The Interior of the church is by reason of the painted windows somewhat dark, but on that account and from the imposing grandeur and height, is the more fitted to raise religious feelings. Among the numerous statues in the interior of the cathedral, that ofCarlo Borromeois the most esteemed. Its great merit as a work of art is considered to lie in the anatomical correctness displayed by the sculptor in the deliniation of all the muscles, tendons, veins and prominent joints. From the gallery of the tower one has an extensive view, bounded on the north by the Swiss Alps, and on the south by the Apenines.
In the evening we went to the theatredella Scala, where was given “la statua di bronza”, asemiseria-opera bySoliva, a young composer and pupil of the conservatory here. Upon our entrance, we were surprised at the size and beauty of the house. It is built after the model of theSt. Carlo-theatre at Naples, the largest in Italy, and contains a spacious pit and six tiers of boxes one above the other, but will not hold much over 3000 people, so much space having been wasted in the manner of its distribution. The price of admission is the same to every part of the house, viz, twoLire di Milano. The orchestra is very numerous; four and twenty violins, eight counterbasses, the same number of violincellos, all the customary wind instruments, trumpets, bass-horn, turkish music etc. and yet with all, not numerous enough for the size of the locale. The performance very much surpassed my expectation; it was pure, vigorous, precise, and withall very calm. SignorRollaanartisteknown also in foreign countries by his compositions, directed as first violin. There is no other directing whether at the piano, or from the desk with the baton, than his, but merely a prompter with the score before him, who gives the text to the singers, and if necessary, the time to the choruses. The composition of the opera is more in the German than the Italian style, and one could hear very plainly that the young artist had taken our German composers, particularlyMozart, much more for his models, than his own countrymen. The orchestral parts are not so subdued as is usual in Italian operas, but are rendered in a very prominent manner, and sometimes even so much so as to cloak the singing. It is therefore astonishing that this opera has pleased so much, as thisgenreis never much liked. The well studiedpièces d’ensembleand the finale have certainly not been the reasons for the success of the opera, but a few little unimportant cantabili’s which were well executed by the singers. Thesealonealso, were the points listened to with attention. During the powerful overture, several very expressive accompanied recitatives, and all thepièces d’ensemble, the audience made so much noise that one could scarcely hear the music. In most of the boxes, the occupants played at cards, and all over the house, people conversed aloud. Nothing more insufferable can be imagined for a stranger who is desirous to listen with attention, than this vile noise. On the other hand, from such persons as have perhaps seen the same opera thirty or forty times, and who come to the theatre only for the sake of the society, no attention is to be expected, and it is a great condescension if they only listen quietly to some “numbers”. At the same time, I can imagine no task more ungrateful than to write for such a public, and one is surprised that good composers will submit to it. After the first act of the opera, a grand serious ballet was given, which from the skill of several of the dancers male and female, and the splendour of the decorations and costumes, presented a very imposing dramatic spectacle. As it lasted nearly an hour, the auditory had forgotten the first half of the opera. After the second act of the opera, another, but a comic-ballet, not much shorter, was produced, so that the whole of the performances lasted from eight o’clock to midnight. What work for the poor musicians!
September, 14.
Last evening we went to a concert, given byFerlendisof Venice, aProfessore di Oboa. His composition and play were alike pitiable. It is impossible to imagine a worse Tone and a greater want of Taste in the execution of the passages and of the cantabile, than this Professordi Oboadisplayed. In Germany he would most certainly have been hissed off; here of a necessity, he was applauded as a matter of course by the Free-tickets. In the second part,Luigi Beloliplayed a Horn-Concerto of his own composition. This it is true did not exceed the line of mediocrity, but the execution was very superior.Belonihas a very beautiful tone, much skill and a cultivated taste. In order that the horrid Oboe should not obliterate the last more pleasing impression, we would not stop to hear the remainder of the concert.
September, 16.
That the Italians are a very musical nation may be judged from the fact that their beggars always solicit alms either singing or playing. Here are parties of four or five such musicians, who play of an evening in front of the Cafés, a by no means intolerable music, usually accompanied by a finely dressed female vocalist, who afterwards collects the money; sometimes they consist of three singers who with guitar accompaniment execute Trios and short Canons very efficiently; at others, blind fiddlers, flute players or singers who either without accompaniment, or who accompany themselves on the tambourine, seek their fortune singly; and even those who hawk things about for sale, offer their wares singing. Yesterday we came upon a comical fellow of this kind. He had manufactured for himself a remarkable instrument out of a whip-handle, from one end of which to the other he had stretched a single string. On the top, this cord was passed through a ball of paste, from the aperture of which rose a large bouquet of artificial flowers by way of ornament. In the right hand he carried a violin-bow, with which he produced the single tone which his instrument was capable of. The remarkabletalent of this artist consisted there-in, that on a constantly repeated melody, for the fundamental tone of which his instrument furnished the Quinte, and which therefore never concluded in the Tonica, but always in the dominant, he improvisated the politest compliments to all who passed, or who sat before their doors; for these, the persons flattered, seldom refused a gift of money, which he collected in his hat, but without interrupting his song. In this style of recitative singing, in which his instrument fulfilled the duty of the orchestra, he would now praise the shape, now the dress of the passers by, and one could see by the self-satisfied smiles and generosity of the persons bepraised, that he well knew how to touch them on the weak side.
This afternoon we went to another concert, given by theSocietà del Giardino. The two MesdamesMarcoliniandFabrésang a duett ofRossini’s. The former is celebrated throughout Italy as an contralto, her voice is fine, and she has great execution; but she almost always sings too low, by which in my opinion her singing was much injured. SignoraFabréis thePrima donnaof the great theatre whose high notes are particularly fine, and her method of execution cultivated. Although both singers stand equally high in regard to voice and skill, yet here also the soprano bore away the palm from the contralto, just as a bass-viol can never please by the side of a violin. In the second part were sung also, a duett ofPaccini, a Cavatina byBonfichi, and aRondobyPaer. All alike, the humorous or the serious, were sung in the same manner and with the same ornamental trimmings which have been heard a thousand times. The compositions were almost all insipid and without intimate connection, and the singing frequently disturbed or cloaked by meaningless figures of instrumentation.
