One arrangement that they have here in Paris will be a good one, even when we cease to have any very poor people, and, please Heaven, also to have any very rich. These are the Creches,—houses where poor women leave their children to be nursed during the day while they are at work.

I must mention that the superintendent of the washing establishment observed, with a legitimate triumph, that it had been built without giving a single dinner or printing a single puff,—an extraordinary thing, indeed, for England!

To turn to something a little gayer,—the embroidery on this tattered coat of civilized life,—I went into only two theatres; one the Old Drury, once the scene of great glories, now of execrable music and more execrable acting. If anything can be invented more excruciating than an English opera, such as was the fashion at the time I was in London, I am sure no sin of mine deserves the punishment of bearing it.

At the Sadler's Wells theatre I saw a play which I had much admired in reading it, but found still better in actual representation; indeed, it seems to me there can be no better acting play: this is "The Patrician's Daughter," by J.W. Marston. The movement is rapid, yet clear and free; the dialogue natural, dignified, and flowing; the characters marked with few, but distinct strokes. Where the tone of discourse rises with manly sentiment or passion, the audience applauded with bursts of generous feeling that gave me great pleasure, for this play is one that, in its scope and meaning, marks the new era in England; it is full of an experience which is inevitable to a man of talent there, and is harbinger of the day when the noblest commoner shall be the only noble possible in England.

But how different all this acting to what I find in France! Here the theatre is living; you see something really good, and good throughout. Not one touch of that stage strut and vulgar bombast of tone, which the English actor fancies indispensable to scenic illusion, is tolerated here. For the first time in my life I saw something represented in a style uniformly good, and should have found sufficient proof, if I had needed any, that all men will prefer what is good to what is bad, if only a fair opportunity for choice be allowed. When I came here, my first thought was to go and see Mademoiselle Rachel. I was sure that in her I should find a true genius, absolutely the diamond, and so it proved. I went to see her seven or eight times, always in parts that required great force of soul and purity of taste even to conceive them, and only once had reason to find fault with her. On one single occasion I saw her violate the harmony of the character to produce effect at a particular moment; but almost invariably I found her a true artist, worthy Greece, and worthy at many moments to have her conceptions immortalized in marble.

Her range even in high tragedy is limited. She can only express the darker passions, and grief in its most desolate aspects. Nature has not gifted her with those softer and more flowery attributes that lend to pathos its utmost tenderness. She does not melt to tears, or calm or elevate the heart by the presence of that tragic beauty that needs all the assaults of Fate to make it show its immortal sweetness. Her noblest aspect is when sometimes she expresses truth in some severe shape, and rises, simple and austere, above the mixed elements around her. On the dark side, she is very great in hatred and revenge. I admired her more in Phedre than in any other part in which I saw her. The guilty love inspired by the hatred of a goddess was expressed in all its symptoms with a force and terrible naturalness that almost suffocated the beholder. After she had taken the poison, the exhaustion and paralysis of the system, the sad, cold, calm submission to Fate, were still more grand.

I had heard so much about the power of her eye in one fixed look, and the expression she could concentrate in a single word, that the utmost results could only satisfy my expectations. It is, indeed, something magnificent to see the dark cloud give out such sparks, each one fit to deal a separate death; but it was not that I admired most in her: it was the grandeur, truth, and depth of her conception of each part, and the sustained purity with which she represented it.

For the rest, I shall write somewhere a detailed critique upon the parts in which I saw her. It is she who has made me acquainted with the true way of viewing French tragedy. I had no idea of its powers and symmetry till now, and have received from the revelation high pleasure and a crowd of thoughts.

The French language from her lips is a divine dialect; it is stripped of its national and personal peculiarities, and becomes what any language must, moulded by such a genius, the pure music of the heart and soul. I never could remember her tone in speaking any word; it was too perfect; you had received the thought quite direct. Yet, had I never heard her speak a word, my mind would, be filled by her attitudes. Nothing more graceful can be conceived, nor could the genius of sculpture surpass her management of the antique drapery.

She has no beauty except in the intellectual severity of her outline, and bears marks of age which will grow stronger every year, and make her ugly before long. Still it will be a grandiose, gypsy, or rather Sibylline ugliness, well adapted to the expression of some tragic parts. Only it seems as if she could not live long; she expends force enough upon a part to furnish out a dozen common lives.

Though the French tragedy is well acted throughout, yet unhappily there is no male actor now with a spark of fire, and these men seem the meanest pigmies by the side of Rachel;—so on the scene, beside the tragedy intended by the author, you see also that common tragedy, a woman of genius who throws away her precious heart, lives and dies for one unworthy of her. In parts this effect is productive of too much pain. I saw Rachel one night with her brother and sister. The sister imitated her so closely that you could not help seeing she had a manner, and an imitable manner. Her brother was in the play her lover,—a wretched automaton, and presenting the most unhappy family likeness to herself. Since then I have hardly cared to go and see her. We could wish with geniuses, as with the Phoenix, to see only one of the family at a time.

In the pathetic or sentimental drama Paris boasts another young actress, nearly as distinguished in that walk as Rachel in hers. This is Rose Cheny, whom we saw in her ninety-eighth personation of Clarissa Harlowe, and afterward in Genevieve and the Protege sans le Savoir,—a little piece written expressly for her by Scribe. The "Miss Clarisse" of the French drama is a feeble and partial reproduction of the heroine of Richardson; indeed, the original in all its force of intellect and character would have been too much for the charming Rose Cheny, but to the purity and lovely tenderness of Clarissa she does full justice. In the other characters she was the true French girl, full of grace and a mixture of naivete and cunning, sentiment and frivolity, that is winning and piquant, if not satisfying. Only grief seems very strange to those bright eyes; we do not find that they can weep much and bear the light of day, and the inhaling of charcoal seems near at hand to their brightest pleasures.

At the other little theatres you see excellent acting, and a sparkle of wit unknown to the world out of France. The little pieces in which all the leading topics of the day are reviewed are full of drolleries that make you laugh at each instant. Poudre-Colon is the only one of these I have seen; in this, among other jokes, Dumas, in the character of Monte-Christo and in a costume half Oriental, half juggler, is made to pass the other theatres in review while seeking candidates for his new one.

Dumas appeared in court yesterday, and defended his own cause against the editors who sue him for evading some of his engagements. I was very desirous to hear him speak, and went there in what I was assured would be very good season; but a French audience, who knew the ground better, had slipped in before me, and I returned, as has been too often the case with me in Paris, having seen nothing but endless staircases, dreary vestibules, and gens d'armes. The hospitality of le grande nation to the stranger is, in many respects, admirable. Galleries, libraries, cabinets of coins, museums, are opened in the most liberal manner to the stranger, warmed, lighted, ay, and guarded, for him almost all days in the week; treasures of the past are at his service; but when anything is happening in the present, the French run quicker, glide in more adroitly, and get possession of the ground. I find it not the most easy matter to get to places even where there is nothing going on, there is so much tiresome fuss of getting billets from one and another to be gone through; but when something is happening it is still worse. I missed hearing M. Guizot in his speech on the Montpensier marriage, which would have given a very good idea of his manner, and which, like this defence of M. Dumas, was a skilful piece of work as regards evasion of the truth. The good feeling toward England which had been fostered with so much care and toil seems to have been entirely dissipated by the mutual recriminations about this marriage, and the old dislike flames up more fiercely for having been hid awhile beneath the ashes. I saw the little Duchess, the innocent or ignorant cause of all this disturbance, when presented at court. She went round the circle on the arm of the Queen. Though only fourteen, she looks twenty, but has something fresh, engaging, and girlish about her. I fancy it will soon be rubbed out under the drill of the royal household.

I attended not only at the presentation, but at the ball given at the Tuileries directly after. These are fine shows, as the suite of apartments is very handsome, brilliantly lighted, and the French ladies surpass all others in the art of dress; indeed, it gave me much, pleasure to see them. Certainly there are many ugly ones, but they are so well dressed, and have such an air of graceful vivacity, that the general effect was that of a flower-garden. As often happens, several American women were among the most distinguished for positive beauty; one from Philadelphia, who is by many persons considered the prettiest ornament of the dress circle at the Italian Opera, was especially marked by the attention of the king. However, these ladies, even if here a long time, do not attain the air and manner of French women; the magnetic atmosphere that envelops them is less brilliant and exhilarating in its attractions.

