I stood till I was chilled, listening to the service, and looking at the long line of monks rising and sitting, with their monotonous changes of books and positions, and not knowing which way to go for warmth or retirement. I wandered up and down the dim church during the remaining hour, an unwilling, but not altogether an unamused spectator of the scene. The performers of the service, with the exception of Father Gasparo, were young men from sixteen to twenty; but during my slow turns to and fro on the pavement of the church, fifteen or twenty old monks entered, and, with a bend of the knee before the altar went off into the obscure corners, and knelt motionless at prayer, for almost an hour. I could just distinguish the dark outline oftheir figures when my eye became accustomed to the imperfect light, and I never saw a finer spectacle of religious devotion.
The convent clock struck ten, and shutting up their "clasped missals," the young monks took their cloaks about them, bent their knees in passing the altar, and disappeared by different doors. Father Gasparo was the last to depart, and our footsteps echoed as we passed through the long cloisters to the cell appropriated for me. We opened one of some twenty small doors, and I was agreeably surprised to find a supper of cold game upon the table, with a bottle of wine, and two plates—the monk intending to give me his company at supper. The cell was hung round with bad engravings of the Virgin, the death of martyrs, crosses, &c., and a small oaken desk stood against the wall beneath a large crucifix, with a prayer-book upon it. The bed was high, ample, and spotlessly white, and relieved the otherwise comfortless look of a stone floor and white-washed walls. I felt the change from summer heat to the keen mountain air, and as I shivered and buttoned my coat, my gay guest threw over me his heavy black cowl of cloth—a dress that, with its closeness and numerous folds, would keep one warm in Siberia. Adding to it his little black scull-cap, he told me, with a hearty laugh, that but for a certain absence of sanctity in the expression of my face, and the uncanonical length of my hair, I looked the monk complete. We had a merry supper. The wine was of a choicer vintage than that we had drank at dinner, and the father answered, upon my discovery of its merits, that henever wasted it upon women.
In the course of the conversation, I found out that my entertainer was a kind of butler, or head-servitor of the convent, and that the great body of the monks were of noble lineage. Thefeeling of pride still remains among them from the days when the Certosa of Vallombrosa was a residence for princes, before its splendid pictures were pillaged by a foreign army, its wealth scattered, and its numbers diminished. "In those days," said the monk, "we received nothing for our hospitality but the pleasure it gave us"—relieving my mind, by the remark, of what I looked forward to at parting as a delicate point.
My host left me at midnight, and I went to bed, and slept under a thick covering in an Italian August. "The blanched linen, white and lavendered," seemed to have a peculiar charm, for though I had promised to meet my excluded companions at sunrise, on the top of the mountain, I slept soundly till nine, and was obliged to breakfast alone in the refectory of the convent.
We were to dine at three, and start for Florence at four the next day, and we spent our morning in traversing the mountain paths, and getting views on every side. Fifty or a hundred feet above the convent, perched on a rock like an eyry, stands a small building in which Milton is supposed to have lived, during his six weeks sojourn at the convent. It is now fitted up as a nest of small chapels—every one of its six or eight little chambers having an altar. The ladies were not permitted to enter it. I selected the room I presumed the poet must have chosen—the only one commanding the immense view to the west, and, looking from the window, could easily feel the truth of his simile, "thick as leaves in Vallombrosa." It is a mountain of foliage.
Another sumptuous dinner was served, Father Gasparo sitting by, even more voluble than before, the baskets and the pony were brought to the door, and we bade farewell to the old monk withmore regret than a day's acquaintance often produces. We reached our carriage in an hour, and were in Florence at eight—having passed, by unanimous opinion, the two brightest days in our calendar of travel.
HOUSE OF MICHAEL ANGELO—THE ANCIENT CHURCH OF SAN MINIATO—MADAME CATALANI—WALTER SAVAGE LANDOR—MIDNIGHT MASS, ETC.
I went with a party this morning to visitthe house of Michael Angelo. It stands as he lived in it, in the Via Ghibellini, and is still in possession of his descendants. It is a neat building of three stories, divided on the second floor into three rooms, shown as those occupied by the painter, sculptor, and poet. The first is panelled and painted by his scholars after his death—each picture representing some incident of his life. There are ten or twelve of these, and several of them are highly beautiful. One near the window represents him in his old age on a visit to "Lorenzo the Magnificent," who commands him to sit in his presence. The Duke is standing before his chair, and the figure of the old man is finely expressive.
The next room appears to have been his parlor, and the furniture is exactly as it stood when he died. In one corner is placed a bust of him in his youth, with his face perfect; and opposite, another, taken from a cast after his nose was broken bya fellow painter in the church of the Carmine. There are also one or two portraits of him, and the resemblance through them all, shows that the likeness we have of him in the engravings are uncommonly correct.
In the inner room, which was his studio, they show his pallet, brushes, pots, maul-sticks, slippers, and easel—all standing carelessly in the little closets around, as if he had left them but yesterday. The walls are painted in fresco, by Angelo himself, and represent groups of all the distinguished philosophers, poets and statesmen of his time. Among them are the heads of Petrarch, Dante, Galileo, and Lorenzo de Medici. It is a noble gallery! perhaps a hundred heads in all.
The descendant of Buonarotti is now an old man, and fortunately rich enough to preserve the house of his great ancestor as an object of curiosity. He has a son, I believe studying the arts at Rome.
On a beautiful hill which ascends directly from one of the southern gates of Florence, stands a church built so long ago as at the close of the first century. The gate, church, and hill, are all called San Miniato, after a saint buried under the church pavement. A large, and at present flourishing convent, hangs on the side of the hill below, and around the church stand the walls of a strong fortress, built by Michael Angelo. A half mile or more south, across a valley, an old tower rises against the sky, which was erected for the observations of Galileo. A mile to the left, on the same ridge, an old villa is to be seen in which Boccaccio wrote most of his "Hundred Tales of Love." TheArno comes down from Vallombrosa, and passing through Florence at the foot of San Miniato, is seen for three miles further on its way to Pisa; the hill, tower, and convent of Fiesole, where Milton studied and Catiline encamped with his conspirators, rise from the opposite bank of the river; and right below, as if you could leap into the lantern of the dome, nestles the lovely city of Florence, in the lap of the very brightest vale that ever mountain sheltered or river ran through. Such are the temptations to awalk in Italy, and add to it the charms of the climate, and you may understand one of a hundred reasons why it is the land of poetry and romance, and why it so easily becomes the land of a stranger's affection.
The villas which sparkle all over the hills which lean unto Florence, are occupied mainly by foreigners living here for health or luxury, and most of them are known and visited by the floating society of the place. Among them are Madame Catalani, the celebrated singer, who occupies a beautiful palace on the ascent of Fiesole, and Walter Savage Landor, the author of the "Imaginary Conversations," as refined a scholar perhaps as is now living, who is her near neighbor. A pleasant family of my acquaintance lives just back of the fortress of San Miniato, and in walking out to them with a friend yesterday, I visited the church again, and remarked more particularly the features of the scene I have described.
The church of San Miniato was built by Henry I. of Germany, and Cunegonde his wife. The front is pretty—a kind of mixture of Greek and Arabic architecture, crusted with marble. The interior is in the style of the primitive churches, the altar standing in what was called thepresbytery, a high platform occupying a third of the nave, with two splendid flights of stairsof the purest white marble. The most curious part of it is the rotunda in the rear, which is lit by five windows of transparent oriental alabaster, each eight or nine feet high and three broad, in single slabs. The sun shone full on one of them while we were there, and the effect was inconceivably rich. It was like a sheet of half molten gold and silver. The transparency of course was irregular, but in the yellow spots of the stone the light came through like the effect of deeply stained glass.
