Lago Di Garda.
The host, with Italian emphasis, assured me, that he felt great pleasure in being able to serve me with the finest trout. They are taken near Torbole, where the stream flows down from the mountains, and the fish seeks a passage upwards. The Emperor farms this fishery for 10,000 gulden. The fish, which are large, often weighing fifty pounds, and spotted over the whole body to the head, are not trout, properly so called. The flavour, which is between that of trout and salmon, is delicate and excellent.
But my real delight is in the fruit.—in the figs, and in the pears, which must, indeed, be excellent, where citrons are already growing.
Evening of September13.
At 3 o'clock this morning I started from Torbole, with a couple of rowers. At first the wind was so favorable that we put up a sail. The morning was cloudy but tine, and perfectly calm at day-break. We passed Limona, the mountain-gardens of which, laid out terrace-fashion, and planted with citron-trees, have a neat and rich appearance. The whole garden consists of rows of square white pillars placed at some distance from each other, and rising up the mountain in steps. On these pillars strong beams are laid, that the trees planted between them may be sheltered in the winter. The view of these pleasant objects was favored by a slow passage, and we had already passed Malsesine when the wind suddenly changed, took the direction usual in the day-time, and blew towards the north. Rowing was of little use against this superior power, and, therefore, we were forced to land in the harbour of Malsesine. This is the first Venetian spot on the eastern side of the lake. When one has to do with water we cannot say, "I will be at this or that particular place to-day." I will make my stay here as useful as I can, especially by making a drawing of the castle, which lies close to the water, and is a beautiful object. As I passed along I took a sketch of it.
Sept. 11th.
The wind, which blew against me yesterday, and drove me into the harbour of Malsesine, was the cause of a perilous adventure, which I got over with good humour, and the remembrance of which I still find amusing. According to my plan, I went early in the morning into the old castle, which having neither gate nor guard, is accessible to everybody. Entering the court-yard, I seated myself opposite to the old tower, which is built on and among the rocks. Here I had selected a very convenient spot for drawing;—a carved stone seat in the wall, near a closed door, raised some three or four feet high, such as we also find in the old buildings in our own country.
An incident at Malsesine.
I had not sat long before several persons entered the yard, and walked backwards and forwards, looking at me. The multitude increased, and at last so stood as completely to surround me. I remarked that my drawing had excited attention; however, I did not allow myself to be disturbed, but quietly continued my occupation. At last a man, not of the most prepossessing appearance, came up to me, and asked me what I was about. I replied that I was copying the old tower, that I might have some remembrance of Malsesine. He said that this was not allowed, and that I must leave off. As he said this in the common Venetian dialect, so that I understood him with difficulty, I answered, that I did not understand him at all. With true Italian coolness he took hold of my paper, and tore it, at the same time letting it remain on the pasteboard. Here I observed an air of dissatisfaction among the by-standers; an old woman in particular said that it was not right, but that the podestà ought to be called, who was the best judge of such matters. I stood upright on the steps, having my back against the door, and surveyed the assembly, which was continually increasing. The fixed eager glances, the good humoured expression of most of the faces, and all the other characteristics of a foreign mob, made the most amusing impression upon me. I fancied that I could see before me the chorus of birds, which, as Treufreund, I had often laughed at, in the Ettersburg theatre. This put me in excellent humour, and when the podestà came up with his actuary, I greeted him in an open manner, and when he asked me why I was drawing the fortification, modestly replied, that I did not look upon that wall as a fortification. I called the attention of him and the people to the decay of the towers and walls, and to the generally defenceless position of the place, assuring him that I thought I only saw and drew a ruin.
I was answered thus: "If it was only a ruin, what could there be remarkable about it?" As I wished to gain time and favour, I replied very circumstantially, that they must be well aware how many travellers visited Italy, for the sake of the ruins only, that Rome, the metropolis of the world, having suffered the depredations of barbarians, was now full of ruins, which had been drawn hundreds of times, and that all the works of antiquity were not in such good preservation as the amphitheatre at Verona, which I hoped soon to see.
The podestà, who stood before me, though in a less elevated position, was a tall man, not exactly thin, of about thirty years of age. The flat features of his spiritless face perfectly accorded with the slow constrained manner, in which he put his questions. Even the actuary, a sharp little fellow, seemed as if he did not know what to make of a case so new, and so unexpected. I said a great deal of the same sort; the people seemed to take my remarks good naturedly, and on turning towards some kindly female faces, I thought I could read assent and approval.