It was pleasant to my eye, which has always been so wearied in our country by the sombre masses of men that overcloud our public assemblies, to see them now in so great variety of costume, color, and decoration.

Among the crowd wandered Leverrier, in the costume of Academician, looking as if he had lost, not found, his planet. French savants are more generally men of the world, and even men of fashion, than those of other climates; but, in his case, he seemed not to find it easy to exchange the music of the spheres for the music of fiddles.

Speaking of Leverrier leads to another of my disappointments. I went to the Sorbonne to hear him lecture, nothing dreaming that the old pedantic and theological character of those halls was strictly kept up in these days of light. An old guardian of the inner temple, seeing me approach, had his speech all ready, and, manning the entrance, said with a disdainful air, before we had time to utter a word, "Monsieur may enter if he pleases, but Madame must remain here" (i.e. in the court-yard). After some exclamations of surprise, I found an alternative in the Hotel de Clugny, where I passed an hour very delightfully while waiting for my companion. The rich remains of other centuries are there so arranged that they can be seen to the best advantage; many of the works in ivory, china, and carved wood are truly splendid or exquisite. I saw a dagger with jewelled hilt which talked whole poems to my mind. In the various "Adorations of the Magi," I found constantly one of the wise men black, and with the marked African lineaments. Before I had half finished, my companion came and wished me at least to visit the lecture-rooms of the Sorbonne, now that the talk, too good for female ears, was over. But the guardian again interfered to deny me entrance. "You can go, Madame," said he, "to the College of France; you can go to this and t'other place, but you cannot enter here." "What, sir," said I, "is it your institution alone that remains in a state of barbarism?" "Que voulez vous, Madame?" he replied, and, as he spoke, his little dog began to bark at me,—"Que voulez vous, Madame? c'est la regle,"—"What would you have, Madam? IT IS THE RULE,"—a reply which makes me laugh even now, as I think how the satirical wits of former days might have used it against the bulwarks of learned dulness.

I was more fortunate in hearing Arago, and he justified all my expectations. Clear, rapid, full and equal, his discourse is worthy its celebrity, and I felt repaid for the four hours one is obliged to spend in going, in waiting, and in hearing; for the lecture begins at half past one, and you must be there before twelve to get a seat, so constant and animated is his popularity.

I have attended, with some interest, two discussions at the Athenee,—one on Suicide, the other on the Crusades. They are amateur affairs, where, as always at such times, one hears much, nonsense and vanity, much making of phrases and sentimental grimace; but there was one excellent speaker, adroit and rapid as only a Frenchman could be. With admirable readiness, skill, and rhetorical polish, he examined the arguments of all the others, and built upon their failures a triumph for himself. His management of the language, too, was masterly, and French is the best of languages for such a purpose,—clear, flexible, full of sparkling points and quick, picturesque turns, with a subtile blandness that makes the dart tickle while it wounds. Truly he pleased the fancy, filled the ear, and carried us pleasantly along over the smooth, swift waters; but then came from the crowd a gentleman, not one of the appointed orators of the evening, but who had really something in his heart to say,—a grave, dark man, with Spanish eyes, and the simple dignity of honor and earnestness in all his gesture and manner. He said in few and unadorned words his say, and the sense of a real presence filled the room, and those charms of rhetoric faded, as vanish the beauties of soap-bubbles from the eyes of astonished childhood.

I was present on one good occasion at the Academy the day that M. Remusat was received there in the place of Royer-Collard. I looked down from one of the tribunes upon the flower of the celebrities of France, that is to say, of the celebrities which are authentic, comme il faut. Among them were many marked faces, many fine heads; but in reading the works of poets we always fancy them about the age of Apollo himself, and I found with pain some of my favorites quite old, and very unlike the company on Parnassus as represented by Raphael. Some, however, were venerable, even noble, to behold. Indeed, the literary dynasty of France is growing old, and here, as in England and Germany, there seems likely to occur a serious gap before the inauguration of another, if indeed another is coming.

However, it was an imposing sight; there are men of real distinction now in the Academy, and Moliere would have a fair chance if he were proposed to-day. Among the audience I saw many ladies of fine expression and manner, as well as one or two precieuses ridicules, a race which is never quite extinct.

M. Remusat, as is the custom on these occasions, painted the portrait of his predecessor; the discourse was brilliant and discriminating in the details, but the orator seemed to me to neglect drawing some obvious inferences which would have given a better point of view for his subject.

A seance to me much more impressive find interesting was one which borrowed nothing from dress, decorations, or the presence of titled pomp. I went to call on La Mennais, to whom I had a letter, I found him in a little study; his secretary was writing in a larger room through which I passed. With him was a somewhat citizen-looking, but vivacious, elderly man, whom I was at first sorry to see, having wished for half an hour's undisturbed visit to the apostle of Democracy. But how quickly were those feelings displaced by joy when he named to me the great national lyrist of France, the unequalled Beranger. I had not expected to see him at all, for he is not one to be seen in any show place; he lives in the hearts of the people, and needs no homage from their eyes. I was very happy in that little study in presence of these two men, whose influence has been so great, so real. To me Beranger has been much; his wit, his pathos, his exquisite lyric grace, have made the most delicate strings vibrate, and I can feel, as well as see, what he is in his nation and his place. I have not personally received anything from La Mennais, as, born under other circumstances, mental facts which he, once the pupil of Rome, has learned by passing through severe ordeals, are at the basis of all my thoughts. But I see well what he has been and is to Europe, and of what great force of nature and spirit. He seems suffering and pale, but in his eyes is the light of the future.

These are men who need no flourish of trumpets to announce their coming,—no band of martial music upon their steps,—no obsequious nobles in their train. They are the true kings, the theocratic kings, the judges in Israel. The hearts of men make music at their approach; the mind of the age is the historian of their passage; and only men of destiny like themselves shall be permitted to write their eulogies, or fill their vacant seats.

Wherever there is a genius like his own, a germ of the finest fruit still hidden beneath the soil, the "Chante pauvre petit" of Beranger shall strike, like a sunbeam, and give it force to emerge, and wherever there is the true Crusade,—for the spirit, not the tomb of Christ,—shall be felt an echo of the "Que tes armes soient benis jeune soldat" of La Mennais.



LETTER XI.

FRANCE AND HER ARTISTIC EXCELLENCE.—THE PICTURES OF HORACE VERNET.—DE LA ROCHE.—LEOPOLD ROBERT.—CONTRAST BETWEEN THE FRENCH AND ENGLISH SCHOOLS OF ART.—THE GENERAL APPRECIATION OF TURNER'S PICTURES.—BOTANICAL MODELS IN WAX.—MUSIC.—THE OPERA.—DUPREZ.— LABLACHE.—RONCONI.—GRISI.—PERSIANA.—"SEMIRAMIDE" AS PERFORMED BY THE NEW YORK AND PARIS OPERAS.—MARIO.—COLETTI.—GARDINI.— "DON GIOVANNI."—THE WRITER'S TRIAL OF THE "LETHEON."—ITS EFFECTS.

It needs not to speak in this cursory manner of the treasures of Art, pictures, sculptures, engravings, and the other riches which France lays open so freely to the stranger in her Musees. Any examination worth writing of such objects, or account of the thoughts they inspire, demands a place by itself, and an ample field in which to expatiate. The American, first introduced to some good pictures by the truly great geniuses of the religious period in Art, must, if capable at all of mental approximation to the life therein embodied, be too deeply affected, too full of thoughts, to be in haste to say anything, and for me, I bide my time.

No such great crisis, however, is to be apprehended from acquaintance with the productions of the modern French school. They are, indeed, full of talent and of vigor, but also melodramatic and exaggerated to a degree that seems to give the nightmare passage through the fresh and cheerful day. They sound no depth of soul, and are marked with the signet of a degenerate age.

Thus speak I generally. To the pictures of Horace Vernet one cannot but turn a gracious eye, they are so faithful a transcript of the life which circulates around us in the present state of things, and we are willing to see his nobles and generals mounted on such excellent horses. De la Roche gives me pleasure; there is in his pictures a simple and natural poesy; he is a man who has in his own heart a well of good water, whence he draws for himself when the streams are mixed with strange soil and bear offensive marks of the bloody battles of life.

The pictures of Leopold Robert I find charming. They are full of vigor and nobleness; they express a nature where all is rich, young, and on a large scale. Those that I have seen are so happily expressive of the thoughts and perceptions of early manhood, I can hardly regret he did not live to enter on another stage of life, the impression now received is so single.