September, 17.
We have just seen the Mosaic-Manufactory here. The most important work is a copy in mosaic ofLeonardo da Vinci’s“Last supper” on which the artist has been uninterruptedly engaged for twelve years; it is of the same size as theoriginal, (the figures of the size of life). It is divided into twelve pieces, each of which is about three ells in length and of the same breadth. All the pieces are now finished, but only some have as yet been polished, these (from the ceiling part only) have a bright polish, those containing the figures were somewhat matt in the colours, at least as compared to the good copy of the picture from which it had been worked; but perhaps it will gain yet more life when the polishing has been completed.Bonapartehad given the order for this work, which will now be finished at the expense of the Emperor of Austria. As eight ducats a day are paid to the workmen, it already costs in wages for labour 34,960 ducats. Besides this herculean labour we saw several mosaics in the establishment, of exceeding beauty, exhibited for sale.
September, 17.
To-day we were present at the concert at the Conservatory of music, for which CountSaurauhad presented us with tickets.
What I could ascertain respecting the interior administration of the Conservatory is as follows: The Professors, of whom four teach singing, one the violin, one the violincello, one counterbass, and some others the wind instruments, are appointed by and receive their salaries from the government, which pays also for the board and lodging of twelve pupils, six boys and six girls. All the other pupils some of whom live at the Conservatory, and some attend only at the hours of tuition, are required to pay for every thing. The Milanese are said to be very much opposed to the Institution; at the present time also, there are scarcely thirty pupils.
September, 22.
To-day I paid a momentary visit to a kind of Practising-Concert where the dilettanti of this place, perform Symphonies underRolla’sdirection, and in particular of the German masters. The string-instruments are chiefly played by dilettanti, the wind instruments by players from thedella Scalatheatre. When I arrived, they had already given the old symphony in D major ofMozart, and some overtures by Italian masters, and were just then engaged practising one of the grand Symphonies ofHaydn(B major). It was played with tolerable accuracy, but withoutpianoandforte, and for the most part crude. Nevertheless, the Institution which is moreover the only one of the kind in Italy, is a very praiseworthy one, since it enables the lovers of music here to become acquainted with our magnificent Instrumental-compositions. If I do not mistake, this weekly Practice-Concert takes place in the house of SignorMotto, who is said to have a fine collection of first class violins. But there are a great many fine violins here. A SignorCarolihas two very fine Stradivari’s;Rollahas one also of great beauty; a CountGozio de Solencehas in his numerous collection of fine violins among several others byAmati,GuarneriandGuardagnini, four Stradivari’s also, which have never been played upon, and which although very old look as though they had only just been made. Two of these violins are the production of the last year of that artist, 1773, when he was an old man of ninety three years of age. But it is immediately perceptible on the violin that it was cut by the tremulous hands of an infirm old man; the other two are however of the best days of the artist, from 1743 and 1744, and of great beauty. The tone is full and strong, but still new and woody, and to become fine, they must be played upon for ten years at least.
September, 28.
Last evening we gave our concert in thedella Scalatheatre. The orchestra kept its usual place, but the female singers, andDoretteand I, for our performances, took our places under the Proscenium, between the curtain which remained down, and the orchestra. The house although favourable for music, requires nevertheless on account of its immense size, a very powerful tone, and a grand but simple style of play. It is also very difficultin a placewhere people are always accustomed to hear voices only, to satisfy the ear with the toneof a violin. This consideration, and the uncertainty whether my method of play and my compositions would please the Italians, made me somewhat nervous on this my firstdébutin a country where I was as yet unknown; but as I soon observed after the first few bars, that my play was listened to with attention, this fear soon left me, and I then played without any embarrassment. I had also the satisfaction to see that in the new concerto I had written in Switzerland, which was in the form of aVocal-Scena, I had very happily hit upon the taste of the Italians, and that all the cantabile parts in particular were received with great enthusiasm. Gratifying and encouraging as this noisy approbation may be to the Solo-player, it is nevertheless exceedingly annoying to the composer. By it, all connexion is completely disturbed, thetuttiso industriously worked out, are wholly unheeded, and people hear the Solo-player begin again in another tone without any one knowing how the orchestra has modulated with it.—Besides the Concerto, I played withDorettethe new Pot-pourris for piano and violin, and another with orchestral accompaniment. The latter, at the general request, I was obliged to repeat. The orchestra, the same that played in the opera, accompanied me with great attention and interest.Rolla, in particular, took great pains. My overture to “Alruna” was played at the beginning of the second part with great power it is true, but not without fault. The orchestra is accustomed to too many rehearsals, to be able to execute any thing free from fault after one rehearsal only. MadameCastiglioni, a Contre-Altiste engaged as a supplementary vocalist at the next carnival in Venice, sang an aria in the second part, with a fine voice and a good school, and was rewarded with a general applause. It had cost me infinite trouble to procure these two song-pieces; for the singers of the great theatre some of whom would have been very pleased to sing, could not get permission from the Impressario, and all the other singers of note who lived here, had already either signed engagements, or did not dare to appear at the Scala. The Impressario atfirst demanded the fifth part of the receipts for the grant of the theatre, but by the intercession of the governor CountSaurau, this tax was remitted in my favour.
After the concert, I was solicited on all sides to give another; but as next Friday, the only free day in each week, is the Emperor’s Name-day, on which the governor gives a grand fête, and we have no desire to prolong our stay another fortnight, I shall rather defer this second concert till my return, and proceed forthwith to Venice. The first concert moreover, has but little more than paid the expenses, which amounted to fifty ducats.
