BY CHARLES DICKENS
I had been half afraid to go to Verona, lest it should at all put me out of conceit with Romeo and Juliet. But, I was no sooner come into the old Market-place, than the misgiving vanished. It is so fanciful, quaint, and picturesque a place, formed by such an extraordinary and rich variety of fantastic buildings, that there could be nothing better at the core of even this romantic town; scene of one of the most romantic and beautiful of stories.
It was natural enough, to go straight from the Market-place, to the House of the Capulets, now degenerated into a most miserable little inn. Noisy vetturini and muddy market-carts were disputing possession of the yard, which was ankle-deep in dirt, with a brood of splashed and bespattered geese; and there was a grim-visaged dog, viciously panting in a doorway, who would certainly have had Romeo by the leg, the moment he put it over the wall, if he had existed and been at large in those times. The orchard fell into other hands, and was parted off many years ago; but there used to be one attached to the house—or at all events there may have been—and the Hat (Cappello), the ancient cognizance of the family, may still be seen, carved in stone, over the gateway of the yard. The geese, the market-carts, their drivers, and the dog, were somewhat in the way of the story, it must be confessed; and it would have been pleasanter to have found the house empty, and to have been able to walk through the disused rooms. But the Hat was unspeakably comfortable; and the place where the garden used to be, hardly less so. Besides, the house is a distrustful, jealous-looking house as one would desire to see, tho of a very moderate size. So I was quite satisfied with it, as the veritable mansion of old Capulet, and was correspondingly grateful in my acknowledgments to an extremely unsentimental middle-aged lady, the Padrona of the Hotel, who was lounging on the threshold looking at the geese.
From Juliet's home, to Juliet's tomb, is a transition as natural to the visitor, as to fair Juliet herself, or to the proudest Juliet that ever has taught the torches to burn bright in any time. So, I went off, with a guide, to an old, old garden, once belonging to an old, old convent, I suppose; and being admitted, at a shattered gate, by a bright-eyed woman who was washing clothes, went down some walks where fresh plants and young flowers were prettily growing among fragments of old wall, and ivy-covered mounds; and was shown a little tank, or water-trough, which the bright-eyed woman—drying her arms upon her 'kerchief—called "La tomba di Giulietta la sfortunÁta." With the best disposition in the world to believe, I could do no more than believe that the bright-eyed woman believed; so I gave her that much credit, and her customary fee in ready money. It was a pleasure, rather than a disappointment, that Juliet's resting-place was forgotten. However consolatory it may have been to Yorick's Ghost, to hear the feet upon the pavement overhead, and, twenty times a day, the repetition of his name, it is better for Juliet to lie out of the track of tourists, and to have no visitors but such as come to graves in spring-rain, and sweet air, and sunshine.
Pleasant Verona! With its beautiful old palaces, and charming country in the distance, seen from terrace walks, and stately, balustraded galleries. With its Roman gates, still spanning the fair street, and casting, on the sunlight of to-day, the shade of fifteen hundred years ago. With its marble-fitted churches, lofty towers, rich architecture, and quaint old quiet thoroughfares, where shouts of Montagues and Capulets once resounded.
And made Verona's ancient citizens
Cast by their grave, beseeming ornaments,
To wield old partisans.
With its fast-rushing river, picturesque old bridge, great castle, waving cypresses, and prospect so delightful, and so cheerful! Pleasant Verona! In the midst of it, in the Piazza di BrÁ—a spirit of old time among the familiar realities of the passing hour—is the great Roman Amphitheater. So well preserved, and carefully maintained, that every row of seats is there, unbroken. Over certain of the arches, the old Roman numerals may yet be seen; and there are corridors, and staircases, and subterranean passages for beasts, and winding ways, above ground and below, as when the fierce thousands hurried in and out, intent upon the bloody shows of the arena. Nestling in some of the shadows and hollow places of the walls, now, are smiths with their forges, and a few small dealers of one kind or other; and there are green weeds, and leaves, and grass, upon the parapet. But little else is greatly changed.
When I had traversed all about it, with great interest, and had gone up to the topmost round of seats, and turning from the lovely panorama closed in by the distant Alps, looked down into the building, it seemed to lie before me like the inside of a prodigious hat of plaited straw, with an enormously broad brim and a shallow crown; the plaits being represented by the four-and-forty rows of seats. The comparison is a homely and fantastic one, in sober remembrance and on paper, but it was irresistibly suggested at the moment, nevertheless.
BY THÉOPHILE GAUTIER
Padua is an ancient city and exhibits a rather respectable appearance against the horizon with its bell-turrets, its domes, and its old walls upon which myriads of lizards run and frisk in the sun. Situated near a center which attracts life to itself, Padua is a dead city with an almost deserted air. Its streets, bordered by two rows of low arcades, in nowise recall the elegant and charming architecture of Venice. The heavy, massive structures have a serious, somewhat crabbed aspect, and its somber porticos in the lower stories of the houses resemble black mouths which yawn with ennui.
We were conducted to a big inn, established probably in some ancient palace, and whose great halls, dishonored by vulgar uses, had formerly seen better company. It was a real journey to go from the vestibule to our room by a host of stairways and corridors; a map of Ariadne's thread would have been needed to find one's way back. Our windows opened upon a very pleasant view; a river flows at the foot of the wall—the Brenta or the Bacchiglione, I know not which, for both water Padua. The banks of this watercourse were adorned with old houses and long walls, and trees, too, overhung the banks; some rather picturesque rows of piles, from which the fishermen cast their lines with that patience characteristic of them in all countries; huts with nets and linen hanging from the windows to dry, formed under the sun's rays a very pretty subject for a water-color.