The effort of the French school in Art, as also its main tendency in literature, seems to be to turn the mind inside out, in the coarsest acceptation of such a phrase. Art can only be truly Art by presenting an adequate outward symbol of some fact in the interior life. But then it is a symbol that Art seeks to present, and not the fact itself. These French painters seem to have no idea of this; they have not studied the method of Nature. With the true artist, as with Nature herself, the more full the representation, the more profound and enchanting is the sense of mystery. We look and look, as on a flower of which we cannot scrutinize the secret life, yet b; looking seem constantly drawn nearer to the soul that causes and governs that life. But in the French pictures suffering is represented by streams of blood,—wickedness by the most ghastly contortions.

I saw a movement in the opposite direction in England; it was in Turner's pictures of the later period. It is well known that Turner, so long an idol of the English public, paints now in a manner which has caused the liveliest dissensions in the world of connoisseurs. There are two parties, one of which maintains, not only that the pictures of the late period are not good, but that they are not pictures at all,—that it is impossible to make out the design, or find what Turner is aiming at by those strange blotches of color. The other party declare that these pictures are not only good, but divine,—that whoever looks upon them in the true manner will not fail to find there somewhat ineffably and transcendently admirable,—the soul of Art. Books have been written to defend this side of the question.

I had become much interested about this matter, as the fervor of feeling on either side seemed to denote that there was something real and vital going on, and, while time would not permit my visiting other private collections in London and its neighborhood, I insisted on taking it for one of Turner's pictures. It was at the house of one of his devoutest disciples, who has arranged everything in the rooms to harmonize with them. There were a great many of the earlier period; these seemed to me charming, but superficial, views of Nature. They were of a character that he who runs may read,—obvious, simple, graceful. The later pictures were quite a different matter; mysterious-looking things,—hieroglyphics of picture, rather than picture itself. Sometimes you saw a range of red dots, which, after long looking, dawned on you as the roofs of houses,—shining streaks turned out to be most alluring rivulets, if traced with patience and a devout eye. Above all, they charmed the eye and the thought. Still, these pictures, it seems to me, cannot be considered fine works of Art, more than the mystical writing common to a certain class of minds in the United States can be called good writing. A great work of Art demands a great thought, or a thought of beauty adequately expressed. Neither in Art nor literature more than in life can an ordinary thought be made interesting because well dressed. But in a transition state, whether of Art or literature, deeper thoughts are imperfectly expressed, because they cannot yet be held and treated masterly. This seems to be the case with Turner. He has got beyond the English gentleman's conventional view of Nature, which implies a little sentiment and a very cultivated taste; he has become awake to what is elemental, normal, in Nature,—such, for instance, as one sees in the working of water on the sea-shore. He tries to represent these primitive forms. In the drawings of Piranesi, in the pictures of Rembrandt, one sees this grand language exhibited more truly. It is not picture, but certain primitive and leading effects of light and shadow, or lines and contours, that captivate the attention. I saw a picture of Rembrandt's at the Louvre, whose subject I do not know and have never cared to inquire. I cannot analyze the group, but I understand and feel the thought it embodies. At something similar Turner seems aiming; an aim so opposed to the practical and outward tendency of the English mind, that, as a matter of course, the majority find themselves mystified, and thereby angered, but for the same reason answering to so deep and seldom satisfied a want in the minds of the minority, as to secure the most ardent sympathy where any at all can be elicited.

Upon this topic of the primitive forms and operations of nature, I am reminded of something interesting I was looking at yesterday. These are botanical models in wax, with microscopic dissections, by an artist from Florence, a pupil of Calamajo, the Director of the Wax-Model Museum there. I saw collections of ten different genera, embracing from fifty to sixty species, of Fungi, Mosses, and Lichens, detected and displayed in all the beautiful secrets of their lives; many of them, as observed by Dr. Leveille of Paris. The artist told me that a fisherman, introduced to such acquaintance with the marvels of love and beauty which we trample under foot or burn in the chimney each careless day, exclaimed, "'Tis the good God who protects us on the sea that made all these"; and a similar recognition, a correspondent feeling, will not be easily evaded by the most callous observer. This artist has supplied many of these models to the magnificent collection of the Jardin des Plantes, to Edinburgh, and to Bologna, and would furnish them, to our museums at a much cheaper rate than they can elsewhere be obtained. I wish the Universities of Cambridge, New York, and other leading institutions of our country, might avail themselves of the opportunity.

In Paris I have not been very fortunate in hearing the best music. At the different Opera-Houses, the orchestra is always good, but the vocalization, though far superior to what I have heard at home, falls so far short of my ideas and hopes that—except to the Italian Opera—I have not been often. The Opera Comique I visited only once; it was tolerably well, and no more, and, for myself, I find the tolerable intolerable in music. At the Grand Opera I heard Robert le Diable and Guillaume Tell almost with ennui; the decorations and dresses are magnificent, the instrumental performance good, but not one fine singer to fill these fine parts. Duprez has had a great reputation, and probably has sung better In former days; still he has a vulgar mind, and can never have had any merit as an artist. At present I find him unbearable. He forces his voice, sings in the most coarse, showy style, and aims at producing effects without regard to the harmony of his part; fat and vulgar, he still takes the part of the lover and young chevalier; to my sorrow I saw him in Ravenswood, and he has well-nigh disenchanted for me the Bride of Lammermoor.

The Italian Opera is here as well sustained, I believe, as anywhere in the world at present; all about it is certainly quite good, but alas! nothing excellent, nothing admirable. Yet no! I must not say nothing: Lablache is excellent,—voice, intonation, manner of song, action. Ronconi I found good in the Doctor of "L'Elisire d'Amore". For the higher parts Grisi, though now much too large for some of her parts, and without a particle of poetic grace or dignity, has certainly beauty of feature, and from nature a fine voice. But I find her conception of her parts equally coarse and shallow. Her love is the love of a peasant; her anger, though having the Italian picturesque richness and vigor, is the anger of an Italian fishwife, entirely unlike anything in the same rank elsewhere; her despair is that of a person with the toothache, or who has drawn a blank in the lottery. The first time I saw her was in Norma; then the beauty of her outline, which becomes really enchanting as she recalls the first emotions of love, the force and gush of her song, filled my ear, and charmed the senses, so that I was pleased, and did not perceive her great defects; but with each time of seeing her I liked her less, and now I do not like her at all.

Persiani is more generally a favorite here; she is indeed skilful both as an actress and in the management of her voice, but I find her expression meretricious, her singing mechanical. Neither of these women is equal to Pico in natural force, if she had but the same advantages of culture and environment. In hearing Semiramide here, I first learned to appreciate the degree of talent with which it was cast in New York. Grisi indeed is a far better Semiramis than Borghese, but the best parts of the opera lost all their charm from the inferiority of Brambilla, who took Pico's place. Mario has a charming voice, grace and tenderness; he fills very well the part of the young, chivalric lover, but he has no range of power. Coletti is a very good singer; he has not from Nature a fine voice or personal beauty; but he has talent, good taste, and often surpasses the expectation he has inspired. Gardini, the new singer, I have only heard once, and that was in a lovesick-shepherd part; he showed delicacy, tenderness, and tact. In fine, among all these male singers there is much to please, but little to charm; and for the women, they never fail absolutely to fill their parts, but no ray of the Muse has fallen on them.

Don Giovanni conferred on me a benefit, of which certainly its great author never dreamed. I shall relate it,—first begging pardon of Mozart, and assuring him I had no thought of turning his music to the account of a "vulgar utility." It was quite by accident. After suffering several days very much with the toothache, I resolved to get rid of the cause of sorrow by the aid of ether; not sorry, either, to try its efficacy, after all the marvellous stories I had heard. The first time I inhaled it, I did not for several seconds feel the effect, and was just thinking, "Alas! this has not power to soothe nerves so irritable as mine," when suddenly I wandered off, I don't know where, but it was a sensation like wandering in long garden-walks, and through many alleys of trees,—many impressions, but all pleasant and serene. The moment the tube was removed, I started into consciousness, and put my hand to my cheek; but, sad! the throbbing tooth was still there. The dentist said I had not seemed to him insensible. He then gave me the ether in a stronger dose, and this time I quitted the body instantly, and cannot remember any detail of what I saw and did; but the impression was as in the Oriental tale, where the man has his head in the water an instant only, but in his vision a thousand years seem to have passed. I experienced that same sense of an immense length of time and succession of impressions; even, now, the moment my mind was in that state seems to me a far longer period in time than my life on earth does as I look back upon it. Suddenly I seemed to see the old dentist, as I had for the moment before I inhaled the gas, amid his plants, in his nightcap and dressing-gown; in the twilight the figure had somewhat of a Faust-like, magical air, and he seemed to say, "C'est inutile." Again I started up, fancying that once more he had not dared to extract the tooth, but it was gone. What is worth, noticing is the mental translation I made of his words, which, my ear must have caught, for my companion tells me he said, "C'est le moment," a phrase of just as many syllables, but conveying just the opposite sense.

