1877.

[1] Charles Eliot Norton, Notes of Travel and Study in Italy.]



A ROMAN HOLIDAY

It is certainly sweet to be merry at the right moment; but the right moment hardly seems to me the ten days of the Roman Carnival. It was my rather cynical suspicion perhaps that they wouldn't keep to my imagination the brilliant promise of legend; but I have been justified by the event and have been decidedly less conscious of the festal influences of the season than of the inalienable gravity of the place. There was a time when the Carnival was a serious matter—that is a heartily joyous one; but, thanks to the seven-league boots the kingdom of Italy has lately donned for the march of progress in quite other directions, the fashion of public revelry has fallen woefully out of step. The state of mind and manners under which the Carnival was kept in generous good faith I doubt if an American can exactly conceive: he can only say to himself that for a month in the year there must have been things—things considerably of humiliation—it was comfortable to forget. But now that Italy is made the Carnival is unmade; and we are not especially tempted to envy the attitude of a population who have lost their relish for play and not yet acquired to any striking extent an enthusiasm for work. The spectacle on the Corso has seemed to me, on the whole, an illustration of that great breach with the past of which Catholic Christendom felt the somewhat muffled shock in September, 1870. A traveller acquainted with the fully papal Rome, coming back any time during the past winter, must have immediately noticed that something momentous had happened— something hostile to the elements of picture and colour and "style." My first warning was that ten minutes after my arrival I found myself face to face with a newspaper stand. The impossibility in the other days of having anything in the journalistic line but the Osservatore Romano and the Voce della Verita used to seem to me much connected with the extraordinary leisure of thought and stillness of mind to which the place admitted you. But now the slender piping of the Voice of Truth is stifled by the raucous note of eventide vendors of the Capitale, the Liberta and the Fanfulla; and Rome reading unexpurgated news is another Rome indeed. For every subscriber to the Liberta there may well be an antique masker and reveller less. As striking a sign of the new regime is the extraordinary increase of population. The Corso was always a well-filled street, but now it's a perpetual crush. I never cease to wonder where the new-comers are lodged, and how such spotless flowers of fashion as the gentlemen who stare at the carriages can bloom in the atmosphere of those camere mobiliate of which I have had glimpses. This, however, is their own question, and bravely enough they meet it. They proclaimed somehow, to the first freshness of my wonder, as I say, that by force of numbers Rome had been secularised. An Italian dandy is a figure visually to reckon with, but these goodly throngs of them scarce offered compensation for the absent monsignori, treading the streets in their purple stockings and followed by the solemn servants who returned on their behalf the bows of the meaner sort; for the mourning gear of the cardinals' coaches that formerly glittered with scarlet and swung with the weight of the footmen clinging behind; for the certainty that you'll not, by the best of traveller's luck, meet the Pope sitting deep in the shadow of his great chariot with uplifted fingers like some inaccessible idol in his shrine. You may meet the King indeed, who is as ugly, as imposingly ugly, as some idols, though not so inaccessible. The other day as I passed the Quirinal he drove up in a low carriage with a single attendant; and a group of men and women who had been waiting near the gate rushed at him with a number of folded papers. The carriage slackened pace and he pocketed their offerings with a business- like air—hat of a good-natured man accepting handbills at a street-corner. Here was a monarch at his palace gate receiving petitions from his subjects—being adjured to right their wrongs. The scene ought to have thrilled me, but somehow it had no more intensity than a woodcut in an illustrated newspaper. Homely I should call it at most; admirably so, certainly, for there were lately few sovereigns standing, I believe, with whom their people enjoyed these filial hand-to-hand relations. The King this year, however, has had as little to do with the Carnival as the Pope, and the innkeepers and Americans have marked it for their own.

It was advertised to begin at half-past two o'clock of a certain Saturday, and punctually at the stroke of the hour, from my room across a wide court, I heard a sudden multiplication of sounds and confusion of tongues in the Corso. I was writing to a friend for whom I cared more than for any mere romp; but as the minutes elapsed and the hubbub deepened curiosity got the better of affection, and I remembered that I was really within eye-shot of an affair the fame of which had ministered to the daydreams of my infancy. I used to have a scrap-book with a coloured print of the starting of the bedizened wild horses, and the use of a library rich in keepsakes and annuals with a frontispiece commonly of a masked lady in a balcony, the heroine of a delightful tale further on. Agitated by these tender memories I descended into the street; but I confess I looked in vain for a masked lady who might serve as a frontispiece, in vain for any object whatever that might adorn a tale. Masked and muffled ladies there were in abundance; but their masks were of ugly wire, perfectly resembling the little covers placed upon strong cheese in German hotels, and their drapery was a shabby water-proof with the hood pulled over their chignons. They were armed with great tin scoops or funnels, with which they solemnly shovelled lime and flour out of bushel-baskets and down on the heads of the people in the street. They were packed into balconies all the way along the straight vista of the Corso, in which their calcareous shower maintained a dense, gritty, unpalatable fog. The crowd was compact in the street, and the Americans in it were tossing back confetti out of great satchels hung round their necks. It was quite the "you're another" sort of repartee, and less seasoned than I had hoped with the airy mockery tradition hangs about this festival. The scene was striking, in a word; but somehow not as I had dreamed of its being. I stood regardful, I suppose, but with a peculiarly tempting blankness of visage, for in a moment I received half a bushel of flour on my too-philosophic head. Decidedly it was an ignoble form of humour. I shook my ears like an emergent diver, and had a sudden vision of how still and sunny and solemn, how peculiarly and undisturbedly themselves, how secure from any intrusion less sympathetic than one's own, certain outlying parts of Rome must just then be. The Carnival had received its deathblow in my imagination; and it has been ever since but a thin and dusky ghost of pleasure that has flitted at intervals in and out of my consciousness.

I turned my back accordingly on the Corso and wandered away to the grass-grown quarters delightfully free even from the possibility of a fellow-countryman. And so having set myself an example I have been keeping Carnival by strolling perversely along the silent circumference of Rome. I have doubtless lost a great deal. The Princess Margaret has occupied a balcony opposite the open space which leads into Via Condotti and, I believe, like the discreet princess she is, has dealt in no missiles but bonbons, bouquets and white doves. I would have waited half an hour any day to see the Princess Margaret hold a dove on her forefinger; but I never chanced to notice any preparation for that effect. And yet do what you will you can't really elude the Carnival. As the days elapse it filters down into the manners of the common people, and before the week is over the very beggars at the church-doors seem to have gone to the expense of a domino. When you meet these specimens of dingy drollery capering about in dusky back-streets at all hours of the day and night, meet them flitting out of black doorways between the greasy groups that cluster about Roman thresholds, you feel that a love of "pranks," the more vivid the better, must from far back have been implanted in the Roman temperament with a strong hand. An unsophisticated American is wonderstruck at the number of persons, of every age and various conditions, whom it costs nothing in the nature of an ingenuous blush to walk up and down the streets in the costume of a theatrical supernumerary. Fathers of families do it at the head of an admiring progeniture; aunts and uncles and grandmothers do it; all the family does it, with varying splendour but with the same good conscience. "A pack of babies!" the doubtless too self- conscious alien pronounces it for its pains, and tries to imagine himself strutting along Broadway in a battered tin helmet and a pair of yellow tights. Our vices are certainly different; it takes those of the innocent sort to be so ridiculous. A self- consciousness lapsing so easily, in fine, strikes me as so near a relation to amenity, urbanity and general gracefulness that, for myself, I should be sorry to lay a tax on it, lest these other commodities should also cease to come to market.

I was rewarded, when I had turned away with my ears full of flour, by a glimpse of an intenser life than the dingy foolery of the Corso. I walked down by the back streets to the steps mounting to the Capitol—that long inclined plane, rather, broken at every two paces, which is the unfailing disappointment, I believe, of tourists primed for retrospective raptures. Certainly the Capitol seen from this side isn't commanding. The hill is so low, the ascent so narrow, Michael Angelo's architecture in the quadrangle at the top so meagre, the whole place somehow so much more of a mole-hill than a mountain, that for the first ten minutes of your standing there Roman history seems suddenly to have sunk through a trap-door. It emerges however on the other side, in the Forum; and here meanwhile, if you get no sense of the sublime, you get gradually a sense of exquisite composition. Nowhere in Rome is more colour, more charm, more sport for the eye. The mild incline, during the winter months, is always covered with lounging sun-seekers, and especially with those more constantly obvious members of the Roman population—beggars, soldiers, monks and tourists. The beggars and peasants lie kicking their heels along that grandest of loafing-places the great steps of the Ara Coeli. The dwarfish look of the Capitol is intensified, I think, by the neighbourhood of this huge blank staircase, mouldering away in disuse, the weeds thick in its crevices, and climbing to the rudely solemn facade of the church. The sunshine glares on this great unfinished wall only to light up its featureless despair, its expression of conscious, irremediable incompleteness. Sometimes, massing its rusty screen against the deep blue sky, with the little cross and the sculptured porch casting a clear-cut shadow on the bricks, it seems to have even more than a Roman desolation, it confusedly suggests Spain and Africa—lands with no latent risorgimenti, with absolutely nothing but a fatal past. The legendary wolf of Rome has lately been accommodated with a little artificial grotto, among the cacti and the palms, in the fantastic triangular garden squeezed between the steps of the church and the ascent to the Capitol, where she holds a perpetual levee and "draws" apparently as powerfully as the Pope himself. Above, in the piazzetta before the stuccoed palace which rises so jauntily on a basement of thrice its magnitude, are more loungers and knitters in the sun, seated round the massively inscribed base of the statue of Marcus Aurelius. Hawthorne has perfectly expressed the attitude of this admirable figure in saying that it extends its arm with "a command which is in itself a benediction." I doubt if any statue of king or captain in the public places of the world has more to commend it to the general heart. Irrecoverable simplicity—residing so in irrecoverable Style—has no sturdier representative. Here is an impression that the sculptors of the last three hundred years have been laboriously trying to reproduce; but contrasted with this mild old monarch their prancing horsemen suggest a succession of riding-masters taking out young ladies' schools. The admirably human character of the figure survives the rusty decomposition of the bronze and the slight "debasement" of the art; and one may call it singular that in the capital of Christendom the portrait most suggestive of a Christian conscience is that of a pagan emperor.

