Assisi—an adventure.
However, upon this I offered to return to the town with them, and to go before the Podestà, and by showing my papers prove to him that I was an honest traveller. Upon this they muttered together for a while, and then expressed their opinion that it was unnecessary, and, as I behaved throughout with coolness and gravity, they at last left me, and turned towards the town. I looked after them. As these rude churls moved on in the foreground, behind them the beautiful temple of Minerva once more caught my eye, to soothe and console me with its sight. I turned then to the left to look at the heavy cathedral of S. Francisco, and was about to continue my way, when one of the unarmed Sbirri, separating himself from the rest, came up to me in a quiet and friendly manner. Saluting me, he said, Signior Stranger, you ought at least to give me something to drink your health, for I assure you, that from the very first I took you to be an honourable man, and loudly maintained this opinion in opposition to my comrades. They, however, are hot-headed and over-hasty fellows, and have no knowledge of the world. You yourself must have observed, that I was the first to allow the force of, and to assent to, your remarks. I praised him on this score, and urged him to protect all honourable strangers, who might henceforward come to Assisi for the sake either of religion or of art, and especially all architects, who might wish to do honour to the town, by measuring, and sketching the temple of Minerva, since a correct drawing or engraving of it had never yet been taken. If he were to accompany them, they would, I assured him, give him substantial proofs of their gratitude, and with these words I poured some silver into his hand, which, as exceeding his expectation, delighted him above measure. He begged me to pay a second visit to the town, remarking that I ought not on any account to miss the festival of the Saint, on which. I might with the greatest safety delight and amuse myself. In-deed if, being a good-looking fellow, I should wish to be introduced to the fair sex, he assured me that the prettiest and most respectable ladies would willingly receive me or any stranger, upon his recommendation. He took his leave, promising to remember me at vespers before the tomb of the Saint, and to offer up a prayer for my safety throughout my travels. Upon this we parted, and most delighted was I to be again alone with nature and myself. The road to Foligno was one of the most beautiful and agreeable walks that I ever took. For four full hours I walked along the side of a mountain, having on my left a richly cultivated valley.
It is but sorry travelling with avetturino, it is always best to follow at one's ease on foot. In this way had I travelled from Ferrara to this place. As regards the arts and mechanical invention, on which however the ease and comforts of life mainly depend, Italy, so highly favoured by nature, is very far behind all other countries. The carriage of the vetturino, which is still called sedia, or seat, certainly took its origin from the ancient litters drawn by mules, in which females and aged persons, or the highest dignitaries, used to be carried about. Instead of the hinder mule, on whose yoke the shafts used to rest, two wheels have been placed beneath the carriage, and no further improvement has been thought of. In this way one is still jolted along, just as they were centuries ago; it is the same with their houses and everything else.
If one wishes to see realised the poetic idea of men in primeval times, spending most of their lives beneath the open heaven, and only occasionally, when compelled by necessity, retiring for shelter into the caves, one must visit the houses hereabouts, especially those in the rural districts, which are quite in the style and fashion of caves. Such an incredible absence of care do the Italians evince, in order not to grow old by thinking. With unheard of frivolity, they neglect to make any preparation for the long nights of winter, and in consequence, for a considerable portion of the year, suffer like dogs. Here, in Foligno, in the midst of a perfectly Homeric household, the whole family being gathered together in a large hall, round a fire on the hearth, with plenty of running backwards and forwards and of scolding and shouting, while supper is going on at a long table like that in the picture of the Wedding Feast at Cana, I seize an opportunity of writing this, as one of the family has ordered an inkstand to be brought me,—a luxury which, judging from other circumstances, I did not look for. These pages, however, tell too plainly of the cold and of the inconvenience of my writing table.
In fact I am now made only too sensible of the rashness of travelling in this country without a servant, and without providing oneself well with every necessary. What with the ever-changing currency, thevetturini, the extortion, the wretched inns, one who, like myself, is travelling alone, for the first time in this country, hoping to find uninterrupted pleasure, will be sure to find himself miserably disappointed every day. However, I wished to see the country at any cost, and even if I must be dragged to Rome on Ixion's wheel, I shall not complain.
Terni, Oct.27, 1786.Evening.
Again sitting in a "cave," which only a year before suffered from an earthquake. The little town lies in the midst of a rich country, (for taking a circuit round the city I explored it with pleasure,) at the beginning of a beautiful plain which lies between two ridges of lime-stone hills. Terni, like Bologna, is situated at the foot of the mountain range.
Terni.