When, however, I mentioned the amphitheatre at Verona, which in this country, is called the "Arena," the actuary, who had in the meanwhile collected himself, replied, that this was all very well, because the edifice in question was a Roman building, famed throughout the world. In these towers, however, there was nothing remarkable, excepting that they marked the boundary between the Venetian domain and Austrian Empire, and thereforeespionagecould not be allowed. I answered by explaining at some length, that not only the Great and Roman antiquities, but also those of the Middle-Ages were worth attention. They could not be blamed, I granted, if, having been accustomed to this building from their youth upwards, they could not discern in it so many picturesque beauties as I did. Fortunately the morning sun, shed the most beautiful lustre on the tower, rocks, and walls, and I began to describe the scene with enthusiasm. My audience, however, had these much lauded objects behind them, and as they did not wish to turn altogether away from me, they all at once twisted their heads, like the birds, which we call "wry necks" (Wendehälse), that they might see with their eyes, what I had been lauding to their ears. Even the podestà turned round towards the picture I had been describing, though with more dignity than the rest. This scene appeared to me so ridiculous that my good humour increased, and I spared them nothing—least of all, the ivy, which had been suffered for ages to adorn the rocks and walls.
The actuary retorted, that this was all very good, but the Emperor Joseph was a troublesome gentleman, who certainly entertained many evil designs against Venice; and I might probably have been one of his subjects, appointed by him, to act as a spy on the borders.
"Far from belonging to the Emperor," I replied, "I can boast, as well as you, that I am a citizen of a republic, which also governs itself, but which is not, indeed, to be compared for power and greatness to the illustrious state of Venice, although in commercial activity, in wealth, and in the wisdom of its rulers, it is inferior to no state in Germany. I am a native of Frankfort-on-the-Main, a city, the name and fame of which has doubtless reached you."
An incident at Malsesine.
"Of Frankfort-on-the-Main!" cried a pretty young woman, "then, Mr. Podestà, you can at once see all about the foreigner, whom I look upon as an honest man. Let Gregorio be called; he has resided there a long time, and will be the best judge of the matter."
The kindly faces had already increased around me, the first adversary had vanished, and when Gregorio came to the spot, the whole affair took a decided turn in my favor. He was a man upwards of fifty, with one of those well-known Italian faces. He spoke and conducted himself like one, who feels that something foreign is not foreign to him, and told me at once that he had seen service in Bolongari's house, and would be delighted to hear from me something about this family and the city in general, which had left a pleasant impression in his memory. Fortunately his residence at Frankfort had been during my younger years, and I had the double advantage of being able to say exactly how matters stood in his time, and what alteration had taken place afterwards. I told him about all the Italian families, none of whom had remained unknown to me. With many particulars he was highly delighted, as, for instance, with the fact that Herr Alessina had celebrated his "golden wedding,"[2]in the year 1774, and that a medal had been struck on the occasion, which was in my possession. He remembered that the wife of this wealthy merchant was by birth a Brentano. I could also tell him something about the children and grand-children of these families, how they had grown up, and had been provided for and married, and had multiplied themselves in their descendants.
When I had given the most accurate information about almost everything which he asked, his features alternately expressed cheerfulness and solemnity. He was pleased and touched, while the people cheered up more and more, and could not hear too much of our conversation, of which—it must be confessed—he was obliged to translate a part into their own dialect.
At last he said: "Podestà, I am convinced that this is a good, accomplished, and well-educated gentleman, who is travelling about to acquire instruction. Let him depart in a friendly manner, that he may speak well of us to his fellow-countrymen, and induce them to visit Malsesine, the beautiful situation of which is well worthy the admiration of foreigners. I gave additional force to these friendly words by praising the country, the situation, and the inhabitants, not forgetting to mention the magistrates as wise and prudent personages."
This was well received, and I had permission to visit the place at pleasure, in company with Master Gregorio. The landlord, with whom I had put up, now joined us, and was delighted at the prospect of the foreign guests, who would crowd upon him, when once the advantages of Malsesine were properly known. With the most lively curiosity he examined my various articles of dress, but especially envied me the possession of a little pistol, which slipped conveniently into the pocket. He congratulated those who could carry such pretty weapons, this being forbidden in his country under the severest penalties. This friendly but obtrusive personage I sometimes interrupted to thank my deliverer. "Do not thank me," said honest Gregorio, "for you owe me nothing. If the Podestà had understood his business, and the Actuary had not been the most selfish man in the world, you would not have got off so easily. The former was still more puzzled than you, and the latter would have pocketed nothing by your arrest, the information, and your removal to Verona. This he rapidly thought over, and you were already free, before our dialogue was ended."