You recover in some degree your stifled hopes of sublimity as you pass beyond the palace and take your choice of either curving slope to descend into the Forum. Then you see that the little stuccoed edifice is but a modern excrescence on the mighty cliff of a primitive construction, whose great squares of porous tufa, as they underlie each other, seem to resolve themselves back into the colossal cohesion of unhewn rock. There are prodigious strangenesses in the union of this airy and comparatively fresh- faced superstructure and these deep-plunging, hoary foundations; and few things in Rome are more entertaining to the eye than to measure the long plumb-line which drops from the inhabited windows of the palace, with their little over-peeping balconies, their muslin curtains and their bird-cages, down to the rugged constructional work of the Republic. In the Forum proper the sublime is eclipsed again, though the late extension of the excavations gives a chance for it.

Nothing in Rome helps your fancy to a more vigorous backward flight than to lounge on a sunny day over the railing which guards the great central researches. It "says" more things to you than you can repeat to see the past, the ancient world, as you stand there, bodily turned up with the spade and transformed from an immaterial, inaccessible fact of time into a matter of soils and surfaces. The pleasure is the same—in kind—as what you enjoy of Pompeii, and the pain the same. It wasn't here, however, that I found my compensation for forfeiting the spectacle on the Corso, but in a little church at the end of the narrow byway which diverges up the Palatine from just beside the Arch of Titus. This byway leads you between high walls, then takes a bend and introduces you to a long row of rusty, dusty little pictures of the stations of the cross. Beyond these stands a small church with a front so modest that you hardly recognise it till you see the leather curtain. I never see a leather curtain without lifting it; it is sure to cover a constituted scene of some sort—good, bad or indifferent. The scene this time was meagre—whitewash and tarnished candlesticks and mouldy muslin flowers being its principal features. I shouldn't have remained if I hadn't been struck with the attitude of the single worshipper—a young priest kneeling before one of the sidealtars, who, as I entered, lifted his head and gave me a sidelong look so charged with the languor of devotion that he immediately became an object of interest. He was visiting each of the altars in turn and kissing the balustrade beneath them. He was alone in the church, and indeed in the whole region. There were no beggars even at the door; they were plying their trade on the skirts of the Carnival. In the entirely deserted place he alone knelt for religion, and as I sat respectfully by it seemed to me I could hear in the perfect silence the far-away uproar of the maskers. It was my late impression of these frivolous people, I suppose, joined with the extraordinary gravity of the young priest's face- -his pious fatigue, his droning prayer and his isolation—that gave me just then and there a supreme vision of the religious passion, its privations and resignations and exhaustions and its terribly small share of amusement. He was young and strong and evidently of not too refined a fibre to enjoy the Carnival; but, planted there with his face pale with fasting and his knees stiff with praying, he seemed so stern a satire on it and on the crazy thousands who were preferring it to his way, that I half expected to see some heavenly portent out of a monastic legend come down and confirm his choice. Yet I confess that though I wasn't enamoured of the Carnival myself, his seemed a grim preference and this forswearing of the world a terrible game—a gaining one only if your zeal never falters; a hard fight when it does. In such an hour, to a stout young fellow like the hero of my anecdote, the smell of incense must seem horribly stale and the muslin flowers and gilt candlesticks to figure no great bribe. And it wouldn't have helped him much to think that not so very far away, just beyond the Forum, in the Corso, there was sport for the million, and for nothing. I doubt on the other hand whether my young priest had thought of this. He had made himself a temple out of the very elements of his innocence, and his prayers followed each other too fast for the tempter to slip in a whisper. And so, as I say, I found a solider fact of human nature than the love of coriandoli.

One of course never passes the Colosseum without paying it one's respects—without going in under one of the hundred portals and crossing the long oval and sitting down a while, generally at the foot of the cross in the centre. I always feel, as I do so, as if I were seated in the depths of some Alpine valley. The upper portions of the side toward the Esquiline look as remote and lonely as an Alpine ridge, and you raise your eyes to their rugged sky-line, drinking in the sun and silvered by the blue air, with much the same feeling with which you would take in a grey cliff on which an eagle might lodge. This roughly mountainous quality of the great ruin is its chief interest; beauty of detail has pretty well vanished, especially since the high-growing wild-flowers have been plucked away by the new government, whose functionaries, surely, at certain points of their task, must have felt as if they shared the dreadful trade of those who gather samphire. Even if you are on your way to the Lateran you won't grudge the twenty minutes it will take you, on leaving the Colosseum, to turn away under the Arch of Constantine, whose noble battered bas-reliefs, with the chain of tragic statues—fettered, drooping barbarians—round its summit, I assume you to have profoundly admired, toward the piazzetta of the church of San Giovanni e Paolo, on the slope of Caelian. No spot in Rome can show a cluster of more charming accidents. The ancient brick apse of the church peeps down into the trees of the little wooded walk before the neighbouring church of San Gregorio, intensely venerable beneath its excessive modernisation; and a series of heavy brick buttresses, flying across to an opposite wall, overarches the short, steep, paved passage which leads into the small square. This is flanked on one side by the long mediaeval portico of the church of the two saints, sustained by eight time-blackened columns of granite and marble. On another rise the great scarce-windowed walls of a Passionist convent, and on the third the portals of a grand villa, whose tall porter, with his cockade and silver-topped staff, standing sublime behind his grating, seems a kind of mundane St. Peter, I suppose, to the beggars who sit at the church door or lie in the sun along the farther slope which leads to the gate of the convent. The place always seems to me the perfection of an out-of-the-way corner—a place you would think twice before telling people about, lest you should find them there the next time you were to go. It is such a group of objects, singly and in their happy combination, as one must come to Rome to find at one's house door; but what makes it peculiarly a picture is the beautiful dark red campanile of the church, which stands embedded in the mass of the convent. It begins, as so many things in Rome begin, with a stout foundation of antique travertine, and rises high, in delicately quaint mediaeval brickwork—little tiers and apertures sustained on miniature columns and adorned with small cracked slabs of green and yellow marble, inserted almost at random. When there are three or four brown-breasted contadini sleeping in the sun before the convent doors, and a departing monk leading his shadow down over them, I think you will not find anything in Rome more sketchable.

If you stop, however, to observe everything worthy of your water- colours you will never reach St. John Lateran. My business was much less with the interior of that vast and empty, that cold clean temple, which I have never found peculiarly interesting, than with certain charming features of its surrounding precinct— the crooked old court beside it, which admits you to the Baptistery and to a delightful rear-view of the queer architectural odds and ends that may in Rome compose a florid ecclesiastical facade. There are more of these, a stranger jumble of chance detail, of lurking recesses and wanton projections and inexplicable windows, than I have memory or phrase for; but the gem of the collection is the oddly perched peaked turret, with its yellow travertine welded upon the rusty brickwork, which was not meant to be suspected, and the brickwork retreating beneath and leaving it in the odd position of a tower under which you may see the sky. As to the great front of the church overlooking the Porta San Giovanni, you are not admitted behind the scenes; the term is quite in keeping, for the architecture has a vastly theatrical air. It is extremely imposing—that of St. Peter's alone is more so; and when from far off on the Campagna you see the colossal images of the mitred saints along the top standing distinct against the sky, you forget their coarse construction and their inflated draperies. The view from the great space which stretches from the church steps to the city wall is the very prince of views. Just beside you, beyond the great alcove of mosaic, is the Scala Santa, the marble staircase which (says the legend) Christ descended under the weight of Pilate's judgment, and which all Christians must for ever ascend on their knees; before you is the city gate which opens upon the Via Appia Nuova, the long gaunt file of arches of the Claudian aqueduct, their jagged ridge stretching away like the vertebral column of some monstrous mouldering skeleton, and upon the blooming brown and purple flats and dells of the Campagna and the glowing blue of the Alban Mountains, spotted with their white, high-nestling towns; while to your left is the great grassy space, lined with dwarfish mulberry-trees, which stretches across to the damp little sister-basilica of Santa Croce in Gerusalemme. During a former visit to Rome I lost my heart to this idle tract,[1]

[1] Utterly overbuilt and gone—1909.]

and wasted much time in sitting on the steps of the church and watching certain white-cowled friars who were sure to be passing there for the delight of my eyes. There are fewer friars now, and there are a great many of the king's recruits, who inhabit the ex-conventual barracks adjoining Santa Croce and are led forward to practise their goose-step on the sunny turf. Here too the poor old cardinals who are no longer to be seen on the Pincio descend from their mourning-coaches and relax their venerable knees. These members alone still testify to the traditional splendour of the princes of the Church; for as they advance the lifted black petticoat reveals a flash of scarlet stockings and makes you groan at the victory of civilisation over colour.