A few days ago we visited the Picture Gallery in the Arena; the locale is the finest we ever beheld. It consists of three large saloons, which receive the light from above, of a long gallery, and two cabinets. In the gallery are the picturesal frescocollected from the churches in Milan, from the walls of which they have been taken with the plaster on which they were painted, and here let into the walls again. Among them are some of high artistic worth, of which copies and engravings have already been made. In the saloons, the paintings are chronologically arranged, and the name of the master given under each. In the first saloon are those of the earlier period, in the middle are those of the later, and in the third those of the modern school. Yet as far as I know there are no works of any living artists hung up. In the Cabinets, the smaller paintings are exhibited. The most precious of all, aRaphael, which although of his earlier days when he still painted in the style of his master, is nevertheless of infinite beauty. It is the betrothal of the Holy Virgin withJoseph. In the centre stands the Rabbi who in a grave and dignified posture pronounces his blessing; on his left isJoseph, a manly figure with dark hair and beard, placing with a kindly expression the ring upon the finger of the Virgin, who upon the right, softly blushes in all the graceful sweetness of maiden modesty. Among the other figures, a youth is also conspicuous, who breaks a stick against his knee. Artists admiregreatly the foreshortening of the inclined posture. At first sight the sharp outline of the figures strikes one as unpleasing; but after one has become somewhat used to it by a longer contemplation, one is irresistibly fascinated with the elevated expression both of countenance and position. In this as in allRaphael’spictures the hands and feet are of exceeding beauty.
Venice, October, 5.
On Monday the 30thSeptember we set out upon our journey thither in company with two amiable Polish Counts, whose acquaintance we had made in Milan, and of a painter who had just returned from a tour in Sicily. For myself and family I had hired a Vetturino as far as Padua, for seven louisd’or, for which price it was also agreed he was to pay for our supper and beds....
The road to Brescia presents very little variety. Brescia is an ancient town, in which there is very little worth seeing; but it is situated in a charming locality on the slope of a mountain covered with vineyards and countryhouses. We took a walk through the town, in which we saw nothing remarkable except a vine that covered the fronts of five houses up to their roofs, and was every where loaded with clusters of the finest grapes. One of the Poles, CountZozymola, had meanwhile paid a visit to SignoraMulonatti, one of the most celebrated Contre-Altistes of the day, whose acquaintance he had made in Florence, where a few months previously she had sung. She is now reposing from the fatigues of the last months in the society of herCavaliere serrente, a CountSecchiwho has a fine house in Brescia, and a still finer estate in the neighbourhood. During the Carnival she will again make her appearance here in Venice, at a salary of 10,000 francs and a benefit. Her admirer, a man of large fortune and extensive knowledge has devoted his whole life to hisDonna, while his two elder brothers have greatly distinguished themselves as Generals in the French Army. For the last ten years he has accompanied her every where she has sung, manages her affairs, and devotes himself to all her caprices. His sole somewhat earnest occupation is to write her memoirsi,e, her triumphs over other singers, and her love adventures. Once a year she furnishes him with the written data for the latter, which are the originals of the love-letters received, and although he is very jealous, she nevertheless prevails on the good natured fool to copy those letters himself, and introduce them with their respective explanations in her history. She has a husband as well, and two children by him, of whom she is said to be very fond. This husband plays a thoroughly pitiful part; he always keeps a certain distance, and awaits every look and beck of his ruling mistress. Up to the present time CountSecchihas seen neither Rome nor Naples, because his lady has not yet sung in those Cities, and she would not readily grant him permission to go there without her.
Between Brescia and Verona, the road passes along the Lago de Garda, whose beautiful wooded shores studded with country seats and enclosed by mountains, present the most beautiful views, which richly repaid us for the uniformity of the previous days journies. At the farthest end of the lake and half in the water, lies Peschiera, a small mean-looking town containing but few houses, but with extensive fortifications. From thence to Verona, the road is again very uninteresting. Upon our arrival, we learned that a female Pianiste and Harpiste of note from Naples was to give a Concert in the theatre, and we proposed to ourselves to go there. Through the slowness of the waiters who brought our supper an hour later than we had ordered it, we were however prevented going. We went nevertheless, at eleven o’clock at night by a beautiful moonlight to see the Coliseum, of all the monuments of Roman greatness, the one which is in the best state of preservation.... We ascended to the topmost benches, which equal in height the loftiest buildings of the town; from thence we had a splendid view over the whole colossal structure. We pictured to ourselves the immense mass of stone filled with the Romans of old—how they cheered the victors inthe Arena beneath,—and then lost ourselves in the contemplation of the perishableness of all human greatness, and in comparisons between that vigorous people of yore and the present inhabitants of this beautiful land.
On one side of the Oval, the prisons are still to be seen where the malefactors were confined who were to be thrown to the wild beasts. The arrangement is still existing also, by means of which in a few minutes the circus could be laid under water for naval fights and boat races. During the visit of the Austrian Emperor, the people were treated with a resuscitation of the ancient horse and foot races. We had seen something similar in Milan of which I had forgotten to speak.
Napoleonhas erected in theForo Buonoparte, a Circus in the Roman Style, whose exterior consists also of a wall having passages for ascent; but the benches in the interior are of turf only. Of these there are about twelve, but from 25- to 30,000 people find nevertheless room sufficient. On one side of the breadth, stands a handsome building with a fine colonnade looking into the interior, from which stone benches run the whole breadth of the building down to the circus. In this modern Arena, which can also be laid under water, the people were treated at the time of the coronation ofNapoleon, as king of Italy, with a free admission to arechaufféof the ancient Roman games. A third but smaller edition, on payment, took place the day before our departure.