Towards the evening the good man took me into his vineyard, which was very well situated, down along the lake. We were accompanied by his son, a lad of fifteen, who was forced to climb the trees, and pluck me the best fruit, while the old man looked out for the ripest grapes.
While thus placed between these two kindhearted people, both strange to the world, alone, as it were, in the deep solitude of the earth, I felt, in the most lively manner, as I reflected on the day's adventure, what a whimsical being Man is—how the very thing, which in company he might enjoy with ease and security, is often rendered troublesome and dangerous, from his notion, that he can appropriate to himself the world and its contents after his own peculiar fashion.
Towards midnight my host accompanied me to the barque, carrying the basket of fruit with which Gregorio had presented me, and thus, with a favorable wind, I left the shore, which had promised to become a Læstrygonicum shore to me.
[2]The fiftieth anniversary of a wedding-day is so called in Germany. Trans.
[2]The fiftieth anniversary of a wedding-day is so called in Germany. Trans.
Lago Di Garda.
And now for my expedition on the lake. It ended happily, after the noble aspect of the water, and of the adjacent shore of Brescia had refreshed my very heart. On the western side, where the mountains cease to be perpendicular, and near the lake, the land becomes more flat, Garignano, Bojaco, Cecina, Toscolan, Maderno, Verdom, and Salo, stand all in a row, and occupy a reach of about a league and a half; most of them being built in long streets. No words can express the beauty of this richly inhabited spot. At 10 o'clock in the morning I landed at Bartolino, placed my luggage on one mule and myself on another. The road went now over a ridge, which separates the valley of the Etsch from the hollow of the lake. The primæval waters seem to have driven against each other from both sides, in immense currents, and to have raised this colossal dam of gravel. A fertile soil was deposited upon the gravel at a quieter period, but the labourer is constantly annoyed by the appearance of the stones on the surface. Every effort is made to get rid of them, they are piled in rows and layers one on another, and thus a sort of thick wall is formed along the path. The mulberry-trees, from a want of moisture, have a dismal appearance at this elevation. Springs there are none. From time to time puddles of collected rain-water may be found, with which the mules and even their drivers quench their thirst. Some wheels are placed on the river beneath, to water, at pleasure, those plantations that have a lower situation.
The magnificence of the new country, which opens on you as you descend, surpasses description. It is a garden a mile long and broad, which lies quite flat at the foot of tall mountains and steep rocks, and is as neatly laid out as possible. By this way, about 1 o'clock on the 10th of September, I reached Verona, where I first write this, finish, and put together the first part of my diary, and indulge in the pleasing hope of seeing the amphitheatre in the evening.
Concerning the weather of these days I have to make the following statement:—The night from the 9th to the 10th was alternately clear and cloudy, the moon had always a halo round it. Towards 5 o'clock in the morning all the sky was overcast with gray, not heavy clouds, which vanished with the advance of day. The more I descended the finer was the weather. As at Botzen the great mass of the mountains took a northerly situation, the air displayed quite another quality. From the different grounds in the landscape, which were separated from each other in the most picturesque manner, by a tint more or less blue, it might be seen, that the atmosphere was full of vapors equally distributed, which it was able to sustain, and which, therefore, neither fell in the shape of dew, nor were collected in the form of clouds. As I descended further I could plainly observe, that all the exhalations from the Botzen valley, and all the streaks of cloud which ascended from the more southern mountains, moved towards the higher northern regions, which they did not cover, but veiled with a kind of yellow fog. In the remotest distance, over the mountains, I could observe what is called a "water-gull." To the south of Botzen they have had the finest weather all the summer, only a littlewater(they sayaquato denote a light rain), from time to time, and then a return of sunshine. Yesterday a few drops occasionally fell, and the sun throughout continued shining. They have not had so good a year for a long while; everything turns out well; the bad weather they have sent to us.
I mention but slightly the mountains and the species of stone, since Ferber's travels to Italy, and Hacquet's journey along the Alps, give sufficient information respecting this district. A quarter of a league from the Brenner, there is a marble quarry, which I passed at twilight. It may, nay, must lie upon mica-slate as on the other side. This I found near Colman, just as it dawned; lower down there was an appearance of porphyry. The rocks were so magnificent, and the heaps were so conveniently broken up along the highway, that a "Voigt" cabinet might have been made and packed up at once. Without any trouble of that kind I can take a piece, if it is only to accustom my eyes and my curiosity to a small quantity. A little below Colman, I found some porphyry, which splits into regular plates, and between Brandrol and Neumark some of a similar kind, in which, however, the laminæ separated in pillars. Ferber considered them to be volcanic productions, but that was fourteen years ago, when all the world had its head on fire. Even Hacquet ridicules the notion.