If St. John Lateran disappoints you internally, you have an easy compensation in pacing the long lane which connects it with Santa Maria Maggiore and entering the singularly perfect nave of that most delightful of churches. The first day of my stay in Rome under the old dispensation I spent in wandering at random through the city, with accident for my valet-de-place. It served me to perfection and introduced me to the best things; among others to an immediate happy relation with Santa Maria Maggiore. First impressions, memorable impressions, are generally irrecoverable; they often leave one the wiser, but they rarely return in the same form. I remember, of my coming uninformed and unprepared into the place of worship and of curiosity that I have named, only that I sat for half an hour on the edge of the base of one of the marble columns of the beautiful nave and enjoyed a perfect revel of—what shall I call it?—taste, intelligence, fancy, perceptive emotion? The place proved so endlessly suggestive that perception became a throbbing confusion of images, and I departed with a sense of knowing a good deal that is not set down in Murray. I have seated myself more than once again at the base of the same column; but you live your life only once, the parts as well as the whole. The obvious charm of the church is the elegant grandeur of the nave—its perfect shapeliness and its rich simplicity, its long double row of white marble columns and its high flat roof, embossed with intricate gildings and mouldings. It opens into a choir of an extraordinary splendour of effect, which I recommend you to look out for of a fine afternoon. At such a time the glowing western light, entering the high windows of the tribune, kindles the scattered masses of colour into sombre bright-ness, scintillates on the great solemn mosaic of the vault, touches the porphyry columns of the superb baldachino with ruby lights, and buries its shining shafts in the deep-toned shadows that hang about frescoes and sculptures and mouldings. The deeper charm even than in such things, however, is the social or historic note or tone or atmosphere of the church—I fumble, you see, for my right expression; the sense it gives you, in common with most of the Roman churches, and more than any of them, of having been prayed in for several centuries by an endlessly curious and complex society. It takes no great attention to let it come to you that the authority of Italian Catholicism has lapsed not a little in these days; not less also perhaps than to feel that, as they stand, these deserted temples were the fruit of a society leavened through and through by ecclesiastical manners, and that they formed for ages the constant background of the human drama. They are, as one may say, the churchiest churches in Europe—the fullest of gathered memories, of the experience of their office. There's not a figure one has read of in old-world annals that isn't to be imagined on proper occasion kneeling before the lamp-decked Confession beneath the altar of Santa Maria Maggiore. One sees after all, however, even among the most palpable realities, very much what the play of one's imagination projects there; and I present my remarks simply as a reminder that one's constant excursions into these places are not the least interesting episodes of one's walks in Rome.

I had meant to give a simple illustration of the church-habit, so to speak, but I have given it at such a length as leaves scant space to touch on the innumerable topics brushed by the pen that begins to take Roman notes. It is by the aimless flanerie which leaves you free to follow capriciously every hint of entertainment that you get to know Rome. The greater part of the life about you goes on in the streets; and for an observer fresh from a country in which town scenery is at the least monotonous incident and character and picture seem to abound. I become conscious with compunction, let me hasten to add, that I have launched myself thus on the subject of Roman churches and Roman walks without so much as a preliminary allusion to St. Peter's. One is apt to proceed thither on rainy days with intentions of exercise—to put the case only at that—and to carry these out body and mind. Taken as a walk not less than as a church, St. Peter's of course reigns alone. Even for the profane "constitutional" it serves where the Boulevards, where Piccadilly and Broadway, fall short, and if it didn't offer to our use the grandest area in the world it would still offer the most diverting. Few great works of art last longer to the curiosity, to the perpetually transcended attention. You think you have taken the whole thing in, but it expands, it rises sublime again, and leaves your measure itself poor. You never let the ponderous leather curtain bang down behind you—your weak lift of a scant edge of whose padded vastness resembles the liberty taken in folding back the parchment corner of some mighty folio page— without feeling all former visits to have been but missed attempts at apprehension and the actual to achieve your first real possession. The conventional question is ever as to whether one hasn't been "disappointed in the size," but a few honest folk here and there, I hope, will never cease to say no. The place struck me from the first as the hugest thing conceivable—a real exaltation of one's idea of space; so that one's entrance, even from the great empty square which either glares beneath the deep blue sky or makes of the cool far-cast shadow of the immense front something that resembles a big slate-coloured country on a map, seems not so much a going in somewhere as a going out. The mere man of pleasure in quest of new sensations might well not know where to better his encounter there of the sublime shock that brings him, within the threshold, to an immediate gasping pause. There are days when the vast nave looks mysteriously vaster than on others and the gorgeous baldachino a longer journey beyond the far-spreading tessellated plain of the pavement, and when the light has yet a quality which lets things loom their largest, while the scattered figures—I mean the human, for there are plenty of others—mark happily the scale of items and parts. Then you have only to stroll and stroll and gaze and gaze; to watch the glorious altar-canopy lift its bronze architecture, its colossal embroidered contortions, like a temple within a temple, and feel yourself, at the bottom of the abysmal shaft of the dome, dwindle to a crawling dot.

Much of the constituted beauty resides in the fact that it is all general beauty, that you are appealed to by no specific details, or that these at least, practically never importunate, are as taken for granted as the lieutenants and captains are taken for granted in a great standing army—among whom indeed individual aspects may figure here the rather shifting range of decorative dignity in which details, when observed, often prove poor (though never not massive and substantially precious) and sometimes prove ridiculous. The sculptures, with the sole exception of Michael Angelo's ineffable "Pieta," which lurks obscurely in a side- chapel—this indeed to my sense the rarest artistic combination of the greatest things the hand of man has produced—are either bad or indifferent; and the universal incrustation of marble, though sumptuous enough, has a less brilliant effect than much later work of the same sort, that for instance of St. Paul's without the Walls. The supreme beauty is the splendidly sustained simplicity of the whole. The thing represents a prodigious imagination extraordinarily strained, yet strained, at its happiest pitch, without breaking. Its happiest pitch I say, because this is the only creation of its strenuous author in presence of which you are in presence of serenity. You may invoke the idea of ease at St. Peter's without a sense of sacrilege—which you can hardly do, if you are at all spiritually nervous, in Westminster Abbey or Notre Dame. The vast enclosed clearness has much to do with the idea. There are no shadows to speak of, no marked effects of shade; only effects of light innumerably—points at which this element seems to mass itself in airy density and scatter itself in enchanting gradations and cadences. It performs the office of gloom or of mystery in Gothic churches; hangs like a rolling mist along the gilded vault of the nave, melts into bright interfusion the mosaic scintillations of the dome, clings and clusters and lingers, animates the whole huge and otherwise empty shell. A good Catholic, I suppose, is the same Catholic anywhere, before the grandest as well as the humblest altars; but to a visitor not formally enrolled St. Peter's speaks less of aspiration than of full and convenient assurance. The soul infinitely expands there, if one will, but all on its quite human level. It marvels at the reach of our dreams and the immensity of our resources. To be so impressed and put in our place, we say, is to be sufficiently "saved"; we can't be more than the heaven itself; and what specifically celestial beauty such a show or such a substitute may lack it makes up for in certainty and tangibility. And yet if one's hours on the scene are not actually spent in praying, the spirit seeks it again as for the finer comfort, for the blessing, exactly, of its example, its protection and its exclusion. When you are weary of the swarming democracy of your fellow-tourists, of the unremunerative aspects of human nature on Corso and Pincio, of the oppressively frequent combination of coronets on carriage panels and stupid faces in carriages, of addled brains and lacquered boots, of ruin and dirt and decay, of priests and beggars and takers of advantage, of the myriad tokens of a halting civilisation, the image of the great temple depresses the balance of your doubts, seems to rise above even the highest tide of vulgarity and make you still believe in the heroic will and the heroic act. It's a relief, in other words, to feel that there's nothing but a cab- fare between your pessimism and one of the greatest of human achievements.