Almost ever since the papal officer left me I have had a priest for my companion. The latter appears better contented with his profession than the soldier, and is ready to enlighten me, whom he very soon saw to be an heretic, by answering any question I might put to him concerning the ritual and other matters of his church. By thus mixing continually with new characters I thoroughly obtain my object. It is absolutely necessary to hear the people talking together, if you would form a true and lively image of the whole country. The Italians are in the strangest manner possible rivals and adversaries of each other; everyone is strongly enthusiastic in the praise of his own town and state; they cannot bear with one another, and even in the same city the different ranks nourish perpetual feuds, and all this with a profoundly vivacious and most obvious passionateness, so that while they expose one another's pretensions, they keep up an amusing comedy all day long; and yet they come to an understanding again together, and seem quite aware how impossible it is for a stranger to enter into their ways and thoughts.
I ascended to Spoleto and went along the aqueduct, which serves also for a bridge from one mountain to another. The ten brick arches which span the valley, have quietly stood there through centuries, and the water still flows into Spoleto, and reaches its remotest quarters. This is the third great work of the ancients that I have seen, and still the same grandeur of conception. A second nature made to work for social objects,—such was their architecture; and so arose the amphitheatre, the temple, and the aqueduct. Now at last I can understand the justice of my hatred for all arbitrary caprices, as, for instance, the winter casts on white stone—a nothing about nothing—a monstrous piece of confectionary ornament—and so also with a thousand other things. But all that is now dead; for whatever does not possess a true intrinsic vitality cannot live long, and can neither be nor ever become great.
What entertainment and instruction have I not had cause to be thankful for during these eight last weeks, but in fact it has also cost me some trouble. I kept my eyes continually open, and strove to stamp deep on my mind the images of all I saw; that was all-judge of them I could not, even if it had been in my power.
San Crocefisso, a singular chapel on the road side, did not look, to my mind, like the remains of a temple which had once stood on the same site; it was evident that columns, pillars, and pediments had been found, and incongruously put together, not stupidly but madly. It does not admit of description; however, there is somewhere or other an engraving of it.
And so it may seem strange to some that we should go on troubling ourselves to acquire an idea of antiquity, although we have nothing before us but ruins, out of which we must first painfully reconstruct the very thing we wish to form an idea of.
With what is called "classical ground" the case stands rather different. Here, if only we do not go to work fancifully, but take the ground really as it is, then we shall have the decisive arena which moulded more or less the greatest of events. Accordingly I have hitherto actively employed my geological and agricultural eye to the suppressing of fancy and sensibility, in order to gain for myself an unbiassed and distinct notion of the locality. By such means history fixes itself on our minds with a marvellous vividness, and the effect is utterly inconceivable by another. It is something of this sort that makes me feel so very great a desire to readTacitusin Rome.
Road-side fantasies.
I must not, however, forget the weather. As I descended the Apennines from Bologna the clouds gradually retired towards the north, afterwards they changed their course and moved towards Lake Trasimene. Here they continued to hang, though perhaps they may have moved a little farther southward. Instead, therefore, of the great plain of the Po, sending as it does, during the summer, all its clouds to the Tyrolese mountains, it now sends a part of them towards the Apennines,—from thence perhaps comes the rainy season.
They are now beginning to gather the olives. It is done here with the hand, in other places they are beat down with sticks. If winter comes on before all are gathered, the rest are allowed to remain on the trees till spring. Yesterday I noticed, in a very strong soil, the largest and oldest trees I have ever yet seen.
The favour of the Muses, like that of the dæmons, is not always shown us in a suitable moment. Yesterday I felt inspired to undertake a work which at present would be ill-timed. Approaching nearer and nearer to the centre of Romanism, surrounded by Roman Catholics, boxed up with a priest in a sedan, and striving anxiously to observe and to study without prejudice true nature and noble art, I have arrived at a vivid conviction that all traces of original Christianity are extinct here. Indeed, while I tried to bring it before my mind in its purity, as we see it recorded in the Acts of the Apostles, I could not help shuddering to think of the shapeless, not to say grotesque, mass of Heathenism which heavily overlies its benign beginnings. Accordingly the "Wandering Jew" again occurred to me as having been a witness of all this wonderful development and envelopment, and as having lived to experience so strange a state of things, that Christ himself, when He shall come a second time to gather in His harvest, will be in danger of being crucified a second time. The Legend, "Venio iterum crucifigi" was to serve me as the material of this catastrophe.
Dreams of this kind floated before me; for out of impatience to get onwards, I used to sleep in my clothes; and I know of nothing more beautiful than to wake before dawn, and between sleeping and waking, to seat oneself in one's car, and travel on to meet the day.
Città Castellano, October28, 1786.
I will not fail you this last evening. It is not yet eight o'clock, and all are already in bed; so I can for a good "last time" think over what is gone by, and revel in the anticipation of what is so shortly to come. This has been throughout a bright and glorious day; the morning very cold, the day clear and warm, the evening somewhat windy, but very beautiful.