First of all, eighteen runners in Roman costume made their appearance, who upon a signal from the trumpets ran forward in a seemingly encumbered manner to the goal. The victor received a flag, from the top of which was suspended a wreath of laurel. The two next best after him, were also presented with tokens of triumph. Twelve horsemen now advanced to compete in speed. Several fell from their horses at the first start, and all of them rode so badly that they excited nothing but laughter and compassion. After the winners had been again rewarded, came the Chariot Race, which however presented both a new and interesting sight. The six charioteers were mounted on small two-wheeled Roman chariots such as one sees upon old coins, and on a given signal to start, lashed their horses, of which there were two to every chariot into a full gallop; at the extremity of the course, one of them in turning fell twice, horses and all, but without taking any harm. The others drove round the course three times, and the victors were again presented with their rewards. Now commenced the grand Triumphal-procession. From thirty to forty Hautboyists in theRomancostume withTurkishmusic!—playing a March from the Opera “John of Paris” opened the spectacle. Then came the Runners carrying spears; and at length a large Roman triumphal chariot drawn by four oxen, with the whole of the victors. The handsomely decorated oxen had been harnessed in pairs in the Roman manner; but the poor animals had not been accustomed to that sort of thing, and they would not move an inch; so that it was at length found necessary to yoke them in the same manner as they were used to, in their dung carts, and when this was done they went off in style. Behind them came the unsuccessful riders and charioteers who closed the procession.
The costume of all these people and animals was well chosen, and had one not seen round the Circus the modernbeau monde, with now and then among the runners a three cornered hat, the wearer of which kept order in the games, and, not have heard the Turkish music playing the march from “Aline”, one might indeed for a moment have fancied, to see beneath one the old Romans of yore. But these soldiers and hackney carriage drivers were so sparing of their miserable horses, and at the same time so clumsy, that they soon dissipated every deception.
On the 3rdearly in the morning we parted from our agreable fellow travellers, who now proceeded on their farther journey by another road through the Tyrol to Munich. We slept in Vicenza, a filthy dirty place. Our windows looked out upon a lonely street, in which heaps of dirt of the most disgusting kind infected the air in an unbearable manner. But one meets with the same kind of thing here even in thelargest Cities, and in the most magnificent squares. If one ascends a retired flight of steps, often of the finest marble, at the grandest palaces, it behoves one to keep in the centre, to avoid contamination, and even the Cathedral of Milan is unapproachable on many sides for the high heaps of filth. This exceeding dirtiness, in which the Italians surpass almost all other nations, prevails also in most of the apartments and kitchens. I thought to myself that a Dutchman would go out of his senses here!
On the 4that noon, we arrived at the ancient, unsightly Padua, where we stopped till eight o’clock in the evening. We then continued our journey by water in the Canal-Diligence. On getting into the bark, deceived by the uncertain moonlight I missed my footing, and fell into the water; but in my fall I fortunately caught hold of the gunwale of the bark, and was immediately pulled on board again. With the exception of the fright and the trouble of changing my clothes I experienced no unpleasant consequences from this fall. The bark is very conveniently fitted up for the accommodation of from twenty four to thirty persons, and towed by a horse at full trot, goes very fast. The last half of the Canal is thickly dotted on both sides with beautiful country seats and gardens, which at this period are inhabited by the wealthy Venetians. The Palace of the former Viceroy, in which the governor CountGoesresides during the fine season, is particularly remarkable. We much regretted passing this beautiful part of the country in the night, but even by moonlight the view presented is magnificent. At five o’clock in the morning, when all Venice was yet asleep, we arrived, and alighted at theAlbergo della Scala.
Venice, October, 10.
Little as Venice upon the whole, has come up with my expectations, yet I was the more surprised by the beauty of some parts of the city. The Piazza San Marco, is particularly imposing. The thousand-year old church of St. Mark, built in the oriental style, with its five cupolas, its innumerable statues and magnificent mosaic-pictures with their resplendent gold ground; the colossal Bell tower with its pyramid which serves as a beacon to the mariner far away on the Adriatic sea, the three grand buildings almost in the same style of architecture which enclose the square upon three sides; the busy life under the Arcades, the rich shops of the traders and the tastefully decorated coffee-houses, in and in front of which from eight o’clock in the morning till far into the night the fashionable idle world of both sexes may be seen collected: the mingled vociferations of the numerous vendors of refreshments, and of the criers who read aloud the proclamations of the government, or announce the pieces to be performed in the evening at the different Theatres—all these together form so varied a picture, that a stranger finds subject therein for a whole week’s entertainment.
If one then proceeds to the second square which abuts on the first near the church, enclosed on the east side by the former palace of the Doges, and on the west by the prolongation of one of the three large buildings adverted to; a new spectacle quite different from the former one presents itself. Before you, the harbour dotted with gondolas, barks and trading ships of all sizes; on the left the quay bordered with magnificent buildings and churches extending as far as thegiardino publico. Opposite, situated upon a small island, a monastery in whose handsome church the last Pope was elected, and to the right on the other side of the grand canal the church ofSan Giorgia maggiorewith its majestic dome, surrounded by other beautiful buildings. When the eye has feasted itself on these objects, it is attracted by the nearer surroundings; by the motley crowd of human beings upon the high-arched stone bridges leading over the numerous canals which from this spot intersect the City; by the loading and unloading of the larger ships, the embarking of the fashionable and unfashionable world in gondolas and barks for pleasure-excursions, or journeys of business; by the singular forms of the fish and shell-fish exposed here for sale, and theother numerous striking objects peculiar to a sea-port. Having seen all this, one returns gladly to the square of St. Mark, and there finds new subjects for admiration. Upon contemplating the church more attentively, the four gigantic bronze horses over the chief entry first attract the eye, less by their artistic worth, for they are not of the finest proportions, than on account of their antiquity and their various fortunes. Carried off by the Venetians on the taking of Constantinople, they were placed as war-trophies over the chief entrance of the church of St. Mark, and there remained undisturbed until the French after the conquest of Italy took them to Paris. From thence with all the other treasures of art carried from Italy, they were again brought back after the capture of Paris by the allies, and reinstated in their old place amid the exultations of all Venice. Besides these horses, there are many other memorials of the triumphs of the Venetians in the church of St. Mark. Statues, bas-reliefs, arabesques, columns and capitals from Greece, Egypt and the Barbary States, and it is subject of astonishment in this building, that, though comprising so many objects executed in the most different styles of Art, it presents nevertheless a whole of such harmonious beauty. In front of the church, stand three lofty red painted masts, which on Festival days are decorated with long silken streamers reaching to the ground, and their cast bronze foot-sockets are ornamented with fine bas-reliefs.
