Part 6 (2/2)

Whatever it may be to the pope, two young lovers might find the Garden of Eden here, and never desire to stray out of its precincts. They might fancy angels standing in the long, glimmering vistas of the avenues.

It would suit me well enough to have my daily walk along such straight paths, for I think them favorable to thought, which is apt to be disturbed by variety and unexpectedness.

April 12th.--We all, except R-----, went to-day to the Vatican, where we found our way to the Stanze of Raphael, these being four rooms, or halls, painted with frescos. No doubt they were once very brilliant and beautiful; but they have encountered hard treatment since Raphael's time, especially when the soldiers of the Constable de Bourbon occupied these apartments, and made fires on the mosaic floors. The entire walls and ceilings are covered with pictures; but the handiwork or designs of Raphael consist of paintings on the four sides of each room, and include several works of art. The School of Athens is perhaps the most celebrated; and the longest side of the largest hall is occupied by a battle-piece, of which the Emperor Constantine is the hero, and which covers almost s.p.a.ce enough for a real battle-field. There was a wonderful light in one of the pictures,--that of St. Peter awakened in his prison, by the angel; it really seemed to throw a radiance into the hall below. I shall not pretend, however, to have been sensible of any particular rapture at the sight of these frescos; so faded as they are, so battered by the mischances of years, insomuch that, through all the power and glory of Raphael's designs, the spectator cannot but be continually sensible that the groundwork of them is an old plaster wall.

They have been scrubbed, I suppose,--brushed, at least,--a thousand times over, till the surface, brilliant or soft, as Raphael left it, must have been quite rubbed off, and with it, all the consummate finish, and everything that made them originally delightful. The sterner features remain, the skeleton of thought, but not the beauty that once clothed it.

In truth, the frescos, excepting a few figures, never had the real touch of Raphael's own hand upon them, having been merely designed by him, and finished by his scholars, or by other artists.

The halls themselves are specimens of antique magnificence, paved with elaborate mosaics; and wherever there is any wood-work, it is richly carved with foliage and figures. In their newness, and probably for a hundred years afterwards, there could not have been so brilliant a suite of rooms in the world.

Connected with them--at any rate, not far distant--is the little Chapel of San Lorenzo, the very site of which, among the thousands of apartments of the Vatican, was long forgotten, and its existence only known by tradition. After it had been walled up, however, beyond the memory of man, there was still a rumor of some beautiful frescos by Fra Angelico, in an old chapel of Pope Nicholas V., that had strangely disappeared out of the palace, and, search at length being made, it was discovered, and entered through a window. It is a small, lofty room, quite covered over with frescos of sacred subjects, both on the walls and ceiling, a good deal faded, yet pretty distinctly preserved. It would have been no misfortune to me, if the little old chapel had remained still hidden.

We next issued into the Loggie, which consist of a long gallery, or arcade or colonnade, the whole extent of which was once beautifully adorned by Raphael. These pictures are almost worn away, and so defaced as to be untraceable and unintelligible, along the side wall of the gallery; although traceries of Arabesque, and compartments where there seem to have been rich paintings, but now only an indistinguishable waste of dull color, are still to be seen. In the coved ceiling, however, there are still some bright frescos, in better preservation than any others; not particularly beautiful, nevertheless. I remember to have seen (indeed, we ourselves possess them) a series of very spirited and energetic engravings, old and coa.r.s.e, of these frescos, the subject being the Creation, and the early Scripture history; and I really think that their translation of the pictures is better than the original. On reference to Murray, I find that little more than the designs is attributed to Raphael, the execution being by Giulio Romano and other artists.

Escaping from these forlorn splendors, we went into the sculpture-gallery, where I was able to enjoy, in some small degree, two or three wonderful works of art; and had a perception that there were a thousand other wonders around me. It is as if the statues kept, for the most part, a veil about them, which they sometimes withdraw, and let their beauty gleam upon my sight; only a glimpse, or two or three glimpses, or a little s.p.a.ce of calm enjoyment, and then I see nothing but a discolored marble image again. The Minerva Medica revealed herself to-day. I wonder whether other people are more fortunate than myself, and can invariably find their way to the inner soul of a work of art. I doubt it; they look at these things for just a minute, and pa.s.s on, without any pang of remorse, such as I feel, for quitting them so soon and so willingly. I am partly sensible that some unwritten rules of taste are making their way into my mind; that all this Greek beauty has done something towards refining me, though I am still, however, a very st.u.r.dy Goth. . . . .