After dinner we went to the CafÉ Pedrocchi, celebrated throughout all Italy for its magnificence. Nothing could be more monumentally classic. There are nothing but pillars, columnets, ovolos, and palm leaves of the Percier and Fontain kind, the whole very fine and lavish of marble. What was most curious was some immense maps forming a tapestry and representing the different divisions of the world on an enormous scale. This somewhat pedantic decoration gives to the hall an academic air; and one is surprized not to see a chair in place of the bar, with a professor in his gown in place of a dispenser of lemonade.
The University of Padua was formerly famous. In the thirteenth century eighteen thousand young men, a whole people of scholars, followed the lessons of the learned professors, among whom later Galileo figured, one of whose bones is preserved there as a relic, a relic of a martyr who suffered for the truth. The faÇade of the University is very beautiful; four Doric columns give it a severe and monumental air; but solitude reigns in the class-rooms where to-day scarcely a thousand students can be reckoned....
We paid a visit to the Cathedral dedicated to Saint Anthony, who enjoys at Padua the same reputation as Saint Januarius at Naples. He is the "genius loci," the Saint venerated above all others. He used to perform not less than thirty miracles each day, if Casanova[17] is to be believed. Such a performance fairly earned for him his surname of Thaumaturge, but this prodigious zeal has fallen off greatly. Nevertheless, the reputation of the saint has not suffered, and so many masses are paid for at his altar that the number of the priests of the cathedral and of days in the year are not sufficient. To liquidate the accounts, the Pope has granted permission, at the end of the year, for masses to be said, each, one of which is of the value of a thousand; in this fashion Saint Anthony is saved from being bankrupt to his faithful devotees.
On the place which adjoins the cathedral, a beautiful equestrian statue by Donatello, in bronze, rises to view, the first which had been cast since the days of antiquity, representing a leader of banditti: Gattamelata, a brigand who surely did not deserve that honor. But the artist has given him a superb bearing and a spirited figure with his baton of a Roman emperor, and it is entirely sufficient....
One thing which must not be neglected in passing through Padua is a visit to the old Church of the Arena, situated at the rear of a garden of luxuriant vegetation, where it would certainly not be conjectured to be located unless one were advised of the fact. It is entirely painted in its interior by Giotto. Not a single column, not a single rib, nor architectural division interrupts that vast tapestry of frescoes. The general aspect is soft, azure, starry, like a beautiful, calm sky; ultramarine dominates; thirty compartments of large dimensions, indicated by simple lines, contain the life of the Virgin and of her Divine Son in all their details; they might be called illustrations in miniature of a gigantic missal. The personages, by naÏve anachronisms very precious for history, are clothed in the mode of the times in which Giotto painted.
Below these compositions of the purest religious feeling, a painted plinth shows the seven deadly sins symbolized in an ingenious manner, and other allegorical figures of a very good style; a Paradise and a Hell, subjects which greatly imprest the minds of the artists of that epoch, complete this marvelous whole. There are in these paintings weird and touching details; children issue from their little coffins to mount to Paradise with a joyous ardor, and launch themselves forth to go to play upon the blossoming turf of the celestial garden; others stretch forth their hands to their half-resurrected mothers. The remark may also be made that all the devils and vices are obese, while the angels and virtues are thin and slender. The painter wishes to mark the preponderance of matter in the one class and of spirit in the other.
Ferrara rises solitary in the midst of a flat country more rich than picturesque. When one enters it by the broad street which leads to the square, the aspect of the city is imposing and monumental. A palace with a grand staircase occupies a corner of this vast square; it might be a court-house or a town hall, for people of all classes were entering and departing through its wide doors....
The castle of the ancient dukes of Ferrara, which is to be found a little farther on, has a fine feudal aspect. It is a vast collection of towers joined together by high walls crowned with a battlement forming a cornice, and which emerge from a great moat full of water, over which one enters by a protected bridge. The castle, built wholly of brick or of stones reddened by the sun, has a vermilion tint which deprives it of its imposing effect. It is too much like a decoration of a melodrama.
It was in this castle that the famous Lucretia Borgia lived, whom Victor Hugo has made such a monster for us, and whom Ariosto depicts as a model of chastity, grace and virtue; that blonde Lucretia who wrote letters breathing the purest love, and some of whose hair, fine as silk and shining as gold, Byron possest. It was there that the dramas of Tasso and Ariosto and Guarini were played; there that those brilliant orgies took place, mingled with poisonings and assassinations, which characterized that learned and artistic, refined and criminal, period of Italy.
It is the custom to pay a pious visit to the problematical dungeon in which Tasso, mad with love and grief, passed so many years, according to the poetic legend which grew up concerning his misfortune. We did not have time to spare and we regretted it very little. This dungeon, a perfectly correct sketch of which we have before our eyes, consists only of four walls, ceiled by a low arch. At the back is to be seen a window grated by heavy bars and a door with big bolts. It is quite unlikely that in this obscure hole, tapestried with cobwebs, Tasso could have worked and retouched his poem, composed sonnets, and occupied himself with small details of toilet, such as the quality of the velvet of his cap and the silk of his stockings, and with kitchen details, such as with what kind of sugar he ought to powder his salad, that which he had not being fine enough for his liking. Neither did we see the house of Ariosto, another required pilgrimage. Not to speak of the little faith which one should place in these unauthenticated traditions, in these relics without character, we prefer to seek Ariosto in the "Orlando Furioso," and Tasso in the "Jerusalem DÉlivrÉe" or in the fine drama of Goethe.