On the second square, close to the water, stand two colossal pillars of Egyptian granite, each pillar hewn in one single block. One supports a winged lion in brass, which was also carried to Paris, the other, the patron Saint, the holy Theodorus upon a crocodile.
The interior of the church of St. Mark, is not less beautiful than the exterior. Walls, niches, and domes are entirely covered with Mosaic-pictures, among which it is true some are of little artistic worth; but in the most of them, the composition, drawing, and colouring are very fine, and all have a pure gold ground which in spite of its great age still shinesas though it were new. Here, however, one is soon surrounded by whole rows of mendicants, who plead hunger so piteously and look so disgusting, that one is glad to make one’s escape from them with the sacrifice of a few copper coins. In fact one cannot pass through any part of the city at any time without being addressed by beggars, and it is said as many as 25,000 here suffer from hunger. At this period, it is true, the poor subsist very cheaply on cooked, or rather roasted, pumpkins, which are sold at the corner of every street, and of which a piece as big as the hand costs but a centisimo.
On leaving the Square, one finds but little to divert attention, for in Venice people neither ride nor drive, the streets being so narrow that frequently two persons cannot walk side by side. In the busiest part of the city not far from thePonte Rialto, the crowd is so great that one has a difficulty to work one’s way through it. From the dirty habits of the Italians, who throw every sort of refuse into the canals, and from the pestilential smell of half-putrid fish and muscles, together with the disagreeable effluvia from the workshops of most of the artizans, it is very natural to suppose that in these narrow streets, the whole year long, one cannot once breathe a pure air.
Here gondolas take the place of vehicles, and are to be had at a very cheap rate. They all have an awning of black cloth, which gives them a mournful appearance. At the time of the Republic such luxury prevailed in the decoration of the gondolas, that the government found it necessary to establish the present mode of covering. The gondoliers are very expert in rowing and steering, and however great may be the throng on the canals, they pass each other with great swiftness, without coming in collision. When one hires two of them, the speed is equal to that of a horse in full trot. As the houses have, besides the front entry towards the water, a side door or exit upon the street, one can go, it is true, everywhere by land; but on account of the bridges one isobliged to make so many turnings, that one can get to the required place as quickly again by water.
October 12.
By the most beautiful weather we to-day enjoyed the singularly splendid view from the tower of St. Mark, which is ascended very conveniently by a spiral ascent without steps. The view is truly enchanting! On one side one sees over the extensive mass of houses to the mainland, in the distance the snow-covered mountains of the Friaul; on the other side the harbour with its varied and busy life, the Islands covered with handsome churches and buildings; and in the back-ground the open sea. I do not remember having ever seen so beautiful a view from any tower, not even from that of St. Michael’s at Hamburg.
At 4 o’clock we visited the church of the Foundling, where a mass was being performed by the female foundlings. The orchestra and choir were composed entirely of young girls; an old instructress of music gave the time, another accompanied on the organ. There was more to be seen than to be heard, for the composition and execution were execrable. The girls playing the violin, flute, and horns, looked strange enough; the contra-bassist was unfortunately not to be seen, being hidden behind the trellis. There were some good voices among them, and one quite remarkable, which sang up togon the fourth leger line (g3); but the style of singing of all was horrid.
We have made the acquaintance of several lovers of music, the two CountsTomasini, and SignorsContin,Filigran, and several others whose names I do not know. The two former are assisting me greatly in making arrangements for my Concert, and if at the present bad time of the year for business, when every body of note is in the country, I should have a tolerable Concert, I shall have them to thank for it.
To-day we had a visit from a German musician, HerrAiblinger, from Munich, and a pupil ofWinter, who has been residing in Venice for the last sixteen years. He is a pianistand composer, and seems to possess much real taste for his art. At least he complained to us, with a most piteous face, that in this country it was impossible for him to keep pace with his German brothers in art, because he had scarcely ever the good fortune to hear a German work of any note, and that with his enthusiasm for music, his heart was fit to break; that his circumstances bound him to a city where, for sixteen years, he had heard every year the same things over again, while the Germans, in the meantime, had witnessed the production of so many classic works. I afterwards saw some of his productions, and it is much to be regretted that he has been confined in this Siberia of art. In order to give me an idea how little art and artists were esteemed, even by gentlemen who wished to pass for Mæcenas’s, he related to me an anecdote of what occurred toBärmannof Munich, who was here last winter with DemoiselleHarles. CountHerizo, a very rich nobleman, who, during the winter, gives a concert at his house every week, to which he frequently invites as many as two hundred persons, besoughtBärmann, through a third party, to play at one of them. The latter had himself already announced a public concert, and presuming that it would be greatly to his disadvantage if he played elsewhere before, he declined the invitation, but promised to playafterhis own concert. On the same day, however, CountHerizogave one of his customary grand concerts in which “the Creation” was performed, I believe for the first time in Venice; andBärmannhad so thin an attendance, that to cover the expenses of the concert he was obliged to add forty francs from his own pocket. Nevertheless a week afterwards, CountHerizorepeated his invitation toBärmann, who now, however, demanded a gratification of twelve Louisd’or. After much debate this was at length agreed to. ButBärmannshortly after was apprised that it was intended to play off a hoax upon him. To avoid this he wrote anew to decline the invitation, and went on a pleasure excursion withHarlesto the mainland. Upon his return, a friend of CountHerizo’scame toinquire of him the reason why he would not play, and on being told, he assured him upon his honour that nothing of the kind was intended, and thatBärmannhad not the least to fear; upon which the latter