A partly subterranean chapel, six or eight feet lower than the pavement of the church, extends under the presbytery. It is a labyrinth of marble columns which support the platform above, no two of which are alike. The ancient cathedral of Modena is the only church I have seen in Italy built in the same manner.
Themidnight masson "Christmas eve," is abused in all catholic countries, I believe, as a kind of saturnalia of gallantry. I joined a party of young men who were leaving a ball for the church of the Annunciata, the fashionable rendezvous, and we were set down at the portico when the mass was about half over. The entrances of the open vestibule were thronged to suffocation. People of all ages and conditions were crowding in and out, and the sound of the distant chant at the altar came to our ears as we entered, mingled with every tone of address and reply from the crowd about us. The body of the church was quite obscured with the smoke of the incense. We edged our way on through the press, carried about in the open area of the church by every tide that rushed in from the various doors, till we stopped in a thick eddy in the centre, almost unable to stir a limb. I couldsee the altar very clearly from this point, and I contented myself with merely observing what was about me, leaving my motions to the impulse of the crowd.
It was a curiously mingled scene. The ceremonies of the altar were going on in all their mysterious splendor. The waving of censers, the kneeling and rising of the gorgeously clad priests, accompanied simultaneously by the pealing of solemn music from the different organs—the countless lights burning upon the altar, and, ranged within the paling, a semicircle of the duke's grenadiers, standing motionless, with their arms presented, while the sentinel paced to and fro, and all kneeling, and grounding arms at the tinkle of the slight bell—were the materials for the back-ground of the picture. In the immense area of the church stood perhaps, four thousand people, one third of whom, doubtless, came to worship. Those who did and those who did not, dropped alike upon the marble pavement at the sound of the bell; and then, as I was heretic enough to stand, I had full opportunity for observing both devotion and intrigue. The latter was amusingly managed. Almost all the pretty and young women were accompanied by an ostensible duenna, and the methods of eluding their vigilance in communication were various. I had detected under ablondwig, in entering, the young ambassador of a foreign court, who beingcavaliere serventeto one of the most beautiful women in Florence, certainly had no right to the amusement of the hour. We had been carried up the church in the same tide, and when the whole crowd were prostrate, I found him just beyond me, slipping a card into the shoe of an uncommonly pretty girl kneeling before him. She was attended by both father and mother apparently, but as she gave no sign of surprise, except stealing an almost imperceptibleglance behind her, I presumed she was not offended. I passed an hour, perhaps, in amused observation of similar matters, most of which could not be well described on paper. It is enough to say, that I do not think more dissolute circumstances accompanied the worship of Venus in the most defiled of heathen temples.
FLORENCE—VISIT TO THE CHURCH OF SAN GAETANO—PENITENTIAL PROCESSIONS—THE REFUGEE CARLISTS—THE MIRACLE OF RAIN—CHURCH OF THE ANNUNCIATA—TOMB OF GIOVANNI DI BOLOGNA—MASTERPIECE OF ANDREA DEL SARTO, ETC., ETC.
I heard the best passage of the opera of "Romeo and Juliet" delightfully played in the church ofSan Gaetanothis morning. I was coming from thecafé, where I had been breakfasting, when the sound of the organ drew me in. The communion was administering at one of the side chapels, the showy Sunday mass was going on at the great altar, and the numerous confession boxes were full of penitents,all female, as usual. As I took a seat near the communicants, the sacred wafer was dipped into the cup and put into the mouth of a young woman kneeling before the railing. She rose soon after, and I was not lightly surprised to find it was a certain errand-girl of a bachelor's washerwoman, as unfit a person for the holy sacrament as wears a petticoat in Florence.
I was drawn by the agreeable odor of the incense to the paling of the high altar. The censers were flung by unseen hands from the doors of the sacristy at the sides, and an unseen chorus ofboys in the choir behind, broke in occasionally with the high-keyed chant that echoes with its wild melody from every arch and corner of these immense churches. It seems running upon the highest note that the ear can bear, and yet nothing could be more musical. A man knelt on the pavement near me, with two coarse baskets beside him, and the traces of long and dirty travel from his heels to his hips. He had stopped in to the mass, probably, on his way to market. There can be no greater contrast than that seen in Catholic churches, between the splendor of architecture, renowned pictures, statues and ornaments of silver and gold, and the crowd of tattered, famished, misery-marked worshippers that throng them. I wonder it never occurs to them, that the costly pavement upon which they kneel might feed and clothe them.[6]
Penitential processions are to be met all over Florence to-day, on account of the uncommon degree of sickness. One of them passed under my window just now. They are composed of people of all classes, upon whom it is inflicted as a penance by the priests. A white robe covers them entirely, even the face, and, with their eyes glaring through the two holes made for that purpose, they look like processions of shrouded corpses. Eight of the first carry burning candles of six feet in length, and a company in the rear have the church books, from which they chant, the whole procession joining in a melancholy chorus of three notes. It rains hard to-day, and their white dresses cling to them with a ludicrously ungraceful effect.
Florence is an unhealthful climate in the winter. The tramontane winds come down from the Appenines so sharply, that delicate constitutions, particularly those liable to pulmonary complaints, suffer invariably. There has been a dismal mortality among the Italians. The Marquis Corsi, who presented me at court a week ago (the last day he was out, and the last duty he performed), lies in state, at this moment, in the church of Santa Trinita, and another of the duke's counsellors of state died a few days before. His prime minister, Fossombroni, is dangerously ill also, and all of the same complaint, themal di petto, as it is called, or disease of the lungs. Corsi is a great loss to Americans. He was the grand chamberlain of court, wealthy and hospitable, and took particular pride in fulfilling the functions of an American ambassador. He was a courtier of the old school, accomplished, elegant, and possessed of universal information.
Therefugee Carlistsare celebrating to-day, in the church of Santa Maria Novella, the anniversary of the death ofLouis XVI. The bishop of Strasbourg is here, and is performing high mass for the soul of the "martyr," as they term him. Italy is full of the more aristocratic families of France, and it has becomemauvais tonin society to advocate the present government of France, or even its principles. They detest Louis Philippe with the virulence of a deadly private enmity, and declare universally, that they will exile themselves till they can return to overthrow him. Among the refugees are great numbers of young men, who are sent away from home with a chivalrous devotion to the cause of the Duchess of Berri, which they avow so constantly in the circles of Italian society, that she seems the exclusive heroine ofthe day. There was nothing seen of the French exquisites in Florence for a week after she was taken. They were in mourning for the misfortune of their mistress.
All Florence is ringing withthe miracle. The city fountains have for some days been dry, and the whole country was suffering for rain.The day before the moon changed, the procession began, and the day after, when the sky was full of clouds, the holy picture in the church of the Annunciata, "painted by St. Luke himself," was solemnly uncovered. The result was the present miracle ofrain, and the priests are preaching upon it from every pulpit. Thepadroneof my lodgings came in this morning, and told me the circumstances with the most serious astonishment.
I joined the crowd this morning, who are still thronging up thevia de Servito the church of the Annunciata at all hours of the day. The square in front of the church was like a fair—every nook occupied with the little booths of the sellers of rosaries, saints books, and pictures. We were assailed by a troop of pedlars at the door, holding leaden medals and crucifixes, and crying, at the top of their voices, forfidele Christianito spend a crazie for the love of God.