This might serve as a Lenten peroration to these remarks of mine which have strayed so woefully from their jovial text, save that I ought fairly to confess that my last impression of the Carnival was altogether Carnivalesque.. The merry-making of Shrove Tuesday had life and felicity; the dead letter of tradition broke out into nature and grace. I pocketed my scepticism and spent a long afternoon on the Corso. Almost every one was a masker, but you had no need to conform; the pelting rain of confetti effectually disguised you. I can't say I found it all very exhilarating; but here and there I noticed a brighter episode—a capering clown inflamed with contagious jollity, some finer humourist forming a circle every thirty yards to crow at his indefatigable sallies. One clever performer so especially pleased me that I should have been glad to catch a glimpse of the natural man. You imagined for him that he was taking a prodigious intellectual holiday and that his gaiety was in inverse ratio to his daily mood. Dressed as a needy scholar, in an ancient evening-coat and with a rusty black hat and gloves fantastically patched, he carried a little volume carefully under his arm. His humours were in excellent taste, his whole manner the perfection of genteel comedy. The crowd seemed to relish him vastly, and he at once commanded a glee-fully attentive audience. Many of his sallies I lost; those I caught were excellent. His trick was often to begin by taking some one urbanely and caressingly by the chin and complimenting him on the intelligenza della sua fisionomia. I kept near him as long as I could; for he struck me as a real ironic artist, cherishing a disinterested, and yet at the same time a motived and a moral, passion for the grotesque. I should have liked, however—if indeed I shouldn't have feared—to see him the next morning, or when he unmasked that night over his hard-earned supper in a smoky trattoria. As the evening went on the crowd thickened and became a motley press of shouting, pushing, scrambling, everything but squabbling, revellers. The rain of missiles ceased at dusk, but the universal deposit of chalk and flour was trampled into a cloud made lurid by flaring pyramids of the gas-lamps that replaced for the occasion the stingy Roman luminaries. Early in the evening came off the classic exhibition of the moccoletti, which I but half saw, like a languid reporter resigned beforehand to be cashiered for want of enterprise. From the mouth of a side-street, over a thousand heads, I caught a huge slow-moving illuminated car, from which blue-lights and rockets and Roman candles were in course of discharge, meeting all in a dim fuliginous glare far above the house-tops. It was like a glimpse of some public orgy in ancient Babylon. In the small hours of the morning, walking homeward from a private entertainment, I found Ash Wednesday still kept at bay. The Corso, flaring with light, smelt like a circus. Every one was taking friendly liberties with every one else and using up the dregs of his festive energy in convulsive hootings and gymnastics. Here and there certain indefatigable spirits, clad all in red after the manner of devils and leaping furiously about with torches, were supposed to affright you. But they shared the universal geniality and bequeathed me no midnight fears as a pretext for keeping Lent, the carnevale dei preti, as I read in that profanely radical sheet the Capitale. Of this too I have been having glimpses. Going lately into Santa Francesca Romana, the picturesque church near the Temple of Peace, I found a feast for the eyes—a dim crimson-toned light through curtained windows, a great festoon of tapers round the altar, a bulging girdle of lamps before the sunken shrine beneath, and a dozen white-robed Dominicans scattered in the happiest composition on the pavement. It was better than the moccoletti.

1873.



ROMAN RIDES

I shall always remember the first I took: out of the Porta del Popolo, to where the Ponte Molle, whose single arch sustains a weight of historic tradition, compels the sallow Tiber to flow between its four great-mannered ecclesiastical statues, over the crest of the hill and along the old posting-road to Florence. It was mild midwinter, the season peculiarly of colour on the Roman Campagna; and the light was full of that mellow purple glow, that tempered intensity, which haunts the after-visions of those who have known Rome like the memory of some supremely irresponsible pleasure. An hour away I pulled up and at the edge of a meadow gazed away for some time into remoter distances. Then and there, it seemed to me, I measured the deep delight of knowing the Campagna. But I saw more things in it than I can easily tell. The country rolled away around me into slopes and dells of long-drawn grace, chequered with purple and blue and blooming brown. The lights and shadows were at play on the Sabine Mountains—an alternation of tones so exquisite as to be conveyed only by some fantastic comparison to sapphire and amber. In the foreground a contadino in his cloak and peaked hat jogged solitary on his ass; and here and there in the distance, among blue undulations, some white village, some grey tower, helped deliciously to make the picture the typical "Italian landscape" of old-fashioned art. It was so bright and yet so sad, so still and yet so charged, to the supersensuous ear, with the murmur of an extinguished life, that you could only say it was intensely and adorably strange, could only impute to the whole overarched scene an unsurpassed secret for bringing tears of appreciation to no matter how ignorant— archaeologically ignorant—eyes. To ride once, in these conditions, is of course to ride again and to allot to the Campagna a generous share of the time one spends in Rome.

It is a pleasure that doubles one's horizon, and one can scarcely say whether it enlarges or limits one's impression of the city proper. It certainly makes St. Peter's seem a trifle smaller and blunts the edge of one's curiosity in the Forum. It must be the effect of the experience, at all extended, that when you think of Rome afterwards you will think still respectfully and regretfully enough of the Vatican and the Pincio, the streets and the picture-making street life; but will even more wonder, with an irrepressible contraction of the heart, when again you shall feel yourself bounding over the flower-smothered turf, or pass from one framed picture to another beside the open arches of the crumbling aqueducts. You look back at the City so often from some grassy hill-top—hugely compact within its walls, with St. Peter's overtopping all things and yet seeming small, and the vast girdle of marsh and meadow receding on all sides to the mountains and the sea—that you come to remember it at last as hardly more than a respectable parenthesis in a great sweep of generalisation. Within the walls, on the other hand, you think of your intended ride as the most romantic of all your possibilities; of the Campagna generally as an illimitable experience. One's rides certainly give Rome an inordinate scope for the reflective—by which I suppose I mean after all the aesthetic and the "esoteric"—life. To dwell in a city which, much as you grumble at it, is after all very fairly a modern city; with crowds and shops and theatres and cafes and balls and receptions and dinner-parties, and all the modern confusion of social pleasures and pains; to have at your door the good and evil of it all; and yet to be able in half an hour to gallop away and leave it a hundred miles, a hundred years, behind, and to look at the tufted broom glowing on a lonely tower-top in the still blue air, and the pale pink asphodels trembling none the less for the stillness, and the shaggy-legged shepherds leaning on their sticks in motionless brotherhood with the heaps of ruin, and the scrambling goats and staggering little kids treading out wild desert smells from the top of hollow-sounding mounds; and then to come back through one of the great gates and a couple of hours later find yourself in the "world," dressed, introduced, entertained, inquiring, talking about "Middlemarch" to a young English lady or listening to Neapolitan songs from a gentleman in a very low-cut shirt—all this is to lead in a manner a double life and to gather from the hurrying hours more impressions than a mind of modest capacity quite knows how to dispose of.

I touched lately upon this theme with a friend who, I fancied, would understand me, and who immediately assured me that he had just spent a day that this mingled diversity of sensation made to the days one spends elsewhere what an uncommonly good novel may be to the daily paper. "There was an air of idleness about it, if you will," he said, "and it was certainly pleasant enough to have been wrong. Perhaps, being after all unused to long stretches of dissipation, this was why I had a half-feeling that I was reading an odd chapter in the history of a person very much more of a heros de roman than myself." Then he proceeded to relate how he had taken a long ride with a lady whom he extremely admired. "We turned off from the Tor di Quinto Road to that castellated farm-house you know of—once a Ghibelline fortress— whither Claude Lorraine used to come to paint pictures of which the surrounding landscape is still so artistically, so compositionally, suggestive. We went into the inner court, a cloister almost, with the carven capitals of its loggia columns, and looked at a handsome child swinging shyly against the half- opened door of a room whose impenetrable shadow, behind her, made her, as it were, a sketch in bituminous water-colours. We talked with the farmer, a handsome, pale, fever-tainted fellow with a well-to-do air that didn't in the least deter his affability from a turn compatible with the acceptance of small coin; and then we galloped away and away over the meadows which stretch with hardly a break to Veii. The day was strangely delicious, with a cool grey sky and just a touch of moisture in the air stirred by our rapid motion. The Campagna, in the colourless even light, was more solemn and romantic than ever; and a ragged shepherd, driving a meagre straggling flock, whom we stopped to ask our way of, was a perfect type of pastoral, weather-beaten misery. He was precisely the shepherd for the foreground of a scratchy etching. There were faint odours of spring in the air, and the grass here and there was streaked with great patches of daisies; but it was spring with a foreknowledge of autumn, a day to be enjoyed with a substrain of sadness, the foreboding of regret, a day somehow to make one feel as if one had seen and felt a great deal—quite, as I say, like a heros de roman. Touching such characters, it was the illustrious Pelham, I think, who, on being asked if he rode, replied that he left those violent exercises to the ladies. But under such a sky, in such an air, over acres of daisied turf, a long, long gallop is certainly a supersubtle joy. The elastic bound of your horse is the poetry of motion; and if you are so happy as to add to it not the prose of companionship riding comes almost to affect you as a spiritual exercise. My gallop, at any rate," said my friend, "threw me into a mood which gave an extraordinary zest to the rest of the day." He was to go to a dinner-party at a villa on the edge of Rome, and Madam X—, who was also going, called for him in her carriage. "It was a long drive," he went on, "through the Forum, past the Colosseum. She told me a long story about a most interesting person. Toward the end my eyes caught through the carriage window a slab of rugged sculptures. We were passing under the Arch of Constantine. In the hall pavement of the villa is a rare antique mosaic—one of the largest and most perfect; the ladies on their way to the drawing- room trail over it the flounces of Worth. We drove home late, and there's my day."

