'To rear me was the task of Power divine,
Supremest wisdom, and primeval love.
Before me things create were none, save things
Eternal, and eternal I endure.
All hope abandon ye who enter here.'

Dante.

The broad white steps of Orvieto Cathedral were strewn with thousands of dead flies, killed by the merciless glitter of its new mosaics in the eye of the sunshine. Poor little dust of life scattered at the door of Madonna Mary's temple, with your shattered wings and your sightless crawling agony, meeting your death unwittingly in the heart of this city of woe! You are the key to its desolation, you with your myriads of dead, the horrid harvest of an insatiable ghoul. For not even the shrill music of Luca Signorelli's angels, hovering above the gloomy fortresses of Orvieto with their hair streaming in the breeze of the dawn, can raise her up to life. She is a city of the dead—shrivelled and dark-browed, standing high over the plain on an island of volcanic rock, 'dark-stained with hue ferruginous,' like Malebolge within the depths of hell. Death lies around her in the valleys where the earth is riddled with the tombs of Etruria—one vast necropolis—and she herself, though she held life so dearly, as we can see by her grim Romanesque houses each with its back to the wall as it were, each armed at every point, would be almost dead to the world if it were not for the Tuscan glitter of her great Miracle Church.

Even her name has a sinister ring about it—Orvieto—the Old City. To the writers of antiquity she was Urbs Vetus, but no man knows her ancient name, and although archaeologists dispute in vain as to the rival claims of Herbanum and Salpinum, it is recognised that the origin of Orvieto is plunged in mystery. Unlike the other cities of Southern Etruria, built on the extremity of a peninsula of hills, she is isolated on a volcanic rock in the heart of the melancholy valley of the Paglia, an impregnable position, as many a Pope has realised with thankfulness as he fled to it for Sanctuary from the wrath of Emperors or the malice of Cardinals, or, more often still, the vengeance of the people of Rome. For Orvieto was consistently Guelf in her sympathies, and no less than thirty-two Popes have taken refuge within her walls since Adrian IV., Nicholas Breakspear, the only Englishman who ever sat upon the Papal throne, held his court there in 1157, because Rome had not yet forgotten the martyrdom of the heroic Arnold of Brescia.

We came to Orvieto by rail and scaled her precipice on the funicular, which connects the station down on the plain with the city on the rock above. If we had come by road, only a toilsome climb of several miles would have brought us to the grim Porta Maggiore, where Boniface VIII., in his twofold tiara, keeps watch from his niche above the gateway.

Does any city frown so fiercely on the traveller as Orvieto? The arch is gloomy and the road within is dark and steep. The sheer cliffs sweep to right and left like the pylons of an Egyptian temple, and above them peer fortified houses, squat and brown. This surely is the city named of Dis, which Dante had in mind, whose walls 'appeared as they were framed of iron,' upon whose gates the citizens looked down with ireful gestures!

Through this gate hastened the Popes, fleeing from wrath to come, and in their footsteps we toiled up the steep street between the same houses of yellow volcanic tufa gone black, which frowned upon the turbulent successors of St. Peter, who let down their nets, not for the drawing in of souls, but for the dragging in of wealth and the entangling of the feet of the unwary. Through dark alleys we could see the gloomy depths of caves, hollowed out of the living rock behind them: in the low bassi the citizens of this broken city toiled silently, and outside their doors sat hooded owls on poles driven into the stony ground. Here indeed were the Middle Ages, but not the Middle Ages of pomp and pageantry, of Gothic palaces and slim young knights in silken hose. There are some streets in Orvieto which look as though war had stalked through them only yesterday; as though the terror-stricken Ghibellines still cowered within doors, while the Monaldeschi rang bells in triumph, as they did on that fateful day in the year of grace 1312, when the Filippeschi had tried in vain to open the gate of the city to Henry VII. of Luxemburg.

Well, that is over now. But the curse of the Prophet Isaiah seems to have fallen upon the papal City of Refuge. 'In that day shall her strong cities be as a forsaken bough, and an uppermost branch ... and there shall be desolation.' So that it was with a kind of wonder, as though we too had assisted at a miracle, that we came suddenly upon the Duomo of Orvieto with its rare marbles and brazen beasts of the Evangelists, its glittering mosaics, and gilded pinnacles soaring to the heavens. For this great cathedral, built to commemorate the triumph of the dogma of the Roman Church over northern intelligence in the Miracle of Bolsena, is a bird of strange plumage to find nesting on the melancholy rock of Orvieto.