After crowding up the long cloister with a hundred or two of wretches, steaming from the rain, and fresh from every filthy occupation in the city, we were pushed under the suspended leather door, and reached the nave of the church. In the slow progress we made toward the altar, I had full opportunity to study the fretted-gold ceiling above me, the masterly pictures in the side chapels, the statuary, carving, and general architecture.Description can give you no idea of the waste of splendor in these places.
I stood at last within sight of the miraculous picture. It is painted in fresco, above an altar surrounded with a paling of bronze and marble projecting into the body of the church. Eight or ten massive silver lamps, each one presented by sometradein Florence, hung from the roof of the chapel, burning with a dusky glare in the daylight. A grenadier, with cap and musket, stood on each side of the bronze gate, repressing the eager rush of the crowd. Within, at the side of the altar, stood the officiating priest, a man with a look of intellect and nobleness on his fine features and lofty forehead, that seemed irreconcilable with the folly he was performing. The devotees came in, one by one, as they were admitted by the sentinel, knelt, offered their rosary to the priest, who touched it to the frame of the picture with one hand, and received their money with the other, and then crossing themselves, and pressing the beads to their bosom, passed out at the small door leading into the cloisters.
As the only chance of seeing the picture, I bought a rosary for two crazie (about three cents), and pressed into the throng. In a half hour it came to my turn to pass the guard. The priest took my silver paul, and while he touched the beads to the picture, I had a moment to look at it nearly. I could see nothing but a confused mass of black paint, with an indistinct outline of the head of the Madonna in the centre. The large spiked rays of glory standing out from every side were all I could see in the imperfect light. The richness of the chapel itself, however, was better worth the trouble to see. It is quite encrusted with silver. Silverbassi relievi, two silver candelabra, six feet in height, two very large silver statues of angels, aciborio(enclosing a most exquisite head of our Saviour, byAndrea del Sarto), a massive silver cornice sustaining a heavily folded silver curtain, and silver lilies and lamps in any quantity all around. I wonder, after the plundering of the church of San Antonio, at Padua, that these useless riches escaped Napoleon.
How some of the priests, who are really learned and clever men, can lend themselves to such barefaced imposture as this miracle, it is difficult to conceive. The picture has been kept as a doer of these miracles, perhaps for a century. It is never uncovered in vain. Supernatural results are certain to follow, and it is done as often as they dare to make a fresh draught on the credulity and money of the people. The story is as follows: "A certain Bartolomeo, while painting a fresco of the annunciation, being at a loss how to make the countenance of the Madonna properly seraphic, fell asleep while pondering over his work; and, on waking, found it executed in a style he was unable to equal." I can only say that St. Luke, or the angel, or whoever did it, was a very indifferent draughtsman. It is ill drawn, and whatever the colors might have been upon the pallet of the sleepy painter, they were not made immortal by angelic use. It is a mass of confused black.
I was glad to get away from the crowd and their mummery, and pay a new tribute of reverence at the tomb ofGiovanni di Bologna. He is buried behind the grand altar, in a chapel ornamented at his own expense, and with his own inimitable works. Six bas-reliefs in bronze, than which life itself is not more natural, represent different passages of our Saviour's history. They were done for the Grand Duke, who, at the death of the artist, liberally gave them to ornament his tomb. After the authors of the Venus and the Apollo Belvidere, John of Bologna is,in my judgment, the greatest of sculptors. Hismounting Mercury, in the Florence gallery, might have been a theft from heaven for its divine beauty.
In passing out by the cloisters of the adjoining convent, I stopped a moment to see the fresco of theMadonna del Sacco, said to have been the masterpiece ofAndrea del Sarto. Michael Angelo and Raphael are said to have "gazed at it unceasingly." It is much defaced, and preserves only its graceful drawing. The countenance of Mary has thebeau resteof singular loveliness. The models of this delightful artist (who, by the way, is buried in the vestibule of this same church), must have been the most beautiful in the world. All his pictures move the heart.
FLORENTINE PECULIARITIES—SOCIETY—BALLS—DUCAL ENTERTAINMENTS—PRIVILEGE OF STRANGERS—FAMILIES OF HIGH RANK—THE EXCLUSIVES—SOIREES—PARTIES OF A RICH BANKER—PEASANT BEAUTY—VISITERS OF A BARONESS—AWKWARD DEPORTMENT OF A PRINCE—A CONTENTED MARRIED LADY—HUSBANDS, CAVALIERS, AND WIVES—PERSONAL MANNERS—HABITS OF SOCIETY, ETC.
I am about starting on my second visit to Rome, after having passed nearly three months in Florence. As I have seen most of the society of this gayest and fairest of the Italian cities, it may not be uninteresting to depart a little from the traveller's routine by sketching a feature or two.
Florence is a resort for strangers from every part of the world. The gay society is a mixture of all nations, of whom one third may be Florentine, one third English, and the remaining part equally divided between Russians, Germans, French, Poles, and Americans. The English entertain a great deal, and give most of the balls and dinner parties. The Florentines seldom trouble themselves to give parties, but are always at home for visits intheprima sera(from seven till nine), and in their box at the opera. They go, without scruple, to all the strangers' balls, considering courtesy repaid, perhaps, by the weekly reception of the Grand Duke, and a weekly ball at the club-house of young Italian noblemen.
The ducal entertainments occur every Tuesday, and are the most splendid of course. The foreign ministers present all of their countrymen who have been presented at their own courts, and the company is necessarily more select than elsewhere. The Florentines who go to court are about seven hundred, of whom half are invited on each week—strangers, when once presented, having the double privilege of coming uninvited to all. There are several Italian families, of the highest rank, who are seen only here; but, with the single exception of one unmarried girl, of uncommon beauty, who bears a name celebrated in Italian history, they are no loss to general society. Among the foreigners of rank, are three or four German princes, who play high and waltz well, and are remarkable for nothing else; half a dozen star-wearing dukes, counts, and marquises, of all nations and in any quantity, and a few English noblemen and noble ladies—only the latter nation showing their blood at all in their features and bearing.
The most exclusive society is that of the Prince Montfort (Jerome Bonaparte), whose splendid palace is shut entirely against the English, and difficult of access to all. He makes a single exception in favor of a descendant of the Talbots, a lady whose beauty might be an apology for a much graver departure from rule. He has given two grand entertainments since the carnival commenced, to which nothing was wanting but people to enjoy them. The immense rooms were flooded with light, themusic was the best Florence could give, the supper might have supped an army—stars and red ribands entered with every fresh comer, but it looked like a "banquet hall deserted." Some thirty ladies, and as many men, were all that Florence contained worthy of the society of the Ex-King. A kinder man in his manners, however, or apparently a more affectionate husband and father, I never saw. He opened the dance by waltzing with the young Princess, his daughter, a lovely girl of fourteen, of whom he seems fond to excess, and he was quite the gayest person in the company till the ball was over. The Ex-Queen, who is a miracle of size, sat on a divan, with her ladies of honor about her, following her husband with her eyes, and enjoying his gayety with the most childish good humor.
The Saturday eveningsoirées, at Prince Poniatowski's (a brother of the hero), are perhaps as agreeable as any in Florence. He has several grown-up sons and daughters married, and, with a very sumptuous palace and great liberality of style, he has made his parties more than usually valued. His eldest daughter is the leader of the fashion, and his second is the "cynosure of all eyes." The old Prince is a tall, bent, venerable man, with snow-white hair, and very peculiarly marked features. He is fond of speaking English, and professes a great affection for America.