Ah! I how I wished then, that you had settled, there in the United States, who really brought this means of evading a portion of the misery of life into use. But as it was, I remained at a loss whom to apostrophize with my benedictions, whether Dr. Jackson, Morton, or Wells, and somebody thus was robbed of his clue;—neither does Europe know to whom to address her medals.

However, there is no evading the heavier part of these miseries. You avoid the moment of suffering, and escape the effort of screwing up your courage for one of these moments, but not the jar to the whole system. I found the effect of having taken the ether bad for me. I seemed to taste it all the time, and neuralgic pain continued; this lasted three days. For the evening of the third, I had taken a ticket to Don Giovanni, and could not bear to give up this opera, which I had always been longing to hear; still I was in much suffering, and, as it was the sixth day I had been so, much weakened. However, I went, expecting to be obliged to come out; but the music soothed the nerves at once. I hardly suffered at all during the opera; however, I supposed the pain would return as soon as I came out; but no! it left me from that time. Ah! if physicians only understood the influence of the mind over the body, instead of treating, as they so often do, their patients like machines, and according to precedent! But I must pause here for to-day.



LETTER XII.

ADIEU TO PARIS.—ITS SCENES.—THE PROCESSION OF THE FAT OX.—DESTITUTION OF THE POORER CLASSES.—NEED OF A REFORM.—THE DOCTRINES OF FOURIER MAKING PROGRESS.—REVIEW OF FOURIER'S LIFE AND CHARACTER.—THE PARISIAN PRESS ON THE SPANISH MARRIAGE.—GUIZOT'S POLICY.—NAPOLEON.—THE MANUSCRIPTS OF ROUSSEAU IN THE CHAMBER OF DEPUTIES.—HIS CHARACTER.—SPEECH OF M. BERRYER IN THE CHAMBER.—AMERICAN AND FRENCH ORATORY.—THE AFFAIR OF CRACOW.—DULL SPEAKERS IN THE CHAMBER.—FRENCH VIVACITY.—AMUSING SCENE.—GUIZOT SPEAKING.—INTERNATIONAL EXCHANGE OF BOOKS.—THE EVENING SCHOOL OF THE FRERES CHRETIENS.—THE GREAT GOOD ACCOMPLISHED BY THEM.—SUGGESTIONS FOR THE LIKE IN AMERICA.—THE INSTITUTION OF THE DEACONESSES.—THE NEW YORK "HOME."—SCHOOL FOR IDIOTS NEAR PARIS.—THE RECLAMATION OF IDIOTS.

I bade adieu to Paris on the 25th of February, just as we had had one fine day. It was the only one of really delightful weather, from morning till night, that I had to enjoy all the while I was at Paris, from the 13th of November till the 25th of February. Let no one abuse our climate; even in winter it is delightful, compared to the Parisian winter of mud and mist.

This one day brought out the Parisian world in its gayest colors. I never saw anything more animated or prettier, of the kind, than the promenade that day in the Champs Elysees. Such crowds of gay equipages, with cavaliers and their amazons flying through their midst on handsome and swift horses! On the promenade, what groups of passably pretty ladies, with excessively pretty bonnets, announcing in their hues of light green, peach-blossom, and primrose the approach of spring, and charming children, for French children are charming! I cannot speak with equal approbation of the files of men sauntering arm in arm. One sees few fine-looking men in Paris: the air, half-military, half-dandy, of self-esteem and savoir-faire, is not particularly interesting; nor are the glassy stare and fumes of bad cigars exactly what one most desires to encounter, when the heart is opened by the breath of spring zephyrs and the hope of buds and blossoms.

But a French crowd is always gay, full of quick turns and drolleries; most amusing when most petulant, it represents what is so agreeable in the character of the nation. We have now seen it on two good occasions, the festivities of the new year, and just after we came was the procession of the Fat Ox, described, if I mistake not, by Eugene Sue. An immense crowd thronged the streets this year to see it, but few figures and little invention followed the emblem of plenty; indeed, few among the people could have had the heart for such a sham, knowing how the poorer classes have suffered from hunger this winter. All signs of this are kept out of sight in Paris. A pamphlet, called "The Voice of Famine," stating facts, though in the tone of vulgar and exaggerated declamation, unhappily common to productions on the radical side, was suppressed almost as soon as published; but the fact cannot be suppressed, that the people in the provinces have suffered most terribly amid the vaunted prosperity of France.

While Louis Philippe lives, the gases, compressed by his strong grasp, may not burst up to light; but the need of some radical measures of reform is not less strongly felt in France than elsewhere, and the time will come before long when such will be imperatively demanded. The doctrines of Fourier are making considerable progress, and wherever they spread, the necessity of some practical application of the precepts of Christ, in lieu of the mummeries of a worn-out ritual, cannot fail to be felt. The more I see of the terrible ills which infest the body politic of Europe, the more indignation I feel at the selfishness or stupidity of those in my own country who oppose an examination of these subjects,—such as is animated by the hope of prevention. The mind of Fourier was, in many respects, uncongenial to mine. Educated in an age of gross materialism, he was tainted by its faults. In attempts to reorganize society, he commits the error of making soul the result of health of body, instead of body the clothing of soul; but his heart was that of a genuine lover of his kind, of a philanthropist in the sense of Jesus,—his views were large and noble. His life was one of devout study on these subjects, and I should pity the person who, after the briefest sojourn in Manchester and Lyons,—the most superficial acquaintance with the population of London and Paris,—could seek to hinder a study of his thoughts, or be wanting in reverence for his purposes. But always, always, the unthinking mob has found stones on the highway to throw at the prophets.

Amid so many great causes for thought and anxiety, how childish has seemed the endless gossip of the Parisian press on the subject of the Spanish marriage,—how melancholy the flimsy falsehoods of M. Guizot,—more melancholy the avowal so naively made, amid those falsehoods, that to his mind expediency is the best policy! This is the policy, said he, that has made France so prosperous. Indeed, the success is correspondent with the means, though in quite another sense than that he meant.

I went to the Hotel des Invalides, supposing I should be admitted to the spot where repose the ashes of Napoleon, for though I love not pilgrimages to sepulchres, and prefer paying my homage to the living spirit rather than to the dust it once animated, I should have liked to muse a moment beside his urn; but as yet the visitor is not admitted there. In the library, however, one sees the picture of Napoleon crossing the Alps, opposite to that of the present King of the French. Just as they are, these should serve as frontispieces to two chapters of history. In the first, the seed was sown in a field of blood indeed, yet was it the seed of all that is vital in the present period. By Napoleon the career was really laid open to talent, and all that is really great in France now consists in the possibility that talent finds of struggling to the light.

Paris is a great intellectual centre, and there is a Chamber of Deputies to represent the people, very different from the poor, limited Assembly politically so called. Their tribune is that of literature, and one needs not to beg tickets to mingle with the audience. To the actually so-called Chamber of Deputies I was indebted for two pleasures. First and greatest, a sight of the manuscripts of Rousseau treasured in their Library. I saw them and touched them,—those manuscripts just as he has celebrated them, written on the fine white paper, tied with ribbon. Yellow and faded age has made them, yet at their touch I seemed to feel the fire of youth, immortally glowing, more and more expansive, with which his soul has pervaded this century. He was the precursor of all we most prize. True, his blood was mixed with madness, and the course of his actual life made some detours through villanous places, but his spirit was intimate with the fundamental truths of human nature, and fraught with prophecy. There is none who has given birth to more life for this age; his gifts are yet untold; they are too present with us; but he who thinks really must often think with Rousseau, and learn of him even more and more: such is the method of genius, to ripen fruit for the crowd of those rays of whose heat they complain.