April 15th.--Yesterday I went with J----- to the Forum, and descended into the excavations at the base of the Capitol, and on the site of the Basilica of Julia. The essential elements of old Rome are there: columns, single, or in groups of two or three, still erect, but battered and bruised at some forgotten time with infinite pains and labor; fragments of other columns lying prostrate, together with rich capitals and friezes; the bust of a colossal female statue, showing the bosom and upper part of the arms, but headless; a long, winding s.p.a.ce of pavement, forming part of the ancient ascent to the Capitol, still as firm and solid as ever; the foundation of the Capitol itself, wonderfully ma.s.sive, built of immense square blocks of stone, doubtless three thousand years old, and durable for whatever may be the lifetime of the world; the Arch of Septimius, Severus, with bas-reliefs of Eastern wars; the Column of Phocas, with the rude series of steps ascending on four sides to its pedestal; the floor of beautiful and precious marbles in the Basilica of Julia, the slabs cracked across,--the greater part of them torn up and removed, the gra.s.s and weeds growing up through the c.h.i.n.ks of what remain; heaps of bricks, shapeless bits of granite, and other ancient rubbish, among which old men are lazily rummaging for specimens that a stranger may be induced to buy,--this being an employment that suits the indolence of a modern Roman. The level of these excavations is about fifteen feet, I should judge, below the present street, which pa.s.ses through the Forum, and only a very small part of this alien surface has been removed, though there can be no doubt that it hides numerous treasures of art and monuments of history. Yet these remains do not make that impression of antiquity upon me which Gothic ruins do. Perhaps it is so because they belong to quite another system of society and epoch of time, and, in view of them, we forget all that has intervened betwixt them and us; being morally unlike and disconnected with them, and not belonging to the same train of thought; so that we look across a gulf to the Roman ages, and do not realize how wide the gulf is. Yet in that intervening valley lie Christianity, the Dark Ages, the feudal system, chivalry and romance, and a deeper life of the human race than Rome brought to the verge of the gulf.

To-day we went to the Colonna Palace, where we saw some fine pictures, but, I think, no masterpieces. They did not depress and dishearten me so much as the pictures in Roman palaces usually do; for they were in remarkably good order as regards frames and varnish; indeed, I rather suspect some of them had been injured by the means adopted to preserve their beauty. The palace is now occupied by the French Amba.s.sador, who probably looks upon the pictures as articles of furniture and household adornment, and does not choose to have squares of black and forlorn canvas upon his walls. There were a few n.o.ble portraits by Vand.y.k.e; a very striking one by Holbein, one or two by t.i.tian, also by Guercino, and some pictures by Rubens, and other forestieri painters, which refreshed my weary eyes. But--what chiefly interested me was the magnificent and stately hall of the palace; fifty-five of my paces in length, besides a large apartment at either end, opening into it through a pillared s.p.a.ce, as wide as the gateway of a city. The pillars are of giallo antico, and there are pilasters of the same all the way up and down the walls, forming a perspective of the richest aspect, especially as the broad cornice flames with gilding, and the s.p.a.ces between the pilasters are emblazoned with heraldic achievements and emblems in gold, and there are Venetian looking-gla.s.ses, richly decorated over the surface with beautiful pictures of flowers and Cupids, through which you catch the gleam of the mirror; and two rows of splendid chandeliers extend from end to end of the hall, which, when lighted up, if ever it be lighted up, now-a-nights, must be the most brilliant interior that ever mortal eye beheld. The ceiling glows with pictures in fresco, representing scenes connected with the history of the Colonna family; and the floor is paved with beautiful marbles, polished and arranged in square and circular compartments; and each of the many windows is set in a great architectural frame of precious marble, as large as the portal of a door.

The apartment at the farther end of the hall is elevated above it, and is attained by several marble steps, whence it must have been glorious in former days to have looked down upon a gorgeous throng of princes, cardinals, warriors, and ladies, in such rich attire as might be worn when the palace was built. It is singular how much freshness and brightness it still retains; and the only objects to mar the effect were some ancient statues and busts, not very good in themselves, and now made dreary of aspect by their corroded surfaces,--the result of long burial under ground.

In the room at the entrance of the hall are two cabinets, each a wonder in its way,--one being adorned with precious stones; the other with ivory carvings of Michael Angelo's Last Judgment, and of the frescos of Raphael's Loggie. The world has ceased to be so magnificent as it once was. Men make no such marvels nowadays. The only defect that I remember in this hall was in the marble steps that ascend to the elevated apartment at the end of it; a large piece had been broken out of one of them, leaving a rough irregular gap in the polished marble stair. It is not easy to conceive what violence can have done this, without also doing mischief to all the other splendor around it.