Then there are thesoiréesof the rich banker, Fenzi, which, as they are subservient to business, assemble all ranks on the common pretensions of interest. At the last, I saw, among other curiosities, a young girl of eighteen from one of the more common families of Florence—a fine specimen of the peasant beauty of Italy. Her heavily moulded figure, hands, and feet, were quite forgiven when you looked at her dark, deep, indolent eye,and glowing skin, and strongly-lined mouth and forehead. The society was evidently new to her, but she had a manner quite beyond being astonished. It was the kind ofanimal dignityso universal in the lower classes of this country.
A German baroness of high rank receives on the Mondays, and here one sees foreign society in its highest coloring. The prettiest woman that frequents her parties, is a Genoese marchioness, who hasleft her husbandto live with a Lucchese count, who hasleft his wife. He is a very accomplished man, with the look of Mephistopheles in the "Devil's Walk," and she is certainly a most fascinating woman. She is received in most of the good society of Florence—a severe, though a very just comment on its character. A Prince, the brother of the King of ——, divided the attention of the company with her last Monday. He is a tall, military-looking man, with very bad manners, ill at ease, and impudent at the same time. He entered with his suite in the middle of a song. The singer stopped, the company rose, the Prince swept about, bowing like a dancing-master, and, after the sensation had subsided, the ladies were taken up and presented to him, one by one. He asked them all the same question, stayed through two songs, which he spoiled by talking loudly all the while, and then bowed himself out in the same awkward style, leaving everybody more happy for his departure.
One gains little by his opportunities of meeting Italian ladies in society. Thecavaliere serventeflourishes still as in the days of Beppo, and it is to him only that the lady condescends totalk. There is a delicate, refined-looking, little marchioness here, who is remarkable as being the only known Italian lady without a cavalier. They tell you, with an amused smile, "that she is content with her husband." It really seems to be a business ofreal love between the lady of Italy and her cavalier. Naturally enough too—for her parents marry her without consulting her at all, and she selects a friend afterward, as ladies in other countries select a lover who is to end in a husband. The married couple are never seen together by any accident, and the lady and her cavalier never apart. The latter is always invited with her as a matter of course, and the husband, if there is room, or if he is not forgotten. She is insulted if asked without a cavalier, but is quite indifferent whether her husband goes with her or not. These are pointsreally settledin the policy of society, and the rights of the cavalier are specified in the marriage contracts. I had thought, until I came to Italy, that such things were either a romance, or customs of an age gone by.
I like very much the personal manners of the Italians. They are mild and courteous to the farthest extent of looks and words. They do not entertain, it is true, but their great dim rooms are free to you whenever you can find them at home, and you are at liberty to join the gossiping circle around the lady of the house, or sit at the table and read, or be silent unquestioned. You arelet alone, if you seem to choose it, and it is neither commented on, nor thought uncivil, and this I take to be a grand excellence in manners.
The society is dissolute, I think, almost without an exception. The English fall into its habits, with the difference that they do not conceal it so well, and have the appearance of knowing its wrong—which the Italians have not. The latter are very much shocked at the want of propriety in the management of the English. To suffer the particulars of an intrigue to get about is a worse sin, in their eyes, than any violation of the commandments. It is scarce possible for an American to conceive the universalcorruption of a society like this of Florence, though, if he were not told of it he would think it all that was delicate and attractive. There are external features in which the society of our own country is far less scrupulous and proper.
SIENNA—POGGIOBONSI—BONCONVENTO—ENCOURAGEMENT OF FRENCH ARTISTS BY THEIR GOVERNMENT—ACQUAPENDENTE—POOR BEGGAR, THE ORIGINAL OF A SKETCH BY COLE—BOLSENA—VOLSCENIUM—SCENERY—CURIOUS STATE OF THE CHESTNUT WOODS.
Sienna.—A day and a half on my second journey to Rome. With a party of four nations inside, and two strangers, probably Frenchmen, in the cabriolet, we have jogged on at some three miles in the hour, enjoying the lovely scenery of these lower Appenines at our leisure. We slept last night at Poggiobonsi, a little village on a hill-side, and arrived at Sienna for our mid-day rest. I pencil this note after an hour's ramble over the city, visiting once more the cathedral, with its encrusted marbles and naked graces, and the shell-shaped square in the centre of the city, at the rim of which the eight principal streets terminate. There is a fountain in the midst, surrounded withbassi relievimuch disfigured. It was mentioned by Dante. The streets were deserted, it being Sunday, and all the people at the Corso, to see the racing of horses without riders.
Bonconvento.—We sit, with the remains of a traveller's supper on the table—six very social companions. Our cabriolet friends are two French artists, on their way to study at Rome. They are both pensioners of the government, each having gained the annual prize at the academy in his separate branch of art, which entitles him to five years' support in Italy. They are full of enthusiasm, and converse with all the amusing vivacity of their nation. The academy of France send out in this manner five young men annually, who have gained the prizes for painting, sculpture, architecture, music, and engraving.
This is the place where Henry the Seventh of Germany was poisoned by a monk, on his way to Rome. The drug was given to him in the communion cup. The "Ave Marie" was ringing when we drove into town, and I left the carriage and followed the crowd, in the hope of finding an old church where the crime might have been committed. But the priest was mumbling the service in a new chapel, which no romance that I could summon would picture as the scene of a tragedy.
Acquapendente.—While the dirty customhouse officer is deciphering our passports, in a hole a dog would live in unwillingly, I take out my pencil to mark once more the pleasure I have received from the exquisite scenery of this place. The wild rocks enclosing the little narrow valley below, the waterfalls, the town on its airy perch above, the just starting vegetation of spring, the roads lined with snowdrops, crocuses and violets, have renewed, in a tenfold degree, the delight with which I saw this romantic spot on my former journey to Rome.
We crossed the mountain of Radicofani yesterday, in so thicka mist that I could not even distinguish the ruin of the old castle, towering into the clouds above. The wild, half-naked people thronged about us as before, and I gave another paul to the old beggar with whom I became acquainted by Mr. Cole's graphic sketch. The winter had, apparently, gone hard with him. He was scarce able to come to the carriage window, and coughed so hollowly that I thought he had nearly begged his last pittance.
Bolsena.—we walked in advance of the vetturino along the borders of this lovely and beautiful lake till we are tired. Our artists have taken off their coats with the heat, and sit, a quarter of a mile further on, pointing in every direction at these unparalleled views. The water is as still as a mirror, with a soft mist on its face, and the water-fowl in thousands are diving and floating within gunshot of us. An afternoon in June could not be more summer-like, and this, to a lover of soft climate, is no trifling pleasure.
A mile behind us lies the town, the seat of ancientVolscinium, the capital of the Volscians. The country about is one quarry of ruins, mouldering away in the moss. Nobody can live in health in the neighborhood, and the poor pale wretches who call it a home are in melancholy contrast to the smiling paradise about them. Before us, in the bosom of the lake, lie two green islands, those which Pliny records to have floated in his time and one of which,Martana, a small conical isle, was the scene of the murder of the queen of the Goths, by her cousin Theodatus. She was taken there and strangled. It is difficult to imagine, with such a sea of sunshine around and over it, that it was ever anything but a spot of delight.
The whole neighborhood is covered with rotten trunks of trees—a thing which at first surprised me in a country where wood isso economised. It is accounted for in the French guide-book of one of our party by the fact, that the chestnut woods of Bolsena are considered sacred by the people, from their antiquity, and are never cut. The trees have ripened and fallen and rotted thus for centuries—one cause, perhaps, of the deadly change in the air.
