Seeing Europe with Famous Authors Volume VIII Part 3

They are Egyptian subjects, executed by a Greek artist, who has harmonized all the unnatural extravagances of the original conception into the supernatural loveliness of his country's genius. They scarcely touch the ground with their feet, and their wind-uplifted robes seem in the place of wings. The temple in the midst raised on a high platform, and approached by steps, was decorated with exquisite paintings, some of which we saw in the museum at Portici. It is small, of the same materials as the chapel, with a pavement of mosaic, and fluted Ionic columns of white stucco, so white that it dazzles you to look at it.

Thence through the other porticos and labyrinths of walls and columns (for I can not hope to detail everything to you), we came to the Forum.

This is a large square, surrounded by lofty porticos of fluted columns, some broken, some entire, their entablatures strewed under them. The temple of Jupiter, of Venus, and another temple, the Tribunal, and the Hall of Public Justice, with their forest of lofty columns, surround the Forum. Two pedestals or altars of an enormous size (for, whether they supported equestrian statues, or were the altars of the temple of Venus, before which they stand, the guide could not tell), occupy the lower end of the Forum. At the upper end, supported on an elevated platform, stands the temple of Jupiter. Under the colonnade of its portico we sat and pulled out our oranges, and figs, and bread, and medlars (sorry fare, you will say), and rested to eat.

Here was a magnificent spectacle. Above and between the mult.i.tudinous shafts of the sun-s.h.i.+ning columns was seen the sea, reflecting the purple heaven of noon above it, and supporting, as it were, on its line the dark lofty mountains of Sorrento, of a blue inexpressibly deep, and tinged toward their summits with streaks of new-fallen snow. Between was one small green island. To the right was Capreae, Inarime, Prochyta, and Misenum. Behind was the single summit of Vesuvius, rolling forth volumes of thick white smoke, whose foam-like column was sometimes darted into the clear dark sky, and fell in little streaks along the wind. Between Vesuvius and the nearer mountains, as through a chasm, was seen the main line of the loftiest Apennines, to the east.

The day was radiant and warm. Every now and then we heard the subterranean thunder of Vesuvius; its distant deep peals seemed to shake the very air and light of day, which interpenetrated our frames with the sullen and tremendous sound. This sound was what the Greeks beheld (Pompeii, you know, was a Greek city). They lived in harmony with nature; and the interstices of their incomparable columns were portals, as it were, to admit the spirit of beauty which animates this glorious universe to visit those whom it inspired. If such is Pompeii, what was Athens? What scene was exhibited from the Acropolis, the Parthenon, and the temples of Hercules, and Theseus, and the Winds? The island and the aegean sea, the mountains of Argolis, and the peaks of Pindus and Olympus, and the darkness of the Boeotian forests interspersed?

From the Forum we went to another public place; a triangular portico, half enclosing the ruins of an enormous temple. It is built on the edge of the hill overlooking the sea. That black point is the temple. In the apex of the triangle stands an altar and a fountain, and before the altar once stood the statue of the builder of the portico. Returning hence, and following the consular road, we came to the eastern gate of the city. The walls are of an enormous strength, and enclose a s.p.a.ce of three miles. On each side of the road beyond the gate are built the tombs. How unlike ours! They seem not so much hiding-places for that which must decay, as voluptuous chambers for immortal spirits. They are of marble, radiantly white; and two, especially beautiful, are loaded with exquisite bas-reliefs. On the stucco-wall that encloses them are little emblematic figures, of a relief exceedingly low, of dead and dying animals, and little winged genii, and female forms bending in groups in some funereal office. The high reliefs represent, one a nautical subject, and the other a Baccha.n.a.lian one.

Within the cell stand the cinerary urns, sometimes one, sometimes more.

It is said that paintings were found within, which are now, as has been everything movable in Pompeii, removed, and scattered about in royal museums. These tombs were the most impressive things of all. The wild woods surround them on either side; and along the broad stones of the paved road which divides them, you hear the late leaves of autumn s.h.i.+ver and rustle in the stream of the inconstant wind, as it were, like the step of ghosts. The radiance and magnificence of these dwellings of the dead, the white freshness of the scarcely-finished marble, the impa.s.sioned or imaginative life of the figures which adorn them, contrast strangely with the simplicity of the houses of those who were living when Vesuvius overwhelmed them.