On your exit from most of the gates of Rome you have generally half-an-hour's progress through winding lanes, many of which are hardly less charming than the open meadows. On foot the walls and high hedges would vex you and spoil your walk; but in the saddle you generally overtop them, to an endless peopling of the minor vision. Yet a Roman wall in the springtime is for that matter almost as interesting as anything it conceals. Crumbling grain by grain, coloured and mottled to a hundred tones by sun and storm, with its rugged structure of brick extruding through its coarse complexion of peeling stucco, its creeping lacework of wandering ivy starred with miniature violets, and its wild fringe of stouter flowers against the sky—it is as little as possible a blank partition; it is practically a luxury of landscape. At the moment at which I write, in mid-April, all the ledges and cornices are wreathed with flaming poppies, nodding there as if they knew so well what faded greys and yellows are an offset to their scarlet. But the best point in a dilapidated enclosing surface of vineyard or villa is of course the gateway, lifting its great arch of cheap rococo scroll-work, its balls and shields and mossy dish-covers—as they always perversely figure to me— and flanked with its dusky cypresses. I never pass one without taking out my mental sketch-book and jotting it down as a vignette in the insubstantial record of my ride. They are as sad and dreary as if they led to the moated grange where Mariana waited in desperation for something to happen; and it's easy to take the usual inscription over the porch as a recommendation to those who enter to renounce all hope of anything but a glass of more or less agreeably acrid vino romano. For what you chiefly see over the walls and at the end of the straight short avenue of rusty cypresses are the appurtenances of a vigna—a couple of acres of little upright sticks blackening in the sun, and a vast sallow-faced, scantily windowed mansion, whose expression denotes little of the life of the mind beyond what goes to the driving of a hard bargain over the tasted hogsheads. If Mariana is there she certainly has no pile of old magazines to beguile her leisure. The life of the mind, if the term be in any application here not ridiculous, appears to any asker of curious questions, as he wanders about Rome, the very thinnest deposit of the past. Within the rococo gateway, which itself has a vaguely esthetic self-consciousness, at the end of the cypress walk, you will probably see a mythological group in rusty marble—a Cupid and Psyche, a Venus and Paris, an Apollo and Daphne—the relic of an age when a Roman proprietor thought it fine to patronise the arts. But I imagine you are safe in supposing it to constitute the only allusion savouring of culture that has been made on the premises for three or four generations.

There is a franker cheerfulness—though certainly a proper amount of that forlornness which lurks about every object to which the Campagna forms a background—in the primitive little taverns where, on the homeward stretch, in the waning light, you are often glad to rein up and demand a bottle of their best. Their best and their worst are indeed the same, though with a shifting price, and plain vino bianco or vino rosso (rarely both) is the sole article of refreshment in which they deal. There is a ragged bush over the door, and within, under a dusky vault, on crooked cobble-stones, sit half-a-dozen contadini in their indigo jackets and goatskin breeches and with their elbows on the table. There is generally a rabble of infantile beggars at the door, pretty enough in their dusty rags, with their fine eyes and intense Italian smile, to make you forget your private vow of doing your individual best I to make these people, whom you like so much, unlearn their old vices. Was Porta Pia bombarded three years ago that Peppino should still grow up to whine for a copper? But the Italian shells had no direct message for Peppino's stomach—and you are going to a dinner-party at a villa. So Peppino "points" an instant for the copper in the dust and grows up a Roman beggar. The whole little place represents the most primitive form of hostelry; but along any of the roads leading out of the city you may find establishments of a higher type, with Garibaldi, superbly mounted and foreshortened, painted on the wall, or a lady in a low-necked dress opening a fictive lattice with irresistible hospitality, and a yard with the classic vine-wreathed arbour casting thin shadows upon benches and tables draped and cushioned with the white dust from which the highways from the gates borrow most of their local colour. None the less, I say, you avoid the highroads, and, if you are a person of taste, don't grumble at the occasional need of following the walls of the city. City walls, to a properly constituted American, can never be an object of indifference; and it is emphatically "no end of a sensation" to pace in the shadow of this massive cincture of Rome. I have found myself, as I skirted its base, talking of trivial things, but never without a sudden reflection on the deplorable impermanence of first impressions. A twelvemonth ago the raw plank fences of a Boston suburb, inscribed with the virtues of healing drugs, bristled along my horizon: now I glance with idle eyes at a compacted antiquity in which a more learned sense may read portentous dates and signs—Servius, Aurelius, Honorius. But even to idle eyes the prodigious, the continuous thing bristles with eloquent passages. In some places, where the huge brickwork is black with time and certain strange square towers look down at you with still blue eyes, the Roman sky peering through lidless loopholes, and there is nothing but white dust in the road and solitude in the air, I might take myself for a wandering Tartar touching on the confines of the Celestial Empire. The wall of China must have very much such a gaunt robustness. The colour of the Roman ramparts is everywhere fine, and their rugged patchwork has been subdued by time and weather into a mellow harmony that the brush only asks to catch up. On the northern side of the city, behind the Vatican, St. Peter's and the Trastevere, I have seen them glowing in the late afternoon with the tones of ancient bronze and rusty gold. Here at various points they are embossed with the Papal insignia, the tiara with its flying bands and crossed keys; to the high style of which the grace that attaches to almost any lost cause—even if not quite the "tender" grace of a day that is dead—considerably adds a style. With the dome of St. Peter's resting on their cornice and the hugely clustered architecture of the Vatican rising from them as from a terrace, they seem indeed the valid bulwark of an ecclesiastical city. Vain bulwark, alas! sighs the sentimental tourist, fresh from the meagre entertainment of this latter Holy Week. But he may find monumental consolation in this neighbourhood at a source where, as I pass, I never fail to apply for it. At half-an-hour's walk beyond Porta San Pancrazio, beneath the wall of the Villa Doria, is a delightfully pompous ecclesiastical gateway of the seventeenth century, erected by Paul V to commemorate his restoration of the aqueducts through which the stream bearing his name flows towards the fine florid portico protecting its clear- sheeted outgush on the crest of the Janiculan. It arches across the road in the most ornamental manner of the period, and one can hardly pause before it without seeming to assist at a ten minutes' revival of old Italy—without feeling as if one were in a cocked hat and sword and were coming up to Rome, in another mood than Luther's, with a letter of recommendation to the mistress of a cardinal.

The Campagna differs greatly on the two sides of the Tiber; and it is hard to say which, for the rider, has the greater charm. The half-dozen rides you may take from Porta San Giovanni possess the perfection of traditional Roman interest and lead you through a far-strewn wilderness of ruins—a scattered maze of tombs and towers and nameless fragments of antique masonry. The landscape here has two great features; close before you on one side is the long, gentle swell of the Alban Hills, deeply, fantastically blue in most weathers, and marbled with the vague white masses of their scattered towns and villas. It would be difficult to draw the hard figure to a softer curve than that with which the heights sweep from Albano to the plain; this a perfect example of the classic beauty of line in the Italian landscape—that beauty which, when it fills the background of a picture, makes us look in the foreground for a broken column couched upon flowers and a shepherd piping to dancing nymphs. At your side, constantly, you have the broken line of the Claudian Aqueduct, carrying its broad arches far away into the plain. The meadows along which it lies are not the smoothest in the world for a gallop, but there is no pleasure greater than to wander near it. It stands knee-deep in the flower-strewn grass, and its rugged piers are hung with ivy as the columns of a church are draped for a festa. Every archway is a picture, massively framed, of the distance beyond—of the snow-tipped Sabines and lonely Soracte. As the spring advances the whole Campagna smiles and waves with flowers; but I think they are nowhere more rank and lovely than in the shifting shadow of the aqueducts, where they muffle the feet of the columns and smother the half-dozen brooks which wander in and out like silver meshes between the legs of a file of giants. They make a niche for themselves too in every crevice and tremble on the vault of the empty conduits. The ivy hereabouts in the springtime is peculiarly brilliant and delicate; and though it cloaks and muffles these Roman fragments far less closely than the castles and abbeys of England it hangs with the light elegance of all Italian vegetation. It is partly doubtless because their mighty outlines are still unsoftened that the aqueducts are so impressive. They seem the very source of the solitude in which they stand; they look like architectural spectres and loom through the light mists of their grassy desert, as you recede along the line, with the same insubstantial vastness as if they rose out of Egyptian sands. It is a great neighbourhood of ruins, many of which, it must be confessed, you have applauded in many an album. But station a peasant with sheepskin coat and bandaged legs in the shadow of a tomb or tower best known to drawing-room art, and scatter a dozen goats on the mound above him, and the picture has a charm which has not yet been sketched away.

