Notes and Queries, Number 191, June 25, 1853 | Page 2

Some time ago a lane in this town began to be looked upon with a mysterious awe, for every evening a strange white rabbit {614} would appear in it, and, running up and down, would mysteriously disappear. Dogs were frequently put on the scent, but all to no purpose, the white rabbit could not be caught; and rumours soon began to assert pretty confidently, that the white rabbit was nothing more nor less than a witch. The man whose pig had been bewitched was all the more confident; as every evening when the rabbit appeared, he had noticed the bed-room window of his old enemy's house open! At last a large party of bold-hearted men one evening were successful enough to find the white rabbit in a garden, the only egress from which is through a narrow passage between two cottages, all the rest of the garden being securely surrounded by brick-walls. They placed a strong guard in this entry to let nothing pass, while the remainder advanced as skirmishers among the cabbages: one of these was successful, and caught the white rabbit by the ears, and, not without some trepidation, carried it towards the reserve in the entry. But, as he came nearer to his friends, his courage grew; and gradually all the wrongs his poor pig had suffered, took form and vigour in a powerful kick at the poor little rabbit! No sooner had he done this than, he cannot tell how, the rabbit was out of his grasp; the people in the entry saw it come, but could not stop it; through them all it went, and has never been seen again. But now to the proof of the witchcraft. The old woman, whom all suspected, was laid up in her bed for three days afterwards, unable to walk about: all in consequence of the kick she had received in the shape of a white rabbit!
S. A. S.
Bridgewater.
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"EMBLEMATA HORATIANA."
Whatever may be proposed as to republishing works of English emblems, the work published in Holland with the above title at all events deserves to be better known. All the English works on the subject I ever saw, are poor indeed compared with the above: indeed, I think most books of emblems are either grounded or compiled from this interesting work; which is to the artist a work of the deepest interest, since all the designs are by Otho Venius, the master of Rubens. Not only are the morals conveyed lofty and sound, but the figures are first-rate specimens of drawing. I believe it is this work that Malone says Sir Joshua Reynolds learned to draw from: and if he really did, he could have had nothing better, whatever age he might be. "His principal fund of imitation," says Malone, "was Jacob Cat's book of emblems, which his great-grandmother, by his father's side, who was a Dutch woman, had brought with her from Holland." There is a small copy I think published in England, but a very poor one: the original work, of which I possess a portion only, is large, and engraved with great care. And I have often thought it a pity such an admirable work should be so scarce and little known. Whoever did it, it must have occupied many years, in those slow days, to make the designs and engrave them. At the present day lithography, or some of the easy modes of engraving, would soon multiply it. The size of the engravings are rather more than seven inches. Many of the figures have been used repeatedly by Rubens, and also some of the compositions. And though he is certainly a better painter, he falls far short in originality compared with his master; and, I may add, in richness of material. I should say his chief works are to be found in that book. One of my leaves is numbered 195: so I should judge the work to be very large, and to embrace a variety of subjects. Some of the figures are worthy of Raffaelle. I may instance one called the "Balance of Friendship." Two young men have a balance between them; one side is filled with feathers, and the other with weightier offerings: the meaning being, we should not allow favours and gifts to come all from one side. The figures have their hands joined, and appear to be in argument: their ample drapery is worthy of a study for apostles.
"Undertake nothing beyond your Strength" is emblemised by the giants scaling the heavens: one very fine figure, full of action, in the centre, is most admirably drawn.
"Education and Habit" is another, full of meaning. Two dogs are running: one after game, and another to a porringer. Some one has translated the verses at the bottom on the back of