It was very late when we set off from Terni, and we reached Narni before day, and so I did not see the bridge. Valleys and lowlands;—now near, now distant prospects;—a rich country, but all of limestone, and not a trace of any other formation.
Otricoli lies on an alluvial gravel-hill, thrown up by one of the ancient inundations; it is built of lava brought from the other side of the river.
As soon as one is over the bridge one finds oneself in a volcanic region, either of real lava, or of the native rock, changed by the heat and by fusion. You ascend a mountain, which you might set down at once for gray lava. It contains many white crystals of the shape of garnets. The causeway from the heights to the Città Castellana is likewise composed of this stone, now worn extremely smooth. The city is built on a bed of volcanic tufa, in which I thought I could discover ashes, pumice-stone, and pieces of lava. The view from the castle is extremely beautiful. Soracte stands out and alone in the prospect most picturesquely. It is probably a limestone mountain of the same formation as the Apennines. The volcanic region is far lower than the Apennines, and it is only the streams tearing through it, that have formed out of it hills and rocks, which, with their overhanging ledges, and other marked features of the landscape, furnish most glorious objects for the painter.
To-morrow evening and I shall be in Rome. Even yet I can scarcely believe it possible; and if this wish is fulfilled, what shall I wish for afterwards? I know not, except it be that I may safely stand in my little pheasant-loaded canoe, and may find all my friends well, happy, and unchanged.
Rome, November1, 1786.
At last I can speak out, and greet my friends with good humour. May they pardon my secrecy, and what has been, as it were, a subterranean journey hither. For scarcely to myself did I venture to say whither I was hurrying—even on the road I often had my fears, and it was only as I passed under the Porta del Popolo that I felt certain of reaching Rome.
And now let me also say that a thousand times—aye, at all times, do I think of you, in the neighbourhood of these objects which I never believed I should visit alone. It was only when I saw every one bound body and soul to the north, and all longing for those countries utterly extinct among them; that I resolved to undertake the long solitary journey, and to seek that centre towards which I was attracted by an irresistible impulse. Indeed for the few last years it had become with me a kind of disease, which could only be cured by the sight and presence of the absent object. Now, at length I may venture to confess the truth: it reached at last such a height, that I durst not look at a Latin book, or even an engraving of Italian scenery. The craving to see this country was over ripe. Now, it is satisfied; friends and country have once more become right dear to me, and the return to them is a wished for object—nay, the more ardently desired, the more firmly I feel convinced that I bring with me too many treasures for personal enjoyment or private use, but such as through life may serve others, as weft as myself, for edification and guidance.
Rome, November 1, 1786.
Well, at last I am arrived in this great capital of the world. If fifteen years ago I could have seen it in good company, with a well informed guide, I should have thought myself very fortunate. But as it was to be that I should thus see it alone, and with my own eyes, it is well that this joy has fallen to my lot so late in life.
Over the mountains of the Tyrol I have as good as flown. Verona, Vicenza, Padua, and Venice I have carefully looked at; hastily glanced at Ferrara, Cento, Bologna, and scarcely seen Florence at all. My anxiety to reach Rome was so great, and it so grew with me every moment, that to think of stopping anywhere was quite out of the question; even in Florence, I only stayed three hours. Now I am here at my ease, and as it would seem, shall be tranquillized for my whole life; for we may almost say that a new life begins when a man once sees with his own eyes all that before he has but partially heard or read of. All the dreams of my youth I now behold realized before me; the subjects of the first engravings I ever remember seeing (several views of Borne were hung up in an ante-room of my father's house) stand bodily before my sight, and all that I had long been acquainted with through paintings or drawings, engravings, or wood-cuts, plaister-casts, and cork models are here collectively presented to my eye. Wherever I go I find some old acquaintance in this new world; it is all just as I had thought it, and yet all is new; and just the same might I remark of my own observations and my own ideas. I have not gained any new thoughts, but the older ones have become so defined, so vivid, and so coherent, that they may almost pass for new ones.
When Pygmalion's Elisa, which he had shaped entirely in accordance with his wishes, and had given to it as much of truth and nature as an artist can, moved at last towards him, and said, "I am!"—how different was the living form from the chiselled stone.
In a moral sense, too, how salutary is it for me to live awhile among a wholly sensual people, of whom so much has been said and written, and of whom every stranger judges according to the standard he brings with him. I can excuse every one who blames and reproaches them; they stand too far apart from us, and for a stranger to associate with them is difficult and expensive.
Rome, November3, 1786.
Rome—Festival of all souls.
One of the chief motives which I had for hurrying to Rome was the Festival of All Saints; for I thought within myself, if Rome pays so much honour to a single saint, what will she not show to them all? But I was under a mistake. The Roman Church has never been very fond of celebrating with remarkable pomp any common festival; and so she leaves every order to celebrate in silence the especial memory of its own patron,—for the name Festival, and the day especially set apart to each saint is properly the occasion when each receives his highest commemoration.