From Brenner to Verona.
Of the people I can say but little, and that is not very favorable. On my descent from the Brenner, I discovered, as soon as day came, a decided change of form, and was particularly displeased by the pale brownish complexion of the women. Their features indicated wretchedness, the children looked equally miserable;—the men somewhat better. I imagine that the cause of this sickly condition may be found in the frequent consumption of Indian corn and buckwheat. Both the former, which they also call "Yellow Blende," and the latter, which is called "Black Blende," is ground, made into a thick pap with water, and thus eaten. The Germans on this side, pull out the dough, and fry it in butter. The Italian Tyrolese, on the contrary, eat it just as it is, often with scrapings of cheese, and do not taste meat throughout the year. This necessarily glues up and stops the alimentary channels, especially with the women and children, and their cachectic complexion is an indication of the malady. They also eat fruit and green beans, which they boil down in water, and mix with oil and garlic. I asked if there were no rich peasants. "Yes, indeed," was the reply. "Don't they indulge themselves at all? don't they eat anything better?" "No, they are used to it." "What do they do with their money then? how do they lay it out?" "Oh, they have their ladies, who relieve them of that." This is the sum and substance of a conversation with mine host's daughter at Botzen.
I also learned from her, that the vine-tillers were the worst off, although they appeared to be the most opulent, for they were in the hands of commercial towns-people, who advanced them enough to support life in the bad seasons, and in winter took their wine at a low price. However, it is the same thing everywhere.
My opinion concerning the food is confirmed by the fact, that the women who inhabit the towns appear better and better. They have pretty plump girlish faces, the body is somewhat too short in proportion to the stoutness, and the size of the head, but sometimes the countenances have a most agreable expression. The men we already know through the wandering Tyrolese. In the country their appearance is less fresh than that of the women, perhaps because the latter have more bodily labour, and are more in motion, while the former sit at home as traders and workmen. By the Garda Lake I found the people very brown, without the slightest tinge of red in their cheeks; however they did not look unhealthy, but quite fresh and comfortable. Probably the burning sunbeams, to which they are exposed at the foot of their mountains, are the cause of their complexion.
Verona, Sept. 16th.
Well then, the amphitheatre is the first important monument of the old times that I have seen—and how well it is preserved! When I entered, and still more when I walked round the edge of it at the top, it seemed strange to me, that I saw something great, and yet, properly speaking, saw nothing. Besides I do not like to see it empty, I should like to see it full of people, just as, in modern times, it was filled up in honour of Joseph I. and Pius VI. The Emperor, although his eye was accustomed to human masses, must have been astonished. But it was only in the earliest times, that it produced its full effect, when the people was more a people than it is now. For, properly speaking, such an amphitheatre is constructed to give the people an imposing view of itself,—to cajole itself.
When anything worth seeing occurs on the level ground, and any one runs to the spot, the hindermost try by every means to raise themselves above the foremost; they get upon benches, roll casks, bring up vehicles, lay planks in every direction, occupy the neighbouring heights, and a crater is formed in no time.
If the spectacle occur frequently on the same spot, light scaffoldings are built for those who are able to pay, and the rest of the multitude must get on as it can. Here the problem of the architect is to satisfy this general want. By means of his art he prepares such a crater, making it as simple as possible, that the people itself may constitute the decoration. When the populace saw itself so assembled, it must have been astonished at the sight, for whereas it was only accustomed to see itself running about in confusion, or to find itself crowded together without particular rule or order, so must this many-headed, many-minded, wandering animal now see itself combined into a noble body, made into a definite unity, bound and secured into a mass, and animated as one form by one mind. The simplicity of the oval is most pleasingly obvious to every eye, and every head serves as a measure to show the vastness of the whole. Now we see it empty, we have no standard, and do not know whether it is large or small.
Verona.
The Veronese deserve commendation for the high preservation in which this edifice is kept. It is built of a reddish marble, which has been affected by the atmosphere, and hence the steps which have been eaten, are continually restored, and look almost all new. An inscription makes mention of one Hieronymus Maurigenus, and of the incredible industry, which he has expended on this monument. Of the outer wall only a piece remains, and I doubt whether it was ever quite finished. The lower arches, which adjoin the large square, called "Il Bra," are let out to workmen, and the reanimation of these arcades produces a cheerful appearance.
Verona, Sept.16.
The most beautiful gate, which, however, always remains closed, is called "Porta stupa," or "del Pallio." As a gate, and considering the great distance from which it is first seen, it is not well conceived, and it is not till we come near it, that we recognise the beauty of the structure.