The life of Ferrara is concentrated on the Plaza Nuova, in front of the church and in the neighborhood of the castle. Life has not yet abandoned this heart of the city; but in proportion as one moves away from it, it becomes more feeble, paralysis begins, death gains; silence, solitude, and grass invade the streets; one feels that one is wandering about a Thebes peopled with ghosts of the past and from which the living have evaporated like water which has dried up. There is nothing more sad than to see the corpse of a dead city slowly falling into dust in the sun and rain. One at least buries human bodies.
LAKE LUGANO[19]
BY VICTOR TISSOT
On emerging from the second tunnel,[20] beyond a wild and narrow gorge, there lies suddenly before us, as in a gorgeous fairyland or in the landscape of a dream, the blue expanse of Lake Lugano, with its setting of green meadows and purple mountains, with the many-colored village spires, and the great white fronts of the hotels and villas. Oh, what a wonderful picture!
We feel as if we were going down into an enchanted garden that has been hidden by the great snowy walls of the Alps. The air is full of the perfume of roses and jessamine. The hedges are in flower, butterflies are dancing, insects are humming, birds are singing. Up above, in the mountain, is snow, ice, winter, and silence; here there is sunshine, life, joy, love—all the living delights of spring and summer. Golden harvests are shining on the plains, and the lake in the distance is like a piece of the sky brought down to earth.
Lugano is already Italy, not only because of the richness of the soil and the magnificence of the vegetation, but also as regards the language, the manners, and the picturesque costumes. In each valley the dress is different; in one place the women wear a short skirt, an apron held in by a girdle, and a bright colored bodice; in another they wear a cap above which is a large shady hat; in the Val Maroblio they have a woolen dress not very different from that of the Capuchins.
The men have not the square figure, the slow, heavy walk of the people of Basle and Lucerne; they are brisk, vigorous, easy; and the women have something of the wavy suppleness of vine branches twining among the trees. These people have the happy, childlike joyousness, the frank good-nature, of those who live in the open air, who do not shut themselves up in their houses, but grow freely like the flowers under the strong, glowing sunshine.
At every street corner sellers are sitting behind baskets of extraordinary vegetables and magnificent fruit; and under the arcades that run along the houses, big grocers in shirt sleeves come at intervals to their shop doors to take breath, like hippopotami coming out of the water for the same purpose. In this town, ultramontane in its piety, the bells of churches and convents are sounding all day long, and women are seen going to make their evening prayer together in the nearest chapel.
But if the fair sex in Lugano are diligent in frequenting the churches, they by no means scorn the cafÉs. After sunset the little tables that are all over the great square are surrounded by an entire population of men and women. How gay and amusing those Italian cafÉs are! full of sound and color, with their red and blue striped awnings, their advance guard of little tables under the shade of the orange-trees, and their babbling, stirring, gesticulating company. The waiters, in black vests and leather slippers, a corner of their apron tucked up in their belt, run with the speed of kangaroos, carrying on metal plates syrups of every shade, ices, sweets in red, yellow, or green pyramids. Between seven and nine o'clock the whole society of Lugano defiles before you. There are lawyers with their wives, doctors with their daughters, bankers, professors, merchants, public officials, with whom are sometimes misted stout, comfortable, jovial-looking canons, wrapping themselves in the bitter smoke of a regalia, as in a cloud of incense.
LAKE COMO[21]
BY PERCY BYSSHE SHELLEY
We have been to Como, looking for a house. This lake exceeds anything I ever beheld in beauty, with the exception of the arbutus islands of Killarney. It is long and narrow, and has the appearance of a mighty river winding among the mountains and the forests. We sailed from the town of Como to a tract of country called the Tremezina, and saw the various aspects presented by that part of the lake. The mountains between Como and that village, or rather cluster of villages, are covered on high with chestnut forests (the eating chestnuts, on which the inhabitants of the country subsist in time of scarcity), which sometimes descend to the very verge of the lake, overhanging it with their hoary branches. But usually the immediate border of this shore is composed of laurel-trees, and bay, and myrtle, and wild fig-trees, and olives which grow in the crevices of the rocks, and overhang the caverns, and shadow the deep glens, which are filled with the flashing light of the waterfalls. Other flowering shrubs, which I can not name, grow there also. On high, the towers of village churches are seen white among the dark forests.
Beyond, on the opposite shore, which faces the south, the mountains descend less precipitously to the lake, and altho they are much higher, and some covered with perpetual snow, there intervenes between them and the lake a range of lower hills, which have glens and rifts opening to the other, such as I should fancy the abysses of Ida or Parnassus. Here are plantations of olive, and orange, and lemon trees, which are now so loaded with fruit, that there is more fruit than leaves—and vineyards. This shore of the lake is one continued village, and the Milanese nobility have their villas here. The union of culture and the untameable profusion and loveliness of nature is here so close, that the line where they are divided can hardly be discovered.
But the finest scenery is that of the Villa Pliniana; so called from a fountain which ebbs and flows every three hours, described by the younger Pliny, which is in the courtyard. This house, which was once a magnificent palace, and is now half in ruins, we are endeavoring to procure. It is built upon terraces raised from the bottom of the lake, together with its garden, at the foot of a semicircular precipice, overshadowed by profound forests of chestnut. The scene from the colonnade is the most extraordinary, at once, and the most lovely that eye ever beheld. On one side is the mountain, and immediately over you are clusters of cypress-trees, of an astonishing height, which seem to pierce the sky.