Yesterday, however, which was the Festival of All Souls, things went better with me. This commemoration is kept by the Pope in his private chapel on the Quirinal. I hastened with Tischbein to the Monte Cavallo. The piazza before the palace has something altogether singular—so irregular is it, and yet so grand and so beautiful! I now cast eyes upon the Colossuses! neither eye nor mind was large enough to take them in. Ascending a broad flight of steps, we followed the crowd through a splendid and spacious hall. In this ante-chamber, directly opposite to the chapel, and in sight of the numerous apartments, one feels somewhat strange to find oneself beneath the same roof with the Vicar of Christ.
The office had begun; Pope and Cardinals were already in the church. The holy father, of a highly handsome and dignified form, the cardinals of different ages and figures; I was seized with a strange longing desire that the head of the Church might open his golden mouth, and speaking with rapture of the ineffable bliss of the happy soul, set us all too in a rapture. But as I only saw him moving backwards and forwards before the altar, and turning himself now to this side and now to that, and only muttering to himself, and conducting himself just like a common parish priest, then the original sin of Protestantism revived within me, and the well-known and ordinary mass for the dead had no charms for me. For most assuredly Christ Himself—He who in his youthful days, and even as a child excited men's winder by His oral exposition of Scripture, did never thus teach and work in silence; but as we learn from the Gospels, He was ever ready to utter His wise and spiritual words. What, I asked myself, would He say, where He to come in among us, and see His image on earth thus mumbling, and sailing backwards and forwards? The "Venio iterum crucifigi" again crossed my mind, and I nudged my companion to come out into the freer air of the vaulted and painted hall.
Here we found a crowd of persons attentively observing the rich paintings; for the Festival of All Souls is also the holiday of all the artists in Rome. Not only the chapel, but the whole palace also, with all its rooms, is for many hours on this day open and free to every one, no fees being required, and the visitors not being liable to be hurried on by the chamberlain.
The paintings on the walls engaged my attention, and I now formed a new acquaintance with some excellent artists, whose very names had hitherto been almost unknown to me,—for instance, I now for the first time learned to appreciate and to love the cheerfulCarlo Maratti.
But chiefly welcome to me were the masterpieces of the artists, of whose style and manner I already had some impression. I saw with amazement the wonderful Petronilla ofGuercino, which was formerly in St. Peter's, where a mosaic copy now stands in the place of the original. The body of the Saint is lifted out of the grave, and the same person, just reanimated, is being received into the heights of heaven by a celestial youth. Whatever may be alleged against this double action, the picture is invaluable.
Still more struck was I with a picture of Titian's: it throws into the shade all I have hitherto seen. Whether my eye is more practised, or whether it is really the most excellent, I cannot determine. An immense mass-robe, stiff with embroidery and gold-embossed figures, envelops the dignified frame of a bishop. With a massive pastoral star in his left hand, he is gazing with a look of rapture towards heaven, while he holds in his right a book out of which he seems to have imbibed the divine enthusiasm with which he is inspired. Behind him a beautiful maiden, holding a palm branch in her hand, and, full of affectionate sympathy, is looking over his shoulder into the open book. A grave old man on the right stands quite close to the book, but appears to pay no attention to it; the key in his hand, suggests the possibility of his familiar acquaintance with its contents. Over against this group a naked, well-made youth, wounded with an arrow, and in chains, is looking straight before him with a slight expression of resignation in his countenance. In the intermediate space stand two monks, bearing a cross and lilies, and devoutly looking up to heaven. Then in the clear upper space is a semi-circular wall, which encloses them all; above moves a Madonna in highest glory, sympathising with all that passes below. The young sprightly child on her bosom, with a radiant countenance, is holding out a crown, and seems indeed on the point of casting it down. On both sides angels are floating by, who hold in their hands crowns in abundance. High above all the figures, and even the triple-rayed aureola, soars the celestial dove, as at once the centre and finish of the whole group.
Rome—Titian—Guido.
We said to ourselves, "Some ancient holy legend must have furnished the subject of this picture, in order that these various and ill-assorted personages should have been brought together so artistically and so significantly. We ask not, however, why and wherefore,—we take it all for granted, and only wonder at the inestimable piece of art. Less unintelligible, but still mysterious, is a fresco of Guido's in this chapel. A virgin, in childish beauty, loveliness, and innocence, is seated, and quietly sewing: two angels stand by her side, waiting to do her service at the slightest bidding. Youthful innocence and industry,—the beautiful picture seems to tell us,—are guarded and honoured by the heavenly beings. No legend is wanting here; no story needed to furnish an explanation."