Siena or Florence, Pisa or Lucca, any of the flowery cities of Tuscany would have been its proper setting. It is too gay for Umbria, whose hills are bathed in the serene, ineffable calm of a mystic holiness, who, remembering her many saints, still keeps the low estate of a handmaiden of the Lord. It is like a golden iris plucked from some Tuscan garden, and transplanted upon the bosom of this sombre precipice of tufa upheaved by Nature in primeval struggles. For chance and the Papacy have grafted the most exotic bloom of Italian Gothic architecture upon the rock of Orvieto.

But look closer. Behind the aerial grace of the faÇade with its bewildering embroidery of yellowing marbles, rarely carved, its jewelled canopies of mosaic, its Lombard colonnades and soaring pinnacles, not even Time, the great artist who puts the crown of beauty upon all the works of man, can veil the ugly nudity of nave and transept. If the pride of the Orvietans had only left him a freer hand upon the faÇade it would have been immeasurably more beautiful. But the mosaics which should gleam from their rich setting with the subdued brilliance of a peacock's feather, have been restored so garishly by a local artist that they rob the cathedral of half her wonder. Their glitter sears like a burning glass: only on a rainy day, or by moonlight, could we look on them with equanimity.

It was not for these that we stayed so long outside the portal of Santa Maria, but to study the exquisite carvings which Lorenzo Maitani or NiccolÒ Pisano traced on the bases of the four pilasters. When two such scholars as John Addington Symonds and Mr. Langton Douglas fall out over the authorship of these sculptures it is useless to offer any opinion on the subject. But there is a pretty legend concerning NiccolÒ Pisano and his work at Orvieto; and because the reading of it gave me much pleasure as I sat on the stone bench below the Opera del Duomo, marvelling over the glories of the Miracle Church, I will give it in a quotation from Mr. Symonds' delightful essay:—'Nicola Pisano, before Cimabue, before Duccio, even before Dante, opened the gates of beauty, which for a thousand years had been shut up and overgrown with weeds. As Dante invoked the influence of Virgil when he began to write his mediaeval poem, and made a heathen bard his hierophant in Christian mysteries, just so did Nicola Pisano draw inspiration from a GrÆco-Roman sarcophagus. He studied the bas-relief of Phaedra and Hippolytus, which may still be seen upon the tomb of Countess Beatrice in the Campo Santo, and so learned by heart the beauty of its lines and the dignity expressed in its figures that in all his subsequent works we trace the elevated tranquillity of Greek sculpture.'[28]

405

And, indeed, there is a curious and unexpected beauty in these naÏve reliefs telling the ancient story of the Creation and the Fall, the Old Testament up to the Birth of Christ, the life of Jesus, and the Last Judgement. For though they are a typically mediaeval expression of faith, yet they are astonishingly free from the bizarre design and crude workmanship of mediaeval imaginings. Lofty in conception, they tell the solemn history of Christianity in a series of scenes divided the one from the other by the Vine, of which it has been written, 'I am the Vine and ye are the branches.' But here for the first time in Mediaeval Art we see treatment worthy of the nobility of the Theme. For whether the sculptor did really become enamoured of the antique by the study of an ancient tomb, or whether some fire of genius within himself bade him struggle forth from the swaddling bands of Byzantium and the grotesqueries of the North, he has inscribed a new chapter in the history of Art upon the walls of the Cathedral of Orvieto.

Forsaking the crowded imagery of Mediaevalism, he has made manifest the dignity and beauty of the human form. And something else as well. For looking on the reliefs of the Creation, we can almost hear the rustling wings of the two guardian angels as they hover in the silent dawn above the garden where God creates man in His own Image. And we see the germs of that poetic imagery which was later to bear fruit in the genius of Ghiberti and Donatello, even, it may be, in the frescoes of the Sixtine Chapel where Michelangelo completed the great epic of the Human Form, whose prologue we may read upon the stones of Orvieto Cathedral.