The vetturino comes lumbering up, and I must pocket my pencil and remount.
MONTEFIASCONE—ANECDOTE OF THE WINE—VITERBO—MOUNT CIMINO—TRADITION—VIEW OF ST. PETER'S—ENTRANCE INTO ROME—A STRANGER'S IMPRESSIONS OF THE CITY.
Montefiascone.—We have stopped for the night at the hotel of this place, so renowned for its wine—the remnant of a bottle of which stands, at this moment, twinkling between me and my French companions. The ladies of our party have gone to bed, and left us in the room where satJean Defoucris, the merry German monk, who died of excess in drinking the same liquor that flashes through this straw-covered flask. The story is told more fully in the French guide-books. A prelate of Augsbourg, on a pilgrimage to Rome, sent forward his servant with orders to mark every tavern where the wine was good with the wordest, in large letters of chalk. On arriving at this hotel, the monk saw the signal thrice written over the door—Est! Est! Est!He put up his mule, and drank of Montefiascone till he died. His servant wrote his epitaph, which is still seen in the church of St. Florian:—
"Propter miniumEST,EST,Dominus meus mortuusEST!"
"Propter miniumEST,EST,
Dominus meus mortuusEST!"
"Est, Est, Est!" is the motto upon the sign of the hotel to this day.
In wandering about Viterbo in search of amusement, while the horses were baiting, I stumbled upon the shop of an antiquary. After looking over his medals, Etruscan vases, cameos, &c., a very interesting collection, I inquired into the state of trade for such things in Viterbo. He was a cadaverous, melancholy looking old man, with his pockets worn quite out with the habit of thrusting his hands into them, and about his mouth and eye there was the proper virtuoso expression of inquisitiveness and discrimination. He kept also a smallcaféadjoining his shop, into which we passed, as he shrugged his shoulders at my question. I had wondered to find a vender of costly curiosities in a town of such poverty, and I was not surprised at the sad fortunes which had followed upon his enterprise. They were a base herd, he said, of the people, utterly ignorant of the value of the precious objects he had for sale and he had been compelled to open acafé, and degrade himself by waiting on them for a contemptiblecrazieworth of coffee, while his lovely antiquities lay unappreciated within. The old gentleman was eloquent upon his misfortunes. He had not been long in trade, and had collected his museum originally for his own amusement. He was an odd specimen, in a small way, of a man who was quite above his sphere, and suffered for his superiority. I bought a prettyintaglio, and bade him farewell, after an hour's acquaintance, with quite the feeling of a friend.
Mount Cimino rose before us soon after leaving Viterbo, and we walked up most of the long and gentle ascent, inhaling the odor of the spicy plants for which it is famous, and looking out sharply for the brigands with which it is always infested. English carriages are constantly robbed on this part of the route of late. The robbers are met usually in parties of ten and twelve, and, a week before we passed, Lady Berwick (the widow of an English nobleman, and a sister of the famous Harriet Wilson) was stopped and plundered in broad mid-day. The excessive distress among the peasantry of these misgoverned States accounts for these things, and one only wonders why there is not even more robbing among such a starving population. This mountain, by the way, and the pretty lake below it, are spoken of in the Æneid: "Cimini cum monte locum," etc. There is an ancient tradition, that in the crescent-shaped valley which the lake fills, there was formerly a city, which was overwhelmed by the rise of the water, and certain authors state that when the lake is clear, the ruins are still to be seen at the bottom.
The sun rose upon us as we reached the mountain above Baccano, on the sixth day of our journey, and, by its clear golden flood, we saw the dome of St. Peter's, at a distance of sixteen miles, towering amid the campagna in all its majestic beauty. We descended into the vast plain, and traversed its gentle undulations for two or three hours. With the forenoon well advanced, we turned into the valley of the Tiber, and saw the home of Raphael, a noble chateau on the side of a hill, near the river, and, in the little plain between, the first peach-trees wehad seen, in full blossom. The tomb of Nero is on one side of the road, before crossing the Tiber, and on the other a newly painted and staringrestaurant, where the modern Roman cockneys drive for punch and ices. The bridge of Pontemolle, by which we passed into the immediate suburb of Rome, was the ancientPons Æmilius, and here Cicero arrested the conspirators on their way to join Catiline in his camp. It was on the same bridge, too, that Constantine saw his famous vision, and gained his victory over the tyrant Maxentius.
Two miles over theVia Flaminia, between garden walls that were ornamented with sculpture and inscription in the time of Augustus, brought us to thePorta del Popolo. The square within this noble gate is modern, but very imposing. Two streets diverge before you, as far away as you can see into the heart of the city, a magnificent fountain sends up its waters in the centre, the façades of two handsome churches face you as you enter, and on the right and left are gardens and palaces of princely splendor. Gay and sumptuous equipages cross it in every direction, driving out to the villa Borghese, and up to the Pincian mount, the splendid troops of the Pope are on guard, and the busy and stirring population of modern Rome swell out to its limit like the ebb and flow of the sea. All this disappoints while it impresses the stranger. He has come to Rome—but it wasoldRome that he had pictured to his fancy. The Forum, the ruins of her temples, the palaces of her emperors, the homes of her orators, poets, and patriots, the majestic relics of the once mistress of the world, are the features in his anticipation. But he enters by a modern gate to a modern square, and pays his modern coin to a whiskered officer of customs; and in the place of a venerable Belisarius begging an obolus in classic Latin, he isbeset by a troop of lusty and filthy lazzaroni entreating for abaiochin the name of the Madonna, and in effeminate Italian. He drives down the Corso, and reads nothing but French signs, and sees all the familiar wares of his own country exposed for sale, and every other person on thepaveis an Englishman, with a narrow-rimmed hat and whalebone stick, and with an hour at the Dogama, where his baggage is turned inside out by a snuffy old man who speaks French, and a reception at a hotel where the porter addresses him in his own language, whatever it may be; he goes to bed under Parisian curtains, and tries to dream of the Rome he could not realize while awake.
APPIAN WAY—TOMB OF CECILIA METELLA—ALBANO—TOMB OF THE CURIATII—ARICIA—TEMPLE OF DIANA—FOUNTAIN OF EGERIA—LAKE OF NEMI—VELLETRI—PONTINE MARSHES—CONVENT—CANAL—TERRACINA—SAN FELICE—FONDI—STORY OF JULIA GONZAGA—CICERO'S GARDEN AND TOMB—MOLA—MINTURNA—RUINS OF AN AMPHITHEATRE AND TEMPLE—FALERNIAN MOUNT AND WINE—THE DOCTOR OF ST. AGATHA—CAPUA—ENTRANCE INTO NAPLES—THE QUEEN.
With the intention of returning to Rome for the ceremonies of the holy week, I have merely passed through on my way to Naples. We left it the morning after our arrival, going by the "Appian way" to mount Albano, which borders the Campagna on the south, at a distance of fifteen miles. This celebrated road is lined with the ruined tombs of the Romans. Off at the right, some four or five miles from the city, rises the fortress-liketomb of Cecilia Metella, so exquisitely mused upon by Childe Harold. This, says Sismondi, with the tombs of Adrian and Augustus, became fortresses of banditti, in the thirteenth century, and were taken by Brancallone, the Bolognese governor of Rome, whohanged the marauders from the walls. It looks little like "a woman's grave."