Above you, from among the clouds, as it were, descends a waterfall of immense size, broken by the woody rocks into a thousand channels to the lake. On the other side is seen the blue extent of the lake and the mountains, speckled with sails and spires. The apartments of the Pliniana are immensely large, but ill-furnished and antique. The terraces, which overlook the lake, and conduct under the shade of such immense laurel-trees as deserve the epithet of Pythian, are most delightful.
BELLAGIO ON LAKE COMO[22]
BY W. D. M'CRACKEN
The picture of the promontory of Bellagio is so beautiful as a whole that the traveler had better stand off for awhile to admire it at a distance and at his leisure. Indeed it is a question whether the lasting impressions which we treasure of Bellagio are not, after all, those derived from across the lake, from the shore-fronts of Tremezzo, Cadenabbia, Menaggio, or Varenna.
A colossal, conquering geological lion appears to have come up from the south in times immemorial, bound for the north, and finding further progress stopt by the great sheet of water in front of him, seems to have halted and to be now crouching there with his noble head between his paws and his eyes fixt on the snow-covered Alps. The big white house on the lion's neck is the Villa Serbelloni, now used as the annex of a hotel, and the park of noble trees belonging to the villa forms the lion's mane. Hotels, both large and small, line the quay at the water's edge; then comes a break in the houses, and stately Villa Melzi is seen to stand off at one side. Villa Trotti gleams from among its bowers farther south; on the slope Villa Trivulzio, formerly Poldi, shows bravely, and Villa Giulia has cut for itself a wide prospect over both arms of the lake. At the back of this lion couchant, in the middle ground, sheer mountain walls tower protectingly, culminating in Monte Grigna.
The picture varies from hour to hour, from day to day, and from season to season. Its color-scheme changes with wind and sun, its sparkle comes and goes from sunrise to sunset; only its form remains untouched through the night and lives to delight us another day. As the evening wears on, lights appear one by one on the quay of Bellagio, until there is a line of fire along the base of the dark peninsula. The hotel windows catch the glare, the villas light their storied corridors, and presently Bellagio, all aglow, presents the spectacle of a Venetian night mirrored in the lake.
By this time the mountains have turned black and the sky has faded. It grows so still on the water that the tinkle of a little Italian band reaches across the lake to Cadenabbia, a laugh rings out into the quiet air from one of the merry little rowboats, and even the slight clatter made by the fishermen, in putting their boats to rights for the night and in carrying their nets indoors, can be distinguished as one of many indications that the day is done.
When we land at Bellagio by daylight, we find it to be very much of a bazaar of souvenirs along the water-front, and everybody determined to carry away a keepsake. There is so much to buy—ornamental olive wood and tortoise-shell articles, Como blankets, lace, and what may be described in general terms as modern antiquities. These abound from shop to shop; even English groceries are available. Bellagio's principal street is suddenly converted at its northern end into a delightful arcade, after the arrangement which constitutes a characteristic charm of the villages and smaller towns on the Italian lakes; moreover, the vista up its side street is distinctly original. This mounts steeply from the waterside, like the streets of Algiers, is narrow and constructed in long steps to break the incline.
THE REPUBLIC OF SAN MARINO[23]
BY JOSEPH ADDISON
The town and republic of St. Marino stands on the top of a very high and craggy mountain. It is generally hid among the clouds, and lay under snow when I saw it, though it was clear and warm weather in all the country about it. There is not a spring or fountain, that I could hear of, in the whole dominions; but they are always well provided with huge cisterns and reservoirs of rain and snow water. The wine that grows on the sides of their mountain is extraordinarily good, much better than any I met with on the cold side of the Apennines.
This mountain, and a few neighboring hillocks that lie scattered about the bottom of it, is the whole circuit of these dominions. They have what they call three castles, three convents, and five churches and can reckon about five thousand souls in their community.[24] The inhabitants, as well as the historians who mention this little republic, give the following account of its origin. St. Marino was its founder, a Dalmatian by birth, and by trade a mason. He was employed above thirteen hundred years ago in the reparation of Rimini, and after he had finished his work, retired to this solitary mountain, as finding it very proper for the life of a hermit, which he led in the greatest rigors and austerities of religion. He had not been long here before he wrought a reputed miracle, which, joined with his extraordinary sanctity, gained him so great an esteem, that the princess of the country made him a present of the mountain, to dispose of at his own discretion. His reputation quickly peopled it, and gave rise to the republic which calls itself after his name.
So that the commonwealth of Marino may boast, at least, of a nobler original than that of Rome, the one having been at first an asylum for robbers and murderers, and the other a resort of persons eminent for their piety and devotion. The best of their churches is dedicated to the saint, and holds his ashes. His statue stands over the high altar, with the figure of a mountain in its hands, crowned with three castles, which is likewise the arms of the commonwealth. They attribute to his protection the long duration of their state, and look on him as the greatest saint next the blessed virgin. I saw in their statute-book a law against such as speak disrespectfully of him, who are to be punished in the same manner as those convicted of blasphemy.
This petty republic has now lasted thirteen hundred years,[25] while all the other states of Italy have several times changed their masters and forms of government. Their whole history is comprised in two purchases, which they made of a neighboring prince, and in a war in which they assisted the pope against a lord of Rimini. In the year 1100 they bought a castle in the neighborhood, as they did another in the year 1170. The papers of the conditions are preserved in their archives, where it is very remarkable that the name of the agent for the commonwealth, of the seller, of the notary, and the witnesses, are the same in both the instruments, tho drawn up at seventy years' distance from each other. Nor can it be any mistake in the date, because the popes' and emperors' names, with the year of their respective reigns, are both punctually set down. About two hundred and ninety years after this they assisted Pope Pius the Second against one of the Malatestas, who was then, lord of Rimini; and when they had helped to conquer him, received from the pope, as a reward for their assistance, four little castles. This they represent as the flourishing time of the commonwealth, when their dominions reached half-way up a neighboring hill; but at present they are reduced to their old extent....