Directly we pass through the portal and enter the bare, ugly church, it is apparent that although its Tuscan architects and artists began their work lightheartedly enough, and although the Popes made offer of indulgences to all who assisted them, the sullen influence of the place weighed on their spirits. See how grey and gloomy is the nave behind its gay mask; see how NiccolÒ in spite of his love for the human form dwelt on the grim drama of the Fall of Man; see how the tragedy of life is blazoned forth by Signorelli. Only the Umbrians, the simple-hearted artists of the countryside, called in to paint the chancel with the story of the Virgin and the Life of Christ, and the Blessed Angelico, working on the vault of the Cappella Nuova, seem to have been untroubled.

But neither the frescoes of the Umbrians, among which we thought we could trace the hand of Pinturicchio, and certainly he was under commission to paint for the canons of Orvieto, when he was working in the Borgia Rooms in Rome, nor the exquisite reliquary which Ugolino Vieri of Siena wrought for the miraculous Corporal of Bolsena, detained us long. For in the southern transept we had glimpsed the Chapel of the Madonna di San Brizio, where Fra Angelico and Benozzo Gozzoli frescoed the vault, below which, many years later Luca Signorelli came to paint his great pictures of the Last Judgement.

It is a strange coincidence, as though some deep emotion had moved these Tuscans to expression, that in Orvieto we see not only the beginnings of realism in sculpture but the masterpiece of the first great painter of the Quattrocento, who gave life to the human form in fresco. Every one knows that Vasari claims for his kinsman, Luca of Cortona, the honour of having inspired the Last Judgement of Michelangelo. And no one can dispute that the Florentine, his greater genius less exercised by the study of anatomy, clothed his figures with more grace and dignity; and that the Dantesque terrors of his hell, with the boatman of the Styx silhouetted against the lurid glare of the underworld, are told with more reserve than Signorelli's. But whether the confusion and morbidity of the whole, already foreshadowing Baroque, surpasses the spacious compositions of Signorelli is largely a matter for the enthusiast for technique to declare.

It is interesting to note the discrepancy between the conditions under which these two men worked, each animated by the fire of genius, though one so far beyond the other, each rapt in contemplation of the awe-inspiring mystery of life and death. Michelangelo, with the denunciations of Savonarola fresh in his memory, worked alone and silently below the vault of the Sixtine, where he had lavished his splendid energy twenty-two years before; almost friendless, filled with gloomy imaginings. And looking on the Sixtine Judgement we feel something of the inarticulate anguish of his great spirit. But the frescoes of the Cappella della Madonna di San Brizio are the key to an unsuspected chamber in the soul of Luca Signorelli. For how reconcile these strange visions of the anti-Christ and of Life after Death with our knowledge of that courteous and stately gentleman 'who delighted in living splendidly, and loved to dress himself in beautiful garments.'

Only one other time does he give us a glimpse into this secret chamber, when we read the pathetic story of how he painted the bodily loveliness of his dead son before he yielded it, dry-eyed and silently, to the tyranny of the grave. Yet here perhaps we have the clue to the meaning of his frescoes in the Cathedral of Orvieto. For he had loved exceedingly, and seen his loved one lowered to the unresponsive earth. Do not we too know what it is, in spite of all our creeds and our philosophies, to weep for the gentle voice and the dear brave eyes and the comforting hand of those others whom we shall never meet again except in dreams? And it is not only the spirit that we cry for, but the body.

So, Signorelli. And we felt this, especially looking at the fresco of the Resurrection. For into the cold grey dawn of a featureless world rise men and women, struggling with the clay which seems to cling about their limbs, forcing them to make conscious efforts. Above them in the starry heavens two strong and splendid angels send forth the blast which calls them from the earth. The utter aloneness and the awful sense of space make the newly-risen dead shrink together, and some of them cling to each other, showing a pathetic human feeling of desolation in the midst of their wonderment and terror. Others are still engrossed in their struggle with the encumbering earth. But there are some who meet in this cold plain after long years of separation, and rush to hold each other. How Signorelli loved their splendid physical beauty! Even in his Paradise, where the heavenly choir makes music overhead, and the angels scatter celestial roses among the saints, he does not clothe them in gold raiment, only in their fair, strong limbs which were to him as beautiful as flowers.

