CHAPTER XVIII.

THE “PONTE MOLLE” CLUB—TECHNICAL ALPHABET—MOCCOLETTI—THE BLACK BOARD—ELECTION OF CANDIDATES—THE ILLUSTRATED CHORUS—HARMONIES—CHANGE OF DOMICILE—THE VIA SISTINA—THE PINCIAN PROMENADE—TRASTEVERINI—THE FRENCH ACADEMY—HIGH ART AND ITS VOTARIES—ROMAN MODELS—PIFFERARI—PIETRO POMBO—THE VIA MARGUTTA—L—— AND HIS PAINTING—EXTRAORDINARY MODEL—PICTURES AND STUDIOS.

Connected with the Cervaro Fest, is a humorous artistical club[20]called the “Ponte Molle,” which also owes its origin to the Germans. The weekly meetings of this Roman society of odd-fellows, are held in the Palazzo Fiano, at the rear of the “Belli Arti” coffee-house in the Corso, and are of so curious a nature, that although I cannot hope to do them justice, I shall not be satisfied to let them go insilence. I also presume that as I know but little of the rules or regulations by which the club is governed, I can reveal nothing which may not be given to the public. I was introduced by an English artist, on an occasion when two candidates were to be initiated, and on entering a large room on the first floor, found myself in the presence of a hundred or more people of all countries, chiefly, if not entirely, artists, who seemed by the remains still scattered before them, to have just finished their supper. The tables were laid out round three sides of the room in the form of the letterE, the chairman’s seat being filled by Herr ——, the president of the late Cervaro: before him lay an auctioneer’s hammer, and a gigantic speaking trumpet, whilst behind, upon the wall, there hung a large black board.

We had no sooner taken our seats, and called for some sort of refreshment, than an individual on the right of thechair, nearly deafened us by an announcement in German, which he bellowed through the trumpet, to the effect that some ceremony was about to take place, and on looking towards the chairman, I found that he held in his hand an enormous illustrated alphabet, of which the first page presented a coloured sketch, bearing allusion to the letters, greatAand littlea, printed in large characters underneath. This exhibition was accompanied by a German rhyme, chanted by the company in chorus, each man standing on his chair, whilst the whole of the alphabet was expounded.[21]Then some one distributed to each person present, about four or five inches of wax taper, ormoccoletti, and with these was also handed round a printed song. At a sign from the chairman, the tapers were ignited, each individual tied his napkin round his head, and forming into single file, promenaded around the room, singing in unison a melody written in honour of the “Ponte Molle.” Themoccolettiseemed of service in enhancing theoutrèappearance of such as aimed at making themselves as ridiculous as possible, for I noticed one tall fellow with a row of a dozenor more stuck round the brim of his sombrero, whilst another had attached a piece to the end of his nose. At the conclusion of the recitation, we resumed our places, and the wine bottles being replenished, the chairman and others sung a few songs, whilst preparations were making for the election of the two fresh candidates, who were shortly ushered in amid a deafening shout of applause, and stationed under the ominous black board before alluded to. The only qualification, which to me as a stranger, appeared necessary to ensure admission to the club, was that of being able happily to illustrate upon the board, the solution of some knotty enigmatical query, propounded by the chairman. If an architect or painter, the candidate would be required to sketch some device appertaining to his art, whilst a sculptor would be expected to exercise his skill upon a lump of wet clay, from which he would probably produce some grotesque figure that would set the room in a roar. Be this as it may, the parties on the present occasion, receiving at the hands of the president, the decoration of the order of the Bajocco,[22]were declared amid much laughter, to have acquitted themselves to the satisfaction of their judges,and to have “passed the Ponte Molle,” and then, the hieroglyphs having been obliterated, another part of the evening’s performance was gone through, which I was enabled more readily to understand, and will, therefore, endeavour to describe. The chief performer therein, was as usual the chairman. Marking upon the board with chalk, a short line, thus ——, he inquired—

“Ist das nicht der kürz ünd lang?”

to which all responded,—

“Ya! das ist der kürz ünd lang.”

Then adding a second line, his diagram assumed this form ——/—line split in two, with the query.

“Ist das nicht ein Schnitzelbang?”(Tutti.) “Ya! das ist ein Schnitzelbang!”(Chorus.) “Schnitzelbang, kürz ünd langEine Schöne, eine schöneEine Schöne Schnitzelbang.”