The chief officers of the commonwealth are the two capitaneos, who have such a power as the old Roman consuls had, but are chosen every six months. I talked with some that had been capitaneos six or seven times, tho the office is never to be continued to the same persons twice successively. The third officer is the commissary, who judges in all civil and criminal matters. But because the many alliances, friendships, and intermarriages, as well as the personal feuds and animosities, that happen among so small a people might obstruct the course of justice, if one of their own number had the distribution of it, they have always a foreigner for this employ, whom they choose for three years, and maintain out of the public stock. He must be a doctor of law, and a man of known integrity. He is joined in commission with the capitaneos, and acts something like the recorder of London under the lord mayor. The commonwealth of Genoa was forced to make use of a foreign judge for many years, while their republic was torn into the divisions of Guelphs and Ghibelines. The fourth man in the state is the physician, who must likewise be a stranger, and is maintained by a public salary. He is obliged to keep a horse, to visit the sick, and to inspect all drugs that are imported. He must be at least thirty-five years old, a doctor of the faculty, and eminent for his religion and honesty, that his rashness or ignorance may not unpeople the commonwealth. And, that they may not suffer long under any bad choice, he is elected only for three years.
The people are esteemed very honest and rigorous in the execution of justice, and seem to live more happy and contented among their rocks and snows, than others of the Italians do in the pleasantest valleys of the world. Nothing, indeed, can be a greater instance of the natural love that mankind has for liberty, and of their aversion to an arbitrary government, than such a savage mountain covered with people, and the Campania of Rome, which lies in the same country, almost destitute of inhabitants.
BY NATHANIEL HAWTHORNE
We pursued our way, and came, by and by, to the foot of the high hill on which stands Perugia, and which is so long and steep that Gaetano took a yoke of oxen to aid his horses in the ascent. We all, except my wife, walked a part of the way up, and I myself, with J——[27] for my companion, kept on even to the city gate, a distance, I should think, of two or three miles, at least. The lower part of the road was on the edge of the hill, with a narrow valley on our left; and as the sun had now broken out, its verdure and fertility, its foliage and cultivation, shone forth in miraculous beauty, as green as England, as bright as only Italy.
Perugia appeared above us, crowning a mighty hill, the most picturesque of cities; and the higher we ascended, the more the view opened before us, as we looked back on the course that we had traversed, and saw the wide valley, sweeping down and spreading out, bounded afar by mountains, and sleeping in sun and shadow. No language nor any art of the pencil can give an idea of the scene....
We plunged from the upper city down through some of the strangest passages that ever were called streets; some of them, indeed, being arched all over, and, going down into the unknown darkness, looked like caverns; and we followed one of them doubtfully, till it opened, out upon the light. The houses on each side were divided only by a pace or two, and communicated with one another, here and there, by arched passages. They looked very ancient, and may have been inhabited by Etruscan princes, judging from the massiveness of some of the foundation stones. The present inhabitants, nevertheless, are by no means princely, shabby men, and the careworn wives and mothers of the people, one of whom was guiding a child in leading-strings through these antique alleys, where hundreds of generations have trod before those little feet. Finally we came out through a gateway, the same gateway at which we entered last night.
The best part of Perugia, that in which the grand piazzas and the principal public edifices stand, seems to be a nearly level plateau on the summit of the hill; but it is of no very great extent, and the streets rapidly run downward on either side. J—— and I followed one of these descending streets, and were led a long way by it, till we at last emerged from one of the gates of the city, and had another view of the mountains and valleys, the fertile and sunny wilderness in which this ancient civilization stands.
On the right of the gate there was a rude country path, partly overgrown with grass, bordered by a hedge on one side, and on the other by the gray city wall, at the base of which the tract kept onward. We followed it, hoping that it would lead us to some other gate by which we might reenter the city; but it soon grew so indistinct and broken, that it was evidently on the point of melting into somebody's olive-orchard or wheat-fields or vineyards, all of which lay on the other side of the hedge; and a kindly old woman of whom I inquired told me (if I rightly understood her Italian) that I should find no further passage in that direction. So we turned back, much broiled in the hot sun, and only now and then relieved by the shadow of an angle or a tower.
BY MR. AND MRS. EDWIN H. BLASHFIELD
That admirers of minute designs and florid detail could appreciate grandeur as well, no one can doubt who has seen the plans of the Sienese cathedral. Its history is one of a grand result, and of far grander, tho thwarted endeavor, and it is hard to realize to-day, that the church as it stands is but a fragment, the transept only, of what Siena willed. From the state of the existing works no one can doubt that the brave little republic would have finished it had she not met an enemy before whom the sword of Monteaperto was useless. The plague of 1348 stalked across Tuscany, and the chill of thirty thousand Sienese graves numbed the hand of master and workman, sweeping away the architect who planned, the masons who built, the magistrates who ordered, it left but the yellowed parchment in the archives which conferred upon Maestro Lorenzo Maitani the superintendence of the works.