April 16th.--We went this morning to the Academy of St. Luke (the Fine Arts Academy at Rome) in the Via Bonella, close by the Forum. We rang the bell at the house door; and after a few moments it was unlocked or unbolted by some unseen agency from above, no one making his appearance to admit us. We ascended two or three flights of stairs, and entered a hall, where was a young man, the custode, and two or three artists engaged in copying some of the pictures. The collection not being vastly large, and the pictures being in more presentable condition than usual, I enjoyed them more than I generally do; particularly a Virgin and Child by Vand.y.k.e, where two angels are singing and playing, one on a lute and the other on a violin, to remind the holy infant of the strains he used to hear in heaven. It is one of the few pictures that there is really any pleasure in looking at. There were several paintings by t.i.tian, mostly of a voluptuous character, but not very charming; also two or more by Guido, one of which, representing Fortune, is celebrated. They did not impress me much, nor do I find myself strongly drawn towards Guido, though there is no other painter who seems to achieve things so magically and inscrutably as he sometimes does. Perhaps it requires a finer taste than mine to appreciate him; and yet I do appreciate him so far as to see that his Michael, for instance, is perfectly beautiful. . . . . In the gallery, there are whole rows of portraits of members of the Academy of St. Luke, most of whom, judging by their physiognomies, were very commonplace people; a fact which makes itself visible in a portrait, however much the painter may try to flatter his sitter. Several of the pictures by t.i.tian, Paul Veronese, and other artists, now exhibited in the gallery, were formerly kept in a secret cabinet in the Capitol, being considered of a too voluptuous character for the public eye. I did not think them noticeably indecorous, as compared with a hundred other pictures that are shown and looked at without scruple;--Calypso and her nymphs, a knot of nude women by t.i.tian, is perhaps as objectionable as any. But even t.i.tian's flesh-tints cannot keep, and have not kept their warmth through all these centuries. The illusion and lifelikeness effervesces and exhales out of a picture as it grows old; and we go on talking of a charm that has forever vanished.

From St. Luke's we went to San Pietro in Vincoli, occupying a fine position on or near the summit of the Esquiline mount. A little abortion of a man (and, by the by, there are more diminutive and ill-shapen men and women in Rome than I ever saw elsewhere, a phenomenon to be accounted for, perhaps, by their custom of wrapping the new-born infant in swaddling-clothes), this two-foot abortion hastened before us, as we drew nigh, to summon the sacristan to open the church door. It was a needless service, for which we rewarded him with two baiocchi. San Pietro is a simple and n.o.ble church, consisting of a nave divided from the side aisles by rows of columns, that once adorned some ancient temple; and its wide, unenc.u.mbered interior affords better breathing-s.p.a.ce than most churches in Rome. The statue of Moses occupies a niche in one of the side aisles on the right, not far from the high altar. I found it grand and sublime, with a beard flowing down like a cataract; a truly majestic figure, but not so benign as it were desirable that such strength should be. The horns, about which so much has been said, are not a very prominent feature of the statue, being merely two diminutive tips rising straight up over his forehead, neither adding to the grandeur of the head, nor detracting sensibly from it. The whole force of this statue is not to be felt in one brief visit, but I agree with an English gentleman, who, with a large party, entered the church while we were there, in thinking that Moses has ”very fine features,”--a compliment for which the colossal Hebrew ought to have made the Englishman a bow.

Besides the Moses, the church contains some attractions of a pictorial kind, which are reposited in the sacristy, into which we pa.s.sed through a side door. The most remarkable of these pictures is a face and bust of Hope, by Guido, with beautiful eyes lifted upwards; it has a grace which artists are continually trying to get into their innumerable copies, but always without success; for, indeed, though nothing is more true than the existence of this charm in the picture, yet if you try to a.n.a.lyze it, or even look too intently at it, it vanishes, till you look again with more trusting simplicity.

Leaving the church, we wandered to the Coliseum, and to the public grounds contiguous to them, where a score and more of French drummers were beating each man his drum, without reference to any rub-a-dub but his own. This seems to be a daily or periodical practice and point of duty with them. After resting ourselves on one of the marble benches, we came slowly home, through the Basilica of Constantine, and along the shady sides of the streets and piazzas, sometimes, perforce, striking boldly through the white suns.h.i.+ne, which, however, was not so hot as to shrivel us up bodily. It has been a most beautiful and perfect day as regards weather, clear and bright, very warm in the suns.h.i.+ne, yet freshened throughout by a quiet stir in the air. Still there is something in this air malevolent, or, at least, not friendly. The Romans lie down and fall asleep in it, in any vacant part of the streets, and wherever they can find any spot sufficiently clean, and among the ruins of temples. I would not sleep in the open air for whatever my life may be worth.