The second pleasure was in the speech of M. Berryer, when the Chamber was discussing the Address to the King. Those of Thiers and Guizot had been, so far, more interesting, as they stood for more that was important; but M. Berryer is the most eloquent speaker of the House. His oratory is, indeed, very good; not logical, but plausible, full and rapid, with occasional bursts of flame and showers of sparks, though indeed no stone of size and weight enough to crush any man was thrown out of the crater. Although the oratory of our country is very inferior to what might be expected from the perfect freedom and powerful motive for development of genius in this province, it presents several examples of persons superior in both force and scope, and equal in polish, to M. Berryer.

Nothing can be more pitiful than the manner in which the infamous affair of Cracow is treated on all hands. There is not even the affectation of noble feeling about it. La Mennais and his coadjutors published in La Reforme an honorable and manly protest, which the public rushed to devour the moment it was out of the press;—and no wonder! for it was the only crumb of comfort offered to those who have the nobleness to hope that the confederation of nations may yet be conducted on the basis of divine justice and human right. Most men who touched the subject apparently weary of feigning, appeared in their genuine colors of the calmest, most complacent selfishness. As described by Koerner in the prayer of such a man:—

"O God, save me, My wife, child, and hearth, Then my harvest also; Then will I bless thee, Though thy lightning scorch to blackness All the rest of human kind."

A sentiment which finds its paraphrase in the following vulgate of our land:—

"O Lord, save me, My wife, child, and brother Sammy, Us four, and no more."

The latter clause, indeed, is not quite frankly avowed as yet by politicians.

It is very amusing to be in the Chamber of Deputies when some dull person is speaking. The French have a truly Greek vivacity; they cannot endure to be bored. Though their conduct is not very dignified, I should like a corps of the same kind of sharp-shooters in our legislative assemblies when honorable gentlemen are addressing their constituents and not the assembly, repeating in lengthy, windy, clumsy paragraphs what has been the truism of the newspaper press for months previous, wickedly wasting the time that was given us to learn something for ourselves, and help our fellow-creatures. In the French Chamber, if a man who has nothing to say ascends the tribune, the audience-room is filled with the noise as of myriad beehives; the President rises on his feet, and passes the whole time of the speech in taking the most violent exercise, stretching himself to look imposing, ringing his bell every two minutes, shouting to the representatives of the nation to be decorous and attentive. In vain: the more he rings, the more they won't be still. I saw an orator in this situation, fighting against the desires of the audience, as only a Frenchman could,—certainly a man of any other nation would have died of embarrassment rather,—screaming out his sentences, stretching out both arms with an air of injured dignity, panting, growing red in the face; but the hubbub of voices never stopped an instant. At last he pretended to be exhausted, stopped, and took out his snuff-box. Instantly there was a calm. He seized the occasion, and shouted out a sentence; but it was the only one he was able to make heard. They were not to be trapped so a second time. When any one is speaking that commands interest, as Berryer did, the effect of this vivacity is very pleasing, the murmur of feeling that rushes over the assembly is so quick and electric,—light, too, as the ripple on the lake. I heard Guizot speak one day for a short time. His manner is very deficient in dignity,—has not even the dignity of station; you see the man of cultivated intellect, but without inward strength; nor is even his panoply of proof.

I saw in the Library of the Deputies some books intended to be sent to our country through M. Vattemare. The French have shown great readiness and generosity with regard to his project, and I earnestly hope that our country, if it accept these tokens of good-will, will show both energy and judgment in making a return. I do not speak from myself alone, but from others whose opinion is entitled to the highest respect, when I say it is not by sending a great quantity of documents of merely local interest, that would be esteemed lumber in our garrets at home, that you pay respect to a nation able to look beyond, the binding of a book. If anything is to be sent, let persons of ability be deputed to make a selection honorable to us and of value to the French. They would like documents from our Congress,—what is important as to commerce and manufactures; they would also like much what can throw light on the history and character of our aborigines. This project of international exchange could not be carried on to any permanent advantage without accredited agents on either side, but in its present shape it wears an aspect of good feeling that is valuable, and may give a very desirable impulse to thought and knowledge. M. Vattemare has given himself to the plan with indefatigable perseverance, and I hope our country will not be backward to accord him that furtherance he has known how to conquer from his countrymen.

To his complaisance I was indebted for opportunity of a leisurely survey of the Imprimeri Royale, which gave me several suggestions I shall impart at a more favorable time, and of the operations of the Mint also. It was at his request that the Librarian of the Chamber showed me the manuscripts of Rousseau, which are not always seen by the traveller. He also introduced me to one of the evening schools of the Freres Chretiens, where I saw, with pleasure, how much can be done for the working classes only by evening lessons. In reading and writing, adults had made surprising progress, and still more so in drawing. I saw with the highest pleasure, excellent copies of good models, made by hard-handed porters and errand-boys with their brass badges on their breasts. The benefits of such an accomplishment are, in my eyes, of the highest value, giving them, by insensible degrees, their part in the glories of art and science, and in the tranquil refinements of home. Visions rose in my mind of all that might be done in our country by associations of men and women who have received the benefits of literary culture, giving such evening lessons throughout our cities and villages. Should I ever return, I shall propose to some of the like-minded an association for such a purpose, and try the experiment of one of these schools of Christian brothers, with the vow of disinterestedness, but without the robe and the subdued priestly manner, which even in these men, some of whom seemed to me truly good, I could not away with.

I visited also a Protestant institution, called that of the Deaconesses, which pleased me in some respects. Beside the regular Creche, they take the sick children of the poor, and nurse them till they are well. They have also a refuge like that of the Home which, the ladies of New York have provided, through which members of the most unjustly treated class of society may return to peace and usefulness. There are institutions of the kind in Paris, but too formal,—and the treatment shows ignorance of human nature. I see nothing that shows so enlightened a spirit as the Home, a little germ of good which I hope flourishes and finds active aid in the community. I have collected many facts with regard to this suffering class of women, both in England and in France. I have seen them under the thin veil of gayety, and in the horrible tatters of utter degradation. I have seen the feelings of men with regard to their condition, and the general heartlessness in women of more favored and protected lives, which I can only ascribe to utter ignorance of the facts. If a proclamation of some of these can remove it, I hope to make such a one in the hour of riper judgment, and after a more extensive survey.

Sad as are many features of the time, we have at least the satisfaction of feeling that if something true can be revealed, if something wise and kind shall be perseveringly tried, it stands a chance of nearer success than ever before; for much light has been let in at the windows of the world, and many dark nooks have been touched by a consoling ray. The influence of such a ray I felt in visiting the School for Idiots, near Paris,—idiots, so called long time by the impatience of the crowd; yet there are really none such, but only beings so below the average standard, so partially organized, that it is difficult for them to learn or to sustain themselves. I wept the whole time I was in this place a shower of sweet and bitter tears; of joy at what had been done, of grief for all that I and others possess and cannot impart to these little ones. But patience, and the Father of All will give them all yet. A good angel these of Paris have in their master. I have seen no man that seemed to me more worthy of envy, if one could envy happiness so pure and tender. He is a man of seven or eight and twenty, who formerly came there only to give lessons in writing, but became so interested in his charge that he came at last to live among them and to serve them. They sing the hymns he writes for them, and as I saw his fine countenance looking in love on those distorted and opaque vases of humanity, where he had succeeded in waking up a faint flame, I thought his heart could never fail to be well warmed and buoyant. They sang well, both in parts and in chorus, went through gymnastic exercises with order and pleasure, then stood in a circle and kept time, while several danced extremely well. One little fellow, with whom the difficulty seemed to be that an excess of nervous sensibility paralyzed instead of exciting the powers, recited poems with a touching, childish grace and perfect memory. They write well, draw well, make shoes, and do carpenter's work. One of the cases most interesting to the metaphysician is that of a boy, brought there about two years and a half ago, at the age of thirteen, in a state of brutality, and of ferocious brutality. I read the physician's report of him at that period. He discovered no ray of decency or reason; entirely beneath the animals in the exercise of the senses, he discovered a restless fury beyond that of beasts of prey, breaking and throwing down whatever came in his way; was a voracious glutton, and every way grossly sensual. Many trials and vast patience were necessary before an inlet could be obtained to his mind; then it was through the means of mathematics. He delights in the figures, can draw and name them all, detects them by the touch when blindfolded. Each, mental effort of the kind he still follows up with an imbecile chuckle, as indeed his face and whole manner are still that of an idiot; but he has been raised from his sensual state, and can now discriminate and name colors and perfumes which before were all alike to him. He is partially redeemed; earlier, no doubt, far more might have been done for him, but the degree of success is an earnest which must encourage to perseverance in the most seemingly hopeless cases. I thought sorrowfully of the persons of this class whom I have known in our country, who might have been so raised and solaced by similar care. I hope ample provision may erelong be made for these Pariahs of the human race; every case of the kind brings its blessings with it, and observation on these subjects would be as rich in suggestion for the thought, as such acts of love are balmy for the heart.