The other quarter of the Campagna has wider fields and smoother turf and perhaps a greater number of delightful rides; the earth is sounder, and there are fewer pitfalls and ditches. The land for the most part lies higher and catches more wind, and the grass is here and there for great stretches as smooth and level as a carpet. You have no Alban Mountains before you, but you have in the distance the waving ridge of the nearer Apennines, and west of them, along the course of the Tiber, the long seaward level of deep-coloured fields, deepening as they recede to the blue and purple of the sea itself. Beyond them, of a very clear day, you may see the glitter of the Mediterranean. These are the occasions perhaps to remember most fondly, for they lead you to enchanting nooks, and the landscape has details of the highest refinement. Indeed when my sense reverts to the lingering impressions of so blest a time, it seems a fool's errand to have attempted to express them, and a waste of words to do more than recommend the reader to go citywards at twilight of the end of March, making for Porta Cavalleggieri, and note what he sees. At this hour the Campagna is to the last point its melancholy self, and I remember roadside "effects" of a strange and intense suggestiveness. Certain mean, mouldering villas behind grass- grown courts have an indefinably sinister look; there was one in especial of which it was impossible not to argue that a despairing creature must have once committed suicide there, behind bolted door and barred window, and that no one has since had the pluck to go in and see why he never came out. Every wayside mark of manners, of history, every stamp of the past in the country about Rome, touches my sense to a thrill, and I may thus exaggerate the appeal of very common things. This is the more likely because the appeal seems ever to rise out of heaven knows what depths of ancient trouble. To delight in the aspects of sentient ruin might appear a heartless pastime, and the pleasure, I confess, shows the note of perversity. The sombre and the hard are as common an influence from southern things as the soft and the bright, I think; sadness rarely fails to assault a northern observer when he misses what he takes for comfort. Beauty is no compensation for the loss, only making it more poignant. Enough beauty of climate hangs over these Roman cottages and farm-houses—beauty of light, of atmosphere and of vegetation; but their charm for the maker-out of the stories in things is the way the golden air shows off their desolation. Man lives more with Nature in Italy than in New or than in Old England; she does more work for him and gives him more holidays than in our short-summered climes, and his home is therefore much more bare of devices for helping him to do without her, forget her and forgive her. These reflections are perhaps the source of the character you find in a moss-coated stone stairway climbing outside of a wall; in a queer inner court, befouled with rubbish and drearily bare of convenience; in an ancient quaintly carven well, worked with infinite labour from an overhanging window; in an arbour of time-twisted vines under which you may sit with your feet in the dirt and remember as a dim fable that there are races for which the type of domestic allurement is the parlour hearth- rug. For reasons apparent or otherwise these things amuse me beyond expression, and I am never weary of staring into gateways, of lingering by dreary, shabby, half-barbaric farm-yards, of feasting a foolish gaze on sun-cracked plaster and unctuous indoor shadows. I mustn't forget, however, that it's not for wayside effects that one rides away behind St. Peter's, but for the strong sense of wandering over boundless space, of seeing great classic lines of landscape, of watching them dispose themselves into pictures so full of "style" that you can think of no painter who deserves to have you admit that they suggest him— hardly knowing whether it is better pleasure to gallop far and drink deep of air and grassy distance and the whole delicious opportunity, or to walk and pause and linger, and try and grasp some ineffaceable memory of sky and colour and outline. Your pace can hardly help falling into a contemplative measure at the time, everywhere so wonderful, but in Rome so persuasively divine, when the winter begins palpably to soften and quicken. Far out on the Campagna, early in February, you feel the first vague earthly emanations, which in a few weeks come wandering into the heart of the city and throbbing through the close, dark streets. Springtime in Rome is an immensely poetic affair; but you must stand often far out in the ancient waste, between grass and sky, to measure its deep, full, steadily accelerated rhythm. The winter has an incontestable beauty, and is pre-eminently the time of colour—the time when it is no affectation, but homely verity, to talk about the "purple" tone of the atmosphere. As February comes and goes your purple is streaked with green and the rich, dark bloom of the distance begins to lose its intensity. But your loss is made up by other gains; none more precious than that inestimable gain to the ear—the disembodied voice of the lark. It comes with the early flowers, the white narcissus and the cyclamen, the half-buried violets and the pale anemones, and makes the whole atmosphere ring like a vault of tinkling glass. You never see the source of the sound, and are utterly unable to localise his note, which seems to come from everywhere at once, to be some hundred-throated voice of the air. Sometimes you fancy you just catch him, a mere vague spot against the blue, an intenser throb in the universal pulsation of light. As the weeks go on the flowers multiply and the deep blues and purples of the hills, turning to azure and violet, creep higher toward the narrowing snow-line of the Sabines. The temperature rises, the first hour of your ride you feel the heat, but you beguile it with brushing the hawthorn-blossoms as you pass along the hedges, and catching at the wild rose and honeysuckle; and when you get into the meadows there is stir enough in the air to lighten the dead weight of the sun. The Roman air, however, is not a tonic medicine, and it seldom suffers exercise to be all exhilarating. It has always seemed to me indeed part of the charm of the latter that your keenest consciousness is haunted with a vague languor. Occasionally when the sirocco blows that sensation becomes strange and exquisite. Then, under the grey sky, before the dim distances which the south-wind mostly brings with it, you seem to ride forth into a world from which all hope has departed and in which, in spite of the flowers that make your horse's footfalls soundless, nothing is left save some queer probability that your imagination is unable to measure, but from which it hardly shrinks. This quality in the Roman element may now and then "relax" you almost to ecstasy; but a season of sirocco would be an overdose of morbid pleasure. You may at any rate best feel the peculiar beauty of the Campagna on those mild days of winter when the mere quality and temper of the sunshine suffice to move the landscape to joy, and you pause on the brown grass in the sunny stillness and, by listening long enough, almost fancy you hear the shrill of the midsummer cricket. It is detail and ornament that vary from month to month, from week to week even, and make your returns to the same places a constant feast of unexpectedness; but the great essential features of the prospect preserve throughout the year the same impressive serenity. Soracte, be it January or May, rises from its blue horizon like an island from the sea and with an elegance of contour which no mood of the year can deepen or diminish. You know it well; you have seen it often in the mellow backgrounds of Claude; and it has such an irresistibly classic, academic air that while you look at it you begin to take your saddle for a faded old arm- chair in a palace gallery. A month's rides in different directions will show you a dozen prime Claudes. After I had seen them all I went piously to the Doria gallery to refresh my memory of its two famous specimens and to enjoy to the utmost their delightful air of reference to something that had become a part of my personal experience. Delightful it certainly is to feel the common element in one's own sensibility and those of a genius whom that element has helped to do great things. Claude must have haunted the very places of one's personal preference and adjusted their divine undulations to his splendid scheme of romance, his view of the poetry of life. He was familiar with aspects in which there wasn't a single uncompromising line. I saw a few days ago a small finished sketch from his hand, in the possession of an American artist, which was almost startling in its clear reflection of forms unaltered by the two centuries that have dimmed and cracked the paint and canvas.

This unbroken continuity of the impressions I have tried to indicate is an excellent example of the intellectual background of all enjoyment in Rome. It effectually prevents pleasure from becoming vulgar, for your sensation rarely begins and ends with itself; it reverberates—it recalls, commemorates, resuscitates something else. At least half the merit of everything you enjoy must be that it suits you absolutely; but the larger half here is generally that it has suited some one else and that you can never flatter yourself you have discovered it. It has been addressed to some use a million miles out of your range, and has had great adventures before ever condescending to please you. It was in admission of this truth that my discriminating friend who showed me the Claudes found it impossible to designate a certain delightful region which you enter at the end of an hour's riding from Porta Cavalleggieri as anything but Arcadia. The exquisite correspondence of the term in this case altogether revived its faded bloom; here veritably the oaten pipe must have stirred the windless air and the satyrs have laughed among the brookside reeds. Three or four long grassy dells stretch away in a chain between low hills over which delicate trees are so discreetly scattered that each one is a resting place for a shepherd. The elements of the scene are simple enough, but the composition has extraordinary refinement. By one of those happy chances which keep observation in Italy always in her best humour a shepherd had thrown himself down under one of the trees in the very attitude of Meliboeus. He had been washing his feet, I suppose, in the neighbouring brook, and had found it pleasant afterwards to roll his short breeches well up on his thighs. Lying thus in the shade, on his elbow, with his naked legs stretched out on the turf and his soft peaked hat over his long hair crushed back like the veritable bonnet of Arcady, he was exactly the figure of the background of this happy valley. The poor fellow, lying there in rustic weariness and ignorance, little fancied that he was a symbol of old-world meanings to new-world eyes.

Such eyes may find as great a store of picturesque meanings in the cork-woods of Monte Mario, tenderly loved of all equestrians. These are less severely pastoral than our Arcadia, and you might more properly lodge there a damosel of Ariosto than a nymph of Theocritus. Among them is strewn a lovely wilderness of flowers and shrubs, and the whole place has such a charming woodland air, that, casting about me the other day for a compliment, I declared that it. reminded me of New Hampshire. My compliment had a double edge, and I had no sooner uttered it than I smiled—or sighed—to perceive in all the undiscriminated botany about me the wealth of detail, the idle elegance and grace of Italy alone, the natural stamp of the land which has the singular privilege of making one love her unsanctified beauty all but as well as those features of one's own country toward which nature's small allowance doubles that of one's own affection. For this effect of casting a spell no rides have more value than those you take in Villa Doria or Villa Borghese; or don't take, possibly, if you prefer to reserve these particular regions—the latter in especial—for your walking hours. People do ride, however, in both villas, which deserve honourable mention in this regard. Villa Doria, with its noble site, its splendid views, its great groups of stone-pines, so clustered and yet so individual, its lawns and flowers and fountains, its altogether princely disposition, is a place where one may pace, well mounted, of a brilliant day, with an agreeable sense of its being rather a more elegant pastime to balance in one's stirrups than to trudge on even the smoothest gravel. But at Villa Borghese the walkers have the best of it; for they are free of those adorable outlying corners and bosky byways which the rumble of barouches never reaches. In March the place becomes a perfect epitome of the spring. You cease to care much for the melancholy greenness of the disfeatured statues which has been your chief winter's intimation of verdure; and before you are quite conscious of the tender streaks and patches in the great quaint grassy arena round which the Propaganda students, in their long skirts, wander slowly, like dusky seraphs revolving the gossip of Paradise, you spy the brave little violets uncapping their azure brows beneath the high-stemmed pines. One's walks here would take us too far, and one's pauses detain us too long, when in the quiet parts under the wall one comes across a group of charming small school- boys in full-dress suits and white cravats, shouting over their play in clear Italian, while a grave young priest, beneath a tree, watches them over the top of his book. It sounds like nothing, but the force behind it and the frame round it, the setting, the air, the chord struck, make it a hundred wonderful things.

