IN THE STREETS OF GENOA[1]

BY CHARLES DICKENS

The great majority of the streets are as narrow as any thoroughfare can well be, where people (even Italian people) are supposed to live and walk about; being mere lanes, with here and there a kind of well, or breathing-place. The houses are immensely high, painted in all sorts of colors, and are in every stage and state of damage, dirt, and lack of repair. They are commonly let off in floors, or flats, like the houses in the old town of Edinburgh, or many houses in Paris....

When shall I forget the Streets of Palaces: the Strada Nuova and the Strada Baldi! The endless details of these rich palaces; the walls of some of them, within, alive with masterpieces by Vandyke! The great, heavy, stone balconies, one above another, and tier over tier; with here and there, one larger than the rest, towering high up—a huge marble platform; the doorless vestibules, massively barred lower windows, immense public staircases, thick marble pillars, strong dungeon-like arches, and dreary, dreaming, echoing vaulted chambers; among which the eye wanders again, and again, and again, as every palace is succeeded by another—the terrace gardens between house and house, with green arches of the vine, and groves of orange-trees, and blushing oleander in full bloom, twenty, thirty, forty feet above the street—the painted halls, moldering and blotting, and rotting in the damp corners, and still shining out in beautiful colors and voluptuous designs, where the walls are dry—the faded figures on the outsides of the houses, holding wreaths, and crowns, and flying upward, and downward, and standing in niches, and here and there looking fainter and more feeble than elsewhere, by contrast with some fresh little Cupids, who on a more recently decorated portion of the front, are stretching out what seems to be the semblance of a blanket, but is, indeed, a sun-dial—the steep, steep, up-hill streets of small palaces (but very large palaces for all that), with marble terraces looking down into close by-ways—the magnificent and innumerable churches; and the rapid passage from a street of stately edifices, into a maze of the vilest squalor, steaming with unwholesome stenches, and swarming with half-naked children and whole worlds of dirty people—make up, altogether, such a scene of wonder; so lively, and yet so dead; so noisy, and yet so quiet; so obtrusive, and yet so shy and lowering; so wide-awake, and yet so fast asleep; that it is a sort of intoxication to a stranger to walk on, and on, and on, and look about him. A bewildering phantasmagoria, with all the inconsistency of a dream, and all the pain and all the pleasure of an extravagant reality!...

In the streets of shops, the houses are much smaller, but of great size notwithstanding, and extremely high. They are very dirty; quite undrained, if my nose be at all reliable; and emit a peculiar fragrance, like the smell of very bad cheese, kept in very hot blankets. Notwithstanding the height of the houses, there would seem to have been a lack of room in the city, for new houses are thrust in everywhere. Wherever it has been possible to cram a tumble-down tenement into a crack or corner, in it has gone. If there be a nook or angle in the wall of a church, or a crevice in any other dead wall, of any sort, there you are sure to find some kind of habitation; looking as if it had grown there, like a fungus. Against the Government House, against the old Senate House, round about any large building, little shops stick close, like parasite vermin to the great carcass. And for all this, look where you may; up steps, down steps, anywhere, everywhere; there are irregular houses, receding, starting forward, tumbling down, leaning against their neighbors, crippling themselves or their friends by some means or other, until one, more irregular than the rest, chokes up the way, and you can't see any further.

MILAN CATHEDRAL[2]

BY HIPPOLYTE ADOLPHE TAINE

The cathedral, at the first sight, is bewildering. Gothic art, transported entire into Italy at the close of the Middle Ages,[3] attains at once its triumph and its extravagance. Never had it been seen so pointed, so highly embroidered, so complex, so overcharged, so strongly resembling a piece of jewelry; and as, instead of coarse and lifeless stone, it here takes for its material the beautiful lustrous Italian marble, it becomes a pure chased gem as precious through its substance as through the labor bestowed on it. The whole church seems to be a colossal and magnificent crystallization, so splendidly do its forests of spires, its intersections of moldings, its population of statues, its fringes of fretted, hollowed, embroidered and open marblework, ascend in multiple and interminable bright forms against the pure blue sky.