We changed horses at the pretty village of Albano, and, on leaving it, passed an ancient mausoleum, believed to be the tomb of the Curiatii who fought the Horatii on this spot. It is a large structure, and had originally four pyramids on the corners, two of which only remain.
A mile from Albano lies Aricia, in a country of the loveliest rural beauty. Here was the famous temple of Diana, and here were the lake and grove sacred to the "virgin huntress," and consecrated as her home by peculiar worship. The fountain of Egeria is here, where Numa communed with the nymph, and the lake of Nemi, on the borders of which the temple stood, and which was calledDiana's mirror(speculum Dianæ), is at this day, perhaps, one of the sweetest gems of natural scenery in the world.
We slept at Velletri, a pretty town of some twelve thousand inhabitants, which stands on a hill-side, leaning down to the Pontine marshes. It was one of the grand days of carnival, and the streets were full of masks, walking up and down in their ridiculous dresses, and committing every sort of foolery. The next morning, by daylight, we were upon the Pontine marshes, the long thirty miles level of which we passed in an unbroken trot, one part of a day's journey of seventy-five miles, done by thesame horses, at the rate of six miles in the hour! They are small, compact animals, and look in good condition, though they do as much habitually.
At a distance of fifteen miles from Velletri, we passed a convent, which is built opposite the spot where St. Paul was met by his friends, on his journey from the seaside to Rome. The canal upon which Horace embarked on his celebrated journey toBrundusium, runs parallel with the road for its whole distance. This marshy desert is inhabited by a race of as wretched beings, perhaps, as are to be found upon the face of the earth. The pestiferous miasma of the pools is certain destruction to health, and the few who are needed at the distant post-houses, crawl out to the road-side like so many victims from a pest-house, stooping with weakness, hollow-eyed, and apparently insensible to everything. The feathered race seems exempt from its influence, and the quantities of game of every known description are incredible. The ground was alive with wild geese, turkeys, pigeons, plover, ducks, and numerous birds we did not know, as far as the eye could distinguish. The travelling books caution against sleeping in the carriage while passing these marshes, but we found it next to impossible to resist the heavy drowsiness of the air.
At Terracina the marshes end, and the long avenue of elms terminates at the foot of a romantic precipice, which is washed by the Mediterranean. The town is most picturesquely built between the rocky wall and the sea. We dined with the hollow murmur of the surf in our ears, and then, presenting our passports, entered the kingdom of Naples. This Terracina, by the way, was the ancientAnxur, which Horace describes in his line—
"Impositum late saxis candentibus Anxur."
For twenty or thirty miles before arriving at Terracina, we had seen before us the headland of Circœum, lying like a mountain island off the shore. It is usually called San Felice, from the small town seated upon it. This was the ancient abode of the "daughter of the sun," and here were imprisoned, according to Homer, the champions of Ulysses, after their metamorphoses.
From Terracina to Fondi, we followed the old Appian way, a road hedged with flowering myrtles and orange trees laden with fruit. Fondi itself is dirtier than imagination could picture it, and the scowling men in the streets look like myrmidons of Fra Diavolo, their celebrated countryman. This town, however, was the scene of the romantic story of the beautiful Julia Gonzaga, and was destroyed by the corsair Barbarossa, who had intended to present the rarest beauty of Italy to the Sultan. It was to the rocky mountains above the town that she escaped in her night-dress, and lay concealed till the pirate's departure.
In leaving Fondi, we passed the ruined walls of a garden said to have belonged to Cicero, whose tomb is only three leagues distant. Night came on before we reached the tomb, and we were compelled to promise ourselves a pilgrimage to it on our return.
We slept at Mola, and here Cicero was assassinated. The ruins of his country-house are still here. The town lies in the lap of a graceful bay, and in all Italy, it is said, there is no spot more favored by nature. The mountains shelter it from the winds of the north; the soil produces, spontaneously, the orange, the myrtle, the olive, delicious grapes, jasmine, and many odoriferous herbs. This and its neighborhood was called, by the great orator and statesman who selected it for his retreat, "the most beautiful patrimony of the Romans." The Mediterranean spreads out from its bosom, the lovely islands near Naples bound its view, Vesuvius sends up its smoke and fire in the south, and back from its hills stretches a country fertile and beautiful as a paradise. This is a place of great resort for the English and other travellers in the summer. The old palaces are turned intohotels, and we entered our inn through an avenue of shrubs that must have been planted and trimmed for a century.
We left Mola before dawn and crossed the small river Garigliano as the sun rose. A short distance from the southern bank, we found ourselves in the midst of ruins, the golden beams of the sun pouring upon us through the arches of some once magnificent structure, whose area is now crossed by the road. This was the ancient Minturna, and the ruins are those of an amphitheatre, and a temple of Venus. Some say that it was in the marshes about the now waste city, that the soldier sent by Sylla to kill Marius, found the old hero, and, struck with his noble mien, fell with respect at his feet.
The road soon enters a chain of hills, and the scenery becomes enchanting. At the left of the first ascent lies the Falernian mount, whose wines are immortalized by Horace. It is a beautiful hill, which throws round its shoulder to the south, and is covered with vineyards. I dismounted and walked on while the horses breathed at the post-house of St. Agatha, and was overtaken by a good-natured-looking man, mounted on a mule, of whom I made some inquiry respecting the modern Falernian. He said it was still the best wine of the neighborhood, but was far below its ancient reputation, because never kept long enough to ripen. It is at its prime from the fifteenth to the twentieth year, and is usually drank the first or second. My new acquaintance, I soon found, was the physician of the two or three small villages nested about among the hills and a man of some pretensions to learning. I was delighted with his frank good-humor,and a certain spice of drollery in his description of his patients. The peasants at work in the fields saluted him from any distance as he passed; and the pretty contadini going to St. Agatha with their baskets on their heads, smiled as he nodded, calling them all by name, and I was rather amused than offended with the inquisitiveness he manifested about my age, family, pursuits, and even morals. His mule stopped of its own will, at the door of the apothecary of the small village on the summit of the hill, and as the carriage came in sight the doctor invited me, seizing my hand with a look of friendly sincerity, to stop at St. Agatha on my return, to shoot, and drink Falernian with him for a month. The apothecary stopped the vetturino at the door; and, to the astonishment of my companions within, the doctor seized me in his arms and kissed me on both sides of my face with a volume of blessings and compliments, which I had no breath in my surprise to return. I have made many friends on the road in this country of quick feelings, but the doctor of St. Agatha had a readiness of sympathy which threw all my former experience into the shade.
We dined at Capua, the city whose luxuries enervated Hannibal and his soldiers—the "dives, amorosa, felix" Capua. It is in melancholy contrast with the description now—its streets filthy, and its people looking the antipodes of luxury. The climate should be the same, as we dined with open doors, and with the branch of an orange tree heavy with fruit hanging in at the window, in a month that with us is one of the wintriest.
From Capua to Naples, the distance is but fifteen miles, over a flat, uninteresting country. We entered "this third city in the world" in the middle of the afternoon, and were immediately surrounded with beggars of every conceivable degree of misery.We sat an hour at the gate while our passports were recorded, and the vetturino examined, and then passing up a noble street, entered a dense crowd, through which was creeping slowly a double line of carriages. The mounted dragoons compelled our postillion to fall into the line, and we were two hours following in a fashionable corso with our mud-spattered vehicle and tired horses, surrounded by all that was brilliant and gay in Naples. It was the last day of carnival. Everybody was abroad, and we were forced, however unwillingly to see all the rank and beauty of the city. The carriages in this fine climate are all open, and the ladies were in full dress. As we entered the Toledo, the cavalcade came to a halt, and with hats off and handkerchiefs flying in every direction about them, the young new-married Queen of Naples rode up the middle of the street preceded and followed by outriders in the gayest livery. She has been married about a month, is but seventeen, and is acknowledged to be the most beautiful woman in the kingdom. The description I had heard of her, though very extravagant, had hardly done her justice. She is a little above the middle height, with a fine lift to her head and neck, and a countenance only less modest and maidenly than noble.