All sorts of reasons are given to account for its being closed. I have, however, a conjecture of my own. It was manifestly the intention of the artist to cause a newCorsoto be laid out from this gate, for the situation, or the present street, is completely wrong. On the left side there is nothing but barracks; and the line at right angles from the middle of the gate leads to a convent of nuns, which must certainly have come down. This was presently perceived, and besides the rich and higher classes might not have liked to settle in the remote quarter. The artist perhaps died, and therefore the door was closed, and so an end was put to the affair.
Verona, Sept.16.
The portico of the theatre, consisting of six large Ionic columns, looks handsome enough. So much the more puny is the appearance of the Marchese di Maffei's bust, which as large as life, and in a great wig, stands over the door, and in front of a painted niche, which is supported by two Corinthian columns. The position is honorable, but to be in some degree proportionate to the magnitude and solidity of the columns, the bust should have been colossal. But now placed as it is on a corbel, it has a mean appearance, and is by no means in harmony with the whole.
The gallery, which incloses the fore-court, is also small, and the channelled Doric dwarfs have a mean appearance by the side of the smooth Ionic giants. But we pardon this discrepancy on account of the fine institution, which has been founded among the columns. Here is kept a number of antiquities, which have mostly been dug up in and about Verona. Something, they say, has even been found in the Amphitheatre. There are Etruscan, Greek, and Roman specimens, down to the latest times, and some even of more modern date. The bas-reliefs are inserted in the walls, and provided with the numbers, which Maffei gave them, when he described them in his work: "Verona illustrata." There are altars, fragments of columns, and other relics of the sort; an admirable tripod of white marble, upon which there are genii occupied with the attributes of the gods. Raphael has imitated and improved this kind of thing in the scrolls of the Farnesina.
The wind which blows from the graves of the ancients, comes fragrantly over hills of roses. The tombs give touching evidences of a genuine feeling, and always bring life back to us. Here is a man, by the side of his wife, who peeps out of a niche, as if it were a window. Here are father and mother, with their son between them, eyeing each other as naturally as possible. Here a couple are grasping each other's hands. Here a father, resting on his couch, seems to be amused by his family. The immediate proximity of these stones was to me highly touching. They belong to a later school of art, but are simple, natural, and generally pleasing. Here a man in armour is on his knees in expectation of a joyful resurrection. With more or less of talent the artist has produced the mere simple presence of the persons, and has thus given a permanent continuation to their existence. They do not fold their hands, they do not look towards heaven, but they are here below just what they were and just what they are. They stand together, take interest in each other, love one another, and this is charmingly expressed on the stone, though with a certain want of technical skill. A marble pillar, very richly adorned, gave me more new ideas.
Verona.
Laudable as this institution is, we can plainly perceive that the noble spirit of preservation, by which it was founded, is no longer continued. The valuable tripod will soon be ruined, placed as it is in the open air, and exposed to the weather towards the west. This treasure might easily be preserved in a wooden case.
The palace of the Proveditore, which is begun, might have afforded a fine specimen of architecture, if it had been finished. Generally speaking, thenobilibuild a great deal, but unfortunately every one builds on the site of his former residence, and often, therefore, in narrow lanes. Thus, for instance, a magnificent façade to a seminary is now building in an alley of tire remotest suburb.
While, with a guide, whom I had accidentally picked up, I passed before the great solemn gate of a singular building, he asked me good-humouredly, whether I should not like to step into the court for a while. It was the palace of justice, and the court, on account of the height of the building, looked only like an enormous wall. Here, he told me, all the criminals and suspicious persons are confined. I looked around, and saw that round all the stories there were open passages' fitted with iron balustrades, which passed by numerous doors. The prisoner, as he stepped out of his dungeon to be led to trial, stood in the open air, and was exposed to the gaze of all passers, and because there were several trial-rooms, the chains were rattling, now over this, now over that passage, in every story. It was a hateful sight, and I do not deny that the good humour, with which I had dispatched my "Birds," might here have come into a strait.
I walked at sunset upon the margin of the crater-like amphitheatre, and enjoyed the most splendid prospect over the town and the surrounding country. I was quite alone, and multitudes of people were passing below me on the hard stones of the Bra; men of all ranks, and women of the middle-ranks were walking. The latter in their black outer garments look, in this bird's-eye view, like so many mummies.