Truly is it the mystic candelabra of visions and legends, with a hundred thousand branches bristling and overflowing with sorrowing thorns and ecstatic roses, with angels, virgins, and martyrs upon every flower and on every thorn, with infinite myriads of the triumphant Church springing from the ground pyramidically even into the azure, with its millions of blended and vibrating voices mounting upward in a single shout, hosannah!...

We enter, and the impression deepens. What a difference between the religious power of such a church and that of St. Peter's at Rome! One exclaims to himself, this is the true Christian temple! Four rows of enormous eight-sided pillars, close together, seem like a serried hedge of gigantic oaks. Their strange capitals, bristling with a fantastic vegetation of pinnacles, canopies, foliated niches and statues, are like venerable trunks crowned with delicate and pendent mosses. They spread out in great branches meeting in the vault overhead, the intervals of the arches being filled with an inextricable network of foliage, thorny sprigs and light branches, twining and intertwining, and figuring the aerial dome of a mighty forest. As in a great wood, the lateral aisles are almost equal in height to that of the center, and, on all sides, at equal distances apart, one sees ascending around him the secular colonnades.

Here truly is the ancient Germanic forest, as if a reminiscence of the religious groves of Irmensul. Light pours in transformed by green, yellow and purple panes, as if through the red and orange tints of autumnal leaves. This, certainly, is a complete architecture like that of Greece, having, like that of Greece, its root in vegetable forms. The Greek takes the trunk of the tree, drest, for his type; the German the entire tree with all its leaves and branches. True architecture, perhaps, always springs out of vegetal nature, and each zone may have its own edifices as well as plants; in this way oriental architectures might be comprehended—the vague idea of the slender palm and of its bouquet of leaves with the Arabs, and the vague idea of the colossal, prolific, dilated and bristling vegetation of India.

In any event I have never seen a church in which the aspect of northern forests was more striking, or where one more involuntarily imagines long alleys of trunks terminating in glimpses of daylight, curved branches meeting in acute angles, domes of irregular and commingling foliage, universal shade scattered with lights through colored and diaphanous leaves. Sometimes a section of yellow panes, through which the sun darts, launches into the obscurity its shower of rays and a portion of the nave glows like a luminous glade. A vast rosace behind the choir, a window with tortuous branchings above the entrance, shimmer with the tints of amethyst, ruby, emerald and topaz like leafy labyrinths in which lights from above break in and diffuse themselves in shifting radiance. Near the sacristy a small door-top, fastened against the wall, exposes an infinity of intersecting moldings similar to the delicate meshes of some marvelous twining and climbing plant. A day might be passed here as in a forest, in the presence of grandeurs as solemn as those of nature, before caprices as fascinating, amid the same intermingling of sublime monotony and inexhaustible fecundity, before contrasts and metamorphoses of light as rich and as unexpected. A mystic reverie, combined with a fresh sentiment of northern nature, such is the source of Gothic architecture.

PISA'S FOUR GLORIES[4]

BY HIPPOLYTE ADOLPHE TAINE

There are two Pisas—one in which people have lapsed into ennui, and live from hand to mouth since the decadence, which is in fact the entire city, except a remote corner; the other is this corner, a marble sepulcher where the Duomo, Baptistery, Leaning Tower and Campo-Santo silently repose like beautiful dead beings. This is the genuine Pisa, and in these relics of a departed life, one beholds a world.