Then again with the chalkPonte Molle

“Ist das nicht der Ponte Molle?”(Tutti.) “Ya! das ist der Ponte Molle!”

Adding some dots thus:Ponte Molle full

“Ist es nicht so gar zü volle?”(Tutti.) “Ya! es ist so gar zü volle!”(Chorus.) “Ponte Molle, gar zü volle”“Schnitzelbang, kürz ünd lang”“Eine Schöne, &c.”

Then a little mountain, thus:mountain - Monte Cavo

“Ist das nicht der Monte Cavo?”(Tutti.) “Ya! das ist der Monte Cavo!”

Adding a little figure on one side of itmountain - Bravo

“Ist das nicht der kleine ‘Bravo?’”[23](Tutti.) “Ya! das ist der kleine ‘Bravo!’”(Chorus.) “Monte Cavo, kleine Bravo”“Ponte Molle, gar zü volle”“Schnitzelbang, kürz ünd lang”“Eine schöne,” &c.

Then a little figure with a cocked hat:

“Ist das nicht Napoleon?”(Tutti.) “Ya! das ist Napoleon!”

followed by a few strokes in his rear, intended to represent a city, though they were quite as much like an old comb:figure running in front of squiggly lines

“Der bei Leipsig laüft davon!”(Tutti.) “Der bei Leipsig laüft davon!”(Chorus.) “Napoleon, laüft davon”“Monte Cavo, kleine Bravo”“Ponte Molle, gar zü volle”“Schnitzelbang, kürz ünd lang”“Eine schöne, eine schöne”“Eine schöne Schnitzelbang.”

and so on through a variety of similar illustrations, like a modification of “The house that Jack built,” until he had well nigh filled his board. These over, the chairman divested himself of a rat-catcher looking belt which he had worn throughout the evening, and giving a lusty tap upon the table with his hammer, knocked himself down for a song, of which he also acquitted himself admirably. Several others followed, one gentleman, a Swiss, favouring us with a genuine Vaterlander, in which the beautifuljodelnwas charmingly introduced. On the whole, the harmonic portion of the Ponte Molle was by far the most gratifying, and I departed with my friend, much amused with what I had seen and heard, although almost at a loss to comprehend any portion of the evening’s exhibition.

ARTISTS ON THE PINCIAN

ARTISTS ON THE PINCIAN.

Being most anxious to quit the comfortless four-pair-back of the “Hotel Cesarj,” I consulted with my friend Savill, and by him was recommended to some rooms in the Via Sistina, an airy street, near the Trinità de’ Monti, at one end of the Pincian hill. This neighbourhood had been chosen by Nicholas Poussin, whose house was next door to my new quarters, whilst that once occupied by Claude, was immediately opposite to me. Finding the apartment vacant, I engaged it forthwith, and my padrone undertook to get some old woman to make my bed, and bring me every morning a jug of hot water. The rooms proved very comfortable and sufficiently quiet, and I had moreover, the advantage of a shady garden, overlooking the street. Close to me on the right, was the Church of the Trinità de’ Monti, which contains the wonderful frescoes by Daniello of Volterra. A few minutes’ walk further on, would bring me to the Pincian, the favourite promenade of the Romans, who ride and drive round it in their badly-varnished, heavy carriages, with an assumption ofton, which often amuses their visitors. Here, however, there is no veto against hackney carriages, and the bracing air and fine prospects of the Monte Pincio, are common to the patrician and thebasso-ceto. On Sundays the place is thronged with pedestrians of all classes. Groups of Trasteverini, the prouddescendants of the ancient Romans, then venture hither, in their sky-blue pantaloons and short jackets, with low crowned white hats of the very longest nap. Their lasses accompany them, dressed in gowns of the gayest hues, their long hair plaited into all sorts of shapes, and secured by the silver spadino, sometimes a much less innocent instrument in the hands of the hot-blooded maidens of Rome.[24]These are attracted to the Pincian solely by the desire of seeing and being seen—their haunt after mass on the Sabbath being the Osterie, outside the gates of the city, where they will spend the whole day in dancing, and regale themselves on sour wine and uncooked ham.