gave his promise to appear at the next concert. He was very politely received by CountHerizo, and the music began. After the space of an hour, when six pieces had been performed,Bärmannwas curious to know when his turn would come; he therefore asked the loan of a programme from his neighbour, and found at the end of the whole of the pieces of music, which at least would last two hours more, the following words: “If time will permit, HerrBärmannwill also perform a concerto on the clarinet.” His rage may be imagined. CountHerizois reported then to have said to him at the end of the concert, in a loud tone of voice: “We have no time to hear you this evening, but we shall perhaps another time!” and in this manner he was cheated of his pecuniary gratification.Bärmannimmediately slunk out, but in so doing was so unfortunate as to mistake the way, and instead of taking the passage leading out upon the street, plumped right into the canal. Fortunately the gondoliers plying near the spot came to his assistance, and soon pulled him out. Half-perished with cold, and highly exasperated, he returned home. Next morning he was summoned before the police by CountHerizo. The director of police, after the matter had been explained to him byBärmann, had nevertheless courage sufficient to justifyBärmann, and to point out to CountHerizothe rudeness of his conduct. Under such circumstances, however,Bärmannthought it advisable to hasten his departure, especially as a suspicious-looking fellow had been making inquiries about the hours of his going out of evenings. FräuleinHarles, also, came badly off. In the first opera she gave tolerable satisfaction, and fault was found only with her bad accent; but on the first representation of the second opera, she was so disconcerted, in her very first scene, by the loud talking, coughing, and laughing of the audience, that she ran off the stage in the middle of her aria, and fell down behind the scenes likeone dead. She was seized with an inflammation of the throat, and, during the whole winter, was unable to sing any thing else but the speaking recitatives. Allpièces d’ensembleand both finales were sung without her, and yet, as she could find no substitute, she was obliged to appear before the public every evening. The managers deserve praise, for they played her no underhand tricks, but paid her according to the agreement made.
October 15.
There are two kinds of dilettanti-concerts given here. One takes place every fortnight at theFenicetheatre, under the direction of CountTomasini. At the one at which I was presentTeresa Sessi, who was formerly engaged at Vienna, sang two airs, a duet, and a quartet, with much applause, in her old style, which is neither better nor worse. Besides her, a dilettante attracted the attention of the auditory by singing several buffo things in the genuine Italian caricature style. All the rest, particularly the composition and execution of the ouvertures, was, as is usual in Italy, exceedingly bad.
The other is a sort of practice concerts, and takes place once a week, under the direction of SignorContin. With the exception of some of the wind instruments and of the bass-viols, the orchestra is wholly composed of dilettanti, and the pieces performed consist mostly of symphonies and overtures by German masters. But a proper study of these works is quite out of the question, and it is considered matter of gratulation if they are got through without coming to a stillstand. On the day I was present, a very old symphony ofKrommer’swas performed first, which was followed by the one in E flat major byAndrew Romberg.
For the finale I was solicited to directBeethoven’ssecond symphony in D major, which I could not refuse. But I had a rare job with the orchestra, for they were accustomed to quite othertempithan I took, and seemed not at all to understand that there are shades offorteandpianoin music, for all worked with bow and breath as hard and incessantlyas they could, and my ears rang the whole night with the infernal noise. But these practice concerts are nevertheless so far good that they afford the lovers of music in Venice the opportunity of hearing several of our classical instrumental compositions, such as the overtures to “Don Juan” and the “Zauberflöte,” which they had not hitherto been acquainted with; and, though but imperfectly, they learn to feel that the Germans are immensely superior to them in that kind of composition. Indeed they say so themselves, but they do not thoroughly believe it, and only acknowledge it, in order to be enabled to boast with more freedom of their superiority in song and vocal compositions (!!). The self-satisfaction of the Italians, despite their poverty of fancy is in fact unbearable; whenever I executed in their presence any of my things, they thought they could pay me no higher compliment than when they assured me they were quite Italian in taste and style.
October 16.
To-day in the forenoon, in company with three Silesians, we went to the ancient palace of the Doges. The so-called golden stair case was the first thing that attracted our attention. It is outside the building as far as the first floor, is of the finest marble, and ornamented with colossal statues of beautiful proportions. Up to the second and third stories it is in the interior of the building, and there is richly decorated on the sides with marble bas-reliefs, on the ceiling with gilt mouldings and small fresco-paintings, and with very fine statues in the niches. We then saw an extensive suite of salons and apartments, which were truly grand in decoration, the walls and the ceilings are painted in oil by the best masters, and here and there at intervals are the richest and most beautiful sculptured ornaments I ever beheld. The subjects of these pictures are almost exclusively incidents in the history of Venice; Doges returning thanks to the Holy Virgin for victories achieved, or the surrender of the keys of some one of the fortresses besieged by the Venetians, etc. etc. Despite the want ofgood taste in the bringing together, in these paintings, of heavenly and earthly personages, the execution and grouping of each, particularly in those byPaul Veronese, is exceedingly fine. Altogether in my opinion, there is no kind of decoration so befitting and worthy of a princely palace as this, in which the deeds of the nation are immortalized at the same time with the name of the most skilful national artist. In the present day how little feeling exists for this kind of patriotism! Where up to the present day is there to be seen any painting illustrating the modern deeds of heroism of the Germans, executed by the order of a Sovereign? And yet how greatly the artists of the present day are in want of such encouragement and support! And I am here speaking of painters and sculptors only; poets and musicians ought also to have been invited to immortalize the deeds of the German people.