In 1083 in order to honor the Virgin, who had given them a victory over the Saracens of Sardignia, they [the Pisans] laid the foundations of their Duomo. This edifice is almost a Roman basilica, that is to say a temple surmounted by another temple, or, if you prefer it, a house having a gable for its faÇade which gable is cut off at the peak to support another house of smaller dimensions. Five stories of columns entirely cover the faÇade with their superposed porticos. Two by two they stand coupled together to support small arcades; all these pretty shapes of white marble under their dark arcades form an aerial population of the utmost grace and novelty. Nowhere here are we conscious of the dolorous reverie of the medieval north; it is the fÊte of a young nation which is awakening, and, in the gladness of its recent prosperity, honoring its gods. It has collected capitals, ornaments, entire columns obtained on the distant shores to which its wars and its commerce have led it, and these ancient fragments enter into its work without incongruity; for it is instinctively cast in the ancient mold, and only developed with a tinge of fancy on the side of finesse and the pleasing. Every antique form reappears, but reshaped in the same sense by a fresh and original impulse.

The outer columns of the Greek temple are reduced, multiplied and uplifted in the air, and from a support have become an ornament. The Roman or Byzantine dome is elongated and its natural heaviness diminished under a crown of slender columns with a miter ornament, which girds it midway with its delicate promenade. On the two sides of the great door two Corinthian columns are enveloped with luxurious foliage, calyxes and twining or blooming acanthus; and from the threshold we see the church with its files of intersecting columns, its alternate courses of black and white marble and its multitude of slender and brilliant forms, rising upward like an altar of candelabra. A new spirit appears here, a more delicate sensibility; it is not excessive and disordered as in the north, and yet it is not satisfied with the grave simplicity, the robust nudity of antique architecture. It is the daughter of the pagan mother, healthy and gay, but more womanly than its mother.

She is not yet an adult, sure in all her steps—she is somewhat awkward. The lateral faÇades on the exterior are monotonous; the cupola within is a reversed funnel of a peculiar and disagreeable form. The junction of the two arms of the cross is unsatisfactory and so many modernized chapels dispel the charm due to purity, as at Sienna. At the second glance however all this is forgotten, and we again regard it as a complete whole. Four rows of Corinthian columns, surmounted with arcades, divide the church into five naves, and form a forest. A second passage, as richly crowded, traverses the former crosswise, and, above the beautiful grove, files of still smaller columns prolong and intersect each other in order to uphold in the air the prolongation and intersection of the quadruple gallery. The ceiling is flat; the windows are small, and for the most part, without sashes; they allow the walls to retain the grandeur of their mass and the solidity of their position; and among these long, straight and simple lines, in this natural light, the innumerable shafts glow with the serenity of an antique temple....

Nothing more can be added in relation to the Baptistery or the Leaning Tower; the same ideas prevail in these, the same taste, the same style. The former is a simple, isolated dome, the latter a cylinder, and each has an outward dress of small columns. And yet each has its own distinct and expressive physiognomy; but description and writing consume too much time, and too many technical terms are requisite to define their differences. I note, simply, the inclination of the Tower. Some suppose that, when half constructed, the tower sank in the earth on one side, and that the architects continued on; seeing that they did continue this deflection was only a partial obstacle to them. In any event, there are other leaning towers in Italy, at Bologna, for example; voluntarily or involuntarily this feeling for oddness, this love of paradox, this yielding to fancy is one of the characteristics of the Middle Ages.

In the center of the Baptistery stands a superb font with eight panels; each panel is incrusted with a rich complicated flower in full bloom, and each flower is different. Around it a circle of large Corinthian columns supports round-arch arcades; most of them are antique and are ornamented with antique bas-reliefs; Meleager with his barking dogs, and the nude torsos of his companions in attendance on Christian mysteries. On the left stands a pulpit similar to that of Sienna, the first work of Nicholas of Pisa (1260), a simple marble coffer supported by marble columns and covered with sculptures. The sentiment of force and of antique nudity comes out here in striking features. The sculptor comprehended the postures and torsions of bodies. His figures, somewhat massive, are grand and simple; he frequently reproduces the tunics and folds of the Roman costume; one of his nude personages, a sort of Hercules bearing a young lion on his shoulders, has the broad breast and muscular tension which the sculptors of the sixteenth century admired.