LETTER XIII.

MUSIC IN PARIS.—CHOPIN AND THE CHEVALIER NEUKOMM.—ADIEU TO PARIS.—A MIDNIGHT DRIVE IN A DILIGENCE.—LYONS AND ITS WEAVERS.—THEIR MANNER OF LIFE.—A YOUNG WIFE.—THE WEAVERS' CHILDREN.—THE BANKS OF THE RHONE.—DREARY WEATHER FOR SOUTHERN FRANCE.—THE OLD ROMAN AMPHITHEATRE AT ARLES.—THE WOMEN OF ARLES.—MARSEILLES.—PASSAGE TO GENOA.—ITALY.—GENOA AND NAPLES.—BAIAE.—VESUVIUS.—THE ITALIAN CHARACTER AT HOME.—PASSAGE FROM LEGHORN IN A SMALL STEAMER.—NARROW ESCAPE.—A CONFUSION OF LANGUAGES.—DEGRADATION OF THE NEAPOLITANS.

Naples.

In my last days at Paris I was fortunate in hearing some delightful music. A friend of Chopin's took me to see him, and I had the pleasure, which the delicacy of Iris health makes a rare one for the public, of hearing him play. All the impressions I had received from hearing his music imperfectly performed were justified, for it has marked traits, which can be veiled, but not travestied; but to feel it as it merits, one must hear himself; only a person as exquisitely organized as he can adequately express these subtile secrets of the creative spirit.

It was with, a very different sort of pleasure that I listened to the Chevalier Neukomm, the celebrated composer of "David," which has been so popular in our country. I heard him improvise on the orgue expressif, and afterward on a great organ which has just been built here by Cavaille for the cathedral of Ajaccio. Full, sustained, ardent, yet exact, the stream, of his thought bears with it the attention of hearers of all characters, as his character, full of bonhommie, open, friendly, animated, and sagacious, would seem to have something to present for the affection and esteem of all kinds of men.

Chopin is the minstrel, Neukomm the orator of music: we want them both,—the mysterious whispers and the resolute pleadings from the better world, which calls us not to slumber here, but press daily onward to claim our heritage.

Paris! I was sad to leave thee, thou wonderful focus, where ignorance ceases to be a pain, because there we find such means daily to lessen it. It is the only school where I ever found abundance of teachers who could bear being examined by the pupil in their special branches. I must go to this school more before I again cross the Atlantic, where often for years I have carried about some trifling question without finding the person who could answer it. Really deep questions we must all answer for ourselves; the more the pity, then, that we get not quickly through with a crowd of details, where the experience of others might accelerate our progress.

Leaving by diligence, we pursued our way from twelve o'clock on Thursday till twelve at night on Friday, thus having a large share of magnificent moonlight upon the unknown fields we were traversing. At Chalons we took boat and reached Lyons betimes that afternoon. So soon as refreshed, we sallied out to visit some of the garrets of the weavers. As we were making inquiries about these, a sweet little girl who heard us offered to be our guide. She led us by a weary, winding way, whose pavement was much easier for her feet in their wooden sabots than for ours in Paris shoes, to the top of a hill, from which we saw for the first time "the blue and arrowy Rhone." Entering the light buildings on this high hill, I found each chamber tenanted by a family of weavers,—all weavers; wife, husband, sons, daughters,—from nine years old upward,—each was helping. On one side were the looms; nearer the door the cooking apparatus; the beds were shelves near the ceiling: they climbed up to them on ladders. My sweet little girl turned out to be a wife of six or seven years' standing, with two rather sickly-looking children; she seemed to have the greatest comfort that is possible amid the perplexities of a hard and anxious lot, to judge by the proud and affectionate manner in which she always said "mon mari," and by the courteous gentleness of his manner toward her. She seemed, indeed, to be one of those persons on whom "the Graces have smiled in their cradle," and to whom a natural loveliness of character makes the world as easy as it can be made while the evil spirit is still so busy choking the wheat with tares. I admired her graceful manner of introducing us into those dark little rooms, and she was affectionately received by all her acquaintance. But alas! that voice, by nature of such bird-like vivacity, repeated again and again, "Ah! we are all very unhappy now." "Do you sing together, or go to evening schools?" "We have not the heart. When we have a piece of work, we do not stir till it is finished, and then we run to try and get another; but often we have to wait idle for weeks. It grows worse and worse, and they say it is not likely to be any better. We can think of nothing, but whether we shall be able to pay our rent. Ah! the workpeople are very unhappy now." This poor, lovely little girl, at an age when the merchant's daughters of Boston and New York are just gaining their first experiences of "society," knew to a farthing the price of every article of food and clothing that is wanted by such a household. Her thought by day and her dream by night was, whether she should long be able to procure a scanty supply of these, and Nature had gifted her with precisely those qualities, which, unembarrassed by care, would have made her and all she loved really happy; and she was fortunate now, compared with many of her sex in Lyons,—of whom a gentleman who knows the class well said: "When their work fails, they have no resource except in the sale of their persons. There are but these two ways open to them, weaving or prostitution, to gain their bread." And there are those who dare to say that such a state of things is well enough, and what Providence intended for man,—who call those who have hearts to suffer at the sight, energy and zeal to seek its remedy, visionaries and fanatics! To themselves be woe, who have eyes and see not, ears and hear not, the convulsions and sobs of injured Humanity!

My little friend told me she had nursed both her children,—though almost all of her class are obliged to put their children out to nurse; "but," said she, "they are brought back so little, so miserable, that I resolved, if possible, to keep mine with me." Next day in the steamboat I read a pamphlet by a physician of Lyons in which he recommends the establishment of Creches, not merely like those of Paris, to keep the children by day, but to provide wet-nurses for them. Thus, by the infants receiving nourishment from more healthy persons, and who under the supervision of directors would treat them well, he hopes to counteract the tendency to degenerate in this race of sedentary workers, and to save the mothers from too heavy a burden of care and labor, without breaking the bond between them and their children, whom, under such circumstances, they could visit often, and see them taken care of as they, brought up to know nothing except how to weave, cannot take care of them. Here, again, how is one reminded of Fourier's observations and plans, still more enforced by the recent developments at Manchester as to the habit of feeding children on opium, which has grown out of the position of things there.

Descending next day to Avignon, I had the mortification of finding the banks of the Rhone still sheeted with white, and there waded through melting snow to Laura's tomb. We did not see Mr. Dickens's Tower and Goblin,—it was too late in the day,—but we saw a snowball fight between two bands of the military in the castle yard that was gay enough to make a goblin laugh. And next day on to Arles, still snow,—snow and cutting blasts in the South of France, where everybody had promised us bird-songs and blossoms to console us for the dreary winter of Paris. At Arles, indeed, I saw the little saxifrage blossoming on the steps of the Amphitheatre, and fruit-trees in flower amid the tombs. Here for the first time I saw the great handwriting of the Romans in its proper medium of stone, and I was content. It looked us grand and solid as I expected, as if life in those days was thought worth the having, the enjoying, and the using. The sunlight was warm this day; it lay deliciously still and calm upon the ruins. One old woman sat knitting where twenty-five thousand persons once gazed down in fierce excitement on the fights of men and lions. Coming back, we were refreshed all through the streets by the sight of the women of Arles. They answered to their reputation for beauty; tall, erect, and noble, with high and dignified features, and a full, earnest gaze of the eye, they looked as if the Eagle still waved its wings over their city. Even the very old women still have a degree of beauty, because when the colors are all faded, and the skin wrinkled, the face retains this dignity of outline. The men do not share in these characteristics; some priestess, well beloved of the powers of old religion, must have called down an especial blessing on her sex in this town.