1873.



ROMAN NEIGHBOURHOODS

I made a note after my first stroll at Albano to the effect that I had been talking of the "picturesque" all my life, but that now for a change I beheld it. I had been looking all winter across the Campagna at the free-flowing outline of the Alban Mount, with its half-dozen towns shining on its purple side even as vague sun-spots in the shadow of a cloud, and thinking it simply an agreeable incident in the varied background of Rome. But now that during the last few days I have been treating it as a foreground, have been suffering St. Peter's to play the part of a small mountain on the horizon, with the Campagna swimming mistily through the ambiguous lights and shadows of the interval, I find the interest as great as in the best of the by-play of Rome. The walk I speak of was just out of the village, to the south, toward the neighbouring town of L'Ariccia, neighbouring these twenty years, since the Pope (the late Pope, I was on the point of calling him) threw his superb viaduct across the deep ravine which divides it from Albano. At the risk of seeming to fantasticate I confess that the Pope's having built the viaduct— in this very recent antiquity—made me linger there in a pensive posture and marvel at the march of history and at Pius the Ninth's beginning already to profit by the sentimental allowances we make to vanished powers. An ardent nero then would have had his own way with me and obtained a frank admission that the Pope was indeed a father to his people. Far down into the charming valley which slopes out of the ancestral woods of the Chigis into the level Campagna winds the steep stone-paved road at the bottom of which, in the good old days, tourists in no great hurry saw the mules and oxen tackled to their carriage for the opposite ascent. And indeed even an impatient tourist might have been content to lounge back in his jolting chaise and look out at the mouldy foundations of the little city plunging into the verdurous flank of the gorge. Questioned, as a cherisher of quaintness, as to the best "bit" hereabouts, I should certainly name the way in which the crumbling black houses of these ponderous villages plant their weary feet on the flowery edges of all the steepest chasms. Before you enter one of them you invariably find yourself lingering outside its pretentious old gateway to see it clutched and stitched to the stony hillside by this rank embroidery of the wildest and bravest things that grow. Just at this moment nothing is prettier than the contrast between their dusky ruggedness and the tender, the yellow and pink and violet fringe of that mantle. All this you may observe from the viaduct at the Ariccia; but you must wander below to feel the full force of the eloquence of our imaginary papalino. The pillars and arches of pale grey peperino arise in huge tiers with a magnificent spring and solidity. The older Romans built no better; and the work has a deceptive air of being one of their sturdy bequests which help one to drop another sigh over the antecedents the Italians of to-day are so eager to repudiate. Will those they give their descendants be as good?

At the Ariccia, in any case, I found a little square with a couple of mossy fountains, occupied on one side by a vast dusky- faced Palazzo Chigi and on the other by a goodly church with an imposing dome. The dome, within, covers the whole edifice and is adorned with some extremely elegant stucco-work of the seventeenth century. It gave a great value to this fine old decoration that preparations were going forward for a local festival and that the village carpenter was hanging certain mouldy strips of crimson damask against the piers of the vaults. The damask might have been of the seventeenth century too, and a group of peasant-women were seeing it unfurled with evident awe. I regarded it myself with interest—it seemed so the tattered remnant of a fashion that had gone out for ever. I thought again of the poor disinherited Pope, wondering whether, when such venerable frippery will no longer bear the carpenter's nails, any more will be provided. It was hard to fancy anything but shreds and patches in that musty tabernacle. Wherever you go in Italy you receive some such intimation as this of the shrunken proportions of Catholicism, and every church I have glanced into on my walks hereabouts has given me an almost pitying sense of it. One finds one's self at last—without fatuity, I hope— feeling sorry for the solitude of the remaining faithful. It's as if the churches had been made so for the world, in its social sense, and the world had so irrevocably moved away. They are in size out of all modern proportion to the local needs, and the only thing at all alive in the melancholy waste they collectively form is the smell of stale incense. There are pictures on all the altars by respectable third-rate painters; pictures which I suppose once were ordered and paid for and criticised by worshippers who united taste with piety. At Genzano, beyond the Ariccia, rises on the grey village street a pompous Renaissance temple whose imposing nave and aisles would contain the population of a capital. But where is the taste of the Ariccia and Genzano? Where are the choice spirits for whom Antonio Raggi modelled the garlands of his dome and a hundred clever craftsmen imitated Guido and Caravaggio? Here and there, from the pavement, as you pass, a dusky crone interlards her devotions with more profane importunities, or a grizzled peasant on rusty-jointed knees, tilted forward with his elbows on a bench, reveals the dimensions of the patch in his blue breeches. But where is the connecting link between Guido and Caravaggio and those poor souls for whom an undoubted original is only a something behind a row of candlesticks, of no very clear meaning save that you must bow to it? You find a vague memory of it at best in the useless grandeurs about you, and you seem to be looking at a structure of which the stubborn earth-scented foundations alone remain, with the carved and painted shell that bends above them, while the central substance has utterly crumbled away.

I shall seem to have adopted a more meditative pace than befits a brisk constitutional if I say that I also fell a-thinking before the shabby facade of the old Chigi Palace. But it seemed somehow in its grey forlornness to respond to the sadly superannuated expression of the opposite church; and indeed in any condition what self-respecting cherisher of quaintness can forbear to do a little romancing in the shadow of a provincial palazzo? On the face of the matter, I know, there is often no very salient peg to hang a romance on. A sort of dusky blankness invests the establishment, which has often a rather imbecile old age. But a hundred brooding secrets lurk in this inexpressive mask, and the Chigi Palace did duty for me in the suggestive twilight as the most haunted of houses. Its basement walls sloped outward like the beginning of a pyramid, and its lower windows were covered with massive iron cages. Within the doorway, across the court, I saw the pale glimmer of flowers on a terrace, and I made much, for the effect of the roof, of a great covered loggia or belvedere with a dozen window-panes missing or mended with paper. Nothing gives one a stronger impression of old manners than an ancestral palace towering in this haughty fashion over a shabby little town; you hardly stretch a point when you call it an impression of feudalism. The scene may pass for feudal to American eyes, for which a hundred windows on a facade mean nothing more exclusive than a hotel kept (at the most invidious) on the European plan. The mouldy grey houses on the steep crooked street, with their black cavernous archways pervaded by bad smells, by the braying of asses and by human intonations hardly more musical, the haggard and tattered peasantry staring at you with hungry-heavy eyes, the brutish-looking monks (there are still enough to point a moral), the soldiers, the mounted constables, the dirt, the dreariness, the misery, and the dark over-grown palace frowning over it all from barred window and guarded gateway—what more than all this do we dimly descry in a mental image of the dark ages? For all his desire to keep the peace with the vivid image of things if it be only vivid enough, the votary of this ideal may well occasionally turn over such values with the wonder of what one takes them as paying for. They pay sometimes for such sorry "facts of life." At Genzano, out of the very midst of the village squalor, rises the Palazzo Cesarini, separated from its gardens by a dirty lane. Between peasant and prince the, contact is unbroken, and one would suppose Italian good-nature sorely taxed by their mutual allowances; that the prince in especial must cultivate a firm impervious shell. There are no comfortable townsfolk about him to remind him of the blessings of a happy mediocrity of fortune. When he looks out of his window he sees a battered old peasant against a sunny wall sawing off his dinner from a hunch of black bread.

I must confess, however, that "feudal" as it amused me to find the little piazza of the Ariccia, it appeared to threaten in no manner an exasperated rising. On the contrary, the afternoon being cool, many of the villagers were contentedly muffled in those ancient cloaks, lined with green baize, which, when tossed over the shoulder and surmounted with a peaked hat, form one of the few lingering remnants of "costume" in Italy; others were tossing wooden balls light-heartedly enough on the grass outside the town. The egress on this side is under a great stone archway thrown out from the palace and surmounted with the family arms. Nothing could better confirm your theory that the townsfolk are groaning serfs. The road leads away through the woods, like many of the roads hereabouts, among trees less remarkable for their size than for their picturesque contortions and posturings. The woods, at the moment at which I write, are full of the raw green light of early spring, a jour vastly becoming to the various complexions of the wild flowers that cover the waysides. I have never seen these untended parterres in such lovely exuberance; the sturdiest pedestrian becomes a lingering idler if he allows them to catch his eye. The pale purple cyclamen, with its hood thrown back, stands up in masses as dense as tulip-beds; and here and there in the duskier places great sheets of forget- me-not seem to exhale a faint blue mist. These are the commonest plants; there are dozens more I know no name for—a rich profusion in especial of a beautiful five-petalled flower whose white texture is pencilled with hair-strokes certain fair copyists I know of would have to hold their breath to imitate. An Italian oak has neither the girth nor the height of its English brothers, but it contrives in proportion to be perhaps even more effective. It crooks its back and twists its arms and clinches its hundred fists with the queerest extravagance, and wrinkles its bark into strange rugosities from which its first scattered sprouts of yellow green seem to break out like a morbid fungus. But the tree which has the greatest charm to northern eyes is the cold grey-green ilex, whose clear crepuscular shade drops against a Roman sun a veil impenetrable, yet not oppressive. The ilex has even less colour than the cypress, but it is much less funereal, and a landscape in which it is frequent may still be said to smile faintly, though by no means to laugh. It abounds in old Italian gardens, where the boughs are trimmed and interlocked into vaulted corridors in which, from point to point, as in the niches of some dimly frescoed hall, you see mildewed busts stare at you with a solemnity which the even grey light makes strangely intense. A humbler relative of the ilex, though it does better things than help broken-nosed emperors to look dignified, is the olive, which covers many of the neighbouring hillsides with its little smoky puffs of foliage. A stroke of composition I never weary of is that long blue stretch of the Campagna which makes a high horizon and rests on this vaporous base of olive-tops. A reporter intent upon a simile might liken it to the ocean seen above the smoke of watch-fires kindled on the strand.

