the time. He leans forward in 

 the eagerness of invention, his long hair falling 

 back upon his shoulders, and blows hard through 

 the first formless instrument, a great uncouth 

 tube, which he has fashioned. Next to the sons 



of Adah comes the son of Zillah, Tubal-cain, the 

 instructor of every artificer in brass and iron ; 

 and in him we have a somewhat less noble coun- 

 tenance, not quite so grand a flow of hair and 

 beard, but rendered with the same rough unerring 

 strokes, the same long drapery, with its folds, and 

 its expression of the body beneath, not a whit 

 less rightly understood than in the most accom- 

 plished later art. This third patriarch sits at his 

 forge, his stool a little tilted in the intentness of 

 his work, and holds the iron upon the anvil with 

 the pincers in his left hand; the right, which 

 managed the hammer, being lost. The bellows 

 are in their place behind him ; tools upon the 

 ground in front ; and a spade and axe-head nailed 

 up indicate the wares of his fashioning. 



The invention of wine comes in the seventh 

 place, and is symbolized in the usual way, with 

 the subject of the drunkenness of Noah. After 

 this the chain of Old Testament subjects is 

 broken. Man has learned to toil and spin, to 

 keep flocks and herds, to labor at the forge, to 

 solace himself with music and with wine; it is 

 one of his speculative and not his practical inge- 

 nuities that comes next. The eighth sculpture, 

 the first on the south face of the tower, and, per- 

 haps, the noblest of them all, shows us a holy 

 seer seated with upturned countenance at a 

 table, carved more delicately than the table 

 of Jubal, upon which stands the figure of 

 an armillary sphere ; with his left hand he 

 directs a primitive quadrant working on an 

 upright pivot set likewise on the table. Some 

 of the signs of the zodiac are indicated in 

 low-relief on a belt across the background ; over 

 his head the sculptor has turned the arc of a 

 great circle in strong projection, to indicate the 

 pole of heaven, and has filled the narrow strip 

 above this with a quire of little human or angels' 

 heads roughly carved, to indicate the quires of 

 the stars. This is astronomy ; but the subject 

 seems scarcely in the place and order among the 

 rest where we should expect to find it. Astron- 

 omy or astrology, according to the conception 

 of those times, was one of a fixed group of seven 

 arts or studies called liberal. The middle age 

 loved to number everything by groups or families 

 of seven — the seven virtues, the seven sins, the 

 seven planets, the seven sacraments, and the like. 

 So there were also seven arts or sciences sup- 

 posed to include the whole circle of liberal cult- 

 ure. These seven were in their turn composed 

 of a group of three, called the trivium, and a 

 group of four, called the quadrivium. Grammar, 

 logic, and rhetoric, made up the trivium ; arith- 