Hence to Marseilles,—where is little for the traveller to see, except the mixture of Oriental blood in the crowd of the streets. Thence by steamer to Genoa. Of this transit, he who has been on the Mediterranean in a stiff breeze well understands I can have nothing to say, except "I suffered." It was all one dull, tormented dream to me, and, I believe, to most of the ship's company,—a dream too of thirty hours' duration, instead of the promised sixteen.

The excessive beauty of Genoa is well known, and the impression upon the eye alone was correspondent with what I expected; but, alas! the weather was still so cold I could not realize that I had actually touched those shores to which I had looked forward all my life, where it seemed that the heart would expand, and the whole nature be turned to delight. Seen by a cutting wind, the marble palaces, the gardens, the magnificent water-view of Genoa, failed to charm,—"I saw, not felt, how beautiful they were." Only at Naples have I found my Italy, and here not till after a week's waiting,—not till I began to believe that all I had heard in praise of the climate of Italy was fable, and that there is really no spring anywhere except in the imagination of poets. For the first week was an exact copy of the miseries of a New England spring; a bright sun came for an hour or two in the morning, just to coax you forth without your cloak, and then came up a villanous, horrible wind, exactly like the worst east wind of Boston, breaking the heart, racking the brain, and turning hope and fancy to an irrevocable green and yellow hue, in lieu of their native rose.

However, here at Naples I have at last found my Italy; I have passed through the Grotto of Pausilippo, visited Cuma, Baiae, and Capri, ascended Vesuvius, and found all familiar, except the sense of enchantment, of sweet exhilaration, this scene conveys.

"Behold how brightly breaks the morning!"

and yet all new, as if never yet described, for Nature here, most prolific and exuberant in her gifts, has touched them all with a charm unhackneyed, unhackneyable, which the boots of English dandies cannot trample out, nor the raptures of sentimental tourists daub or fade. Baiae had still a hid divinity for me, Vesuvius a fresh baptism of fire, and Sorrento—O Sorrento was beyond picture, beyond poesy, for the greatest Artist had been at work there in a temper beyond the reach of human art.

Beyond this, reader, my old friend and valued acquaintance on other themes, I shall tell you nothing of Naples, for it is a thing apart in the journey of life, and, if represented at all, should be so in a fairer form than offers itself at present. Now the actual life here is over, I am going to Rome, and expect to see that fane of thought the last day of this week.

At Genoa and Leghorn, I saw for the first time Italians in their homes. Very attractive I found them, charming women, refined men, eloquent and courteous. If the cold wind hid Italy, it could not the Italians. A little group of faces, each so full of character, dignity, and, what is so rare in an American face, the capacity for pure, exalting passion, will live ever in my memory,—the fulfilment of a hope!

We started from Leghorn in an English boat, highly recommended, and as little deserving of such praise as many another bepuffed article. In the middle of a fine, clear night, she was run into by the mail steamer, which all on deck clearly saw coming upon her, for no reason that could be ascertained, except that the man at the wheel said he had turned the right way, and it never seemed to occur to him that he could change when he found the other steamer had taken the same direction. To be sure, the other steamer was equally careless, but as a change on our part would have prevented an accident that narrowly missed sending us all to the bottom, it hardly seemed worth while to persist, for the sake of convicting them of error.

Neither the Captain nor any of his people spoke French, and we had been much amused before by the chambermaid acting out the old story of "Will you lend me the loan of a gridiron?" A Polish lady was on board, with a French waiting-maid, who understood no word of English. The daughter of John Bull would speak to the lady in English, and, when she found it of no use, would say imperiously to the suivante, "Go and ask your mistress what she will have for breakfast." And now when I went on deck there was a parley between the two steamers, which the Captain was obliged to manage by such interpreters as he could find; it was a long and confused business. It ended at last in the Neapolitan steamer taking us in tow for an inglorious return to Leghorn. When she had decided upon this she swept round, her lights glancing like sagacious eyes, to take us. The sea was calm as a lake, the sky full of stars; she made a long detour, with her black hull, her smoke and lights, which look so pretty at night, then came round to us like the bend of an arm embracing. It was a pretty picture, worth the stop and the fright,—perhaps the loss of twenty-four hours, though I did not think so at the time.

At Leghorn we changed the boat, and, retracing our steps, came now at last to Naples,—to this priest-ridden, misgoverned, full of dirty, degraded men and women, yet still most lovely Naples,—of which the most I can say is that the divine aspect of nature can make you forget the situation of man in this region, which was surely intended for him as a princely child, angelic in virtue, genius, and beauty, and not as a begging, vermin-haunted, image kissing Lazzarone.



LETTER XIV.

ITALY.—MISFORTUNE OF TRAVELLERS.—ENGLISH TRAVELLERS.— COCKNEYISM.—MACDONALD THE SCULPTOR.—BRITISH ARISTOCRACY.— TENERANI.—WOLFF'S DIANA AND SEASONS.—GOTT.—CRAWFORD.—OVERBECK THE PAINTER.—AMERICAN PAINTERS IN ROME.—TERRY.—GRANCH.—HICKS.— REMAINS OF THE ANTIQUE.—ITALIAN PAINTERS.—DOMENICHIMO AND TITIAN.—FRESCOS OF RAPHAEL.—MICHEL ANGELO.—THE COLOSSEUM.—HOLY WEEK.—ST. PETER'S.—PIUS IX. AND HIS MEASURES.—POPULAR ENTHUSIASM.—PUBLIC DINNER AT THE BATHS OF TITUS.—AUSTRIAN JEALOUSY.—THE "CONTEMPORANEO."

Rome, May, 1847.

There is very little that I can like to write about Italy. Italy is beautiful, worthy to be loved and embraced, not talked about. Yet I remember well that, when afar, I liked to read what was written about her; now, all thought of it is very tedious.

The traveller passing along the beaten track, vetturinoed from inn to inn, ciceroned from gallery to gallery, thrown, through indolence, want of tact, or ignorance of the language, too much into the society of his compatriots, sees the least possible of the country; fortunately, it is impossible to avoid seeing a great deal. The great features of the part pursue and fill the eye.

Yet I find that it is quite out of the question to know Italy; to say anything of her that is full and sweet, so as to convey any idea of her spirit, without long residence, and residence in the districts untouched by the scorch and dust of foreign invasion (the invasion of the dilettanti I mean), and without an intimacy of feeling, an abandonment to the spirit of the place, impossible to most Americans. They retain too much, of their English blood; and the travelling English, as a class, seem to me the most unseeing of all possible animals. There are exceptions; for instance, the perceptions and pictures of Browning seem as delicate and just here on the spot as they did at a distance; but, take them as a class, they have the vulgar familiarity of Mrs. Trollope without her vivacity, the cockneyism of Dickens without his graphic power and love of the odd corners of human nature. I admired the English at home in their island; I admired their honor, truth, practical intelligence, persistent power. But they do not look well in Italy; they are not the figures for this landscape. I am indignant at the contempt they have presumed to express for the faults of our semi-barbarous state. What is the vulgarity expressed in our tobacco-chewing, and way of eating eggs, compared to that which elbows the Greek marbles, guide-book in hand,—chatters and sneers through the Miserere of the Sistine Chapel, beneath the very glance of Michel Angelo's Sibyls,—praises St. Peter's as "nice"—talks of "managing" the Colosseum by moonlight,—and snatches "bits" for a "sketch" from the sublime silence of the Campagna.

Yet I was again reconciled with them, the other day, in visiting the studio of Macdonald. There I found a complete gallery of the aristocracy of England; for each lord and lady who visits Rome considers it a part of the ceremony to sit to him for a bust. And what a fine race! how worthy the marble! what heads of orators, statesmen, gentlemen! of women chaste, grave, resolute, and tender! Unfortunately, they do not look as well in flesh and blood; then they show the habitual coldness of their temperament, the habitual subservience to frivolous conventionalities. They need some great occasion, some exciting crisis, in order to make them look as free and dignified as these busts; yet is the beauty there, though, imprisoned, and clouded, and such a crisis would show us more then one Boadicea, more than one Alfred. Tenerani has just completed a statue which is highly-spoken of; it is called the Angel of the Resurrection. I was not so fortunate as to find it in his studio. In that of Wolff I saw a Diana, ordered by the Emperor of Russia. It is modern and sentimental; as different from, the antique Diana as the trance of a novel-read young lady of our day from the thrill with which the ancient shepherds deprecated the magic pervasions of Hecate, but very beautiful and exquisitely wrought. He has also lately finished the Four Seasons, represented as children. Of these, Winter is graceful and charming.

