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In all these cases the artist refused to grapple with the supernatural, and dismissed it with a mere stereotyped symbol, not more artistic than the names which he might have engraved beneath each figure. Religious associations were thus awakened without the artist, whether of the time of Pericles or of the time of Leo X., giving himself further trouble; the diffusion of religious ideas and feeling spared art from being religious. Let us, therefore, in order to judge fairly of what art can or cannot do for the supernatural, seek for one of the very rare instances in which the artist has had no symbolical abbreviations at his disposal, and has been obliged, if he would awaken any idea in the mind of the spectator, to do so by means of his artistic creations. The number of such exceptional instances is extremely limited in the great art of antiquity and the Renaissance, when artistic subjects were almost always traditionally religious or plainly realistic, and consequently intelligible at first sight. There is, however, an example, and that example is a masterpiece. It is the engraving by Agostino Veneziano, after a lost drawing by Raphael, generally called “Lo Stregozzo,” and representing a witch going to the Sabbath. Through a swampy country, amidst rank and barren vegetation, sweeps the triumphal procession–strange, beautiful, and ghastly; a naked boy dashes headlong in front, bestriding a long-haired he-goat, and blowing a horn, little stolen children packed behind on his saddle; on he dashes, across the tufts of marsh-lily and bulrush, across the stagnant-pools of water, clearing the way and announcing his mistress the witch. She thrones, old, parched, lank, high on the top of an unearthly car, made of the spine and ribs of some antediluvian creature, with springs and traces of ghastly jaw and collar and thigh bones, supported on either side by galloping skeletons, skeletons made up of skeletons, of all that is strangest in the bones and beaks of beasts and birds, on which ride young fauns and satyrs. To her chariot, by a yoke of human bones, are harnessed two stalwart naked youths, and two others sustain its plough-like end; grand, magnificently moving figures, bounding forward like wild horses, the unearthly carriage swinging and creaking as they go. And, as they go, brushing through the high, dry, maremma-grass, the witch cowers on her chariot, clutching in one hand a heap of babies, in the other a vessel filled with fire, whose smoke, mingling with her long, dishevelled hair, floats behind, sweeping through the rank vegetation, curling and eddying into vague, strange semblances of lions, apes, chimaeras. Forward dashes the outrunner on his goat, onward bound the naked litter-bearers; up gallop the fauns and satyrs on the fleshless, monstrous carcases; up and down sways the creaking, cracking chariot of bones; one moment more, and the wild, splendid, hideous triumph will have swept out of sight, leaving behind only trampled marsh-plants and a trail of fantastic, lurid smoke among the ruffled, moaning reeds and grasses.

Such is Raphael’s Stregozzo. It is a master-piece of drawing and of pictorial fancy, it is perhaps the highest achievement of great art in the direction of the supernatural: for Duerer is often hideous, Rembrandt always obscure, and the moderns, like Blake and Dore, distinctly run counter to the essential nature of art in their attempts after vagueness. When once told the subject of the print, by Agostino Veneziano, our imagination easily flies off on to the track of the supernatural; but, in so doing, it leaves the work behind, and on return to it we experience a return to the natural. If, on the other hand, we are not told the subject of the print, we very possibly see nothing supernatural in it: there are splendid figures worthy of Michael Angelo, and grotesque fancies, in the shape of the skeletons and coach of bones, worthy of Leonardo; as a whole, the print is striking, beautiful, and problematic, but it falls short of the effect which would be produced by the mere words “a witch riding through a marsh on a chariot of bones,” if left to insinuate themselves into the imagination. Of the really supernatural, there is in it but one touch: and that in the only part of the drawing which is left vague; it is the confused shapes assumed by the eddying smoke among the rushes. All the rest is outside the region of the supernatural: it is problematic in subject, but clear, harmonious, and beautiful in treatment; the imagination may wander off from it, but in its presence it must remain passive. With this masterpiece we would fain compare a picture which seems to deal with a cognate subject; a picture as suggestive as it is absolutely artistically worthless. We saw it once, many years ago, among a heap of rubbishy smudges at a picture-dealer’s in Rome, and we have never forgotten it–a picture painted by some German smearer of the early sixteenth century; very ugly, stupid, and unattractive; ill drawn, ill composed, of a uniform hard, vulgar brown. It represented, with no attempt at perspective, a level country spread out like a map, dotted here and there with little spired and turretted towns, also a castle or two, a few trees and some rivers, disposed with a child’s satisfaction with their mere indication, as much as to say–“here is a town, there is a castle.” Some peasants were represented working in the fields, a little train of horsemen coming out of a castle, and near one of the chess-board castles a grass plot with half-a-dozen lit stakes, to which tiny figures were carrying faggots, while men-at-arms and burghers, no bigger than flies, looked on. In the foreground of the great flat expanse lay a boor, a fellow dressed like a field-labourer, in heavy sleep on the ground. Round him on the grass were marked curious circles, and in them was moving a strange figure, in cloak and helmet, with clawed wings and horns, leering horridly, moving round on tiptoe, his arms outstretched, as if gradually encircling the sleeper in order to pounce upon him; despite the complete absence of artistic skill, the gradual inevitable approach of the demon, the irresistible network of circles with which he was surrounding his prey, was perfectly indicated. Above, in the sky, two figures, half demon, half dragon, floated leisurely, like a moored boat, as if a guard of the devil below. What is the exact subject of this picture? No one can tell; but its meaning is intense for the imagination, it has the frightful suggestiveness of some old book on witchcraft, prosaic and curt; of a page opened at random of Sprenger’s Malleus Malificarum. Yes; over the plain, the towns, and castles, monotonous and dull, the fiends are hovering; even over the stakes where their votaries are being burnt; and see, the peasant asleep in the field, with his spade and hoe beside him, is being surrounded by magic circles, by the invisible nets of the demon, who prowls round him like a kite ready to pounce on to its quarry.