TheZendaleand theVeste, which serves this class in the place of an entire wardrobe, is a costume completely fitted for a people that does not care much for cleanliness, and yet always likes to appear in public, sometimes at church, sometimes on the promenade. TheVesteis a gown of black taffeta, which is thrown over other gowns. If the lady has a clean white one beneath, she contrives to lift up the black one on one side. This is fastened on so, as to cut the waist, and to cover the lappets of a corset, which may be of any colour. TheZendaleis a large hood with long ears; the hood itself is kept high above the head by a wire-frame, while the ears are fastened round the body like a scarf, so that the ends fall down behind.
Verona, Sept.16.
When I again left the Arena to-day, I came to a modern public spectacle, about a thousand paces from the spot. Four noble Veronese were playing ball against four people of Vicenza. This pastime is carried on among the Veronese themselves all the year round, about two hours before night. On this occasion there was a far larger concourse of people than usual, on account of the foreign adversaries. The spectators seem to have amounted to four or five thousand. I did not see women of any rank.
When, a little while ago, I spoke of the necessities of the multitude in such a case, I described the natural accidental amphitheatre as arising just in the manner, in which I saw the people raised one over another on this occasion. Even at a distance I could hear the lively clapping of hands, which accompanied every important stroke. The game is played as follows: Two boards, slightly inclined, are placed at a convenient distance from each other. He who strikes off the ball stands at the higher end, his right hand is armed with a broad wooden ring, set with spikes. While another of his party throws the ball to him, he runs down to meet it, and thus increases the force of the blow with which he strikes it. The adversaries try to beat it back, and thus it goes backwards and forwards till, at last, it remains on the ground. The most beautiful attitudes, worthy of being imitated in marble, are thus produced. As there are none but well-grown active young people, in a short, close, white dress, the parties are only distinguished by a yellow mark. Particularly beautiful is the attitude into which the man on the eminence falls, when he runs down the inclined plain, and raises his arm to strike the ball;—it approaches that of the Borghesian gladiator.
It seemed strange to me that they carry on this exercise by an old lime-wall, without the slightest convenience for spectators; why is it not done in the amphitheatre, where there would be such ample room?
Verona, September17.
What I have seen of pictures I will but briefly touch upon, and add some remarks. I do not make this extraordinary tour for the sake of deceiving myself, but to become acquainted with myself by means of these objects. I therefore honestly confess that of the painter's art—of his manipulation, I understand but little. My attention, and observation, can only be directed to the practical part, to the subject, and the general treatment of it.
Verona.
S. Georgio is a gallery of good pictures, all altar-pieces, and all remarkable, if not of equal value. But what subjects were the hapless artists obliged to paint? And for whom? Perhaps a shower of manna thirty feet long, and twenty feet high, with the miracle of the loaves as a companion. What could be made of these subjects? Hungry men falling on little grains, and a countless multitude of others, to whom bread is handed. The artists have racked their invention in order to get something striking out of such wretched subjects. And yet, stimulated by the urgency of the case, genius has produced some beautiful things. An artist, who had to paint S. Ursula with the eleven thousand virgins, has got over the difficulty cleverly enough. The saint stands in the foreground, as if she had conquered the country. She is very noble, like an Amazonia's virgin, and without any enticing charms; on the other hand, her troop is shown descending from the ships, and moving in procession at a diminishing distance. The Assumption of the Virgin, by Titian, in the dome, has become much blackened, and it is a thought worthy of praise that, at the moment of her apotheosis, she looks not towards heaven, but towards her friends below.
In the Gherardini Gallery I found some very fine things by Orbitto, and for the first time became acquainted with this meritorious artist. At a distance we only hear of the first artists, and then we are often contented with names only; but when we draw nearer to this starry sky, and the luminaries of the second and third magnitude also begin to twinkle, each one coming forward and occupying his proper place in the whole constellation, then the world becomes wide, and art becomes rich. I must here commend the conception of one of the pictures. Sampson has gone to sleep in the lap of Dalilah, and she has softly stretched her hand over him to reach a pair of scissors, which lies near the lamp on the table. The execution is admirable. In the Canopa Palace I observed a Danäe.
The Bevilagua Palace contains the most valuable things. A picture by Tintoretto, which is called a "Paradise," but which, in fact, represents the Coronation of the Virgin Mary as Queen of Heaven, in the presence of all the patriarchs, prophets, apostles, saints, angels, &c., affords an opportunity for displaying all the riches of the most felicitous genius. To admire and enjoy all that care of manipulation, that spirit and variety of expression, it is necessary to possess the picture, and to have it before one all one's life. The painter's work is carried on ad infinitum,; even the farthest angels' heads, which are vanishing in the halo, preserve something of character. The largest figures may be about a foot high; Mary, and the Christ who is crowning her, about four inches. Eve is, however, the finest woman in the picture; a little voluptuous, as from time immemorial.