Now, however, to cool a little my artistic enthusiasm, a merry incident occurred. I observed that several of the German artists, who came up to Tischbein as an old acquaintance, after staring at me, went their ways again. At last one, who had most recently been observing my person, came up to me again, and said, "We have had a good joke; the report that you were in Rome had spread among us, and the attention of us artists was called to the one unknown stranger. Now, there was one of our body who used for a long time to assert that he had met you—nay, he asseverated he had lived on very friendly terms with you,—a fact which we were not so ready to believe. However, we have just called upon him to look at you, and solve our doubts. He at once stoutly denied that it was you, and said that in the stranger there was not a trace of your person or mien." So, then, at least ourincognitois for the moment secure, and will afford us something hereafter to laugh at.
I now mixed at my ease with the troop of artists, and asked them who were the painters of several pictures whose style of art was unknown to me. At last I was particularly struck by a picture representing St. George killing the dragon, and setting free the virgin; no one could tell me whose it was. Upon this a little modest man, who up to this time had not opened his mouth, came forward and told me it was Pordenone's, the Venetian painter; and that it was one of the best of his paintings, and displayed all his merits. I was now well able to account for my liking for it: the picture pleased me, because I possessed some knowledge of the Venetian school, and was better able to appreciate the excellencies of its best masters.
The artist, my informant, was Heinrich Meyer, a Swiss, who for some years had been studying at Rome with a friend of the name of Rolla, and who had taken excellent drawings in Spain of antique busts, and was well read in the history of art.
Rome, November7, 1786.
I have now been here seven days, and by degrees have formed in my mind a general idea of the city. We go diligently backwards and forwards. While I am thus making myself acquainted with the plan of old and new Rome, viewing the ruins and the buildings, visiting this and that villa, the grandest and most remarkable objects are slowly and leisurely contemplated. I do but keep my eyes open and see, and then go and come again, for it is only in Rome one can duly prepare oneself for Rome.
It must, in truth, be confessed, that it is a sad and melancholy business to prick and track out ancient Rome in new Rome; however, it must be done, and we may hope at least for an incalculable gratification. We meet with traces both of majesty and of ruin, which alike surpass all conception; what the barbarians spared, the builders of new Rome made havoc of.
Rome—Its present aspect.
When one thus beholds an object two thousand years old and more, but so manifoldly and thoroughly altered by the changes of time, but, sees nevertheless, the same soil, the same mountains, and often indeed the same walls and columns, one becomes, as it were, a contemporary of the great counsels of Fortune, and thus it becomes difficult for the observer to trace from the beginning Rome following Rome, and not only new Rome succeeding to the old, but also the several epochs of both old and new in succession. I endeavour, first of all, to grope my way alone through the obscurer parts, for this is the only plan by which one can hope fully and completely to perfect by the excellent introductory works which have been written from the fifteenth century to the present day. The first artists and scholars have occupied their whole lives with these objects.
And this vastness has a strangely tranquillizing effect upon you in Rome, while you pass from place to place, in order to visit the most remarkable objects. In other places one has to search for what is important; here one is oppressed, and borne down with numberless phenomena. Wherever one goes and casts a look around, the eye is at once struck with some landscape,—forms of every kind and style; palaces and ruins, gardens and statuary, distant views of villas, cottages and stables, triumphal arches and columns, often crowding so close together, that they might all be sketched on a single sheet of paper. He ought to have a hundred hands to write, for what can a single pen do here; and, besides, by the evening one is quite weary and exhausted with the day's seeing and admiring.
Rome, November7, 1786.
Pardon me, my friends, if for the future you find me rather chary of my words. On one's travels one usually rakes together all that we meet on one's way; every day brings something new, and one then hastens to think upon and to judge of it. Here, however, we come into a very great school indeed, where every day says so much, that we cannot venture to say anything of the day itself. Indeed, people would do well if, tarrying here for years together, they observed awhile a Pythagorean silence.
Nov.1786.
I am quite well. The weather, as the Romans say, isbrutto.The south wind, the scirocco, is blowing, and brings with it every day more or less of rain; for my part, I do not find the weather disagreeable; such as it is, it is warmer than the rainy days of summer are with us.
Rome, November7, 1786.
The more I become acquainted with Tischbein's talents, as well as his principles and views of art, the higher I appreciate and value them. He has laid before me his drawings and sketches; they have great merit, and are full of high promise. His visit to Bodmer led him to fix his thoughts on the infancy of the human race, when man found himself standing on the earth, and had to solve the problem, how he must best fulfil his destiny as the Lord of Creation.
As a suggestive introduction to a series of illustrations of this subject, he has attempted symbolically to vindicate the high antiquity of the world. Mountains overgrown with noble forests,—ravines worn out by watercourses,—burnt out volcanoes still faintly smoking. In the foreground the mighty stock of a patriarchal oak still remains in the ground, on whose half-bared roots a deer is trying the strength of his horns,—a conception as fine as it is beautifully executed.