I have forgotten the amphitheater, which is of great magnitude, tho much inferior to the Coliseum. I now understand why the Greeks were such great poets; and, above all, I can account, it seems to me, for the harmony, the unity, the perfection, the uniform excellence, of all their works of art. They lived in a perpetual commerce with external nature, and nourished themselves upon the spirit of its forms. Their theaters were all open to the mountains and the sky. Their columns, the ideal types of a sacred forest, with its roof of interwoven tracery, admitted the light and wind; the odor and the freshness of the country penetrated the cities. Their temples were mostly upaithric; and the flying clouds, the stars, or the deep sky, were seen above.

VI

OTHER ITALIAN SCENES

VERONA[15]

BY CHARLES d.i.c.kENS

I had been half afraid to go to Verona, lest it should at all put me out of conceit with Romeo and Juliet. But, I was no sooner come into the old Market-place, than the misgiving vanished. It is so fanciful, quaint, and picturesque a place, formed by such an extraordinary and rich variety of fantastic buildings, that there could be nothing better at the core of even this romantic town; scene of one of the most romantic and beautiful of stories.

It was natural enough, to go straight from the Market-place, to the House of the Capulets, now degenerated into a most miserable little inn.

Noisy vetturini and muddy market-carts were disputing possession of the yard, which was ankle-deep in dirt, with a brood of splashed and bespattered geese; and there was a grim-visaged dog, viciously panting in a doorway, who would certainly have had Romeo by the leg, the moment he put it over the wall, if he had existed and been at large in those times. The orchard fell into other hands, and was parted off many years ago; but there used to be one attached to the house--or at all events there may have been--and the Hat (Cappello), the ancient cognizance of the family, may still be seen, carved in stone, over the gateway of the yard. The geese, the market-carts, their drivers, and the dog, were somewhat in the way of the story, it must be confessed; and it would have been pleasanter to have found the house empty, and to have been able to walk through the disused rooms. But the Hat was unspeakably comfortable; and the place where the garden used to be, hardly less so.

Besides, the house is a distrustful, jealous-looking house as one would desire to see, tho of a very moderate size. So I was quite satisfied with it, as the veritable mansion of old Capulet, and was correspondingly grateful in my acknowledgments to an extremely unsentimental middle-aged lady, the Padrona of the Hotel, who was lounging on the threshold looking at the geese.

From Juliet's home, to Juliet's tomb, is a transition as natural to the visitor, as to fair Juliet herself, or to the proudest Juliet that ever has taught the torches to burn bright in any time. So, I went off, with a guide, to an old, old garden, once belonging to an old, old convent, I suppose; and being admitted, at a shattered gate, by a bright-eyed woman who was was.h.i.+ng clothes, went down some walks where fresh plants and young flowers were prettily growing among fragments of old wall, and ivy-covered mounds; and was shown a little tank, or water-trough, which the bright-eyed woman--drying her arms upon her 'kerchief--called "La tomba di Giulietta la sfortunata." With the best disposition in the world to believe, I could do no more than believe that the bright-eyed woman believed; so I gave her that much credit, and her customary fee in ready money. It was a pleasure, rather than a disappointment, that Juliet's resting-place was forgotten. However consolatory it may have been to Yorick's Ghost, to hear the feet upon the pavement overhead, and, twenty times a day, the repet.i.tion of his name, it is better for Juliet to lie out of the track of tourists, and to have no visitors but such as come to graves in spring-rain, and sweet air, and suns.h.i.+ne.

Pleasant Verona! With its beautiful old palaces, and charming country in the distance, seen from terrace walks, and stately, bal.u.s.traded galleries. With its Roman gates, still spanning the fair street, and casting, on the sunlight of to-day, the shade of fifteen hundred years ago. With its marble-fitted churches, lofty towers, rich architecture, and quaint old quiet thoroughfares, where shouts of Montagues and Capulets once resounded.

And made Verona's ancient citizens Cast by their grave, beseeming ornaments, To wield old partisans.