A couple of portraits by Paul Veronese have only increased my veneration for that artist. The collection of antiquities is very fine; there is a son of Niobe extended in death, which is highly valuable; and the busts, including an Augustus with the civic crown, a Caligula, and others, are mostly of great interest, notwithstanding the restoration of the noses.
It lies in my nature to admire, willingly and joyfully, all that is great and beautiful, and the cultivation of this talent, day after day, hour after hour, by the inspection of such beautiful objects, produces the happiest feelings.
Verona.
In a land, where we enjoy the days but take especial delight in the evenings, the time of nightfall is highly important. For now work ceases; those who have gone out walking turn back; the father wishes to have his daughter home again; the day has an end. What the day is we Cimmerians hardly know. In our eternal mist and fog it is the same thing to us, whether it be day or night, for how much time can we really pass and enjoy in the open air? Now, when night sets in, the day, which consisted of a morning and an evening, is decidedly past, four and twenty hours are gone, the bells ring, the rosary is taken in hand, and the maid, entering the chamber with the lighted lamp, says, "felicissima notte." This epoch varies with every season, and a man who lives here in actual life cannot go wrong, because all the enjoyments of his existence are regulated not by the nominal hour, but by the time of day. If the people were forced to use a German clock they would be perplexed, for their own is intimately connected with their nature. About an hour and a half, or an hour before midnight, the nobility begin to ride out. They proceed to the Piazza della Bra, along the long, broad street to the Porta Nuova out at the gate, and along the city, and when night sets in, they all return home. Sometimes they go to the churches to say their Ave Maria della sera: sometimes they keep on the Bra, where the cavaliers step up to the coaches and converse for a while with the ladies. The foot passengers remain till a late hour of night, but I have never stopped till the last. To-day just enough rain had fallen to lay the dust, and the spectacle was most cheerful and animated.
That I may accommodate myself the better to the custom of the country I have devised a plan for mastering more easily the Italian method of reckoning the hours. The accompanying diagram may give an idea of it. The inner circle denotes our four and twenty hours, from midnight to midnight, divided into twice twelve, as we reckon, and as our clocks indicate. The middle circle shows how the clocks strike at the present season, namely, as much as twelve twice in the twenty-four hours, but in such a way that it strikes one, when it strikes eight with us, and so on till the number twelve is complete. At eight o'clock in the morning according to our clock it again strikes one, and so on. Finally the outer circle shows how the four and twenty hours are reckoned in actual life. For example, I hear seven o'clock striking in the night, and know that midnight is at five o'clock; I therefore deduct the latter number from the former, and thus have two hours after midnight. If I hear seven o'clock strike in the day-time, and know that noon is at five, I proceed in the same way, and thus have two in the afternoon. But if I wish to express the hour according to the fashion of this country, I must know that noon is seventeen o'clock; I add the two, and get nineteen o'clock. When this method is heard and thought of for the first time, it seems extremely confused and difficult to manage, but we soon grow accustomed to it and find the occupation amusing. The people themselves take delight in this perpetual calculation, just as children are pleased with easily surmounted difficulties. Indeed they always have their fingers in the air, make any calculation in their heads, and like to occupy themselves with figures. Besides to the inhabitant of the country the matter is so much the easier, as he really does not trouble himself about noon and midnight, and does not, like the foreign resident, compare two clocks with each other. They only count from the evening the hours, as they strike, and in the day-time they add the number to the varying number of noon, with which they are acquainted. The rest is explained by the remarks appended to the diagram:—
Verona, Sept.17.
The people here jostle one another actively enough; the narrow streets, where shops and workmen's stalls are thickly crowded together, have a particularly cheerful look. There is no such thing as a door in front of the shop or workroom; the whole breadth of the house is open, and one may see all that passes in the interior. Half-way out into the path, the tailors are sewing; and the cobblers are pulling and rapping; indeed the work-stalls make a part of the street. In the evening, when the lights are burning, the appearance is most lively.
The squares are very full on market days; there are fruit and vegetables without number, and garlic and onions to the heart's desire. Then again throughout the day there is a ceaseless screaming, bantering, singing, squalling, huzzaing, and laughing. The mildness of the air, and the cheapness of the food, make subsistence easy. Everything possible is done in the open air.
At night singing and all sorts of noises begin. The ballad of "Marlbrook" is heard in every street;—then comes a dulcimer, then a violin. They try to imitate all the birds with a pipe. The strangest sounds are heard on every side. A mild climate can give this exquisite enjoyment of mere existence, even to poverty, and the very shadow of the people seems respectable.