In another most remarkable piece he has painted man yoking the horse, and by his superior skill, if not strength, bringing all the other creatures of the earth, the air, and the water under his dominion. The composition is of an extraordinary beauty; when finished in oils it cannot fail of producing a great effect. A drawing of it must, at any cost, be secured for Weimar. When this is finished, he purposes to paint an assembly of old men, aged and experienced in council,—in which he intends to introduce the portraits of living personages. At present, however, he is sketching away with the greatest enthusiasm on a battle-piece. Two bodies of cavalry are fighting with equal courage and resolution; between them yawns an awful chasm, which but few horses would attempt to clear. The arts of defensive warfare are useless here. A wild resolve, a bold attack, a successful leap, or else to be hurled in the abyss below! This picture will afford him an opportunity to display, in a very striking manner, the knowledge winch he possesses of horses, and of their make and movements.
Now it is Tischbein's wish to have these sketches, and a series of others to follow, or to be intercalated between them, connected together by a poem, which may serve to explain the drawings, and, by giving them a definite context, may lend to them both a body and a charm.
The idea is beautiful, only the artist and the poet must be many years together, in order to carry out and to execute such a work.
Rome, November 7, 1786.
Rome—Raffaele.
The "Loggie" of Raffaele, and the great pictures of the "School of Athens," &c., I have now seen for the first and only time; so that for me to judge of them at present is like a man having to make out and to judge of Homer from some half-obliterated and much-injured manuscript. The gratification of the first impression is incomplete; it is only when they have been carefully studied and examined, one by one, that the enjoyment becomes perfect. The best preserved are the paintings on the ceilings of theLoggie.They are as fresh as if painted yesterday The subjects are symbolical. Very few, however, are by Raffaele's own hand, but they are excellently executed, after his designs and under his eye.
Rome, November7, 1786.
Many a time, in years past, did I entertain the strange whim, as ardently to wish that I might one day be taken to Italy by some well-educated man,—by some Englishman, well learned in art and in history; and now it has all been brought about much better than I could have anticipated. Tischbein has long lived here; he is a sincere friend to me, and during his stay here always cherished the wish of being able one day to show Rome to me. Our intimacy is old by letter though new by presence. Where could I meet with a worthier guide? And if my time is limited, I will at least learn and enjoy as much as possible; and yet, notwithstanding, I clearly foresee, that when I leave Rome I shall wish that I was coming to it.
Rome, November8, 1786.
My strange, and perhaps whimsical, incognito proves useful to me in many ways that I never should have thought of. As every one thinks himself in duty bound to ignore who I am, and consequently never ventures to speak to me of myself and my works, they have no alternative left them but to speak of themselves, or of the matters in which they are most interested, and in this way I become circumstantially informed of the occupations of each, and of everything remarkable that is either taken in hand or produced. Hofrath Reiffenstein good-naturedly humours this whim of mine; as, however, for special reasons, he could not bear the name which I had assumed, he immediately made a Baron of me, and I am now called the "Baron gegen Rondanini über" (the Baron who lives opposite to the Palace Rondanini). This designation is sufficiently precise, especially as the Italians are accustomed to speak of people either by their Christian names, or else by some nickname. Enough; I have gained my object; and I escape the dreadful annoyance of having to give to everybody an account of myself and my works.
Rome, November9, 1786.
I frequently stand still a moment to survey, as it were, the heights I have already won. With much delight I look back to Venice, that grand creation that sprang out of the bosom of the sea, like Minerva out of the head of Jupiter. In Rome, the Rotunda, both by its exterior and interior, has moved me to offer a willing homage to its magnificence. In S. Peter's I learned to understand how art, no less than nature, annihilates the artificial measures and dimensions of man. And in the same way the Apollo Belvidere also has again drawn me out of reality. For as even the most correct engravings furnish no adequate idea of these buildings, so the case is the same with respect to the marble original of this statue, as compared with the plaister models of it, which, however, I formerly used to look upon as beautiful.
Rome, November10, 1786.
Here I am now living with a calmness and tranquillity to which I have for a long while been a stranger. My practice to see and take all things as they are, my fidelity in letting the eye be my light, my perfect renunciation of all pretension, have again come to my aid, and make me calmly, but most intensely, happy. Every day has its fresh remarkable object,—every day its new grand unequalled paintings, and a whole which a man may long think of, and dream of, but which with all his power of imagination he can never reach.
Rome-The Grotto of Egeria, &c.
Yesterday I was at the Pyramid of Cestius, and in the evening on the Palatine, on the top of which are the ruins of the palace of the Cæsars, which stand there like walls of rock. Of all this, however, no idea can be conveyed! In truth, there is nothing little here; although, indeed, occasionally something to find fault with,—something more or less absurd in taste, and yet even this partakes of the universal grandeur of all around.