The last of these edifices, the Campo-Santo, is a cemetery, the soil of which, brought from Palestine, is holy ground. Four high walls of polished marble surround it with their white and crowded panels. Inside, a square gallery forms a promenade opening into the court through arcades trellised with ogive windows. It is filled with funereal monuments, busts, inscriptions and statues of every form and of every age. Nothing could be simpler and nobler. A framework of dark wood supports the arch overhead, and the crest of the roof cuts sharp against the crystal sky. At the angles are four rustling cypress trees, tranquilly swayed by the breeze. Grass is growing in the court with a wild freshness and luxuriance. Here and there a climbing flower twined around a column, a small rosebush, or a shrub glows beneath a gleam of sunshine. There is no noise; this quarter is deserted; only now and then is heard the voice of some promenader which reverberates as under the vault of a church. It is the veritable cemetery of a free and Christian city; here, before the tombs of the great, people might well reflect over death and public affairs.

THE WALLS AND "SKYSCRAPERS" OF PISA[5]

BY JANET ROSS AND NELLY ERICHSON

Few cities have preserved their medieval walls with such loving care as Pisa. The circuit is complete save where the traveler enters the city; and there, alas, a wide breach has been made by the restless spirit of modernity. But once past the paltry barrier and the banal square, with its inevitable statue of Victor Emanuel, that take the place of the old Porta Romana, one quickly perceives that the city is a walled one. Glimpses of battlements close the vistas of the streets, and green fields peep through the open gates, marking that abrupt transition between town and country peculiar to a fortified city.

The walls are best seen from without. An admirable impression of them can be had on leaving the city by the Porta Lucchese. Turning to the left, after passing a crucifix overshadowed by cypresses, we come to the edge of a stretch of level marshy meadows, gaily pied in spring with orchids and grape hyacinths. Above our heads the high air vibrates with the song of larks. Before us is the long line of the city walls. Strong, grim and gray, they look with nothing to break the outline of square battlements against the sky, but that majestic groups of domes and towers for whose defense they were built. At the angle of the wall to the right is a square watch-tower, backed by groups of cypresses that rise into the air like dark flames. Its little windows command the flat plain as far as the horizon. How easy to imagine the warning blast of the warder's trumpet as he caught sight of a distant enemy, and the wall springing into life at the sound. Armed men buckling on their harness would swarm up ladders to the battlements, the catapult groan and squeak as its lever was forced backward, and at the sharp word of command the first flight of arrows would be loosed.

But the dream fades, and we pass on to the angle of the wall where the cypresses stand. From the picturesque Jews' cemetery, to which access is easy, the structure of the walls can be studied in detail because the hand of the restorer has been perforce withheld within its gates. The wall is some forty feet high, built of stone from the Pisan hills, weathered for the most part to a grayish hue. The masonry of the lower half is good. The blocks of stone are large and well laid. Those of the upper half are smaller and the masonry is in places careless and irregular. The red brick battlements are square. At short intervals there are walled-up gateways, round-headed or ogival in form, and the whole surface is rent and patched. Centuries of war and earthquakes, rain and fire, have given it a pleasant irregularity, the record of violent and troublous times.

The city can be reentered by the Porta Nuova, only a few yards to the left of the cemetery. So venerable do these battered walls look that we need the full evidence of history to realize that they had more than one predecessor. The memory even of the first walls of Pisa, an ancient city when Rome was young, has been lost. The earliest record of which we know anything appears on a map of the ninth century drawn by one Bonanno; a map, we should rather say professing to be of the ninth century, for churches of the thirteenth century are marked upon it, so it must either have been made, or the churches inserted, then....