The want of cleanliness and convenience, which so much strikes us in the houses, arises from the following cause:—the inhabitants are always out of doors, and in their light-heartedness think of nothing. With the people all goes right, even the middle-class man just lives on from day to day, while the rich and genteel shut themselves up in their dwellings, which are not so habitable as in the north. Society is found in the open streets. Fore-courts and colonnades are all soiled with filth, for things are done in the mostnaturalmanner. The people always feel their way before them. The rich man may be rich, and build his palaces; and thenobilemay rule, but if he makes a colonnade or a fore-court, the people will make use of it for their own occasions, and have no more urgent wish than to get rid as soon as possible, of that which they have taken as often as possible. If a person cannot bear this, he must not play the great gentleman, that is to say, he must act as if a part of his dwelling belonged to the public. He may shut his door, and all will be right. But in open buildings the people are not to be debarred of their privileges, and this, throughout Italy, is a nuisance to the foreigner.
To-day I remarked in several streets of the town, the customs and manners of the middle-classes especially, who appear very numerous and busy. They swing their arms as they walk. Persons of a high rank, who on certain occasions wear a sword, swing only one arm, being accustomed to hold the left arm still.
Although the people are careless enough with respect to their own wants and occupations, they have a keen eye for everything foreign. Thus in the very first days, I observed that every one took notice of my boots, because here they are too expensive an article of dress to wear even in winter. Now I wear shoes and stockings nobody looks at me. Particularly I noticed this morning, when all were running about with flowers, vegetables, garlic, and other market-stuff, that a twig of cypress, which I carried in my hand, did not escape them. Some green cones hung upon it, and I held in the same hand some blooming caper-twigs. Everybody, large and small, watched me closely, and seemed to entertain some whimsical thought.
Verona-Vicenza.
I brought these twigs from the Giusti garden, which is finely situated, and in which there are monstrous cypresses, all pointed up like spikes into the air. The Taxus, which in northern gardening we find cut to a sharp point, is probably an imitation of this splendid natural product. A tree, the branches of which, the oldest as well as the youngest, are striving to reach heaven,—a tree which will last its three hundred years, is well worthy of veneration. Judging from the time when this garden was laid out, these trees have already attained that advanced age.
Vicenza, Sept.19.
The way from Verona hither is very pleasant: we go north-eastwards along the mountains, always keeping to the left the foremost mountains, which consist of sand, lime, clay, and marl; the hills which they form, are dotted with villages, castles, and houses. To the right extends the broad plain, along which the road goes. The straight broad path, which is in good preservation, goes through a fertile field; we look into deep avenues of trees, up which the vines are trained to a considerable height, and then drop down, like pendant branches. Here we can get an admirable idea of festoons! The grapes are ripe, and are heavy on the tendrils, which hang down long and trembling. The road is filled with people of every class and occupation, and I was particularly pleased by some carts, with low solid wheels, which, with teams of fine oxen, carry the large vats, in which the grapes from the vineyards are put and pressed. The drivers rode in them when they were empty, and the whole was like a triumphal procession of Bacchanals. Between the ranks of vines the ground is used for all sorts of grain, especially Indian corn and millet (Sörgel).
As one goes towards Vicenza, the hills again rise from north to south and enclose the plain; they are, it is said, volcanic. Vicenza lies at their foot, or if you will, in a bosom which they form.
Vicenza, Sept.19.
Though I have been here only a few hours, I have already run through the town, and seen the Olympian theatre, and the buildings of Palladio. A very pretty little book is published here, for the convenience of foreigners, with copper-plates and some letter-press, that shows knowledge of art. When once one stands in the presence of these works, one immediately perceives their great value, for they are calculated to fill the eye with their actual greatness and massiveness, and to satisfy the mind by the beautiful harmony of their dimensions, not only in abstract sketches, but with all the prominences and distances of perspective. Therefore I say of Palladio: he was a man really and intrinsically great, whose greatness was outwardly manifested. The chief difficulty with which this man, like all modern architects, had to struggle, was the suitable application of the orders of columns to buildings for domestic or public use; for there is always a contradiction in the combination of columns and walls. But with what success has he not worked them up together! What an imposing effect has the aspect of his edifices: at the sight of them one almost forgets that he is attempting to reconcile us to a violation of the rules of his art. There is, indeed, something divine about his designs, which may be exactly compared to the creations of the great poet, who, out of truth and falsehood elaborates something between both, and charms us with its borrowed existence.