With its fast-rus.h.i.+ng river, picturesque old bridge, great castle, waving cypresses, and prospect so delightful, and so cheerful! Pleasant Verona! In the midst of it, in the Piazza di Bra--a spirit of old time among the familiar realities of the pa.s.sing hour--is the great Roman Amphitheater. So well preserved, and carefully maintained, that every row of seats is there, unbroken. Over certain of the arches, the old Roman numerals may yet be seen; and there are corridors, and staircases, and subterranean pa.s.sages for beasts, and winding ways, above ground and below, as when the fierce thousands hurried in and out, intent upon the b.l.o.o.d.y shows of the arena. Nestling in some of the shadows and hollow places of the walls, now, are smiths with their forges, and a few small dealers of one kind or other; and there are green weeds, and leaves, and gra.s.s, upon the parapet. But little else is greatly changed.

When I had traversed all about it, with great interest, and had gone up to the topmost round of seats, and turning from the lovely panorama closed in by the distant Alps, looked down into the building, it seemed to lie before me like the inside of a prodigious hat of plaited straw, with an enormously broad brim and a shallow crown; the plaits being represented by the four-and-forty rows of seats. The comparison is a homely and fantastic one, in sober remembrance and on paper, but it was irresistibly suggested at the moment, nevertheless.

PADUA[16]

BY THeOPHILE GAUTIER

Padua is an ancient city and exhibits a rather respectable appearance against the horizon with its bell-turrets, its domes, and its old walls upon which myriads of lizards run and frisk in the sun. Situated near a center which attracts life to itself, Padua is a dead city with an almost deserted air. Its streets, bordered by two rows of low arcades, in nowise recall the elegant and charming architecture of Venice. The heavy, ma.s.sive structures have a serious, somewhat crabbed aspect, and its somber porticos in the lower stories of the houses resemble black mouths which yawn with ennui.

We were conducted to a big inn, established probably in some ancient palace, and whose great halls, dishonored by vulgar uses, had formerly seen better company. It was a real journey to go from the vestibule to our room by a host of stairways and corridors; a map of Ariadne's thread would have been needed to find one's way back. Our windows opened upon a very pleasant view; a river flows at the foot of the wall--the Brenta or the Bacchiglione, I know not which, for both water Padua. The banks of this watercourse were adorned with old houses and long walls, and trees, too, overhung the banks; some rather picturesque rows of piles, from which the fishermen cast their lines with that patience characteristic of them in all countries; huts with nets and linen hanging from the windows to dry, formed under the sun's rays a very pretty subject for a water-color.

After dinner we went to the Cafe Pedrocchi, celebrated throughout all Italy for its magnificence. Nothing could be more monumentally cla.s.sic.

There are nothing but pillars, columnets, ovolos, and palm leaves of the Percier and Fontain kind, the whole very fine and lavish of marble.

What was most curious was some immense maps forming a tapestry and representing the different divisions of the world on an enormous scale.

This somewhat pedantic decoration gives to the hall an academic air; and one is surprized not to see a chair in place of the bar, with a professor in his gown in place of a dispenser of lemonade.

The University of Padua was formerly famous. In the thirteenth century eighteen thousand young men, a whole people of scholars, followed the lessons of the learned professors, among whom later Galileo figured, one of whose bones is preserved there as a relic, a relic of a martyr who suffered for the truth. The facade of the University is very beautiful; four Doric columns give it a severe and monumental air; but solitude reigns in the cla.s.s-rooms where to-day scarcely a thousand students can be reckoned....

We paid a visit to the Cathedral dedicated to Saint Anthony, who enjoys at Padua the same reputation as Saint Januarius at Naples. He is the "genius loci," the Saint venerated above all others. He used to perform not less than thirty miracles each day, if Casanova[17] is to be believed. Such a performance fairly earned for him his surname of Thaumaturge, but this prodigious zeal has fallen off greatly.

Nevertheless, the reputation of the saint has not suffered, and so many ma.s.ses are paid for at his altar that the number of the priests of the cathedral and of days in the year are not sufficient. To liquidate the accounts, the Pope has granted permission, at the end of the year, for ma.s.ses to be said, each, one of which is of the value of a thousand; in this fas.h.i.+on Saint Anthony is saved from being bankrupt to his faithful devotees.

On the place which adjoins the cathedral, a beautiful equestrian statue by Donatello, in bronze, rises to view, the first which had been cast since the days of antiquity, representing a leader of banditti: Gattamelata, a brigand who surely did not deserve that honor. But the artist has given him a superb bearing and a spirited figure with his baton of a Roman emperor, and it is entirely sufficient....