On our way home, sitting in one of the narrow streets, we saw an old woman spinning with a distaff; a far more ancient implement than the spinning-wheel, which the housewives of other nations have long since laid aside.

April 18th.--Yesterday, at noon, the whole family of us set out on a visit to the Villa Borghese and its grounds, the entrance to which is just outside of the Porta del Popolo. After getting within the grounds, however, there is a long walk before reaching the casino, and we found the sun rather uncomfortably hot, and the road dusty and white in the suns.h.i.+ne; nevertheless, a footpath ran alongside of it most of the way through the gra.s.s and among the young trees. It seems to me that the trees do not put forth their leaves with nearly the same magical rapidity in this southern land at the approach of summer, as they do in more northerly countries. In these latter, having a much shorter time to develop themselves, they feel the necessity of making the most of it.

But the gra.s.s, in the lawns and enclosures along which we pa.s.sed, looked already fit to be mowed, and it was interspersed with many flowers.

Sat.u.r.day being, I believe, the only day of the week on which visitors are admitted to the casino, there were many parties in carriages, artists on foot, gentlemen on horseback, and miscellaneous people, to whom the door was opened by a custode on ringing a bell. The whole of the bas.e.m.e.nt floor of the casino, comprising a suite of beautiful rooms, is filled with statuary. The entrance hall is a very splendid apartment, brightly frescoed, and paved with ancient mosaics, representing the combats with beasts and gladiators in the Coliseum, curious, though very rudely and awkwardly designed, apparently after the arts had begun to decline. Many of the specimens of sculpture displayed in these rooms are fine, but none of them, I think, possess the highest merit. An Apollo is beautiful; a group of a fighting Amazon, and her enemies trampled under her horse's feet, is very impressive; a Faun, copied from that of Praxiteles, and another, who seems to be dancing, were exceedingly pleasant to look at.

I like these strange, sweet, playful, rustic creatures, . . . . linked so prettily, without monstrosity, to the lower tribes. . . . . Their character has never, that I know of, been wrought out in literature; and something quite good, funny, and philosophical, as well as poetic, might very likely be educed from them. . . . . The faun is a natural and delightful link betwixt human and brute life, with something of a divine character intermingled.

The gallery, as it is called, on the bas.e.m.e.nt floor of the casino, is sixty feet in length, by perhaps a third as much in breadth, and is (after all I have seen at the Colonna Palace and elsewhere) a more magnificent hall than I imagined to be in existence. It is floored with rich marble in beautifully arranged compartments, and the walls are almost entirely eased with marble of various sorts, the prevailing kind being giallo antico, intermixed with verd antique, and I know not what else; but the splendor of the giallo antico gives the character to the room, and the large and deep niches along the walls appear to be lined with the same material. Without coming to Italy, one can have no idea of what beauty and magnificence are produced by these fittings up of polished marble. Marble to an American means nothing but white limestone.

This hall, moreover, is adorned with pillars of Oriental alabaster, and wherever is a s.p.a.ce vacant of precious and richly colored marble it is frescoed with arabesque ornaments; and over the whole is a coved and vaulted ceiling, glowing with picture. There never can be anything richer than the whole effect. As to the sculpture here it was not very fine, so far as I can remember, consisting chiefly of busts of the emperors in porphyry; but they served a good purpose in the upholstery way. There were also magnificent tables, each composed of one great slab of porphyry; and also vases of nero antico, and other rarest substance.

It remains to be mentioned that, on this almost summer day, I was quite chilled in pa.s.sing through these glorious halls; no fireplace anywhere; no possibility of comfort; and in the hot season, when their coolness might be agreeable, it would be death to inhabit them.

Ascending a long winding staircase, we arrived at another suite of rooms, containing a good many not very remarkable pictures, and a few more pieces of statuary. Among the latter, is Canova's statue of Pauline, the sister of Bonaparte, who is represented with but little drapery, and in the character of Venus holding the apple in her hand. It is admirably done, and, I have no doubt, a perfect likeness; very beautiful too; but it is wonderful to see how the artificial elegance of the woman of this world makes itself perceptible in spite of whatever simplicity she could find in almost utter nakedness. The statue does not afford pleasure in the contemplation.

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