The faÇade of the present church is amazing in its richness, undoubtedly possesses some grand and much lovely detail, and is as undoubtedly suggestive, with its white marble ornaments upon a pink marble ground, of a huge, sugared cake. It is impossible to look at this restored whiteness with the sun upon it; the dazzled eyes close involuntarily and one sees in retrospect the great, gray church front at Rheims, or the solemn faÇade of Notre Dame de Paris. It is like remembering an organ burst of Handel after hearing the florid roulades of the mass within the cathedral.
The interior is rich in color and fine in effect, but the northerner is painfully imprest by the black and white horizontal stripes which, running from vaulting to pavement, seem to blur and confuse the vision, and the closely set bars of the piers are positively irritating. In the hexagonal lantern, however, they are less offensive than elsewhere, because the fan-like radiation of the bars above the great gilded statues breaks up the horizontal effect. The decoration of the stone-work is not happy; the use of cold red and cold blue with gilt bosses in relief does much to vulgarize, and there is constant sally in small masses which belittles the general effect. It is evident that the Sienese tendency to floridity is answerable for much of this, and that having added some piece of big and bad decoration, the cornice of papal head, for instance, they felt forced to do away with it or continue it throughout.
But this fault and many others are forgotten when we examine the detail with which later men have filled the church. Other Italian cathedrals possess art-objects of a higher order; perhaps no other one is so rich in these treasures. The great masters are disappointing here. Raphael, as the co-laborer of Pinturicchio, is dainty, rather than great, and Michelangelo passes unnoticed in the huge and coldly elaborate altar-front of the Piccolomini. But Marrina, with his doors of the library; Barili, with his marvelous casing of the choir-stalls; Beccafumi, with his bronze and neillo—these are the artists whom one wonders at; these wood-carvers and bronze-founders, creators of the microcosmic detail of the Renaissance which had at last burst triumphantly into Siena.
This treasure is cumulative, as we walk eastward from the main door, where the pillars are a maze of scroll-work in deepest cutting, and by the time we reach the choir the head fairly swims with the play of light and color. We wander from point to point, we finger and caress the lustrous stalls of Barili, and turn with a kind of confusion of vision from panel to panel; above our heads the tabernacle of Vecchietta, the lamp bearing angels of Beccafumi make spots of bituminous color, with glittering high-lights, strangely emphasizing their modeling; from these youths, who might be pages to some Roman prefect, the eye travels upward still further, along the golden convolutions of the heavily stuccoed pilasters to the huge, gilded cherubs' heads that frame the eastern rose....
It is incredible that these frescoes are four hundred years old. Surely Pinturicchio came down from his scaffolding but yesterday. This is how the hardly dried plaster must have looked to pope and cardinal and princes when the boards were removed, and when the very figures on these walls—smart youths in tights and slashes, bright-robed scholars, ecclesiastics caped in ermine, ladies with long braids bound in nets of silk—crowded to see themselves embalmed in tempera for curious after-centuries to gaze upon.
THE ASSISSI OF ST. FRANCIS[29]
BY HIPPOLYTE ADOLPHE TAINE
On the summit of an abrupt height, over a double row of arcades, appears the monastery; at its base a torrent plows the soil, winding off in the distance between banks of boulders; beyond is the old town prolonging itself on the ridge of the mountain. We ascend slowly under the burning sun, and suddenly, at the end of a court surrounded by slender columns, enter within the obscurity of the cathedral. It is unequalled; before having seen it one has no idea of the art and the genius of the Middle Ages. Append to it Dante and the "Fioretti" of St. Francis, and it becomes the masterpiece of mystic Christianity.
There are three churches, one above the other, all of them arranged around the tomb of St. Francis. Over this venerated body, which the people regard as ever living and absorbed in prayer at the bottom of an inaccessible cave, the edifice has arisen and gloriously flowered like an architectural shrine. The lowest is a crypt, dark as a sepulcher, into which the visitors descend with torches; pilgrims keep close to the dripping walls and grope along in order to reach the grating.
Here is the tomb, in a pale, dim light, similar to that of limbo. A few brass lamps, almost without lights, burn here eternally like stars lost in mournful obscurity. The ascending smoke clings to the arches, and the heavy odor of the tapers mingles with that of the cave. The guide trims his torch; and the sudden flash in this horrible darkness, above the bones of a corpse, is like one of Dante's visions. Here is the mystic grave of a saint who, in the midst of corruption and worms, beholds his slimy dungeon of earth filled with the supernatural radiance of the Savior.
But that which can not be represented by words is the middle church, a long, low spiracle supported by small, round arches curving in the half-shadow, and whose voluntary depression makes one instinctively bend his knees. A coating of somber blue and of reddish bands starred with gold, a marvelous embroidery of ornaments, wreaths, delicate scroll-work, leaves, and painted figures, covers the arches and ceilings with its harmonious multitude; the eye is overwhelmed by it; a population of forms and tints lives on its vaults; I would not exchange this cavern for all the churches of Rome!
On the summit, the upper church shoots up as brilliant, as aerial, as triumphant, as this is low and grave. Really, if one were to give way to conjecture, he might suppose that in these three sanctuaries the architect meant to represent the three worlds; below, the gloom of death and the horrors of the infernal tomb; in the middle, the impassioned anxiety of the beseeching Christian who strives and hopes in this world of trial; aloft, the bliss and dazzling glory of Paradise.
BY EDWARD A. FREEMAN
With exceptions, all the monuments of Ravenna belong to the days of transition from Roman to Medieval times, and the greater part of them come within the fifth and sixth centuries. It was then that Ravenna became, for a season, the head of Italy and of the Western world. The sea had made Ravenna a great haven: the falling back of the sea made her the ruling city of the earth. Augustus had called into being the port of Caesarea as the Peiraieus of the Old Thessalian or Umbrian Ravenna. Haven and city grew and became one; but the faithless element again fell back; the haven of Augustus became dry land covered by orchards, and Classis arose as the third station, leaving Ravenna itself an inland city.