The ancient walls were practically swept away by the prosperity of Pisa. Beside the Balearic Islands she had conquered Carthage, the Lipari Islands, Elba, Corsica, and Palermo, and her galleys poured their spoils into the Pisan port. She traded with the East, and was successful in commerce as in war. Her inhabitants increased rapidly. They could no longer be penned within the narrow limits of the old wall, but overflowed in all directions beyond it. Not only was the Borgo thickly populated, but a whole new region called Forisportae, sprang up.

So masked was the wall by houses, built into it and huddling against it both on the outside and the inside, that it seems to have been actually invisible. So much so that contemporary chroniclers spoke of Pisa as without walls, and attributed her safety to the valor of her citizens and the multitude of her towers. The ancient wall was evidently so hidden and decayed that Pisa must be regarded as a defenseless city in the twelfth century. It is curious that her citizens should have neglected their own safety at a time when they were masters of fortification and defense; when their fame in these arts had reached as far as Egypt and Syria, and when the Milanese came to them to beg for engineers....

The external appearance of an Italian city in the twelfth century was so unlike anything we are accustomed to in modern times that a strong effort of the imagination is needed to conceive it. Seen from a distance the walls enclosed, not houses, but a forest of tall square shafts, rising into the sky like the crowded chimney stacks in a manufacturing town but far more thickly set together. The city appeared, to use a graphic contemporary metaphor, like a sheaf of corn bound together by its walls.

San Gimignano, tho most of its towers have perished long ago, helps us to imagine faintly what Italian towns were like in the days of Frederick Barbarossa or his grandson Frederick II. For most of the houses were actually towers, long rectangular columns, vying with each other in height and crowded close together on either side of the narrow, airless, darkened streets. Sometimes they were connected with one another by wooden bridges, and all were furnished with wooden balconies used in defensive and offensive warfare with their neighbors.

Cities full of towers were common all over southern France and central Italy, but Tuscany had more than any other state, and those of Pisa were the most famous of all. The habit of building and dwelling in towers rather than in houses may have arisen from the difficulty of expanding laterally within an enclosed city; but a stronger reason may be found in the dangers and uncertainty of life in a period when a man might be attacked at any moment by his fellow-citizen, as well as by the enemy of the state. It was a distinct military advantage to overlook one's neighbor, who might be an enemy; and towers rose higher and higher. The spirit of emulation entered, and rich nobles gloried in adding tower to tower and in looking down on all rivals.

But whatever the cause of their existence, they were picturesque, and must have presented a gallant sight on the eve of a high festival. The tall shafts were tinged with gold by the western sun, their battlements crowned with three fluttering banners—the eagle of the Emperor, the white cross of the Commune, and the device of the People—looking as tho a cloud of many-colored butterflies were hovering over the city.

Again, how dramatic the scene when the city was rent by one of the perpetually recurring faction-fights. Light bridges with grappling-irons were thrown from tower to tower, doors and windows were barricaded, balconies and battlements lined with men in shining mail, bearing the fantastic device of their leader on helm and shield. Mangonels, or catapults, huge engines stationed on the roofs of the towers, sent masses of stone hurtling through the air, whistling arbelast bolts and clothyard shafts flew in thick showers, boiling oil or lead rained down on the heads of those who ventured down to attack the doors, and arrows, with Greek fire attached, were shot with nice aim into the wooden balconies and bridges. Vile insults were hurled where missiles failed to strike. The shouts and shrieks of the combatants were mingled with the crash of a falling tower or with the hissing of a fire-arrow. Where those struck, a red glow arose and a thick cloud of smoke enveloped the defenders.

Altho it is evident that towers were very numerous in Pisa, it is difficult to arrive at their precise number. The chroniclers differ greatly in their estimates. Benjamin da Tudela, for instance, says that there were 10,000 in the twelfth century; while Marangone puts the number at 15,000 and Tronci at 16,000. These are round numbers such as the medieval mind loved, but we have abundant evidence that they are not much exaggerated. An intarsia panel in the Duomo, shows how closely the towers were packed together, while the mass of legislation relating to them was directed against abuses that could only have arisen if their number was very large.