ROME—FRONT OF ST. PETER'S—EQUIPAGES OF THE CARDINALS—BEGGARS—BODY OF THE CHURCH—TOMB OF ST. PETER—THE TIBER—FORTRESS-TOMB OF ADRIAN—JEWS' QUARTER—FORUM BARBERINI PALACE—PORTRAIT OF BEATRICE CENCI—HER MELANCHOLY HISTORY—PICTURE OF THE FORNARINA—LIKENESS OF GIORGIONE'S MISTRESS—JOSEPH AND POTIPHAR'S WIFE—THE PALACES DORIA AND SCIARRA—PORTRAIT OF OLIVIA WALDACHINI—OF "A CELEBRATED WIDOW"—OF SEMIRAMIS—CLAUDE'S LANDSCAPES—BRILL'S—BRUGHEL'S—NOTTI'S "WOMAN CATCHING FLEAS"—DA VINCI'S QUEEN GIOVANNA—PORTRAIT OF A FEMALE DORIA—PRINCE DORIA—PALACE SCIARRA—BRILL AND BOTH'S LANDSCAPES—CLAUDE'S—PICTURE OF NOAH INTOXICATED—ROMANA'S FORNARINA—DA VINCI'S TWO PICTURES.
Drawn in twenty different directions on starting from my lodgings this morning, I found myself, undecided where to pass my day, in front of St. Peter's. Some gorgeous ceremony was just over, and the sumptuous equipages of the cardinals, blazing in the sun with their mountings of gold and silver, were drivingup and dashing away from the end of the long colonnades, producing any effect upon the mind rather than a devout one. I stood admiring their fiery horses and gay liveries, till the last rattled from the square, and then mounted to the deserted church. Its vast vestibule was filled with beggars, diseased in every conceivable manner, halting, groping, and crawling about in search of strangers of whom to implore charity—a contrast to the splendid pavement beneath and the gold and marble above and around, which would reconcile one to see the "mighty dome" melted into alms, and his holiness reduced to a plain chapel and a rusty cassock.
Lifting the curtain I stood in the body of the church. There were perhaps twenty persons, at different distances, on its immense floor, the farthest off (six hundred and fourteen feet from me!) looking like a pigmy in the far perspective. St. Peter's is less like a church than a collection of large churches enclosed under a gigantic roof. The chapels at the sides are larger than most houses of public worship in our country, and of these there may be eight or ten, not included in the effect of the vast interior. One is lost in it. It is a city of columns and sculpture and mosaic. Its walls are encrusted with precious stones and masterly workmanship to the very top, and its wealth may be conceived when you remember that, standing in the centre and raising your eyes aloft, there arefour hundred and forty feetbetween you and the roof of the dome—the height, almost of a mountain.
I walked up toward the tomb of St. Peter, passing in my way a solitary worshipper here and there, upon his knees, and arrested constantly by the exquisite beauty of the statuary with which the columns are carved. Accustomed as we are in America, tochurches filled with pews, it is hardly possible to imagine the noble effect of a vast mosaic floor, unencumbered even with a chair, and only broken by a few prostrate figures, just specking its wide area. All Catholic churches are without fixed seats, and St. Peter's seems scarce measurable to the eye, it is so far and clear, from one extremity to the other.
I passed the hundred lamps burning over the tomb of St. Peter, the lovely female statue (covered with a bronze drapery, because its exquisite beauty was thought dangerous to the morality of the young priests), reclining upon the tomb of Paul III., the ethereal figures of Canova's geniuses weeping at the door of the tomb of the Stuarts (where sleeps the pretender Charles Edward), the thousand thousand rich and beautiful monuments of art and taste crowding every corner of this wondrous church—I passed them, I say, with the same lost and unexamining, unparticularizing feeling which I cannot overcome in this place—a mind borne quite off its feet and confused and overwhelmed with the tide of astonishment—the one grand impression of the whole. I dare say, a little more familiarity with St. Peter's will do away the feeling, but I left the church, after two hours loitering in its aisles, despairing, and scarce wishing to examine or make a note.
Those beautiful fountains, moistening the air over the whole area of the column encircled front!—and that tall Egyptian pyramid, sending up its slender and perfect spire between! One lingers about, and turns again and again to gaze around him, as he leaves St. Peter's, in wonder and admiration.
I crossed the Tiber, at the fortress-tomb of Adrian, and thridding the long streets at the western end of Rome, passed through the Jews' quarter, and entered the Forum. The sun lay warm among the ruins of the great temples and columns of ancientRome, and, seating myself on a fragment of an antique frieze, near the noble arch of Septimius Severus, I gazed on the scene, for the first time, by daylight. I had been in Rome, on my first visit, during the full moon, and my impressions of the Forum with this romantic enhancement were vivid in my memory. One would think it enough to be upon the spot at any time, with light to see it, but what with modern excavations, fresh banks of earth, carts, boys playing at marbles, and wooden sentry-boxes, and what with the Parisian promenade, made by the French through the centre, the imagination is too disturbed and hindered in daylight. The moon gives it all one covering of gray and silver. The old columns stand up in all their solitary majesty, wrecks of beauty and taste; silence leaves the fancy to find a voice for itself; and from the palaces of the Cesars to the prisons of the capitol, the whole train of emperors, senators, conspirators, and citizens, are summoned with but half a thought and the magic glass is filled with moving and re-animated Rome. There, beneath those walls, on the right, in the Mamertine prisons, perished Jugurtha (and there, too, were imprisoned St. Paul and St. Peter), and opposite, upon the Palatine-hill, lived the mighty masters of Rome, in the "palaces of the Cesars," and beneath the majestic arch beyond, were led, as a seal of their slavery, the captives from Jerusalem, and in these temples, whose ruins cast their shadows at my feet, walked and discoursed Cicero and the philosophers, Brutus and the patriots, Catiline and the conspirators, Augustus and the scholars and poets, and the great stranger in Rome, St. Paul, gazing at the false altars, and burning in his heart to reveal to them the "unknown God." What men have crossed the shadows of these very columns! and what thoughts, that have moved the world, have been born beneath them!
The Barberini palace contains three or four masterpieces of painting. The most celebrated is the portrait of Beatrice Cenci, by Guido. The melancholy and strange history of this beautiful girl has been told in a variety of ways, and is probably familiar to every reader. Guido saw her on her way to execution, and has painted her as she was dressed, in the gray habit and head-dress made by her own hands, and finished but an hour before she put it on. There are engravings and copies of the picture all over the world, but none that I have seen give any idea of the excessive gentleness and serenity of the countenance. The eyes retain traces of weeping, but the child-like mouth, the soft, girlish lines of features that look as if they never had worn more than the one expression of youthfulness and affection, are all in repose, and the head is turned over the shoulder with as simple a sweetness as if she had but looked back to say a good-night before going to her chamber to sleep. She little looks like what she was—one of the firmest and boldest spirits whose history is recorded. After murdering her father for his fiendish attempts upon her virtue, she endured every torture rather than disgrace her family by confession, and was only moved from her constancy, at last, by the agonies of her younger brother on the rack. Who would read capabilities like these, in these heavenly and child-like features?
