Renaissance Fancies and Studies: Being a Sequel to EuphorionLee, Vernon
History
Renaissance Fancies and Studies: Being a Sequel to Euphorion
Lee, Vernon
Art, Italian; Art, Renaissance -- Italy
beak, manifestly birds rather than beasts, with the muscular neck and
probably the movement of a hawk. Like hawks, they have not swooped on
to their prey, but let themselves drop on to it, arriving not on their
belly like lions, but on their wings like birds. The prey is about a
fourth of the griffin's size. One of the griffins has swooped down
upon a wain, whose two wheels just protrude on either side of him; the
heads of two oxen are under his paws, and the head, open mouthed, with
terrified streaming hair, of the driver; beasts and men have come down
flat on their knees. The other griffin has captured a horse and his
rider; the horse has shied and fallen sideways beneath the griffin's
loins, with head protruding on one side and hoofs on the other, the
empty stirrup is still swinging. The rider, in mail-shirt and Crusader's
helmet, has been thrown forward, and lies between the griffin's claws,
his useless triangular shield clasped tight against his breast. Perhaps
merely because the attitude of the two griffins had to be symmetrical,
and the horse and rider filled up the space under their belly less
closely than the cart, oxen, and driver, there arises the suggestive
fact that the poor man and his bullocks are crushed more mercilessly
than the rich man and his horse. But be this as it may, poor and rich,
serf and knight, the griffin of destiny encompasses and pounces upon
each; and the talons of evil pin down and the beak of misery rends with
impartial cruel certainty.
Such is the account of the world and man, of justice and mercy, recorded
for us by the stonemasons of Ferrara.
VI
Public-domain text, read in full here on John Shaqi.
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