Amber Waves Directory 09

The twelfth, the Purification, is absurdly bad, but I do not know whether the expression of strong personal dislike to the Virgin which the High Priest wears is intended as prophetic, or whether it is the result of incompetence, or whether it is merely a smile gone wrong in the baking. It is amusing to find Marocco, who has not been strict about archaeological accuracy hitherto, complain here that there is an anachronism, inasmuch as some young ecclesiastics are dressed as they would be at present, and one of them actually carries a wax candle. This is not as it should be; in works like those at Oropa, where implicit reliance is justly placed on the earnest endeavours that have been so successfully made to thoroughly and carefully and patiently ensure the accuracy of the minutest details, it is a pity that even a single error should have escaped detection; this, however, has most unfortunately happened here, and Marocco feels it his duty to put us on our guard. He explains that the mistake arose from the sculptor's having taken both his general arrangement and his details from some picture of the fourteenth or fifteenth century, when the value of the strictest historical accuracy was not yet so fully understood.

Meantime embassadors came to Rome from Tarquin, asking that his private property should be given up to him. The demand seemed just to the Senate and the People; but, while the embassadors were making preparation for carrying away the property, they formed a conspiracy among the young Roman nobles for the restoration of the royal family. The plot was discovered by means of a slave, and among the conspirators were found the two sons of Brutus himself. But the consul would not pardon his guilty children, and ordered the lictors[11] to put them to death with the other traitors. The agreement to surrender the property was made void by this attempt at treason. The royal goods were given up to the people to plunder.

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