I have tried to purchase the life of the Cenci, in vain. A bookseller told me to-day, that it was a forbidden book, on account of its reflections upon the pope. Immense interest was made for the poor girl, but, it is said, the papal treasury ran low, and if she was pardoned, the large possessions of the Cenci family could not have been confiscated.
The gallery contains also, a delicious picture of the Fornarinaby Raphael himself, and a portrait of Giorgione's mistress, as a Carthaginian slave, the same head multiplied so often in his and Titian's pictures. The original of the admirable picture of Joseph and the wife of Potiphar, is also here. A copy of it is in the gallery of Florence.
I have passed a day between the two palaces Doria and Sciarra, nearly opposite each other in the Corso at Rome. The first is an immense gallery of perhaps a thousand pictures, distributed through seven large halls, and four galleries encircling the court. In the first four rooms I found nothing that struck me particularly. In the fifth was a portrait, by an unknown artist, of Olivia Waldachini, the favorite and sister-in-law of Pope Innocent X., a handsome woman, with that round fulness in the throat and neck, which (whether it existed in the originals, or is a part of a painter's ideal of a woman of pleasure), is universal in portraits of that character. In the same room was a portrait of a "celebrated widow," by Vandyck,[7]a had-been beautiful woman, in a staid cap (the hands wonderfully painted), and a large and rich picture of Semiramis, by one of the Carraccis.
In the galleries hung the landscapes by Claude, famous through the world. It is like roving through a paradise, to sit and look at them. His broad green lawns, his half-hidden temples, his life-like luxuriant trees, his fountains, his sunny streams—all flush into the eye like the bright opening of a Utopia, or some dream over a description from Boccaccio. It is what Italy mightbe in a golden age—her ruins rebuilt into the transparent air, her woods unprofaned, her people pastoral and refined, and every valley a landscape of Arcadia. I can conceive no higher pleasure for the imagination than to see a Claude in travelling through Italy. It is finding a home for one's more visionary fancies—those children of moonshine that one begets in a colder clime, but scarce dares acknowledge till he has seen them under a more congenial sky. More plainly, one does not know whether his abstract imaginations of pastoral life and scenery are not ridiculous and unreal, till he has seen one of these landscapes, and feltsteeped, if I may use such a word, in the very loveliness which inspired the pencil of the painter. There he finds the pastures, the groves, the fairy structures, the clear waters, the straying groups, the whole delicious scenery, as bright as in his dreams, and he feels as if he should bless the artist for the liberty to acknowledge freely to himself the possibility of so beautiful a world.
We went on through the long galleries, going back again and again to see the Claudes. In the third division of the gallery were one or two small and bright landscapes, by Brill, that would have enchanted us if seen elsewhere; and four strange pictures, by Breughel, representing the four elements, by a kind of half-poetical, half-supernatural landscapes, one of which had a very lovely view of a distant village. Then there was the famous picture of the "woman catching fleas" by Gherardodelle Notti, a perfect piece of life. She stands close to a lamp, with a vessel of hot water before her, and is just closing her thumb and finger over a flea, which she has detected on the bosom of her dress. Some eight or ten are boiling already in the water, and the expression upon the girl's face is that of the most grave andunconscious interest in her employment. Next to this amusing picture hangs a portrait of Queen Giovanna, of Naples, by Leonardo da Vinci, a copy of which I had seen, much prized, in the possession of the archbishop of Torento. It scarce looks like the talented and ambitious queen she was, but it does full justice to her passion for amorous intrigue—a face full of the woman.
The last picture we came to, was one not even mentioned in the catalogue, an old portrait of one of the females of the Doria family. It was a girl of eighteen, with a kind of face that in life must have been extremely fascinating. While we were looking at it, we heard a kind of gibbering laugh from the outer apartment, and an old man in a cardinal's dress, dwarfish in size, and with deformed and almost useless legs, came shuffling into the gallery, supported by two priests. His features were imbecility itself, rendered almost horrible by the contrast of the cardinal's red cap. Thecustodetook off his hat and bowed low, and the old man gave us a half-bow and a long laugh in passing, and disappeared at the end of the gallery. This was the Prince Doria, the owner of the palace, and a cardinal of Rome! the sole remaining representative of one of the most powerful and ambitious families of Italy! There could not be a more affecting type of the great "mistress of the world" herself. Her very children have dwindled into idiots.
We crossed the Corso to thePalace Sciarra. The collection here is small, but choice. Half a dozen small but exquisite landscapes, by Brill and Both, grace the second room. Here are also three small Claudes, very, very beautiful. In the next room is a finely-colored but most indecent picture of Noah intoxicated, by Andrea Sacchi, and a portrait by Giulio Romano, of Raphael'scelebrated Fornarina, to whose lovely face one becomes so accustomed in Italy, that it seems like that of an acquaintance.
In the last room are two of the most celebrated pictures in Rome. The first is by Leonardo da Vinci, and represents Vanity and Modesty, by two females standing together in conversation—one a handsome, gay, volatile looking creature, covered with ornaments, and listening unwillingly to what seems a lecture from the other, upon her foibles. The face of the other is a heavenly conception of woman—earnest, delicate, and lovely—the idea one forms to himself, before intercourse with the world, gives him a distaste for its purity. The moral lesson of the picture is more forcible than language. The painter deserved to have died, as he did, in the arms of an emperor.
The other picture represents two gamblers cheating a youth, a very striking picture of nature. It is common from the engravings. On the opposite side of the room, is a very expressive picture, by Schidone. On the ruins of an old tomb stands a skull, beneath which is written—"I, too, was of Arcadia;" and, at a little distance, gazing at it in attitudes of earnest reflection, stand two shepherds, struck simultaneously with the moral. It is a poetical thought, and wrought out with great truth and skill.
Our eyes aching and our attention exhausted with pictures, we drove from the Sciarra to the ruined palaces of the Cesars. Here, on an eminence above the Tiber, with the Forum beneath us on one side, the Coliseum on the other, and all the towers and spires of modern and Catholic Rome arising on her many hills beyond, we seated ourselves on fragments of marble, half buriedin the grass, and mused away the hours till sunset. On this spot Romulus founded Rome. The princely Augustus, in the last days of her glory, laid here the foundations of his imperial palace, which, continued by Caligula and Tiberius, and completed by Domitian, covered the hill, like a small city. It was a labyrinth of temples, baths, pavilions, fountains, and gardens, with a large theatre at the western extremity; and adjoining the temple of Apollo, was a library filled with the best authors, and ornamented with a colossal bronze statue of Apollo, "of excellent Etruscan workmanship." "Statues of the fifty daughters of Danaus Siuramdert surrounded the portico" (of this same temple), "and opposite them were equestrian statues of their husbands." About a hundred years ago, accident discovered, in the gardens buried in rubbish, a magnificent hall, two hundred feet in length and one hundred and thirty-two in breadth, supposed to have been built by Domitian. It was richly ornamented with statues, and columns of precious marbles, and near it were baths in excellent preservation. "But," says Stark, "immense and superb as was this first-built palace of the Cesars, Nero, whose extravagance and passion for architecture knew no limits, thought it much too small for him, and extended its edifices and gardens from the Palatine to the Esquiline. After the destruction of the whole, by fire, sixty-five years after Christ, he added to it his celebrated 'Golden House,' which extended from one extremity to the other of the Cœlian Hill."[8]