When, however, I return to myself, as every one so readily does on all occasions, I discover within a feeling which does not infinitely delight me—one, indeed, which I may even express. Whoever here looks around with earnestness, and has eyes to see, must become in a measure solid—he cannot but apprehend an idea of solidity with a vividness which is nowhere else possible.
The mind becomes, as it were, primed with capacity, with an earnestness without severity, and with a definiteness of character with joy. With me, at least, it seems as if I had never before so rightly estimated the things of the world as I do here; I rejoice when I think of the blessed effects of all this on the whole of my future being. And let me jumble together the things as I may, order will somehow come into them. I am not here to enjoy myself after my own fashion, but to busy myself with the great objects around, to learn, and to improve myself, ere I am forty years old.
Rome, Nov.11, 1786.
Yesterday I visited the nymph Egeria, and then the Hippodrome of Caracalla, the ruined tombs along the Via Appia, and the tomb of Metella, which is the first to give one a true idea of what solid masonry really is. These men worked for eternity—all causes of decay were calculated, except the rage of the spoiler, which nothing can resist. Right heartily did I wish you had been there. The remains of the principal aqueduct are highly venerable. How beautiful and grand a design, to supply a whole people with water by so vast a structure! In the evening we came upon the Coliseum, when it was already twilight. When one looks at it, all else seems little; the edifice is so vast, that one cannot hold the image of it in one's soul—in memory we think it smaller, and then return to it again to find it every time greater than before.
Frascati, Nov.15.
The company are all in bed, and I am writing with Indian ink which they use for drawing. We have had two beautiful days without rain, warm and genial sunshine, so that summer is scarcely missed. The country around is very pleasant; the village lies on the side of a hill, or rather of a mountain, and at every step the draughtsman comes upon the most glorious objects. The prospect is unbounded—Rome lies before you, and beyond it, on the right, is the sea, the mountains of Tivoli, and so on. In this delightful region country houses are built expressly for pleasure, and as the ancient Romans had here their villas, so for centuries past their rich and haughty successors have planted country residences on all the loveliest spots. For two days we have been wandering about here, and almost every step has brought us upon something new and attractive.
And yet it is hard to say whether the evenings have not passed still more agreeably than the days. As soon as our stately hostess has placed on the round table the bronzed lamp with its three wicks, and wished usfelicissime notte, we all form a circle round it, and the views are produced which have been drawn and sketched during the day; their merits are discussed, opinions are taken whether the objects might or not have been taken more favourably, whether their true characters have been caught, and whether all requisitions of a like general nature, which may justly be looked for in a first sketch, have been fulfilled.
Hofrath Reiffenstein, by his judgment and authority, contrives to give order to, and to conduct these sittings. But the merit of this delightful arrangement is due to Philipp Hackert, who has a most excellent taste both in drawing and finishing views from nature. Artists and dilettanti, men and women, old and young—he would let no one rest, but stimulated every one to make the attempt at any rate according to their gifts and powers, and led the way with his own good example. The little society thus collected, and held together, Hofrath Reiffenstein has, after the departure of his friend, faithfully kept up, and we all feel a laudable desire to awake in every one an active participation. The peculiar turn and character of each member of the society is thus shown in a most agreeable way. For instance, Tischbein, as an historical painter, looks upon scenery with very different eyes from the landscape painter; he sees significant groups, and other graceful speaking objects, where another can see nothing, and so he happily contrives to catch up many a naive-trait of humanity,—it may be in children, peasants, mendicants, or other such beings of nature, or even in animals, which with a few characteristic touches, he skilfully manages to portray, and thereby contributes much new and agreeable matter for our discussions.
When conversation is exhausted, at Hackert's suggestion, perhaps, some one reads aloud Sulzer's Theory; for although from a high point of view it is impossible to rest contented with this work, nevertheless, as some one observed, it is so far satisfactory as it is calculated to exercise a favourable influence on minds less highly cultivated.
Rome, Nov.17, 1786.
We are back again! During the night we have had an awful torrent of rain, with thunder and lightning; it is still raining, but withal very warm.
Rome-Farnese Gallery, &c.
As regards myself, however, it is only with few words that I can indicate the happiness of this day. I have seen the frescoes ofDomenichinoinAndrea della Valle, and also the Farnese Gallery of Caraccio's. Too much, forsooth, for months-what, then, for a single day!
Rome, Nov.18, 1786.
It is again beautiful, weather, a bright genial warm day. I saw in theFarnesinepalace the story of Psyche, coloured copies of which have so long adorned my room, and then at S. Peter's, in Montorio, the Transfiguration by Raffaelle—all well known paintings—like friends which one has made in the distance by means of letters, and which for the first time one sees face to face. To live with them, however, is something quite different; every true relation and false relation becomes immediately evident.