Again has the sea fallen back; Caesarea has utterly perished; Classis survives only in one venerable church; the famous pine forest has grown up between the third haven and the now distant Hadriatic. Out of all this grew the momentary greatness of Ravenna. The city, girded with the three fold zone of marshes, causeways, and strong walls, became the impregnable shelter of the later Emperors; and the earliest Teutonic Kings naturally fixt their royal seat in the city of their Imperial predecessors. When this immediate need had passed away, the city naturally fell into insignificance, and it plays hardly any part in the history of Medieval Italy. Hence it is that the city is crowded with the monuments of an age which has left hardly any monuments elsewhere.
In Britain, indeed, if Dr. Merivale be right in the date which he gives to the great Northern wall, we have a wonderful relic of those times; but it is the work, not of the architect, but of the military engineers. In other parts of Europe also works of this date are found here and there; but nowhere save at Ravenna is there a whole city, so to speak, made up of them. Nowhere but at Ravenna can we find, thickly scattered around us, the churches, the tombs, perhaps the palaces, of the last Roman and the first Teutonic rulers of Italy. In the Old and in the New Rome, and in Milan also, works of the same date exist; but either they do not form the chief objects of the city, or they have lost their character and position through later changes. If Ravenna boasts of the tombs of Honorius and Theodoric, Milan boasts also, truly or falsely, of the tombs of Stilicho and Athaulf. But at Milan we have to seek for the so-called tomb of Athaulf in a side-chapel of a church which has lost all ancient character, and the so-called tomb of Stilicho, tho placed in the most venerable church of the city, stands in a strange position as the support of a pulpit.
At Ravenna, on the other hand, the mighty mausoleum of Theodoric, and the chapel which contains the tombs of Galla Placidia, her brother, and her second husband, are among the best known and best preserved monuments of the city. Ravenna, in the days of its Exarchs, could never have dared to set up its own St. Vital as a rival to Imperial St. Sophia. But at St. Sophia, changed into the temple of another faith, the most characteristic ornaments have been hidden or torn away, while at St. Vital Hebrew patriarchs and Christian saints, and the Imperial forms of Justinian and his strangely-chosen Empress, still look down, as they did thirteen hundred years back, upon the altars of Christian worship. Ravenna, in short, seems, as it were, to have been preserved all but untouched to keep up the memory of the days which were alike Roman, Christian, and Imperial.
BENEDICTINE SUBIACO[31]
BY AUGUSTUS J. C. HARE
One of the excellent mountain roads constructed by Pius IX. leads through a wild district from Olevano to Subiaco. A few miles before reaching Subiaco we skirt a lake, probably one of the Simbrivii Lacus which Nero is believed to have made by damming up the Anio. Here he fished for trout with a golden net, and here he built the mountain villa which he called Sublaqueum—a name which still exists in Subiaco.
Four centuries after the valley had witnessed the orgies of Nero, a young patrician of the family of the Anicii-Benedictus, or "the blessed one," being only fourteen at the time, fled from the seductions of the capital to the rocks of Mentorella, but, being followed thither, sought a more complete solitude in a cave above the falls of the Anio. Here he lived unknown to any except the hermit Romanus, who daily let down food to him, half of his own loaf, by a cord from the top of the cliff. At length the hiding-place was revealed to the village priest in a vision, and pilgrims flocked from all quarters to the valley. Through the disciples who gathered around Benedict, this desolate ravine became the cradle of monastic life in the West, and twelve monasteries rose amid its peaks under the Benedictine rule....
Nothing can exceed the solemn grandeur of the situation of the convent dedicated to St. Scholastica, the sainted sister of St. Benedict, which was founded in the fifth century, and which, till quite lately, included as many as sixteen towns and villages among its possessions. The scenery becomes more romantic and savage at every step as we ascend the winding path after leaving St. Scholastica, till a small gate admits us to the famous immemorial Ilex Grove of St. Benedict, which is said to date from the fifth century, and which has never been profaned by ax or hatchet. Beyond it the path narrows, and a steep winding stair, just wide enough to admit one person at a time, leads to the platform before the second convent, which up to that moment is entirely concealed. Its name, Sacro Speco, commemorates the holy cave of St. Benedict.
At the portal, the thrilling interest of the place is suggested by the inscription—"Here is the patriarchal cradle of the monks of the West Order of St. Benedict." The entrance corridor, built on arches over the abyss, has frescoes of four sainted popes, and ends in an ante-chamber with beautiful Umbrian frescoes, and a painted statue of St. Benedict. Here we enter the all-glorious church of 1116, completely covered with ancient frescoes. A number of smaller chapels, hewn out of the rock, are dedicated to the sainted followers of the founder. Some of the paintings are by the rare Umbrian master Concioli. A staircase in front of the high altar leads to the lower church. At the foot of the first flight of steps, above the charter of 1213, setting forth all its privileges, is the frescoed figure of Innocent III., who first raised Subiaco into an abbacy; in the same fresco is represented Abbot John of Tagliacozzo, under whom (1217-1277) many of the paintings were executed.