One thing which must not be neglected in pa.s.sing through Padua is a visit to the old Church of the Arena, situated at the rear of a garden of luxuriant vegetation, where it would certainly not be conjectured to be located unless one were advised of the fact. It is entirely painted in its interior by Giotto. Not a single column, not a single rib, nor architectural division interrupts that vast tapestry of frescoes. The general aspect is soft, azure, starry, like a beautiful, calm sky; ultramarine dominates; thirty compartments of large dimensions, indicated by simple lines, contain the life of the Virgin and of her Divine Son in all their details; they might be called ill.u.s.trations in miniature of a gigantic missal. The personages, by nave anachronisms very precious for history, are clothed in the mode of the times in which Giotto painted.

Below these compositions of the purest religious feeling, a painted plinth shows the seven deadly sins symbolized in an ingenious manner, and other allegorical figures of a very good style; a Paradise and a h.e.l.l, subjects which greatly imprest the minds of the artists of that epoch, complete this marvelous whole. There are in these paintings weird and touching details; children issue from their little coffins to mount to Paradise with a joyous ardor, and launch themselves forth to go to play upon the blossoming turf of the celestial garden; others stretch forth their hands to their half-resurrected mothers. The remark may also be made that all the devils and vices are obese, while the angels and virtues are thin and slender. The painter wishes to mark the preponderance of matter in the one cla.s.s and of spirit in the other.

FERRARA[18]

BY THeOPHILE GAUTIER

Ferrara rises solitary in the midst of a flat country more rich than picturesque. When one enters it by the broad street which leads to the square, the aspect of the city is imposing and monumental. A palace with a grand staircase occupies a corner of this vast square; it might be a court-house or a town hall, for people of all cla.s.ses were entering and departing through its wide doors....

The castle of the ancient dukes of Ferrara, which is to be found a little farther on, has a fine feudal aspect. It is a vast collection of towers joined together by high walls crowned with a battlement forming a cornice, and which emerge from a great moat full of water, over which one enters by a protected bridge. The castle, built wholly of brick or of stones reddened by the sun, has a vermilion tint which deprives it of its imposing effect. It is too much like a decoration of a melodrama.

It was in this castle that the famous Lucretia Borgia lived, whom Victor Hugo has made such a monster for us, and whom Ariosto depicts as a model of chast.i.ty, grace and virtue; that blonde Lucretia who wrote letters breathing the purest love, and some of whose hair, fine as silk and s.h.i.+ning as gold, Byron possest. It was there that the dramas of Ta.s.so and Ariosto and Guarini were played; there that those brilliant orgies took place, mingled with poisonings and a.s.sa.s.sinations, which characterized that learned and artistic, refined and criminal, period of Italy.

It is the custom to pay a pious visit to the problematical dungeon in which Ta.s.so, mad with love and grief, pa.s.sed so many years, according to the poetic legend which grew up concerning his misfortune. We did not have time to spare and we regretted it very little. This dungeon, a perfectly correct sketch of which we have before our eyes, consists only of four walls, ceiled by a low arch. At the back is to be seen a window grated by heavy bars and a door with big bolts. It is quite unlikely that in this obscure hole, tapestried with cobwebs, Ta.s.so could have worked and retouched his poem, composed sonnets, and occupied himself with small details of toilet, such as the quality of the velvet of his cap and the silk of his stockings, and with kitchen details, such as with what kind of sugar he ought to powder his salad, that which he had not being fine enough for his liking. Neither did we see the house of Ariosto, another required pilgrimage. Not to speak of the little faith which one should place in these unauthenticated traditions, in these relics without character, we prefer to seek Ariosto in the "Orlando Furioso," and Ta.s.so in the "Jerusalem Delivree" or in the fine drama of Goethe.

The life of Ferrara is concentrated on the Plaza Nuova, in front of the church and in the neighborhood of the castle. Life has not yet abandoned this heart of the city; but in proportion as one moves away from it, it becomes more feeble, paralysis begins, death gains; silence, solitude, and gra.s.s invade the streets; one feels that one is wandering about a Thebes peopled with ghosts of the past and from which the living have evaporated like water which has dried up. There is nothing more sad than to see the corpse of a dead city slowly falling into dust in the sun and rain. One at least buries human bodies.

LAKE LUGANO[19]

BY VICTOR TISSOT