It was not so long a step as it appeared from Signorelli's Visions of the Future Life to the Necropolis of Etruria, below the frowning walls of the city. For Orvieto is shadowed by the Wings of the Angel of Death—the genie of the ancient Etruscans, which we see faintly limned upon their sepulchres—and as the old custode at the Mancini Tombs told us with arms outspread towards the plain, 'c'È una vasta cittÀ dei morti, piÙ grande che la cittÀ alta.'

The way was strewn with flowers, like all the paths of Umbria, and it led us through the undergrowth at the foot of the rock of Orvieto to the olive garden of the Mancini Necropolis. Barren figs sprouted from the gaping crevices overhead, and sometimes the bearded ivy hung half-way down the cliff. Once we came upon two rude wooden crosses nailed to the brown tufa, with the marks of a third between them, making the desolate valley more like a Golgotha than ever.

The necropolis below the hanging church of Sant'Agostino is more interesting than romantic now that the tomb has been dismantled, which Signor Mancini used to show to the traveller, intact, with the inmate lying on his rough bed, surrounded by his last possessions. The sepulchres are not hollowed out of the living rock like most Etruscan tombs, but are built in a sort of honey-comb of rough masonry, back to back, with chambers about 12 ft. long by 8 ft. wide, and perhaps 10 ft. high. The round cippi on the mounds which cover them make them appear curiously like Oriental villages.

But it is to the student rather than to the pilgrim in the world of Beauty that this sombre burial-place of the ancients will appeal. We found more joy in the painted tombs on the hill of the Cappuccini, where in the cavernous depths of the tufa rock we caught a fleeting glimpse of Proserpine seated beside the Lord of Hades, and heard the flutings of Etruscan slaves as their princes drank libations to their own departed souls. And it is worth while crossing the valley in the early morning to see the loveliness of Orvieto, crowning her great rock in the heart of her wide pale valley, with the sunlight gilding her towers and the jewelled face of her cathedral.

415

It was very early when we emerged from the frowning gate of the city and dipped down among the dewy vineyards. Beside the road an aqueduct rose out of the earth, a crumbling mass of ancient masonry. As we climbed down into the valley it towered above us, spanning the ravine, but when we toiled over the penitential stones of the Via dei Cappuccini, thankful for its shade as we mounted, it sank again into the hillside, and the leaping green things clambered upon it, eager to drag it back to the ditch. So we went leisurely through the play of light and shade, and always as we looked back we saw Orvieto rising sheer out of the valley like a queen on her brown rock. The morning mist wove a magic beauty round the spires of her Gothic cathedral and the giant pine-tree on the edge of her precipice, until she seemed the very city Turner immortalised.

And presently we came into a chestnut grove where the path was hidden under a carpet of rustling autumn leaves; and a tangle of wild flowers—harebell, cyclamen, saffron and fireweed—wove a tapestry on the loom of the grass. Here were our nameless tombs, sunk deep in the tufa rock, with over-arching trees above their gates and Canterbury bells growing on their mossy paths. Within, the damp had eaten away many of the beautiful forms about which Dennis wrote. But we could trace the shapes of the Lords and Ladies of Etruria as they sat like shadows before their eternal banquet in the halls of Elysium; we could see the slaves preparing their elaborate feast, here baking bread, there pounding meat to make it tender. And on another wall, a young warrior, attended by a winged genius, bearing in her hand a scroll inscribed with his good and evil deeds, drove in his chariot to Judgement in the Unseen World. In the midst of these wraiths there was one unspoiled fragment of plaster, the head of a youth, beautiful and Greek, who gazed sadly upon the ruin of his gods, shut from the world so fair, which he had dreamt was made for his strong youth and beauty, in whose ears even the faint, half-vanished music of the pipes will soon be silenced, if it is true that when the pictured ghosts of things have faded their soul is stilled.

Their melody rang in our ears when we stood once more in the chequered shadow of the chestnut grove, already gilded with autumnal gold, and looked across the wide pale valley to Orvieto. It was the hour of Mass, a Sabbath day and wonderfully silent. Again we seemed to hear that plaintive strain. But it was only the humming of the insects, and the bells of the distant city calling her people to prayer.