On the Pincio stands the French Academy, whose beautifulgardens, replete with statues, fountains, and shadyboschetti, are the delight of all romantic dispositions. From hence the eye ranges over the extensive grounds of the Borghese and Poniatowski, dotted here and there by an occasional villa, and thickly wooded with stone-pine and cypress, whilst the distance embraces views of the Soracte and Velino, and the broken range of the Sabine mountains.

I had now made the acquaintance of many artists, chiefly through the kind introductions of Bellamy and Savill, and began to feel an interest in the sublime arts, of which, until now, I had scarce believed myself capable. A great deal of my time was spent in their studii, or at the various galleries in their company, on which occasions, I was forced into the hearing of so many arguments and disquisitions upon “high art,” and “art” in all its ramifications, that I was at last fairly compelled to take up the pencil in self-defence; and the resolution was no sooner formed and expressed, than I got the offer of a table in the studio of a friend, and what was of far greater value to me, the opportunity of benefiting by his advice, during certain initiatory studies. Poor R——, who was so shortly afterwards taken away from us, will be in the remembrance of all who knew Rome and its English artists at the time of which I write.His career, though short, was a sufficiently brilliant one, the productions of his pencil being justly admired, and had he been spared, there can be little doubt, but that he would have risen to eminence in the profession. He it was who undertook, with the kindness for which he was remarkable, to guide my unpractised hand through the tedious routine of a commencement in what was to me almost a fresh career; and though at the time I frequently chafed at the monotonous detail it was necessary to wade through, I am satisfied that the system was a sound one, and ultimately repaid me the trouble.

As R—— mostly chose for his pictures, such subjects as were illustrative of the manners of the Roman peasantry, I had frequent opportunities of drawing from the best models. Grazia, Chiaruccia, and the Pifferari were among those who most suited his peculiar style, and as they were always willing to talk as long as we would sit to hear them, I soon picked up a tolerable smattering of Italian. The faces of these and other Roman models, must be familiar to most who frequent our modern galleries and exhibitions, and although the likeness may not in all cases be preserved, some one or other of their peculiar attributes is sure to reveal them to the practised eye. Who is there, for instance,that cannot claim acquaintance with the oldPifferaro, in the conical hat, and long white beard, whose face and figure have been made to play upon canvas nearly every rôle in the vocabulary. In one and the same apartment of a recent exhibition, I have seen that old man, jerking his bellows before a Madonna, and assisting his brother bandits to rifle a travelling carriage in the Pontine Marsh—casting his net into the Sea of Galilee, and playing atMorrain the Trastevere!

Man's head

Perhaps the most amusing of the models, was Pietro Pombo, who made his appearance with his brotherPifferarion the steps of the Scalinata, about the beginning of Advent, staying until Christmas was over. Much of this man’s time was passed in sitting for my friend, who constantly employed him as a costume model, and Pombo was so tenacious of what he considered to be his own exclusive right in this respect, that few of the other Pifferari cared to interfere with him. “Io zono il modello del Zignorrr,” was his usual asseveration, when any of his brethren attempted to solicit a few hours’ employment. At eight in the morning, or thereabouts, he would make his appearance at the studio in the Via Margutta, saluting us in a voice of the most ultra-mountainous roughness. “Buon giorno, loro Zignorrr Mossieu,” and then introduce his little boy and inform us of the state of his health, “Bambino mio, zi Zignorr: zempre meglio, zempre meglio, zalute mia: zi Zignorrr!” K. an English artist, having sent for him one morning, and not happening to be quite ready to commence, motioned him to a seat at the far end of the room, to wait until he had put a few last touches to some sketch he was finishing. On looking up a few minutes after, he was thunderstruck on perceiving Pietro Pombo, and his minute fac-simile, theBambino, who had divested themselves of their nether garments, fleaingthem with the most impurturbable gravity and assurance. K. was too much amused to disturb them, but could nolonger restrain himself, when the Pifferaro continued his toilet, by emptying a small bottle of drying oil on his black and matted locks, by way of Macassar.

man standing holding a gun

The house next door to R——’s, in the Via Margutta, is famous as the birth-place of a picture which made a good deal of noise in the world. The particulars I had from an Italian acquaintance, and although it is possible he may have beengenerallycorrect, I will not vouch for the accuracy of the detail. The painting in question was the production ofMr.L——, one of the first English artists who took up his abode in Rome after the Peace, and was at first a simple picture, representing Joseph and the Virgin. By degrees, however, it became more and more allegorical, until its original dimensions were found insufficient, and fresh canvas was added from time to time. L—— now discovered that the dimensions of his studio forbade the further enlargement of his subject, inasmuch as they did not keep pace with the development of his intellectual vagaries, and a proposal was therefore submitted to the landlord to raise the roof of the house, which was politely declined. An appeal to sink the floor met with better success, and now the picture assumed a colossal form; thepadrone, who had been admitted to L——’s confidence, andwas the only person who had seen it, declaring it to beuna cosa stupenda. Such indeed it ought to have been. Fifty dollars’ worth of ultramarine were swallowed up in the sky alone, besides a whole barrel of bitumen in the foreground. Thematerièlalone cost two hundred pounds a-year, and to meet this outlay, L—— lived chiefly upon bread and potatoes, whilst the colourman who supplied him, realized a fortune.

Among other flights of fancy which the picture exhibited, was that of a colossal horse suspended in mid-air, and in order to obtain the most suitable model for his purpose, L—— purchased a genuine dead animal, which he succeeded in securing in a suitable position, by attaching tackle to the roof of his studio. This, though a work of considerable engineering difficulty, was rapidly accomplished by L——, whose perseverance was a match for any obstacle. At this juncture, he was compelled to quit Rome for a week or so, and, as his custom was, carefully locked up his studio, and carried with him the key. He had not been absent many days, before his more immediate neighbours were annoyed by an unusual, and by no means agreeable odour, which emanated from L——’s quarters, and gradually increased to such a degree, that the good people assembled in dismay,fearful that nothing less than some foul murder had been perpetrated, whilst L——’s absence was now for the first time noticed. An application was then made to the Governor, who happened to be a personal friend of the artist, and therefore declined any interference. The nuisance increased, and at length became so unbearable, that a search was instituted, and the doors ordered to be forced. L—— arrived from the country just as a file ofcarabinierientered the Via Margutta, and had no sooner learned the reason of their unwonted appearance, than he stationed himself at the top of his stairs, with a pistol in either hand, determined to resist to the death, the meditated violation of his sanctum. But the Governor’s orders were not to be lightly treated, and L——, finding that delay would avail him nothing, consented to admit one of the soldiers, selecting the least intellectual-looking of the lot, in the hope that his stupidity would prevent any revelations respecting the subject of the picture. No sooner had the poor fellow passed the threshold, than he fell back and fainted. And now the murder was out—the model horse had fallen to pieces, and no one could be found rash enough to approach such a mass of abomination as the carcass now presented. The helmet of Alonzo theBrave was nothing to it. The veryfacchini, who are proverbial for their willingness to undertake any job, however dirty, were in this instance inexorable, and it was not until L—— had promised them a reward, which their cupidity could no longer resist, that they consented to remove the body and consign it to the Tiber.

The picture was at length finished, and although from certain peculiarities in its detail, it was not suffered by the Pope to be publicly exhibited in Rome, it proved, with all its eccentricities, such a marvellous production, that it eventually found its way to the gallery in the Winter Palace of the Emperor of Russia, who purchased it for fifteen hundred pounds.

On another floor of the same house, in the Via Margutta, is the studio of the Italian artist V——, justly famed for his pictures of the chase, and more particularly that of the wild-boar, which he first hunts down for his amusement, and then transfers to canvas for his profit. V—— paints every hair with minute distinctness, and is never better pleased than when his productions are submitted to a microscopic test, which, to say truth, they will bear at any time. His anxiety about Landseer was sometimes very amusing, and though he had heard, and believed, that hisrival could paint an animalasleep, he could not be induced to credit his ability to do justice to onein motion, until about a year ago, when he paid a visit to London, where I met him, just after he had been favoured with a sight of some of our great artist’s unrivalled pictures. The look of anguish with which he regarded me, when I reverted to the subject, I shall never forget. In P——’s studio, among many other valuable pictures, is the Magdalene of Correggio, which at one time excited so much interest, and caused a lengthy litigation. Its history is so familiar, that I need not here enter into it.

man sleeping on a bench

FOOTNOTES:[20]The immediate object of the club, is the relief of sick or distressed artists of any nation, and in order to effect this purpose, each member pays a trifling annual subscription, whilst on a certain night in the year, there is a sale by auction, in the club-room, of sketches and drawings contributed by members, which are knocked down to the highest bidder. Thus it often happens, that a chance visitor becomes possessed of the productions of the most eminent artists, at a cost totally disproportioned to their real value, and which he might otherwise have been unwilling to purchase. New members pay for the whole of the wine consumed on the evening of their admission, and if it should so occur, that no fresh candidate is on the list, this expense is defrayed by one individual from among the body, who take it in turns. The election of President is a very interesting ceremony, and the same person is eligible more than once. Herr W——r, who is not only an eminent artist, but an accomplished musician, has, I believe, many times been elected President of the Cervaro Fest, and he it was who filled the chair of the Ponte Molle, during my visit to Rome.[21]I was afterwards informed, that the tendency of the couplets was at once humorous and satirical, hitting, in rather a severe manner, the artistical peculiarities of certain men of eminence, as well as of many then present.[22]The celebrated Thorwaldsen held this decoration in such high estimation, that discarding those which his fame and talents had procured him in every court of Europe, he presented himself before that of Denmark, wearing only the solitary and unimposing decoration of the “Order of the Bajocco.”[23]The gentleman here named is well known in Rome, and acted I believe, at one time as secretary to the Danish sculptor before alluded to.[24]Maria de’ Monti, one of the most popular models of Rome, who had frequently suffered annoyance from the importunities of acontadino, met him one day in the Piazza Barberini, when the solicitations were again renewed. Having indignantly rejected his addresses, and received at the same time, a provokingschiaffo, or slap in the face, she drew thespadinofrom her hair, and stabbed him in the breast. No sooner was the blow given, than the irritated girl ran to the French Academy on the Pincio to seek refuge, it being considered by the models as a sort of sanctuary. The man died shortly after, and on being brought before the police, Maria was immediately acquitted on the score of her youth and previous good character, and in consideration of the provocation she had received. This specimen of Roman justice may appear very lax to English minds, and its want of severity can only be reconciled by the reflection, that the criminal deed was entirely unpremeditated, and that a blow in the face is regarded by the irritable Romans, as an unpardonable insult.

[20]The immediate object of the club, is the relief of sick or distressed artists of any nation, and in order to effect this purpose, each member pays a trifling annual subscription, whilst on a certain night in the year, there is a sale by auction, in the club-room, of sketches and drawings contributed by members, which are knocked down to the highest bidder. Thus it often happens, that a chance visitor becomes possessed of the productions of the most eminent artists, at a cost totally disproportioned to their real value, and which he might otherwise have been unwilling to purchase. New members pay for the whole of the wine consumed on the evening of their admission, and if it should so occur, that no fresh candidate is on the list, this expense is defrayed by one individual from among the body, who take it in turns. The election of President is a very interesting ceremony, and the same person is eligible more than once. Herr W——r, who is not only an eminent artist, but an accomplished musician, has, I believe, many times been elected President of the Cervaro Fest, and he it was who filled the chair of the Ponte Molle, during my visit to Rome.

[21]I was afterwards informed, that the tendency of the couplets was at once humorous and satirical, hitting, in rather a severe manner, the artistical peculiarities of certain men of eminence, as well as of many then present.

[22]The celebrated Thorwaldsen held this decoration in such high estimation, that discarding those which his fame and talents had procured him in every court of Europe, he presented himself before that of Denmark, wearing only the solitary and unimposing decoration of the “Order of the Bajocco.”

[23]The gentleman here named is well known in Rome, and acted I believe, at one time as secretary to the Danish sculptor before alluded to.

[24]Maria de’ Monti, one of the most popular models of Rome, who had frequently suffered annoyance from the importunities of acontadino, met him one day in the Piazza Barberini, when the solicitations were again renewed. Having indignantly rejected his addresses, and received at the same time, a provokingschiaffo, or slap in the face, she drew thespadinofrom her hair, and stabbed him in the breast. No sooner was the blow given, than the irritated girl ran to the French Academy on the Pincio to seek refuge, it being considered by the models as a sort of sanctuary. The man died shortly after, and on being brought before the police, Maria was immediately acquitted on the score of her youth and previous good character, and in consideration of the provocation she had received. This specimen of Roman justice may appear very lax to English minds, and its want of severity can only be reconciled by the reflection, that the criminal deed was entirely unpremeditated, and that a blow in the face is regarded by the irritable Romans, as an unpardonable insult.

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