We came at last to the great library, which contains also a perfect treasure of paintings and antique statues. From the gallery of this hall one has a charming view of the harbour.—In order to be enabled to make a comparison between the style of decorating palaces in former time with the modern method, we visited the apartments in the government building fitted up by order of the former Viceroy. We found them pretty and convenient, it is true; but what a difference between the earnest splendour of that ancient palace and the tasteless ornamentation of the new! Instead of the marble bas-reliefs and the rich gilt mouldings and ornaments of the latter, here we found slovenly painted arabesques by the hands of unknown daubers, and the walls hung with silk tapestry or figured paper instead of the pictures of famous masters.
October 17.
YesterdayPaganinireturned here again from Trieste, and therefore, as it would appear, has at once abandoned his project of going to Vienna. He called on me this morning, and so I have at length made the personal acquaintance of this wonderful man, of whom since I have been in Italy I haveheard some story or other every day. No instrumentalist ever charmed the Italians so much as he, and although they are not very fond of instrumental concerts, yet he gave more than a dozen concerts in Milan and five here. On making nearer enquiry, what it is that he in reality fascinates his auditory with, one hears from the non-musical portion the most exaggerated encomiums—that he is a complete wizard, and brings tones from his violin which were never heard before from that instrument. Connoisseurs, on the other hand, say that it cannot be denied he certainly possesses a great dexterity with the left hand, in double-chords and in passages of every kind, but that the very thing by which he fascinates the crowd debases him to a mere charlatan, and does not compensate for that in which he is utterly wanting—a grand tone, a long bow-stroke, and a tasteful execution. But that by which he captivates the Italian public and which has acquired for him the name of the “Inimitable,” which is even placed under his portraits, consists, on a nearer enquiry, in a succession of feats which, in the dark times of good taste, the once so famousSchellerperformed in the small towns and some capitals of Germany, and which at that time equally excited the admiration of our countrymen, viz, in the flageolet tones; in variations upon one string, in which for the purpose of imposing more upon the audience, he takes off the other three strings of the violin; in a peculiar kind ofpizzicato, produced with the left hand without the help of the right or of the bow; and in many tones quite unnatural to the violin, such as the bassoon tone, the voice of an old woman, etc. etc.—As I never heard the wonderfulScheller, whose saying was: “One God! one Scheller!” I should much like to hearPaganiniplay in his peculiar manner, and the more so, because I presume that so admired an artist must possess some more real merits than those adverted to.
The origin of his present skill as a virtuoso is said to have been a four years incarceration, to which he was condemned, for strangling his wife in a fit of violent rage. Such, at least, is the public report in Milan and here also. As from a wholly neglected education he could amuse himself neither with writing nor reading, he cheered theennuiof the tedious hours of his existence in the invention and practise of all the tricks of art with which he now astonishes all Italy. By his disobliging and rude behaviour he has made enemies of several of the lovers of music here, and they, after I have played any thing before them at my lodgings, extol me upon every opportunity atPaganini’sexpense, in order to annoy him, which is not only very unjust, since between two artists of such entirely different style no parallel can be drawn; but is also disadvantageous to me, because it makes allPaganini’sadmirers and partizans my enemies. His opponents have inserted a letter in the journals, in which they say that my play recalls to them the style of their veteran violinists,PugnaniandTartini, whose grand and dignified manner of handling the violin has become wholly lost in Italy, and had been compelled to make room for the petty and childish manner of their virtuosi of the present day; while the Germans and French had understood how to adapt that noble and simple method of play to the taste of modern times. This letter, which appeared in to-day’s paper without my knowledge, will certainly do me rather harm than good with the public, for the Venetians are firmly persuaded that it is impossible to come up toPaganini, much less to surpass him.
October 19.
Our concert took place yesterday, and was better attended than I had expected, since all who have the means to go into the country, or who are not tied to the city by very urgent business, are away, and of all my letters of recommendation the only one I have been yet able to deliver is the one to the governor CountGoes. Neither is it worth the trouble, to bring letters of introduction to Italians, for they are of no manner of use. A cold offer of their services, which they do not intend to give, is all that one gets from them. But I must return to the concert. It took place in the St. Luca theatre, which, next to the Fenice, is the largest and handsomest inVenice. The proprietor, SignorVendremi, let me have it on the condition that I should relinquish to him two-thirds of the sale of the boxes which were not private property. There exists, namely, a curious custom in Italy, which is, that certain boxes are sold to private individuals for as long as the house stands, whereby the proprietor of the house abandons all right to them. But these proprietors of boxes must pay the price for admission at the entrance the same as everybody else. This is the same for every part of the house, and always a very low one; with the boxes which remain in the hands of the proprietor of the theatre rare bargains are sometimes driven, and on the performance of very attractive pieces they are frequently paid as high as several carolini. Yesterday very little was taken for the boxes, so that signorVendremidid not profit much. From the coldness of the public at the commencement of my play, I immediately observed that there was a prejudice against me; but by degrees it subsided, and towards the close of the concert the applause was so unanimous, that I was twice called for. All that I afterwards played now found a much more ready reception, and the clapping of hands was as boisterous as in Milan.
To-day there has also appeared in the paper a very favorable report upon yesterday’s concert, in which it says, in reference to the letter adverted to, that it is unjust and partial to endeavour to praise one style at the expense of another, and that there should be no monopoly of any one genre in art: in which report, however, it also says of me, among other things, “that I unite the Italian sweetness with all the depth of study peculiar to our nation, and that I must be acknowledged to take rank among the first of living violinists—encomiums therefore, such as might content the vainest artist.”
October 20.
Paganinicalled upon me early this morning to compliment me upon the concert. I very urgently solicited him to play something, and several musical friends who were at my placeunited their entreaties to mine. But he very bluntly refused, and excused himself on account of a fall, the effects of which he still felt in the arms. Afterwards, when we were alone, and I again besought him, he said, his style of play was calculated for the great public only, and with them never failed in its effect; and that if he was to play anything to me, he must play in adifferentmanner, and for that he was at the moment by no means in the humour; but that we should probably meet in Rome or Naples, and then he would not put me off with a refusal. I shall therefore leave this place in all probability without hearing the wonderful man.
