B. C. Faust’s Catechism of Health (1794): “Children, Brandy Is a Bad Liquor!”

Catechism of Health

Catechism of Health. London: C. Dilly, 1794. (Cotsen 153738)

In 1794 Bernard Christian Faust (1755-1842), the court physician in the German principality of Schaumberg-Lippe, published  a book designed to teach children the principles of healthy living.  Its title was Gesundheits Katechismus zu Gebrauche in den Schulen und beym häuslichen Unterrichte.  The same year it was translated into English by John Henry Basse under the title A Catechism of Health.  A Dublin edition also came out in 1794.  An Edinburgh edition was issued in 1797 with a commendation by the eminent physician James Gregory as the best extant popular work of medicine he had seen.   The translation also quickly found a receptive public in America.

Cotsen has just acquired a copy of the first English translation.  It is illustrated with the frontispiece of a boy wearing what looks like a long night shirt.  A garment like this, Faust contended, was less confining and better for growing bodies than the usual corseted bodice and skirts.  He claimed that “The body will become healthier, stronger, taller, and more beautiful; children will learn the best and most graceful attitudes; and will feel themselves very well and happy in this simple and free garment.”

frontispiece of a boy wearing what looks like a long night shirt

Faust had equally strong opinions about what children should eat and drink.  Or not drink. Notice that Faust drops the question-and-answer format the better to deliver a lecture to children about the dangers of consuming strong spirits.  His vehemence on the subject of alcohol makes one wonder just  how widespread underage drinking was during the late Enlightenment…

Catechism of Health excerptCatechism of Health excerptHere is an excerpt from the section on brandy:

Some of Faust’s other recommendations seem downright peculiar today.  For example, he did not consider potatoes nutritious, cautioning his readers that “when eaten too often, or immoderately, prove hurtful to health, and to the mental faculties.” But undoubtedly plenty of advice in twenty-first century books on childcare and parenting that will strike later generations as just as ill-informed or quixotic!

Catechism of Health excerpt

La Fontaine’s Fables in Miniature

Paroy's engraving is printed on a single sheet of paper and trimmed to a circle 17.25 inches in diameter.

Paroy’s engraving is printed on a single sheet of paper and trimmed to a circle 17.25 inches in diameter. [Fables of La Fontaine]. [Paris?], 1789. (Cotsen)

This marvelous circular engraving was taken out the other day while reorganizing the backlog of French prints. The dealer from whom it was purchased was somewhat puzzled as to what its purpose might have been. Were all the tiny figures designed to be cut out and used in découpage? But surely it would be difficult to do without damaging surrounding figures, even with a very steady hand and a very sharp pair of tiny scissors. And it really doesn’t look like a fancier kind of lottery print, where the images are laid out in a rectangular grid, which simplifies cutting out. So this seemed like a good time to try and find out a little more about this engraving.

Detail showing Aesop below the bust of La Fontaine.

Detail showing Aesop below the bust of La Fontaine.

The “Cte de Paroy,” who signed his name and the date 1789 (a significant year in French history!) below the bust of the seventeenth-century poet Jean de la Fontaine (1621-1695) at the center of the engraving, was actually the print’s engraver, not the publisher. Paroy’s full name was Jean Philippe Guy le Gentil, Comte de Paroy (1780-1824), and he was celebrated as a miniaturist. He also wrote a memoir of his eventful life, which can be read in the original French on Google Books. The figure of La Fontaine’s illustrious fabulist predecessor, the hunchbacked slave Aesop, appears below La Fontaine on the bust’s column-like plinth.

If Paroy was known for working on a small scale, then this print was probably intended to show off his skills. Dozens of scenes from La Fontaine’s fables are cunningly arranged with surprisingly little space between them. Yet Paroy has laid them out so skillfully that the effect is pleasing rather than overwhelming. It is a tour de force that designers of the modern puzzle picture, like Martin Handford, Jean Marzullo and Walter Wick, or armchair puzzle hunts like Kit Williams, might be intrigued to study.

Detail showing arrangement of various scenes.

Detail showing arrangement of various scenes.

We were delighted to find an image of the print in the collection section of the web site of the Musée Jean de la Fontaine, but were disappointed that it wasn’t possible to make detailed comparisons between the two copies. It was difficult to choose a handful of details for this posting, but we hope this gives you an idea of how beautifully the variety of subjects are presented.

 

And some details depicting different fables:

"Le renard, le singe and les animaux" (livre VI).

“Le renard, le singe and les animaux” (livre VI).

"Le loup devenue berger" (livre III).

“Le loup devenue berger” (livre III).

"L'âne et le petit chien" (livre IV).

“L’âne et le petit chien” (livre IV).