To do perfect justice to the wood-walk away from the Ariccia I ought to touch upon the birds that were singing vespers as I passed. But the reader would find my rhapsody as poor entertainment as the programme of a concert he had been unable to attend. I have no more learning about bird-music than would help me to guess that a dull dissyllabic refrain in the heart of the wood came from the cuckoo; and when at moments I heard a twitter of fuller tone, with a more suggestive modulation, I could only hope it was the nightingale. I have listened for the nightingale more than once in places so charming that his song would have seemed but the articulate expression of their beauty, and have never heard much beyond a provoking snatch or two—a prelude that came to nothing. In spite of a natural grudge, however, I generously believe him a great artist or at least a great genius—a creature who despises any prompting short of absolute inspiration. For the rich, the multitudinous melody around me seemed but the offering to my ear of the prodigal spirit of tradition. The wood was ringing with sound because it was twilight, spring and Italy. It was also because of these good things and various others besides that I relished so keenly my visit to the Capuchin convent upon which I emerged after half-an- hour in the wood. It stands above the town on the slope of the Alban Mount, and its wild garden climbs away behind it and extends its melancholy influence. Before it is a small stiff avenue of trimmed live-oaks which conducts you to a grotesque little shrine beneath the staircase ascending to the church. Just here, if you are apt to grow timorous at twilight, you may take a very pretty fright; for as you draw near you catch behind the grating of the shrine the startling semblance of a gaunt and livid monk. A sickly lamplight plays down upon his face, and he stares at you from cavernous eyes with a dreadful air of death in life. Horror of horrors, you murmur, is this a Capuchin penance? You discover of course in a moment that it is only a Capuchin joke, that the monk is a pious dummy and his spectral visage a matter of the paint-brush. You resent his intrusion on the surrounding loveliness; and as you proceed to demand entertainment at their convent you pronounce the Capuchins very foolish fellows. This declaration, as I made it, was supported by the conduct of the simple brother who opened the door of the cloister in obedience to my knock and, on learning my errand, demurred about admitting me at so late an hour. If I would return on the morrow morning he'd be most happy. He broke into a blank grin when I assured him that this was the very hour of my desire and that the garish morning light would do no justice to the view. These were mysteries beyond his ken, and it was only his good-nature (of which he had plenty) and not his imagination that was moved. So that when, passing through the narrow cloister and out upon the grassy terrace, I saw another cowled brother standing with folded hands profiled against the sky, in admirable harmony with the scene, I questioned his knowing the uses for which he is still most precious. This, however, was surely too much to ask of him, and it was cause enough for gratitude that, though he was there before me, he was not a fellow-tourist with an opera-glass slung over his shoulder. There was support to my idea of the convent in the expiring light, for the scene was in its way unsurpassable. Directly below the terrace lay the deep- set circle of the Alban Lake, shining softly through the light mists of evening. This beautiful pool—it is hardly more— occupies the crater of a prehistoric volcano, a perfect cup, shaped and smelted by furnace-fires. The rim of the cup, rising high and densely wooded round the placid stone-blue water, has a sort of natural artificiality. The sweep and contour of the long circle are admirable; never was a lake so charmingly lodged. It is said to be of extraordinary depth; and though stone-blue water seems at first a very innocent substitute for boiling lava, it has a sinister look which betrays its dangerous antecedents. The winds never reach it and its surface is never ruffled; but its deep-bosomed placidity seems to cover guilty secrets, and you fancy it in communication with the capricious and treacherous forces of nature. Its very colour is of a joyless beauty, a blue as cold and opaque as a solidified sheet of lava. Streaked and wrinkled by a mysterious motion of its own, it affects the very type of a legendary pool, and I could easily have believed that I had only to sit long enough into the evening to see the ghosts of classic nymphs and naiads cleave its sullen flood and beckon me with irresistible arms. Is it because its shores are haunted with these vague Pagan influences that two convents have risen there to purge the atmosphere? From the Capuchin terrace you look across at the grey Franciscan monastery of Palazzuola, which is not less romantic certainly than the most obstinate myth it may have exorcised. The Capuchin garden is a wild tangle of great trees and shrubs and clinging, trembling vines which in these hard days are left to take care of themselves; a weedy garden, if there ever was one, but none the less charming for that, in the deepening dusk, with its steep grassy vistas struggling away into impenetrable shadow. I braved the shadow for the sake of climbing upon certain little flat-roofed crumbling pavilions that rise from the corners of the further wall and give you a wider and lovelier view of lake and hills and sky.

I have perhaps justified to the reader the mild proposition with which I started—convinced him, that is, that Albano is worth a walk. It may be a different walk each day, moreover, and not resemble its predecessors save by its keeping in the shade. "Galleries" the roads are prettily called, and with the justice that they are vaulted and draped overhead and hung with an immense succession of pictures. As you follow the few miles from Genzano to Frascati you have perpetual views of the Campagna framed by clusters of trees; the vast iridescent expanse of which completes the charm and comfort of your verdurous dusk. I compared it just now to the sea, and with a good deal of truth, for it has the same incalculable lights and shades, the same confusion of glitter and gloom. But I have seen it at moments— chiefly in the misty twilight—when it resembled less the waste of waters than something more portentous, the land itself in fatal dissolution. I could believe the fields to be dimly surging and tossing and melting away into quicksands, and that one's very last chance of an impression was taking place. A view, however, which has the merit of being really as interesting as it seems, is that of the Lake of Nemi; which the enterprising traveller hastens to compare with its sister sheet of Albano. Comparison in this case is particularly odious, for in order to prefer one lake to the other you have to discover faults where there are none. Nemi is a smaller circle, but lies in a deeper cup, and if with no grey Franciscan pile to guard its woody shores, at least, in the same position, the little high-perched black town to which it gives its name and which looks across at Genzano on the opposite shore as Palazzuola regards Castel Gandolfo. The walk from the Ariccia to Genzano is charming, most of all when it reaches a certain grassy piazza from which three public avenues stretch away under a double row of stunted and twisted elms. The Duke Cesarini has a villa at Genzano—I mentioned it just now—whose gardens overhang the lake; but he has also a porter in a faded rakish-looking livery who shakes his head at your proffered franc unless you can reinforce it with a permit countersigned at Rome. For this annoying complication of dignities he is justly to be denounced; but I forgive him for the sake of that ancestor who in the seventeenth century planted this shady walk. Never was a prettier approach to a town than by these low-roofed light- chequered corridors. Their only defect is that they prepare you for a town of rather more rustic coquetry than Genzano exhibits. It has quite the usual allowance, the common cynicism, of accepted decay, and looks dismally as if its best families had all fallen into penury together and lost the means of keeping anything better than donkeys in their great dark, vaulted basements and mending their broken window-panes with anything better than paper. It was on the occasion of this drear Genzano that I had a difference of opinion with a friend who maintained that there was nothing in the same line so pretty in Europe as a pretty New England village. The proposition seemed to a cherisher of quaintness on the face of it inacceptable; but calmly considered it has a measure of truth. I am not fond of chalk- white painted planks, certainly; I vastly prefer the dusky tones of ancient stucco and peperino; but I succumb on occasion to the charms of a vine-shaded porch, of tulips and dahlias glowing in the shade of high-arching elms, of heavy-scented lilacs bending over a white paling to brush your cheek.

"I prefer Siena to Lowell," said my friend; "but I prefer Farmington to such a thing as this." In fact an Italian village is simply a miniature Italian city, and its various parts imply a town of fifty times the size. At Genzano are neither dahlias nor lilacs, and no odours but foul ones. Flowers and other graces are all confined to the high-walled precincts of Duke Cesarini, to which you must obtain admission twenty miles away. The houses on the other hand would generally lodge a New England cottage, porch and garden and high-arching elms included, in one of their cavernous basements. These vast grey dwellings are all of a fashion denoting more generous social needs than any they serve nowadays. They speak of better days and of a fabulous time when Italy was either not shabby or could at least "carry off" her shabbiness. For what follies are they doing penance? Through what melancholy stages have their fortunes ebbed? You ask these questions as you choose the shady side of the long blank street and watch the hot sun glare upon the dust-coloured walls and pause before the fetid gloom of open doors.