Among the sculptors I delayed longest in the work-rooms of Gott. I found his groups of young figures connected with animals very refreshing after the grander attempts of the present time. They seem real growths of his habitual mind,—fruits of Nature, full of joy and freedom. His spaniels and other frisky poppets would please Apollo far better than most of the marble nymphs and muses of the present day.

Our Crawford has just finished a bust of Mrs. Crawford, which is extremely beautiful, full of grace and innocent sweetness. All its accessaries are charming,—the wreaths, the arrangement of drapery, the stuff of which the robe is made. I hope it will be much seen on its arrival in New York. He has also an Herodias in the clay, which is individual in expression, and the figure of distinguished elegance. I liked the designs of Crawford better than those of Gibson, who is estimated as highest in the profession now.

Among the studios of the European painters I have visited only that of Overbeck. It is well known in the United States what his pictures are. I have much to say at a more favorable time of what they represented to me. He himself looks as if he had just stepped out of one of them,—a lay monk, with a pious eye and habitual morality of thought which limits every gesture.

Painting is not largely represented here by American artists at present. Terry has two pleasing pictures on the easel: one is a costume picture of Italian life, such as I saw it myself, enchanted beyond my hopes, on coming to Naples on a day of grand festival in honor of Santa Agatha. Cranch sends soon to America a picture of the Campagna, such as I saw it on my first entrance into Rome, all light and calmness; Hicks, a charming half-length of an Italian girl, holding a mandolin: it will be sure to please. His pictures are full of life, and give the promise of some real achievement in Art.

Of the fragments of the great time, I have now seen nearly all that are treasured up here: I have, however, as yet nothing of consequence to say of them. I find that others have often given good hints as to how they look; and as to what they are, it can only be known by approximating to the state of soul out of which they grew. They should not be described, but reproduced. They are many and precious, yet is there not so much of high excellence as I had expected: they will not float the heart on a boundless sea of feeling, like the starry night on our Western prairies. Yet I love much to see the galleries of marbles, even when there are not many separately admirable, amid the cypresses and ilexes of Roman villas; and a picture that is good at all looks very good in one of these old palaces.

The Italian painters whom I have learned most to appreciate, since I came abroad, are Domenichino and Titian. Of others one may learn something by copies and engravings: but not of these. The portraits of Titian look upon me from the walls things new and strange. They are portraits of men such as I have not known. In his picture, absurdly called Sacred and Profane Love, in the Borghese Palace, one of the figures has developed my powers of gazing to an extent unknown before.

Domenichino seems very unequal in his pictures; but when he is grand and free, the energy of his genius perfectly satisfies. The frescos of Caracci and his scholars in the Farnese Palace have been to me a source of the purest pleasure, and I do not remember to have heard of them. I loved Guercino much before I came here, but I have looked too much at his pictures and begin to grow sick of them; he is a very limited genius. Leonardo I cannot yet like at all, but I suppose the pictures are good for some people to look at; they show a wonderful deal of study and thought. That is not what I can best appreciate in a work of art. I hate to see the marks of them. I want a simple and direct expression of soul. For the rest, the ordinary cant of connoisseur-ship on these matters seems in Italy even more detestable than elsewhere.

I have not yet so sufficiently recovered from my pain at finding the frescos of Raphael in such a state, as to be able to look at them, happily. I had heard of their condition, but could not realize it. However, I have gained nothing by seeing his pictures in oil, which are well preserved. I find I had before the full impression of his genius. Michel Angelo's frescos, in like manner, I seem to have seen as far as I can. But it is not the same with the sculptures: my thought had not risen to the height of the Moses. It is the only thing in Europe, so far, which has entirely outgone my hopes. Michel Angelo was my demigod before; but I find no offering worthy to cast at the feet of his Moses. I like much, too, his Christ. It is a refreshing contrast with all the other representations of the same subject. I like it even as contrasted with Raphael's Christ of the Transfiguration, or that of the cartoon of Feed my Lambs.

I have heard owls hoot in the Colosseum by moonlight, and they spoke more to the purpose than I ever heard any other voice upon that subject. I have seen all the pomps and shows of Holy Week in the church of St. Peter, and found them less imposing than an habitual acquaintance with the place, with processions of monks and nuns stealing in now and then, or the swell of vespers from some side chapel. I have ascended the dome, and seen thence Rome and its Campagna, its villas with, their cypresses and pines serenely sad as is nothing else in the world, and the fountains of the Vatican garden gushing hard by. I have been in the Subterranean to see a poor little boy introduced, much to his surprise, to the bosom of the Church; and then I have seen by torch-light the stone popes where they lie on their tombs, and the old mosaics, and virgins with gilt caps. It is all rich, and full,—very impressive in its way. St. Peter's must be to each one a separate poem.

The ceremonies of the Church, have been numerous and splendid during our stay here; and they borrow unusual interest from the love and expectation inspired by the present Pontiff. He is a man of noble and good aspect, who, it is easy to see, has set his heart upon doing something solid for the benefit of man. But pensively, too, must one feel how hampered and inadequate are the means at his command to accomplish these ends. The Italians do not feel it, but deliver themselves, with all the vivacity of their temperament, to perpetual hurras, vivas, rockets, and torch-light processions. I often think how grave and sad must the Pope feel, as he sits alone and hears all this noise of expectation.

A week or two ago the Cardinal Secretary published a circular inviting the departments to measures which would give the people a sort of representative council. Nothing could seem more limited than this improvement, but it was a great measure for Rome. At night the Corso in which, we live was illuminated, and many thousands passed through it in a torch-bearing procession. I saw them first assembled in the Piazza del Popolo, forming around its fountain a great circle of fire. Then, as a river of fire, they streamed slowly through the Corso, on their way to the Quirinal to thank the Pope, upbearing a banner on which the edict was printed. The stream, of fire advanced slowly, with a perpetual surge-like sound of voices; the torches flashed on the animated Italian faces. I have never seen anything finer. Ascending the Quirinal they made it a mount of light. Bengal fires were thrown up, which cast their red and white light on the noble Greek figures of men and horses that reign over it. The Pope appeared on his balcony; the crowd shouted three vivas; he extended his arms; the crowd fell on their knees and received his benediction; he retired, and the torches were extinguished, and the multitude dispersed in an instant.

The same week came the natal day of Rome. A great dinner was given at the Baths of Titus, in the open air. The company was on the grass in the area; the music at one end; boxes filled with the handsome Roman women occupied the other sides. It was a new thing here, this popular dinner, and the Romans greeted it in an intoxication of hope and pleasure. Sterbini, author of "The Vestal," presided: many others, like him, long time exiled and restored to their country by the present Pope, were at the tables. The Colosseum, and triumphal arches were in sight; an effigy of the Roman wolf with her royal nursling was erected on high; the guests, with shouts and music, congratulated themselves on the possession, in Pius IX., of a new and nobler founder for another state. Among the speeches that of the Marquis d'Azeglio, a man of literary note in Italy, and son-in-law of Manzoni, contained this passage (he was sketching the past history of Italy):—

"The crown passed to the head of a German monarch; but he wore it not to the benefit, but the injury, of Christianity,—of the world. The Emperor Henry was a tyrant who wearied out the patience of God. God said to Rome, 'I give you the Emperor Henry'; and from these hills that surround us, Hildebrand, Pope Gregory VII., raised his austere and potent voice to say to the Emperor, 'God did not give you Italy that you might destroy her,' and Italy, Germany, Europe, saw her butcher prostrated at the feet of Gregory in penitence. Italy, Germany, Europe, had then kindled in the heart the first spark of liberty."

The narrative of the dinner passed the censor, and was published: the Ambassador of Austria read it, and found, with a modesty and candor truly admirable, that this passage was meant to allude to his Emperor. He must take his passports, if such home thrusts are to be made. And so the paper was seized, and the account of the dinner only told from, mouth to mouth, from those who had already read it. Also the idea of a dinner for the Pope's fete-day is abandoned, lest something too frank should again be said; and they tell me here, with a laugh, "I fancy you have assisted at the first and last popular dinner." Thus we may see that the liberty of Rome does not yet advance with seven-leagued boots; and the new Romulus will need to be prepared for deeds at least as bold as his predecessor, if he is to open a new order of things.