On the second landing, the figure of Benedict faces us on a window with his finger on his lips, imposing silence. On the left is the coro, on the right the cave where Benedict is said to have passed three years in darkness. A statue by Raggi commemorates his presence here; a basket is a memorial of that lowered with his food by St. Romanus; an ancient bell is shown as that which rang to announce its approach. As we descend the Scala Santa trodden by the feet of Benedict, and ascended by the monks upon their knees, the solemn beauty of the place increases at every step. On the right is a powerful fresco of Death mowing down the young and sparing the old; on the left, the Preacher shows the young and thoughtless the three states to which the body is reduced after death. Lastly, we reach the Holy of Holies, the second cave, in which Benedict laid down the rule of his order, making its basis the twelve degrees of humility. Here also an inscription enumerates the wonderful series of saints, who, issuing from Subiaco, founded the Benedictine Order throughout the world.
ETRUSCAN VOLTERRA[32]
BY WILLIAM CULLEN BRYANT
For several miles before reaching Volterra, our attention was fixt by the extraordinary aspect of the country through which we were passing. The road gradually ascended, and we found ourselves among deep ravines and steep, high, broken banks, principally of clay, barren, and in most places wholly bare of herbage, a scene of complete desolation, were it not for a cottage here and there perched upon the heights, a few sheep attended by a boy and a dog grazing on the brink of one of the precipices, or a solitary patch of bright green wheat in some spot where the rains had not yet carried away the vegetable mold.
In the midst of this desolate tract, which is, however, here and there interspersed with fertile spots, rises the mountain on which Volterra is situated, where the inhabitants breathe a pure and keen atmosphere, almost perpetually cool, and only die of pleurisies and apoplexies; while below, on the banks of the Cecina, which in full sight winds its way to the sea, they die of fevers. One of the ravines of which I have spoken—the "balza," they call it at Volterra—has plowed a deep chasm on the north side of this mountain, and is every year rapidly approaching the city on its summit. I stood on its edge and looked down a bank of soft, red earth five hundred feet in height. A few rods in front of me I saw where a road had crossed the spot in which the gulf now yawned; the tracks of the last year's carriages were seen reaching to the edge on both sides. The ruins of a convent were close at hand, the inmates of which, two or three years since, had been removed by the Government to the town for safety....
The antiquities of Volterra consist of an Etruscan burial-ground, in which the tombs still remain, pieces of the old and incredibly massive Etruscan wall, including a far larger circuit than the present city, two Etruscan gates of immemorial antiquity, older, doubtless, than any thing at Rome, built of enormous stones, one of them serving even yet as an entrance to the town, and a multitude of cinerary vessels, mostly of alabaster, sculptured with numerous figures in "alto relievo." These figures are sometimes allegorical representations, and sometimes embody the fables of the Greek mythology. Among them are many in the most perfect style of Grecian art, the subjects of which are taken from the poems of Homer; groups representing the besiegers of Troy and its defenders, or Ulysses with his companions and his ships. I gazed with exceeding delight on these works of forgotten artists, who had the verses of Homer by heart—works just drawn from the tombs where they had been buried for thousands of years, and looking as if fresh from the chisel.
THE PAESTUM OF THE GREEKS[33]
BY EDWARD A. FREEMAN
Few buildings are more familiar than the temples of Paestum; yet the moment when the traveler first comes in sight of works of untouched Hellenic skill is one which is simply overwhelming. Suddenly, by the side of a dreary road, in a spot backed indeed by noble mountains, but having no charm of its own, we come on these works, unrivaled on our side of the Hadriatic and the Messenian strait, standing in all their solitary grandeur, shattered indeed, but far more perfect than the mass of ruined buildings of later days. The feeling of being brought near to Hellenic days and Hellenic men, of standing face to face with the fathers of the world's civilization, is one which can never pass away. Descriptions, pictures, models, all fail; they give us the outward form; they can not give us the true life.
The thought comes upon us that we have passed away from that Roman world out of which our own world has sprung into that earlier and fresher and brighter world by which Rome and ourselves have been so deeply influenced, but out of which neither the Roman nor the modern world can be said to spring. There is the true Doric in its earliest form, in all its unmixed and simple majesty. The ground is strewed with shells and covered with acanthus-leaves; but no shell had suggested the Ionic volute, no acanthus-leaf had suggested the Corinthian foliage. The vast columns, with the sudden tapering, the overhanging capitals, the stern, square abacus, all betoken the infancy of art. But it is an infancy like that of their own HÊraklÊs; the strength which clutched the serpent in his cradle is there in every stone. Later improvements, the improvements of Attic skill, may have added grace; the perfection of art may be found in the city which the vote of the divine Assembly decreed to AthÊnÊ; but for the sense of power, of simplicity without rudeness, the city of Poseidon holds her own. Unlike in every detail, there is in these wonderful works of early Greek art a spirit akin to some of the great churches of Romanesque date, simple, massive, unadorned, like the PoseidÔnian Doric.
And they show, too, how far the ancient architects were from any slavish bondage to those minute rules which moderns have invented for them. In each of the three temples of Paestum differences both of detail and of arrangement may be marked, differences partly of age, but also partly of taste. And some other thoughts are brought forcibly upon the mind. Here indeed we feel that the wonders of Hellenic architecture are things to kindle our admiration, even our reverence; but that, as the expression of a state of things which has wholly passed away, nothing can be less fit for reproduction in modern times.
And again, we may be sure that the admiration and reverence which they may awaken in the mind of the mere classical purist is cold beside that which they kindle in the mind which can give them their true place in the history of art. The temples of Paestum are great and noble from any point of view. But they become greater and nobler as we run over the successive steps in the long series by which their massive columns and entablatures grew into the tall clusters and soaring arches of Westminster and Amiens.