Moreover, in every spot and corner glorious things are to be met with, of which less has been said, and which have not been scattered over the world by engravings and copies. Of these I shall bring away with me many a drawing from the hands of young but excellent artists.
Rome, Nov.18, 1786.
The fact that I long maintained a correspondence with Tischbein, and was consequently on the best terms possible with him, and that even when I had no hope of ever visiting Italy, I had communicated to him my wishes, has made our meeting most profitable and delightful; he has been always thinking of me, even providing for my wants. With the varieties of stone, of which all the great edifices, whether old or new are built, he has made himself perfectly acquainted; he has thoroughly studied them, and his studies have been greatly helped by his artistic eye, and the artist's pleasure in sensible things. Just before my arrival here he sent off to Weimar a collection of specimens which he had selected for me, which will give me a friendly welcome on my return.
An ecclesiastic who is now residing in France, and had it in contemplation to write a work on the ancient marbles, received through the influence of the Propaganda some large pieces of marble from the Island of Paros. When they arrived here they were cut up for specimens, and twelve different pieces, from the finest to the coarsest grain, were reserved for me. Some were of the greatest purity, while others are more or less mingled with mica, the former being used for statuary, the latter for architecture. How much an accurate knowledge of the material employed in the arts must contribute to a right estimate of them, must be obvious to every one.
There are opportunities enough here for my collecting many more specimens. In our way to the ruins of Nero's palace, we passed through some artichoke grounds newly turned up, and we could not resist the temptation to cram our pockets full of the granite, porphyry, and marble slabs which lie here by thousands, and serve as unfailing witnesses to the ancient splendour of the walls which were once covered with them.
Rome, Nov.18, 1786.
I must now speak of a wonderful problematical picture, which even in the midst of the many gems here, still makes a good show of its own.
Rome.
For many years there had been residing here a Frenchman well known as an admirer of the arts, and a collector; he had got hold of an antique drawing in chalk, no one knows how or whence. He had it retouched by Mengs, and kept it in his collection as a work of very great value. Winckelmann somewhere speaks of it with enthusiasm. The Frenchman died, and left the picture to his hostess as an antique. Mengs, too, died, and declared on his death-bed that it was not an antique, but had been painted by himself. And now the whole world is divided in opinion, some maintaining that Mengs had one day, in joke, dashed it off with much facility; others asserting that Mengs could never do anything like it—indeed, that it is almost too beautiful for Raffaelle. I saw it yesterday, and must confess that I do not know anything more beautiful than the figure of Ganymede, especially the head and shoulders; the rest has been much renovated. However, the painting is in ill repute, and no one will relieve the poor landlady of her treasure.
Rome, Nov.20, 1786.
As experience fully teaches us that there is a general pleasure in having poems, whatever may be their subject, illustrated with drawings and engravings—nay, that the painter himself usually selects a passage of some poet or other for the subject of his most elaborate paintings, Tischbein's idea is deserving of approbation, that poets and painters should work together from the very first, in order to secure a perfect unity. The difficulty would assuredly be greatly lessened, if it were applied to little pieces, such as that the whole design would easily admit of being taken in at once by the mind, and worked out consistently with the original plan.
Tischbein has suggested for such common labours some very delightful idyllic thoughts, and it is really singular, that those which he wishes to see worked out in this way are really such as neither poetry nor painting, alone, could ever adequately describe. During our walks together he has talked with me about them, in the hopes of gaining me over to his views, and getting me to enter upon the plan. The frontispiece for such a joint work is already designed; and did I not fear to enter upon any new tasks at present, I might perhaps be tempted.
Rome, Nov.22, 1786.The Feast of St. Cecilia.
The morning of this happy day I must endeavour to perpetuate by a few lines, and at least by description to impart to others what I have myself enjoyed. The weather has been beautiful and calm, quite a bright sky, and a warm sun. Accompanied by Tischbein, I set off for the Piazza of St. Peter's, where we went about first of all from one part to another; when it became too hot for that, walked up and down in the shade of the great obelisk, which is full wide enough for two abreast, and eating grapes which we purchased in the neighbourhood. Then we entered the Sistine Chapel, which we found bright and cheerful, and with a good light for the pictures. "The Last Judgment" divided our admiration with the paintings on the roof by Michael Angelo. I could only see and wonder. The mental confidence and boldness of the master, and his grandeur of conception, are beyond all expression. After we had looked at all of them over and over again, we left this sacred building, and went to St. Peter's, which received from the bright heavens the loveliest light possible, and every part of it was clearly lit up. As men willing to be pleased, we were delighted with its vastness and splendour, and did not allow an over nice or hypocritical taste to mar our pleasure. We suppressed every harsher judgment: we enjoyed the enjoyable.