This morning, on going out, we had the wholly unexpected pleasure of meetingMeyerbeerand all his family. He is now returned from a tour through Sicily to meet his parents here, who have not seen him for five years: he will then turn back through Florence and Rome to Naples, to be present at the opening of the new theatre ofSt. Carlo. It was a real enjoyment to me to be able once more to converse with a well-educated German artist on subjects of art. His brother gave me the gratifying information that my opera “Faust” had been performed in Prague. On their journey through they were present at a rehearsal of it. I now look forward with hope to more detailed information respecting its representation.
At the theatre St. Moise we were present at the first performance of the old opera “Don Papirio,” which had been studied with great attention by the vocalists and the orchestra. The prima donna, MadameMarchesini, already somewhatpassée, distinguished herself greatly on that evening by good execution and clever acting. The buffo singer, whose name I do not remember, was also very excellent.
Bologna, October 25.
Late on Monday evening we left Venice by the “mail boat.” As the wind was very favorable, we performed the first part of the journey by water, as far as where the canal falls into the Lagunes, very quickly. Twice, for a short distance,we crossed a part of the open sea, that is the great and lesser harbour of Chiozza, where the motion of our bark was so violent from the roughness of the sea, thatDoretteand the children were regularly sea-sick. I only escaped this affliction by seating myself on the deck in the fresh air. When we had run into the canal, and afterwards into the Po, where the boat was towed by horses, it went slowly and quietly enough, so that I soon went to fetch up the patients. As I am told here, that the rich people of the town are still in the country, and that even at the most favorable season of the year concerts scarcely cover their expenses, we shall abandon the idea of giving one here, and continue our journey to Florence to-morrow morning by vetturino.
Florence, October 28.
The journey here over the Apennines, with very fine weather, was exceedingly pleasant. The mountains, though of a considerable height, are wooded almost to their summits, and the trees and bushes, were now rich with the most beautiful colours of their autumnal garb. The valley in which Florence lies presents a highly charming prospect. When one looks down upon the beautiful gardens and country seats, one seems to be entering a very Paradise.
November 2.
Florence does not quite come up to the expectations one forms of it from the description of over-enthusiastic travellers. Dresden is called the German Florence, but is not much honoured by the parallel. The situation of Dresden, as well as the city itself, are incomparably finer. The Arno is a dirty, mean-looking river, and is not in the least to be compared with the majestic Elbe. The four bridges which lead over it and connect the two parts of the town are certainly good and substantial, but not so long or so elegant as that of Dresden. Neither has Florence such fine buildings nor such handsome squares as Dresden, and excels it alone in its treasures of art of every kind. Of these there are so manyhere, that one can scarcely find time to see them all. On the square in front of the ancient palace stand several groups of colossal statues in marble and bronze of the most celebrated of the old masters, which make of this square, otherwise so irregular and unattractive, one of the most interesting in the world for connoisseurs in art. A group in marble, representing the rape of a Sabine, especially charmed us. From this square it is not far to the cathedral, a gigantic building with a cupola, which in circumference and height is said to be little inferior to St. Peter’s at Rome. The exterior is somewhat too party-coloured and not very tasteful; the walls are inlaid with tables of marble of different colours, which present a variety of patterns. Near the church stands a very lofty square clock-tower, which is ornamented in the same manner. Belonging thereto, although isolated from it, is also a christening chapel built in the same style, and also with a tolerably high dome. Here are the celebrated gates of bronze, of whichMichael Angelosaid they were worthy to stand at the entrance to the abode of the blessed, as they were too beautiful for any earthly building. There are three of them, two of which are executed and ornamented in the same style. But the single one is by far the handsomest and has far larger bas-reliefs than the other two. In the whole world is not to be seen any thing more beautiful in the grouping, drawing, perspective, softness and purity of the work than these bas-reliefs.
In another church we saw a succession of tombs, among which those ofMichael Angelo,Nardini, andAlfieriinterested us greatly. On the tomb of the former is his bust, executed with his own hand, and three female figures (by one of his pupils) personifying the three arts in which he excelled: architecture, painting, and sculpture, mourning for his loss. What however does it not confer upon the artists who merited such memorials of their worth, and upon their contemporaries also who raised them to them! Where can one find anything ofthe kind in Germany? Where haveMozartandHaydnthe memorials to their honour? In Vienna no one even knows where they are buried.
November 5.
On the day we arrived, and almost every evening since, we have been to the theatre in theVia della Pergola. They are now giving an opera ofRossini’s, “L’Italiana in Algeri,” and a grand ballet.Rossiniis now the favorite composer of the Italians, and several of his operas, “Tancredi,” “Il Turco in Italia,” and the above-named, are performed with great applause in almost every town in Italy. I was therefore glad, after having heard his compositions so frequently and highly praised in Milan and Venice, to hear something of his myself. This opera has, however, not wholly satisfied my expectations; in the first place it is wanting, like all Italian music, in purity of style, characteristic proprieties in the personages, and judicious calculation of the length or shortness of the music for the scene. These indispensable qualities of an opera to which we would give the appellation classic, I had however not expected, as we do not at all miss them in an Italian opera. One is accustomed to have the same person sing alternately in the tragic and comic style, and to hear from a peasant girl the same pompous vocal ornamentation as from a queen or a heroine, and to hear one of the persons performing sing alone, for a quarter of an hour at a time, in situations of the most impassioned kind, while the others walk about in the back-ground, or partly behind the scenes, and chat and laugh with their acquaintances. But I did indeed expect qualities which should distinguishRossini’swork above that of his colleagues—novelty of ideas, for instance; purity of harmony, etc.; but of all these I found but little. What the Italians consider new inRossini’soperas is not new to us; for they consist of ideas and modulations for the most part long since known in Germany; for instance the appoggiatura inthe bass at the beginning of the much-admired duett in the first act: