Materials.Where used.Woods.FromOakRigaFraming, various parts.DealNorwayWood-bracing, &c.FirSwitzerlandSounding-board.PineAmericaParts of framing, key-bed or bottom.MahoganyHondurasSolid wood of top, and various parts of the framing and the action.BeechEnglandWrest-plank, bridge or sound-board, centre of legs.Beef-woodBrazilsTongues in the beam, forming the divisions between the hammers.BirchCanadaBelly-rail, a part of the framing.CedarS. AmericaRound shanks of hammers.Lime-treeEnglandKeys.Pear-tree——Heads of dampers.Sycamore——Hoppers or levers, veneers on wrest-plank.EbonyCeylonBlack keys.Spanish MahoganyCubaFor decoration.RosewoodRio JaneiroFor decoration.SatinwoodEast IndiesFor decoration.White HollyEnglandFor decoration.Zebra-woodBrazilsFor decoration.Other fancy woods——For decoration.
Materials.Where used.Woollen Fabrics.Baize; green, blue, and brownUpper surface of key-frame, cushions for hammers to fall on, to damp dead part of strings, &c.Cloth, various qualitiesFor various parts of the action and in other places, to prevent jarring; also for dampers.FeltExternal covering for hammers.Leather.BuffaloUnder-covering of hammers-bass.Saddle" " tenor and treble.BasilCalfDoeskinSealSheepskinMoroccoVarious parts of action.SoleRings for pedal wires.Metal.IronSteelBrassGun metalMetallic bracing, and in various small screws, springs, centres, pins, &c., &c., throughout the instrument.Steel wireStrings.Steel spun wireLapped strings.Covered copper wire" " lowest notes.Various.IvoryWhite keys.Black leadTo smooth the rubbing surfaces of cloth or leather in the action.Glue (of a particular quality made expressly for this trade.Woodwork throughout.Beeswax, emery paper, glass paper, French polish, oil, putty powder,spirits of wine, &c., &c.Cleaning and finishing.
Such are the materials used. The processes to which they are subjected are far more numerous. So numerous are they and so complicated, that the Steinways, who employ five hundred and twelve men, and labor-saving machinery which does the work of five hundred men more, aided by three steam-engines of a hundred and twenty-five, fifty, and twenty-five horse-power, can only produce from forty-five to fifty-five pianos a week. The average number is about fifty,—six grand, four upright, and forty square. The reader has seen, doubtless, a piano with the top taken off; but perhaps it has never occurred to him what a tremendouspullthose fifty to sixty strings are keeping up, day and night, from one year's end to another. The shortest and thinnest string of all pulls two hundred and sixty-two pounds,—about as much as we should care to lift; and the entire pull of the strings of a grand piano is sixty pounds less than twenty tons,—a load for twenty cart-horses. The fundamental difficulty in the construction of a piano has always been to support this continuous strain. When we look into a piano we see the "iron frame" so much vaunted in the advertisements, and so splendid with bronze and gilding; but it is not this thin plate of cast-iron that resists the strain of twenty tons. If the wires were to pull upon the iron for one second, it would fly into atoms. The iron plate is screwed to what is called the "bottom" of the piano, which is a mass of timber four inches thick, composed of three layers of plank glued together, and so arranged that the pull of the wires shall be in a line with the grain of the wood. The iron plate itself is subjected to a long course of treatment. The rough casting is brought from the foundery, placed under the drilling-machine, which bores many scores of holes of various sizes with marvellous rapidity. Then it is smoothed and finished with the file; next, it is japanned; after which it is baked in an oven for forty-eight hours. It is then ready for the bronzer and gilder, who covers the greater part of the surface with a light-yellow bronzing, and brightens it here and there with gilding. All this long process is necessary in order to make the plateretainits brilliancy of color.
Upon this solid foundation of timber and iron the delicate instrument is built, and it is enclosed in a case constructed with still greater care. To make so large a box, and one so thin, as the case of a piano stand our summer heats and our furnace heats (still more trying), is a work of extreme difficulty. The seasoned boards are covered with a double veneer, designed to counteract all the tendencies to warp; and the surface is most laboriously polished. It takes three months to varnish and polish the case of a piano. In such a factory as the Steinways' or the Chickerings', there will be always six or seven hundred cases undergoing this expensive process. When the surface of the wood has been made as smooth as sand-paper can make it, the first coat of varnish is applied, and this requires eight days to harden. Then all the varnish is scraped off, except that which has sunk into the pores of the wood. The second coat is then put on; which, after eight days' drying, is also scraped away, until the surface of the veneer is laid bare again. After this four or five coats of varnish are added, at intervals of eight days, and, finally, the last polish is produced by the hand of the workman. The object of all this is not merely to produce a splendid and enduring gloss, but to make the case stand for a hundred years in a room which is heated by a furnace to seventy degrees by day, and in which water will freeze at night. During the war, when good varnish cost as much as the best champagne, the varnish bills of the leading makers were formidable indeed.
The labor, however, is the chief item of expense. The average wages of the five hundred and twelve men employed by the Messrs. Steinway is twenty-six dollars a week. This force, aided by one hundred and two labor-saving machines, driven by steam-power equivalent to two hundred horses, produces a piano in one hour and fifteen minutes. A man with the ordinary tools can make a piano in about four months, but it could not possibly be as good a one as those produced in the large establishments. Nor, indeed, is such a feat ever attempted in the United States. The small makers, who manufacture from one to five instruments a week, generally, as already mentioned, buy the different parts from persons who make only parts. It is a business to make the hammers of a piano; it is another business to make the "action"; another, to make the keys; another, the legs; another, the cases; another, the pedals. The manufacture of the hardware used in a piano is a very important branch, and it is a separate business to sell it. The London Directory enumerates forty-two different trades and businesses related to the piano, and we presume there are not fewer in New York. Consequently, any man who knows enough of a piano to put one together, and can command capital enough to buy the parts of one instrument, may boldly fling his sign to the breeze, and announce himself to an inattentive public as a "piano-forte-maker." The only difficulty is to sell the piano when it is put together. At present it costs rather more money to sell a piano than it does to make one.
When the case is finished, all except the final hand-polish, it is taken to the sounding-board room. The sounding-board—a thin, clear sheet of spruce under the strings—is the piano's soul, wanting which, it were a dead thing. Almost every resonant substance in nature has been tried for sounding-boards, but nothing has been found equal to spruce. Countless experiments have been made with a view to ascertain precisely the best way of shaping, arranging, and fixing the sounding-board, the best thickness, the best number and direction of the supporting ribs; and every great maker is happy in the conviction that he is a little better in sounding-boards than any of his rivals. Next, the strings are inserted; next, the action and the keys. Every one will pause to admire the hammers of the piano, so light, yet so capable of giving a telling blow, which evoke all the music of the strings, but mingle with that music no click, nor thud, nor thump, of their own. The felt employed varies in thickness from one sixteenth of an inch to an inch and an eighth, and costs $5.75 in gold per pound. Only Paris, it seems, can make it good enough for the purpose. Many of the keys have a double felting, compressed from an inch and a half to three quarters of an inch, and others again have an outer covering of leather to keep the strings from cutting the felt. Simple as the finished hammer looks, there are a hundred and fifty years of thought and experiment in it. It required half a century to exhaust the different kinds of wood, bone, and cork; and when, about 1760, the idea was conceived of covering the hammers with something soft, another century was to elapse before all the leathers and fabrics had been tried, and felt found to be thene plus ultra. With regard to the action, or the mechanism by which the hammers are made to strike the strings, we must refer the inquisitive reader to the piano itself.
When all the parts have been placed in the case, the instrument falls into the hands of the "regulator," who inspects, rectifies, tunes, harmonizes, perfects the whole. Nothing then remains but to convey it to the store, give it its final polish and its last tuning.
The next thing is to sell it. Six hundred and fifty dollars seems a high price for a square piano, such as we used to buy for three hundred, and the "natural cost" of which does not much exceed two hundred dollars. Fifteen hundred dollars for a grand piano is also rather startling. But how much tax, does the reader suppose, is paid upon a fifteen-hundred-dollar grand? It is difficult to compute it; but it does not fall much below two hundred dollars. The five per cent manufacturer's tax, which is paid upon the price of the finished instrument, has also to be paid upon various parts, such as the wire; and upon the imported articles there is a high tariff. It is computed that the taxes upon very complicated articles, in which a great variety of materials are employed, such as carriages, pianos, organs, and fine furniture, amount to about one eighth of the price. The piano, too, is an expensive creature to keep, in these times of high rents, and its fare upon a railroad is higher than that of its owner. We saw, however, a magnificent piano, the other day, at the establishment of Messrs. Chickering, in Broadway, for which passage had been secured all the way to Oregon for thirty-five dollars,—only five dollars more than it would cost to transport it to Chicago. Happily for us, to whom fifteen hundred dollars—nay, six hundred and fifty dollars—is an enormous sum of money, a very good second-hand piano is always attainable for less than half the original price.
For, reader, you must know that the ostentation of the rich is always putting costly pleasures within the reach of the refined not-rich. A piano in its time plays many parts, and figures in a variety of scenes. Like the more delicate and sympathetic kinds of human beings, it is naught unless it is valued; but, being valued, it is a treasure beyond price. Cold, glittering, and dumb, it stands among the tasteless splendors with which the wealthy ignorant cumber their dreary abodes,—a thing of ostentation merely,—as uninteresting as the women who surround it, gorgeously apparelled, but without conversation, conscious of defective parts of speech. "There is much music, excellent voice, in that little organ," but there is no one there who can "make it speak." They may "fret" the noble instrument; they "cannot play upon it."
But a fool and his nine-hundred-dollar piano are soon parted. The red flag of the auctioneer announces its transfer to a drawing-room frequented by persons capable of enjoying the refined pleasures. Bright and joyous is the scene, about half past nine in the evening, when, by turns, the ladies try over their newest pieces, or else listen with intelligent pleasure to the performance of a master. Pleasant are the informal family concerts in such a house, when one sister breaks down under the difficulties of Thalberg, and yields the piano-stool to the musical genius of the family, who takes up the note, and, dashing gayly into the midst of "Egitto," forces a path through the wilderness, takes the Red Sea like a heroine, bursts at length into the triumphal prayer, and retires from the instrument as calm as a summer morning. On occasions of ceremony, too, the piano has a part to perform, though a humble one. Awkward pauses will occur in all but the best-regulated parties, and people will get together, in the best houses, who quench and neutralize one another. It is the piano that fills those pauses, and gives a welcome respite to the toil of forcing conversation. How could "society" go on without the occasional interposition of the piano? One hundred and sixty years ago, in those days beloved and vaunted by Thackeray, when Louis XIV. was king of France, and Anne queen of England, society danced, tattled, and gambled. Cards have receded as the piano has advanced in importance.
From such a drawing-room as this, after a stay of some years, the piano may pass into a boarding-school, and thence into the sitting-room of a family who have pinched for two years to buy it. "It must have been," says Henry Ward Beecher, "about the year 1820, in old Litchfield, Connecticut, upon waking one fine morning, that we heard music in the parlor, and, hastening down, beheld an upright piano, the first we ever saw or heard of! Nothing can describe the amazement of silence that filled us. It rose almost to superstitious reverence, and all that day was a dream and marvel." It is such pianos that are appreciated. It is in such parlors that the instrument best answers the end of its creation. There is many a piano in the back room of a little store, or in the uncarpeted sitting-room of a farm-house, that yields a larger revenue of delight than the splendid grand of a splendid drawing-room. In these humble abodes of refined intelligence, the piano is a dear and honored member of the family.
The piano now has a rival in the United States in that fine instrument before mentioned, which has grown from the melodeon into the cabinet organ. We do not hesitate to say, that the cabinet organs of Messrs. Mason and Hamlin only need to be as generally known as the piano in order to share the favor of the public equally with it. It seems to us peculiarly the instrument formen. We trust the time is at hand when it will be seen that it is not less desirable for boys to learn to play upon an instrument than girls; and how much more a little skill in performing may do for a man than for a woman! A boy can hardly be a perfect savage, nor a man a money-maker or a pietist, who has acquired sufficient command of an instrument to play upon it with pleasure. How often, when we have been listening to the swelling music of the cabinet organs at the ware-rooms of Messrs. Mason and Hamlin in Broadway, have we desired to put one of those instruments in every clerk's boarding-house room, and tell him to take all the ennui, and half the peril, out of his life by learning to play upon it! No business man who works as intensely as we do can keep alive the celestial harmonies within him,—no, nor the early wrinkles from his face,—without some such pleasant mingling of bodily rest and mental exercise as playing upon an instrument.
The simplicity of the means by which music is produced from the cabinet organ is truly remarkable. It is called a "reed" instrument; which leads many to suppose that the cane-brake is despoiled to procure its sound-giving apparatus. Not so. The reed employed is nothing but a thin strip of brass with a tongue slit in it, the vibration of which causes the musical sound. One of the reeds, though it produces a volume of sound only surpassed by the pipes of an organ, weighs about an ounce, and can be carried in a vest-pocket. In fact, a cabinet organ is simply an accordeon of immense power and improved mechanism. Twenty years ago, one of our melodeon-makers chanced to observe that the accordeon produced a better tone when it was drawn out than when it was pushed in; and this fact suggested the first great improvement in the melodeon. Before that time, the wind from the bellows, in all melodeons, was forced through the reeds. Melodeons on the improved principle were constructed so that the wind was drawn through the reeds. The credit of introducing this improvement is due to the well-known firm of Carhart, Needham, & Co., and it was as decided an improvement in the melodeon as the introduction of the hammer in the harpsichord.
At this point of development, the instrument was taken up by Messrs. Mason and Hamlin, who have covered it with improvements, and rendered it one of the most pleasing musical instruments in the possession of mankind. When we remarked above, that the American piano was the best in the world, we only expressed the opinion of others; but now that we assert the superiority of the American cabinet organ over similar instruments made in London and Paris, we are communicating knowledge of our own. Indeed, the superiority is so marked that it is apparent to the merest tyro in music. During the year 1866, the number of these instruments produced in the United States by the twenty-five manufacturers was about fifteen thousand, which were sold for one million six hundred thousand dollars, or a little more than one hundred dollars each. Messrs. Mason and Hamlin, who manufacture one fourth of the whole number, produce thirty-five kinds, varying in power, compass, and decoration, and in price from seventy-five dollars to twelve hundred. In the new towns of the great West, the cabinet organ is usually the first instrument of music to arrive, and, of late years, it takes its place with the piano in the fashionable drawing-rooms of the Atlantic States.
Few Americans, we presume, expected that the department of the Paris Exposition in which the United States should most surpass other nations would be that appropriated to musical instruments. Even our cornets and bugles are highly commended in Paris. The cabinet organs, according to several correspondents, are much admired. We can hardly credit the assertion of an intelligent correspondent of the Tribune, that the superiority of the American pianos is not "questioned" by Erard, Pleyel, and Hertz, but we can well believe that it is acknowledged by the great players congregated at Paris. The aged Rossini is reported to have said, after listening to an American piano, "It is like a nightingale cooing in a thunder-storm."
How strange are the freaks of memory!The lessons of life we forget,While a trifle, a trick of color,In the wonderful web is set,—Set by some mordant of fancy,And, despite the wear and tearOf time or distance or trouble,Insists on its right to be there.A chance had brought us together;Our talk was of matters of course;We were nothing, one to the other,But a short half-hour's resource.We spoke of French acting and actors,And their easy, natural way,—Of the weather, for it was rainingAs we drove home from the play.We debated the social nothingsMen take such pains to discuss;The thunderous rumors of battleWere silent the while for us.Arrived at her door, we left herWith a drippingly hurried adieu,And our wheels went crunching the gravelOf the oak-darkened avenue.As we drove away through the shadow,The candle she held in the door,From rain-varnished tree-trunk to tree-trunkFlashed fainter, and flashed no more,—Flashed fainter and wholly fadedBefore we had passed the wood;But the light of the face behind itWent with me and stayed for good.The vision of scarce a moment,And hardly marked at the time,It comes unbidden to haunt me,Like a scrap of ballad-rhyme.Had she beauty? Well, not what they call so:You may find a thousand as fair,And yet there's her face in my memory,With no special right to be there.As I sit sometimes in the twilight,And call back to life in the coalsOld faces and hopes and fanciesLong buried,—good rest to their souls!—Her face shines out of the embers;I see her holding the light,And hear the crunch of the gravelAnd the sweep of the rain that night.'Tis a face that can never grow older,That never can part with its gleam;'Tis a gracious possession forever,For what is it all but a dream?
How strange are the freaks of memory!The lessons of life we forget,While a trifle, a trick of color,In the wonderful web is set,—
Set by some mordant of fancy,And, despite the wear and tearOf time or distance or trouble,Insists on its right to be there.
A chance had brought us together;Our talk was of matters of course;We were nothing, one to the other,But a short half-hour's resource.
We spoke of French acting and actors,And their easy, natural way,—Of the weather, for it was rainingAs we drove home from the play.
We debated the social nothingsMen take such pains to discuss;The thunderous rumors of battleWere silent the while for us.
Arrived at her door, we left herWith a drippingly hurried adieu,And our wheels went crunching the gravelOf the oak-darkened avenue.
As we drove away through the shadow,The candle she held in the door,From rain-varnished tree-trunk to tree-trunkFlashed fainter, and flashed no more,—
Flashed fainter and wholly fadedBefore we had passed the wood;But the light of the face behind itWent with me and stayed for good.
The vision of scarce a moment,And hardly marked at the time,It comes unbidden to haunt me,Like a scrap of ballad-rhyme.
Had she beauty? Well, not what they call so:You may find a thousand as fair,And yet there's her face in my memory,With no special right to be there.
As I sit sometimes in the twilight,And call back to life in the coalsOld faces and hopes and fanciesLong buried,—good rest to their souls!—
Her face shines out of the embers;I see her holding the light,And hear the crunch of the gravelAnd the sweep of the rain that night.
'Tis a face that can never grow older,That never can part with its gleam;'Tis a gracious possession forever,For what is it all but a dream?
When I reached Kenmure's house, one August evening, it was rather a disappointment to find that he and his charming Laura had absented themselves for twenty-four hours. I had not seen them since their marriage; my admiration for his varied genius and her unvarying grace was at its height, and I was really annoyed at the delay. My fair cousin, with her usual exact housekeeping, had prepared everything for her guest, and then bequeathed me, as she wrote, to Janet and baby Marian. It was a pleasant arrangement, for between baby Marian and me there existed a species of passion, I might almost say of betrothal, ever since that little three-year-old sunbeam had blessed my mother's house by lingering awhile in it, six months before. Still I went to bed disappointed, though the delightful windows of the chamber looked out upon the glimmering bay, and the swinging lanterns at the yard-arms of the frigates shone like some softer constellation beneath the brilliant sky. The house was so close upon the water that the cool waves seemed to plash deliciously against its very basement; and it was a comfort to think that, if there were no adequate human greetings that night, there would be plenty in the morning, since Marian would inevitably be pulling my eyelids apart before sunrise.
It seemed scarcely dawn when I was roused by a little arm round my neck, and waked to think I had one of Raphael's cherubs by my side. Fingers of waxen softness were ruthlessly at work upon my eyes, and the little form that met my touch felt lithe and elastic, like a kitten's limbs. There was just light enough to see the child, perched on the edge of the bed, her soft blue dressing-gown trailing over the white night-dress, while her black and long-fringed eyes shone through the dimness of morning. She yielded gladly to my grasp, and I could fondle again the silken hair, the velvety brunette cheek, the plump, childish shoulders. Yet sleep still half held me, and when my cherub appeared to hold it a cherubic practice to begin the day with a demand for lively anecdote, I was fain drowsily to suggest that she might first tell some stories to her doll. With the sunny readiness that was a part of her nature, she straightway turned to that young lady,—plain Susan Halliday, with both cheeks patched, and eyes of different colors,—and soon discoursed both her and me into repose.
When I waked again, it was to find the child conversing with the morning star, which still shone through the window, scarcely so lucent as her eyes, and bidding it go home to its mother, the sun. Another lapse into dreams, and then a more vivid awakening, and she had my ear at last, and won story after story, requiting them with legends of her own youth, "almost a year ago,"—how she was perilously lost, for instance, in the small front yard, with a little playmate, early in the afternoon, and how they came and peeped into the window, and thought all the world had forgotten them. Then the sweet voice, distinct in its articulation as Laura's, went straying off into wilder fancies, a chaos of autobiography and conjecture, like the letters of a war correspondent. You would have thought her little life had yielded more pangs and fears than might have sufficed for the discovery of the North Pole; but breakfast-time drew near at last, and Janet's honest voice was heard outside the door. I rather envied the good Scotchwoman the pleasant task of polishing the smooth cheeks, and combing the dishevelled silk; but when, a little later, the small maiden was riding down stairs in my arms, I envied no one.
At sight of the bread and milk, my cherub was transformed into a hungry human child, chiefly anxious to reach the bottom of her porringer. I was with her a great deal that day. She gave no manner of trouble: it was like having the charge of a floating butterfly, endowed with warm arms to clasp, and a silvery voice to prattle. I sent Janet out to sail, with the other servants, by way of holiday, and Marian's perfect temperament was shown in the way she watched the departing.
"There they go," she said, as she stood and danced at the window. "Now they are out of sight."
"What!" I said, "are you pleased to have your friends go?"
"Yes," she answered; "but I shall be pleased—er to see them come back." Life to her was no alternation of joy and grief, but only of joy and more joyous.
Twilight brought us to an improvised concert. Climbing the piano-stool, she went over the notes with her little taper fingers, touching the keys in a light, knowing way, that proved her a musician's child. Then I must play for her, and let the dance begin. This was a wondrous performance on her part, and consisted at first in hopping up and down on one spot, with no change of motion, but in her hands. She resembled a minute and irrepressible Shaker, or a live and beautifulmarionnette. Then she placed Janet in the middle of the floor, and performed the dance round her, after the manner of Vivien and Merlin. Then came her supper, which, like its predecessors, was a solid and absorbing meal; then one more fairy story, to magnetize her off, and she danced and sang herself up stairs. And if she first came to me in the morning with a halo round her head, she seemed still to retain it when I at last watched her kneeling in the little bed—perfectly motionless, with her hands placed together, and her long lashes sweeping her cheeks—to repeat two verses of a hymn which Janet had taught her. My nerves quivered a little when I saw that Susan Halliday had also been duly prepared for the night, and had been put in the same attitude, so far as her jointless anatomy permitted. This being ended, the doll and her mistress reposed together, and only an occasional toss of the vigorous limbs, or a stifled baby murmur, would thenceforth prove, through the darkened hours, that the one figure had in it more of life than the other.
On the next morning Kenmure and Laura came back to us, and I walked down to receive them at the boat. I had forgotten how striking was their appearance, as they stood together. His broad, strong, Saxon look, his noble bearing and clear blue eyes, enhanced the fascination of her darker beauty.
America is full of the short-lived bloom and freshness of girlhood; but grace is a rarer gift, and indeed it is only a few times in life that one sees anywhere a beauty that really controls us with a permanent charm. One should remember such personal loveliness, as one recalls some particular moonlight or sunset, with a special and concentrated joy, which the multiplicity of fainter impressions cannot disturb. When in those days we used to read, in Petrarch's one hundred and twenty-third sonnet, that he had once beheld on earth angelic manners and celestial charms, whose very remembrance was a delight and an affliction, since all else that he beheld seemed dream and shadow, we could easily fancy that nature had certain permanent attributes which accompanied the name of Laura.
Our Laura had that rich brunette beauty before which the mere snow and roses of the blonde must always seem wan and unimpassioned. In the superb suffusions of her cheek there seemed to flow a tide of passions and powers, which might have been tumultuous in a meaner woman, but over which, in her, the clear and brilliant eyes, and the sweet, proud mouth, presided in unbroken calm. These superb tints implied resources only, not a struggle. With this torrent from the tropics in her veins, she was the most equable person I ever saw; and had a supreme and delicate good-sense, which, if not supplying the place of genius, at least comprehended its work. Not intellectually gifted herself, perhaps, she seemed the cause of gifts in others, and furnished the atmosphere in which all showed their best. With the steady and thoughtful enthusiasm of her Puritan ancestors, she combined that grace which is so rare among their descendants,—a grace which fascinated the humblest, while it would have been just the same in the society of kings. And her person had the equipoise and symmetry of her mind. While abounding in separate points of beauty, each a source of distinct and peculiar pleasure,—as the outline of her temples, the white line that parted her night-black hair, the bend of her wrists, the moulding of her finger-tips,—yet these details were lost in the overwhelming gracefulness of her presence, and the atmosphere of charm which she diffused over all human life.
A few days passed rapidly by us. We walked and rode and boated and read. Little Marian came and went, a living sunbeam, a self-sufficing thing. It was soon obvious that she was far less demonstrative towards her parents than towards me; while her mother, gracious to her as to all, yet rarely caressed her, and Kenmure, though habitually kind, seemed rather to ignore her existence, and could scarcely tolerate that she should for one instant preoccupy his wife. For Laura he lived, and she must live for him. He had a studio, which I rarely entered and Marian never, while Laura was constantly there; and after the first cordiality was past, I observed that their daily expeditions were always arranged for two. The weather was beautiful, and they led the wildest outdoor life, cruising all day or all night among the islands, regardless of hours, and, as it sometimes seemed to me, of health. No matter: Kenmure liked it, and what he liked she loved. When at home, they were chiefly in the studio, he painting, modelling, poetizing perhaps, and she inseparably united with him in all. It was very beautiful, this unworldly and passionate love, and I could have borne to be omitted in their daily plans, since little Marian was left to me, save that it seemed so strange to omit her also. Besides, there grew to be something a little oppressive in this peculiar atmosphere; it was like living in a greenhouse.
Yet they always spoke in the simplest way of this absorbing passion, as of something about which no reticence was needed; it was too sacrednotto be mentioned; it would be wrong not to utter freely to all the world what was doubtless the best thing the world possessed. Thus Kenmure made Laura his model in all his art; not to coin her into wealth or fame,—he would have scorned it; he would have valued fame and wealth only as instruments for proclaiming her. Looking simply at these two lovers, then, it seemed as if no human union could be more noble or stainless. Yet so far as others were concerned, it sometimes seemed to me a kind of duplex selfishness, so profound and so undisguised as to make one shudder. "Is it," I asked myself at such moments, "a great consecration, or a great crime?" But something must be allowed, perhaps, for my own private dissatisfactions in Marian's behalf.
I had easily persuaded Janet to let me have a peep every night at my darling, as she slept; and once I was surprised to find Laura sitting by the small white bed. Graceful and beautiful as she always was, she never before had seemed to me so lovely, for she never had seemed quite like a mother. But I could not demand a sweeter look of tenderness than that with which she now gazed upon her child.
Little Marian lay with one brown, plump hand visible from its full white sleeve, while the other nestled half hid beneath the sheet, grasping a pair of blue morocco shoes, the last acquisition of her favorite doll. Drooping from beneath the pillow hung a handful of scarlet poppies, which the child had wished to place under her head, in the very superfluous project of putting herself to sleep thereby. Her soft brown hair was scattered on the sheet, her black lashes lay motionless upon the olive cheeks. Laura wished to move her, that I might see her the better.
"You will wake her," exclaimed I, in alarm.
"Wake this little dormouse?" Laura lightly answered. "Impossible."
And, twining her arms about her, the young mother lifted the child from the bed, three or four times, dropping her again heavily each time, while the healthy little creature remained utterly undisturbed, breathing the same quiet breath. I watched Laura with amazement; she seemed transformed.
She gayly returned my eager look, and then, seeming suddenly to penetrate its meaning, cast down her radiant eyes, while the color mounted into her cheeks. "You thought," she said, almost sternly, "that I did not love my child."
"No," I said, half untruthfully.
"I can hardly wonder," she continued, more sadly, "for it is only what I have said to myself a thousand times. Sometimes I think that I have lived in a dream, and one that few share with me. I have questioned others, and never yet found a woman who did not admit that her child was more to her, in her secret soul, than her husband. What can they mean? Such a thought is foreign to my nature."
"Why separate the two?" I asked.
"Imustseparate them," she answered, with the air of one driven to bay by her own self-reproaching. "I had, like other young girls, my dream of love and marriage. Unlike all the rest, I believe, my visions were fulfilled. The reality was more than the imagination; and I thought it would be so with my love for my child. The first cry of that baby told the difference to my ear. I knew it all from that moment; the bliss which had been mine as a wife would never be mine as a mother. If I had not known what it was to love my husband, I might have been content with my love for Marian. But look at that exquisite creature as she lies there asleep, and then think that I, her mother, should desert her if she were dying, for aught I know, at one word from him!"
"Your feeling is morbid," I said, hardly knowing what to answer.
"What good does it serve to know that?" she said, defiantly. "I say it to myself every day. Once when she was ill, and was given back to me in all the precious helplessness of babyhood, there was such a strange sweetness in it, I thought the charm might remain; but it vanished when she could run about once more. And she is such a healthy, self-reliant little thing," added Laura, glancing toward the bed with a momentary look of motherly pride that seemed strangely out of place amid these self-denunciations.
"I wish her to be so," she added. "The best service I can do for her is to teach her to stand alone. And at some day," continued the beautiful woman, her whole face lighting up with happiness, "she may love as I have loved."
"And your husband," I said, after a pause,—"does your feeling represent his?"
"My husband," she said, "lives for his genius, as he should. You that know him, why do you ask?"
"And his heart?" I said, half frightened at my own temerity.
"Heart?" she answered. "He lovesme."
Her color mounted higher yet; she had a look of pride, almost of haughtiness. All else seemed forgotten; she had turned away from the child's little bed, as if it had no existence. It flashed upon me that something of the poison of her artificial atmosphere was reaching her already.
Kenmure's step was heard in the hall, and, with fire in her eyes, she hastened to meet him. I seemed actually to breathe freer after the departure of that enchanting woman, in danger of perishing inwardly, I said to myself, in an air too lavishly perfumed. Bending over Marian, I wondered if it were indeed possible that a perfectly healthy life had sprung from that union too intense and too absorbed. Yet I had often noticed that the child seemed to wear the temperaments of both her parents as a kind of playful disguise, and to peep at you, now out of the one, now from the other, showing that she had her own individual life behind.
As if by some infantine instinct, the darling turned in her sleep, and came unconsciously nearer me. With a half-feeling of self-reproach, I drew around my neck, inch by inch, the little arms that tightened with a delicious thrill; and so I half reclined there till I myself dozed, and the watchful Janet, looking in, warned me away. Crossing the entry to my own chamber, I heard Kenmure and Laura down stairs, but I knew that I should be superfluous, and felt that I was sleepy.
I had now, indeed, become always superfluous when they were together, though never when they were apart. Even they must be separated sometimes, and then each sought me, in order to discourse about the other. Kenmure showed me every sketch he had ever made of Laura. There she was, in all the wonderful range of her beauty,—in clay, in cameo, in pencil, in water-color, in oils. He showed me also his poems, and, at last, a longer one, for which pencil and graver had alike been laid aside. All these he kept in a great cabinet she had brought with her to their housekeeping; and it seemed to me that he also treasured every flower she had dropped, every slender glove she had worn, every ribbon from her hair. I could not wonder. Who would not thrill at the touch of some such memorial of Mary of Scotland, or of Heloise? and what was all the regal beauty of the past to him? Every room always seemed adorned when she was in it, empty when she had gone,—save that the trace of her still seemed left on everything, and all appeared but as a garment she had worn. It seemed that even her great mirror must retain, film over film, each reflection of her least movement, the turning of her head, the ungloving of her hand. Strange! that, with all this intoxicating presence, she yet led a life so free from self, so simple, so absorbed, that all trace of consciousness was excluded, and she seemed unsophisticated as her own child.
As we were once thus employed in the studio, I asked Kenmure, abruptly, if he never shrank from the publicity he was thus giving Laura. "Madame Récamier was not quite pleased," I said, "that Canova had modelled her bust, even from imagination. Do you never shrink from permitting irreverent eyes to look on Laura's beauty? Think of men as you know them. Would you give each of them her miniature, perhaps to go with them into scenes of riot and shame?"
"Would to Heaven I could!" said he, passionately. "What else could save them, if that did not? God lets his sun shine on the evil and on the good, but the evil need it most."
There was a pause; and then I ventured to ask him a question that had been many times upon my lips unspoken.
"Does it never occur to you," I said, "that Laura cannot live on earth forever?"
"You cannot disturb me about that," he answered, not sadly, but with a set, stern look, as if fencing for the hundredth time against an antagonist who was foredoomed to be his master in the end. "Laura will outlive me; she must outlive me. I am so sure of it, that, every time I come near her, I pray that I may not be paralyzed, and die outside her arms. Yet, in any event, what can I do but what I am doing,—devote my whole soul to the perpetuation of her beauty, through art? It is my only dream. What else is worth doing? It is for this I have tried, through sculpture, through painting, through verse, to depict her as she is. Thus far I have failed. Why have I failed? Is it because I have not lived a life sufficiently absorbed in her? or is it that there is no permitted way by which, after God has reclaimed her, the tradition of her perfect loveliness may be retained on earth?"
The blinds of the piazza doorway opened, the sweet sea-air came in, the low and level rays of yellow sunset entered as softly as if the breeze were their chariot; and softer and stiller and sweeter than light or air, little Marian stood on the threshold. She had been in the fields with Janet, who had woven for her breeze-blown hair a wreath of the wild gerardia blossoms, whose purple beauty had reminded the good Scotchwoman of her own native heather. In her arms the child bore, like a little gleaner, a great sheaf of graceful golden-rod, as large as her grasp could bear. In all the artist's visions he had seen nothing so aerial, so lovely; in all his passionate portraitures of his idol, he had delineated nothing so like to her. Marian's cheeks mantled with rich and wine-like tints, her hair took a halo from the sunbeams, her lips parted over the little milk-white teeth; she looked at us with her mother's eyes. I turned to Kenmure to see if he could resist the influence.
He scarcely gave her a glance. "Go, Marian," he said,—not impatiently, for he was too thoroughly courteous ever to be ungracious, even to a child,—but with a steady indifference that cut me with more pain than if he had struck her.
The sun dropped behind the horizon, the halo faded from the shining hair, and every ray of light from the childish face. There came in its place that deep, wondering sadness which is more pathetic than any maturer sorrow,—just as a child's illness touches our hearts more than that of man or woman, it seems so premature and so plaintive. She turned away; it was the very first time I had ever seen the little face drawn down, or the tears gathering in the eyes. By some kind providence, the mother met Marian on the piazza, herself flushed and beautiful with walking, and caught the little thing in her arms with unwonted tenderness. It was enough for the elastic child. After one moment of such bliss she could go to Janet, go anywhere; and when the same graceful presence came in to us in the studio, we also could ask no more.
We had music and moonlight, and were happy. The atmosphere seemed more human, less unreal. Going up stairs at last, I looked in at the nursery, and found my pet seeming rather flushed, and I fancied that she stirred uneasily. It passed, whatever it was; for next morning she came in to wake me, looking, as usual, as if a new heaven and earth had been coined purposely for her since she went to sleep. We had our usual long and important discourse,—this time tending to protracted narrative, of the Mother-Goose description,—until, if it had been possible for any human being to be late for breakfast in that house, we should have been the offenders. But she ultimately went down stairs on my shoulder, and, as Kenmure and Laura were out rowing, the baby put me in her own place, sat in her mother's chair, and ruled me with a rod of iron. How wonderful was the instinct by which this little creature, who so seldom heard one word of parental severity or parental fondness, yet knew so thoroughly the language of both! Had I been the most depraved of children, or the most angelic, I could not have been more sternly excluded from the sugar-bowl, or more overwhelmed with compensating kisses.
Later on that day, while little Marian was taking the very profoundest nap that ever a baby was blessed with, (she had a pretty way of dropping asleep in unexpected corners of the house, like a kitten,) I somehow strayed into a confidential talk with Janet about her mistress. I was rather troubled to find that all her loyalty was for Laura, with nothing left for Kenmure, whom indeed she seemed to regard as a sort of objectionable altar, on which her darlings were being sacrificed. When she came to particulars, certain stray fears of my own were confirmed. It seemed that Laura's constitution was not fit, Janet averred, to bear these irregular hours, early and late; and she plaintively dwelt on the untasted oatmeal in the morning, the insufficient luncheon, the precarious dinner, the excessive walking, the evening damps. There was coming to be a look about her such as her mother had, who died at thirty. As for Marian—but here the complaint suddenly stopped; it would have required far stronger provocation to extract from the faithful soul one word that might seem to reflect on Laura.
Another year, and her forebodings had come true. It is needless to dwell on the interval. Since then I have sometimes felt a regret almost insatiable, in the thought that I should have been absent while all that gracious beauty seemed fading and dissolving like a cloud; and yet at other times it has appeared a relief to think that Laura would ever remain to me in the fulness of her beauty, not a tint faded, not a lineament changed. With all my efforts, I arrived only in time to accompany Kenmure home at night, after the funeral service. We paused at the door of the empty house,—how empty! I hesitated, but Kenmure motioned to me to follow him in.
We passed through the hall and went up stairs. Janet met us at the head of the stairway, and asked me if I would go in to look at little Marian, who was sleeping. I begged Kenmure to go also, but he refused, almost savagely, and went on with heavy step into Laura's deserted room.
Almost the moment I entered the child's chamber, she waked up suddenly, looked at me, and said, "I know you, you are my friend." She never would call me her cousin, I was always her friend. Then she sat up in bed, with her eyes wide open, and said, as if stating a problem which had been put by for my solution, "I should like to see my mother."
How our hearts are rent by the unquestioning faith of children, when they come to test the love which has so often worked what seemed to them miracles,—and ask of it miracles indeed! I tried to explain to her the continued existence of her beautiful mother, and she listened to it as if her eyes drank in all that I could say, and more. But the apparent distance between earth and heaven baffled her baby mind, as it so often and so sadly baffles the thoughts of us elders. I wondered what precise change seemed to her to have taken place. This all-fascinating Laura, whom she adored, and who had yet never been to her what other women are to their darlings,—did heaven seem to put her farther off, or bring her more near? I could never know. The healthy child had no morbid questionings; and as she had come into the world to be a sunbeam, she must not fail of that mission. She was kicking about the bed, by this time, in her nightgown, and holding her pink little toes in all sorts of difficult attitudes, when she suddenly said, looking me full in the face: "If my mother was so high up that she had her feet upon a star, do you think that I could see her?"
This astronomical apotheosis startled me for a moment, but I said unhesitatingly, "Yes," feeling sure that the lustrous eyes that looked in mine could certainly see as far as Dante's, when Beatrice was transferred from his side to the highest realm of Paradise. I put my head beside hers upon the pillow, and stayed till I thought she was asleep.
I then followed Kenmure into Laura's chamber. It was dusk, but the after-sunset glow still bathed the room with imperfect light, and he lay upon the bed, his hands clenched over his eyes.
There was a deep bow-window where Laura used to sit and watch us, sometimes, when we put off in the boat. Her æolian harp was in the casement, breaking its heart in music. A delicate handkerchief was lodged between the cushions of the window-seat,—the very handkerchief she used to wave, in summer days long gone. The white boats went sailing beneath the evening light, children shouted and splashed in the water, a song came from a yacht, a steam-whistle shrilled from the receding steamer; but she for whom alone those little signs of life had been dear and precious would henceforth be as invisible to our eyes as if time and space had never held her; and the young moon and the evening star seemed but empty things, unless they could pilot us to some world where the splendor of her loveliness could match their own.
Twilight faded, evening darkened, and still Kenmure lay motionless, until his strong form grew in my moody fancy to be like some carving of Michel Angelo, more than like a living man. And when he at last startled me by speaking, it was with a voice so far off and so strange, it might almost have come wandering down from the century when Michel Angelo lived.
"You are right," he said. "I have been living in a dream. It has all vanished. I have kept no memorial of her presence, nothing to perpetuate the most beautiful of lives."
Before I could answer, the door came softly open, and there stood in the doorway a small white figure, holding aloft a lighted taper of pure alabaster. It was Marian in her little night-dress, with the loose, blue wrapper trailing behind her, let go in the effort to hold carefully the doll, Susan Halliday, robed also for the night.
"May I come in?" said the child.
Kenmure was motionless at first, then, looking over his shoulder, said merely, "What?"
"Janet said," continued Marian, in her clear and methodical way, "that my mother was up in heaven, and would help God hear my prayers at any rate; but if I pleased, I could come and say them by you."
A shudder passed over Kenmure; then he turned away, and put his hands over his eyes. She waited for no answer, but, putting down the candlestick, in her wonted careful manner, upon a chair, she began to climb upon the bed, lifting laboriously one little rosy foot, then another, still dragging after her, with great effort, the doll. Nestling at her father's breast, I saw her kneel.
"Once my mother put her arm round me, when I said my prayers." She made this remark, under her breath, less as a suggestion, it seemed, than as the simple statement of a fact.
Instantly I saw Kenmure's arm move, and grasp her with that strong and gentle touch of his that I had so often noticed in the studio,—a touch that seemed quiet as the approach of fate, and as resistless. I knew him well enough to understand that iron adoption.
He drew her toward him, her soft hair was on his breast, she looked fearlessly in his eyes, and I could hear the little prayer proceeding, yet in so low a whisper that I could not catch one word. She was infinitely solemn at such times, the darling; and there was always something in her low, clear tone, through all her prayings and philosophizings, which was strangely like her mother's voice. Sometimes she seemed to stop and ask a question, and at every answer I could see her father's arm tighten, and the iron girdle grow more close.
The moments passed, the voices grew lower yet, the doll slid to the ground. Marian had drifted away upon a vaster ocean than that whose music lulled her from without,—upon that sea whose waves are dreams. The night was wearing on, the lights gleamed from the anchored vessels, the bay rippled serenely against the low sea-wall, the breeze blew gently in. Marian's baby breathing grew deeper and more tranquil; and as all the sorrows of the weary earth might be imagined to exhale themselves in spring through the breath of violets, so it seemed as if it might be with Kenmure's burdened heart. By degrees the strong man's deeper respirations mingled with those of the child, and their two separate beings seemed merged and solved into identity, as they slumbered, breast to breast, beneath the golden and quiet stars. I passed by without awaking them; I knew that the artist had attained his dream.
I have of late frequently been asked by my English friends why it is that I decline to return to my country, and to associate my own efforts for the moral and political advancement of Italy with those of her governing classes. "The amnesty has opened up a path for thelegaldissemination of your ideas," they tell me. "By taking the place already repeatedly offered you among the representatives of the people, you would secure to those who hold the helm of the state the support of the whole Republican party. Do you not, by throwing the weight of your name and influence on the side of the malcontents, increase the difficulties of the government, and prolong the fatal want of moral and political unity, without which the mere material fact of union is barren, and unproductive of benefit to the people?"
The question is asked by serious men, who wish my country well, and is therefore deserving of a serious answer.
Before treating the personal matter, however, let me say that, since 1859, the Republican party has done precisely what my English friends required it to do. The Italian Republicans have actually assisted and upheld the government with an abnegation worthy of all praise,—sacrificing even their right of Apostolate to the great idea of Italian unity. Perceiving that the nation was determined to give monarchy the benefit of a trial, they have—in that reverence for the national will which is the first duty of Republicans—patiently awaited its results, and endured every form of misgovernment rather than afford a pretext to those in power for the non-fulfilment of their declared intention of initiating a war to regain our own territory and true frontier,—a war without which, as they well knew, the permanent security and dignity of Italy were impossible, and which, had it been conducted from a truly national point of view, would have wrought the moral redemption of our people.
The monarchy, however, which, as I pointed out in my article on "The Republican Alliance," had had five years to prepare, and was in a position to take the field with thirty-five thousand regular troops, one hundred thousand mobilized National Guards, thirty thousand volunteers under Garibaldi, and the whole of Italy ready to act as reserve, and make any sacrifices in blood or money, abruptly broke off the war after the unqualifiable disasters of Custozza and Lissa, at a signal from France,—basely abandoning our true frontier, the heroic Trentino,—and accepted Venice as an alms scornfully flung to us by the man of the 2d of December.
I may be told that a people of twenty-four millions who tamely submit to dishonor deserve it.
I admit it; but it must not be forgotten that our masses are uneducated, and that it is the natural tendency of the uneducated to accept their rulers as their guides, and to govern their own conduct by the example of theirsoi-disantsuperiors; and I assert that, if our people have no consciousness of their great destiny, nor sense of their true power and mission,—if, while twenty-four millions of Italians are at the present day grouped around, I will not say theconceptionof unity, but the mere unstablefactof union, the great soul of Italy still lies prostrate in the tomb dug for her three centuries ago by the Papacy and the Empire,—the cause is to be found in the immorality and corruption of our rulers.
The true life of a people must be sought in the ruling idea or conception by which it is governed and directed.
The true idea of a nation implies the consciousness of a commonaim, and the fraternal association and concentration of all the vital forces of the country towards the realization of that aim.
The national aim is indicated by the past tradition, and confirmed by the present conscience, of the country.
The national aim once ascertained, it becomes the basis of the sovereign power, and the criterion of judgment with regard to the acts of the citizens.
Every act tending to promote the national aim is good; every act tending to a departure from that aim is evil.
The moral law is supreme. The religion of duty forms the link between the nation and humanity; the source of itsright, and the sign of its place and value in humanity.
Such are the essential characteristics of what we term a nation at the present day. Where these are wanting, there exists but an aggregate of families, temporarily united for the purpose of diminishing the ills of life, and loosely bound together by past habits or interests, which are destined, sooner or later, to clash. All intellectual or economic development among them,—unregulated by a great conception supreme over every selfish interest,—instead of being equally diffused over the various members of the national family, leads to the gradual formation of educated or financialcastes, but obtains for the nation itself neither recognized function, position, dignity, nor glory among foreign peoples.
These things, which are true of all peoples, are still more markedly so of a people emerging from a prolonged and deathlike stupor into new life. Other nations earnestly watch its every step. If its advance is illumined by the signs of a high mission, and its first manifestations sanctified by the baptism of a greatprinciple, other nations will surround the new collective being with affection and hope, and be ready to follow it upon the path assigned to it by God. If they discover in it no signs of any noble inspiration, ruling moral conception, or potent future, they will learn to despise it, and to regard its territory as a new field for a predatory policy, and direct or indirect domination.
Tradition has marked out and defined the characteristics of a high mission more distinctly in Italy than elsewhere. We alone, among the nations that have expired in the past, have twice arisen in resurrection and given new life to Europe. The innate tendency of the Italian mind always to harmonizethoughtandactionconfirms the prophecy of history, and points out therôleof Italy in the world to be a work of moral unification,—the utterance of the synthetic word of civilization.
Italy is a religion.
And if we look only to theimmediatenational aim, and the inevitable consequences that must follow the complete constitution of Italy as a nation, we see that to no people in Europe has been assigned a higher office in the fulfilment of the educational design, to the evolution of which Providence guides humanity from epoch to epoch. Our unity will be of itself a potentinitiativein the world. The mere fact of our existence as a nation will carry with it an important modification of the external and internal life of Europe.
Had we regained Venice through a war directed as justice and the exigencies of the case required, instead of basely submitting to the humiliation of receiving it from the hands of a foreign despot, we should have dissolved two empires, and called into existence a Slavo-Magyaro-Teutonic federation along the Danube, and a Slavo-Hellenic-Rouman federation in the east of Europe.
We shall not regain Rome without dissolving the Papacy, and proclaiming, for the benefit of all humanity, that inviolability of conscience which Protestantism achieved for a fraction of Europe only, and confined within Biblical limits.
Great ideas make great peoples, and the sense of the enormous power which is an inseparable condition of the existence of our Italy as a nation should have sufficed to make us great. That sense, however,—God alone knows the grief with which I write it,—that sense with us is wanting.
And now a word as to the amnesty.
Were it my nature to allow any personal considerations to interfere where the welfare of my country is concerned, I might answer that none who know me would expect me to give the lie to the whole of my past life, and sully the few years left to me by accepting an offer ofoblivionandpardonfor having loved Italy above all earthly things, and preached and striven for her unity when all others regarded it as a dream.
But my purpose in the present writing is far other than self-defence; and the sequel will show that, even were the sacrifice of the dignity of my last years possible, it would be useless.
My past, present, and future labors towards the moral and political regeneration of my country have been, are, and will be governed by a religious idea.
The past, present, and future of our rulers have been, are, and will be led astray by materialism.
Now the religious question sums up and dominates every other. Political questions are necessarily secondary and derivative.
They who earnestly believe in the supremacy of the moral law as the sole legitimate source of all authority—in a religion of duty, of which politics should be the application—cannot, through any amount of personal abnegation, act in concert with a government based upon the worship of temporary and material interest.
Our rulers have no great ruling conception,—no belief in the supremacy of the moral law,—no just notion of life, nor of the human unity,—no belief in a divinely appointed goal which it is thedutyof mankind to reach through labor and sacrifice. They are materialists, and the logical consequence of their want of all faith in God and his law are the substitution of the idea ofinterestfor the idea ofduty,—of a paltry notion oftactics, for the fearless affirmation of the truth,—of opportunity, for principle.
It is for this that they protest against, without resisting, wrong,—for this that they have abandoned the straight road to wander in tortuous by-paths, fascinated by the thought of displayingstate-craft, and forgetting that it was through such paths we first descended into slavery. It is for this that our government has reduced Italy to the condition of a French prefecture, and that our parliamentary opposition copies the wretched tactics of theLeftin the French Chamber, which prepared the way, during the Restoration, for the present corruption, degradation, and enslavement of their country.
These things, I repeat, areconsequences, not causes. We may change as we will the individuals at the head of the government; the system itself being based upon a falseprinciple, the fatal idea will govern them. Theycannotrighteously direct the new life of the Italian people, and redeem them from a profound unconscious immorality of ancient date.
The present duty of the democratic party in Italy, then,—since they cannot serve God and Mammon,—is to educate the people; and, remembering that the basis of all education is truth, to endeavor to prove to them that the actual political impotence and corruption of Italy are derived from two causes which may be summed up in one,—we have no religion, and we have set up a negation in its place.
On the one side we have—as our only form and semblance of religion—the Papacy.
I remember to have written, more than thirty years ago, when none other dared openly to venture on the problem,—when the boldest contented themselves with whispering of reforms in Church discipline, and those writers who, like Gioberti, set themselves up as philosophers, thought proper, as a matter of tactics, to caress the Utopia of an Italian primacy, intrusted to I know not what impossible revival of Catholicism,—I remember to have written then that both the Papacy and Catholicism were things extinct, and that their death was a consequence ofquite another death.
I spoke of the dogma which was the foundation of both.
Years have confirmed what I then declared. The Papacy is now a corpse beyond all power of galvanization. It is the lying mockery of a religion,—a source of perennial corruption and immorality among the nations, and most fatally such to our own, upon whose very soul weighs the incubus and example of that lie. But at the present day we either know or ought to know the cause of this.
All contact with the Papacy is contact with death, carrying the taint of its corruption over rising Italy, and educating her masses in falsehood,—not because cardinals, bishops, and monks traded in indulgences three centuries ago,—not because this or that Pope trafficked in cowardly concessions to princes, or in the matrimony of his own bastards with the bastards of dukes, petty tyrants, or kings, in order to obtain some patch of territory or temporal dominion,—not because they have governed and persecuted men according to their arbitrary will; but because theycannotdo other, even if they would.
These evils and these sins are notcauses, butconsequences.
Even admitting the impossible hypothesis that the guilty individuals should be converted;—that the Jansenists, or other Reformers, should recall the misguided Popes to the charity and humility of their ancient way of life,—they could only cause the Papacy to die with greater dignity;—it can never again be what once it was, the ruler and director of the conscience of the peoples.
The mission of the Papacy—a great and holy mission, whatever the fanatics of rebellion at the present day, falsifying history and calumniating the soul and mind of humanity in the past, may say to the contrary—is fulfilled. It was fulfilled six centuries ago; and no power of genius, no miracle of will, can avail to revive it. Innocent III. was the last true Pope. He was the last who endeavored to make the supremacy of the moral law of the epoch over the brute force of the temporal governments—of the spirit over matter, of God over Cæsar—an organic socialfact.
And such was in truth the mission of the Papacy,—the secret of its power, and of the willing adherence and submission yielded to it by humanity for eight hundred years. That mission was incarnated in one of the greatest of Italians in genius, virtue, and iron strength of will,—Gregory VII.,—and yet he failed to prolong it. One hundred and fifty years afterwards, the gigantic attempt had become but the dim record of a past never to return. With the successors of Innocent III. began the decline of the Papacy; it ceased to infuse life into humanity. A hundred years later, and the Church had become scandalously corrupt in the higher spheres of its hierarchy, persecuting and superstitious in the lower. A hundred years later it was the ally, and in one hundred more the servant of Cæsar, and had lost one half of Europe.
From that time forward it has unceasingly declined, until it has sunk to the thing we now behold it;—disinherited of all power of inspiration over civilization; the impotent negation of all movement, of all liberty, of all development of science or life; destitute of all sense of duty, power of sacrifice, or faith in its own destiny; held up by foreign bayonets; trembling before the face of the peoples, and forsaken by humanity, which is seeking the path of progress elsewhere.
The Papacy has lost all moral basis, aim, sanction, and source of action at the present day. Its source of action in the past was derived from a conception of heaven since changed,—from a notion of life since proved imperfect,—from a conception of the moral law inferior to that of the new epoch in course of initiation,—from a solution of the eternal problem of the relation between man and God since rejected by the human heart, intellect, conscience, and tradition.
The dogma itself which the Church once represented is exhausted and consumed. It no longer inspires faith, no longer has power to unite or direct the human race.
The time of a new dogma is approaching, which will re-link earth with heaven in a vaster synthesis, fruitful of new and harmonious life.
It is for this that the Papacy expires. And it is our duty to declare this, without hypocritical reticence, or formulæ of speech, which, feigning to attack and venerate at one and the same time, do but parcel out, not solve the problem; because the future cannot be fully revealed until the past is entombed, and by weakly prolonging the delay we run the risk of introducing gangrene into the wound.
The formula of life and of the law of life from which the Papacy derived its existence and its mission was that of thefallof man and his redemption. The logical and inevitable consequences of this formula were:—
The doctrine of the necessity ofmediationbetween man and God;
The belief in adirect,immediate, andimmutablerevelation, and hence in a privileged class,—naturally destined to centralize in one individual,—the office of which was to preserve that revelation inviolate;
The inefficacy of man's own efforts to achieve his own redemption, and the consequent substitution of unlimitedfaithin theMediator, for works,—hencegraceandpredestinationmore or less explicitly substituted forfree-will;
The separation of the human race into theelectand thenon-elect;
Thesalvationof the one, and the eternaldamnationof the other; and, above all,
The duality between earth and heaven, between theidealand thereal, between theaimset before man and a world condemned to anathema by thefall, and incapable, through the imperfection of its finite elements, of affording him the means of realizing that aim.
In fact, the religious synthesis which succeeded Polytheism did not contemplate, nor did the historical succession of the epochs allow it to contemplate, any conception of life embracing more than theindividual; it offered the individual a means of salvationin despite ofthe egotism, tyranny, and corruption by which he is surrounded on earth, and which no individual effort could hope to overcome; it came to declare to him,The world is adverse to thee; renounce the world and put thy faith in Christ; this will lead thee to heaven.
The new formula of life and its law—unknown at that day, but revealed to us in our own day by our knowledge of the tradition of humanity, confirmed by the voice of individual conscience, by the intuition of genius and the grand results of scientific research—may be summed up in the single wordProgress,[D]which we now know to be, by Divine decree, the inherent tendency of human nature,—whether manifested in the individual or the collective being,—and destined, more or less speedily, but inevitably, to be evolved in time and space.
The logical consequences of the new formula are:—
The substitution of the idea of alawfor the idea of aMediator;—the idea of acontinuouseducational revelation for that of animmediatearbitrary revelation;