Part 2 (1/2)
In the middle of the vast sad landscape, the place is still, with a silence that can be almost heard. The deserted state of those innumerable cells, those echoing corridors and shadowy cloisters, exercises overpowering tyranny over the imagination. Siena is so far away, and Montalcino is so faintly outlined on its airy parapet, that these cities only deepen our sense of desolation. It is a relief to mark at no great distance on the hill-side a contadino guiding his oxen, and from a lonely farm yon column of ascending smoke. At least the world goes on, and life is somewhere resonant with song. But here there rests a pall of silence among the oak-groves and the cypresses and _balze_. As I leaned and mused, while Christian (my good friend and fellow-traveller from the Grisons) made our beds, a melancholy sunset flamed up from a rampart of cloud, built like a city of the air above the mountains of Volterra--fire issuing from its battlements, and smiting the fretted roof of heaven above. It was a conflagration of celestial rose upon the saddest purples and cavernous recesses of intensest azure.
We had an excellent supper in the visitor's refectory--soup, good bread and country wine, ham, a roast chicken with potatoes, a nice white cheese made of sheep's milk, and grapes for dessert. The kind Abbate sat by, and watched his four guests eat, tapping his tortoise-sh.e.l.l snuff-box, and telling us many interesting things about the past and present state of the convent. Our company was completed with Lupo, the pet cat, and Pirro, a woolly Corsican dog, very good friends, and both enormously voracious. Lupo in particular engraved himself upon the memory of Christian, into whose large legs he thrust his claws, when the cheese-parings and sc.r.a.ps were not supplied him with sufficient prompt.i.tude. I never saw a hungrier and bolder cat. It made one fancy that even the mice had been exiled from this solitude. And truly the rule of the monastic order, no less than the habit of Italian gentlemen, is frugal in the matter of the table, beyond the conception of northern folk.
Monte Oliveto, the Superior told us, owned thirty-two _poderi_, or large farms, of which five have recently been sold. They are worked on the _mezzeria_ system; whereby peasants and proprietors divide the produce of the soil; and which he thinks inferior for developing its resources to that of _affito_, or lease-holding.
The contadini live in scattered houses; and he says the estate would be greatly improved by doubling the number of these dwellings, and letting the sub-divided farms to more energetic people. The village of Chiusure is inhabited by labourers. The contadini are poor: a dower, for instance, of fifty _lire_ is thought something: whereas near Genoa, upon the leasehold system, a farmer may sometimes provide a dower of twenty thousand _lire_. The country produces grain of different sorts, excellent oil, and timber. It also yields a tolerable red wine. The Government makes from eight to nine per cent upon the value of the land, employing him and his two religious brethren as agents.
In such conversations the evening pa.s.sed. We rested well in large hard beds with dry rough sheets. But there was a fretful wind abroad, which went wailing round the convent walls and rattling the doors in its deserted corridors. One of our party had been placed by himself at the end of a long suite of apartments, with balconies commanding the wide sweep of hills that Monte Amiata crowns. He confessed in the morning to having pa.s.sed a restless night, tormented by the ghostly noises of the wind, a wanderer, ”like the world's rejected guest,” through those untenanted chambers. The olives tossed their filmy boughs in twilight underneath his windows, sighing and shuddering, with a sheen in them as eery as that of willows by some haunted mere.
IV.
The great attraction to students of Italian art in the convent of Monte Oliveto is a large square cloister, covered with wall-paintings by Luca Signorelli and Giovannantonio Bazzi, surnamed Il Sodoma. These represent various episodes in the life of S. Benedict; while one picture, in some respects the best of the whole series, is devoted to the founder of the Olivetan Order, Bernardo Tolomei, dispensing the rule of his inst.i.tution to a consistory of white-robed monks. Signorelli, that great master of Cortona, may be studied to better advantage elsewhere, especially at Orvieto and in his native city. His work in this cloister, consisting of eight frescoes, has been much spoiled by time and restoration. Yet it can be referred to a good period of his artistic activity (the year 1497) and displays much which is specially characteristic of his manner.
In Totila's barbaric train, he painted a crowd of fierce emphatic figures, combining all ages and the most varied att.i.tudes, and reproducing with singular vividness the Italian soldiers of adventure of his day. We see before us the long-haired followers of Braccio and the Baglioni; their handsome savage faces; their brawny limbs clad in the parti-coloured hose and jackets of that period; feathered caps stuck sideways on their heads; a splendid swagger in their straddling legs.
Female beauty lay outside the sphere of Signorelli's sympathy; and in the Monte Oliveto cloister he was not called upon to paint it. But none of the Italian masters felt more keenly, or more powerfully represented in their work, the muscular vigour of young manhood. Two of the remaining frescoes, different from these in motive, might be selected as no less characteristic of Signorelli's manner. One represents three st.u.r.dy monks, clad in brown, working with all their strength to stir a boulder, which has been bewitched, and needs a miracle to move it from its place. The square and powerfully outlined drawing of these figures is beyond all praise for its effect of ma.s.sive solidity. The other shows us the interior of a fifteenth century tavern, where two monks are regaling themselves upon the sly. A country girl, with shapely arms and shoulders, her upper skirts tucked round the ample waist to which broad sweeping lines of back and b.r.e.a.s.t.s descend, is serving wine. The exuberance of animal life, the freedom of att.i.tude expressed in this, the mainly interesting figure of the composition, show that Signorelli might have been a great master of realistic painting. Nor are the accessories less effective. A wide-roofed kitchen chimney, a page-boy leaving the room by a flight of steps, which leads to the house door, and the table at which the truant monks are seated, complete a picture of homely Italian life. It may still be matched out of many an inn in this hill district.
Called to graver work at Orvieto, where he painted his gigantic series of frescoes ill.u.s.trating the coming of Antichrist, the Destruction of the World, the Resurrection, the Last Judgment, and the final state of souls in Paradise and h.e.l.l, Signorelli left his work at Monte Oliveto unaccomplished. Seven years later it was taken up by a painter of very different genius. Sodoma was a native of Vercelli, and had received his first training in the Lombard schools, which owed so much to Lionardo da Vinci's influence. He was about thirty years of age when chance brought him to Siena. Here he made acquaintance with Pandolfo Petrucci, who had recently established himself in a species of tyranny over the Republic.
The work he did for this patron and other n.o.bles of Siena, brought him into notice. Vasari observes that his hot Lombard colouring, a something florid and attractive in his style, which contrasted with the severity of the Tuscan school, rendered him no less agreeable as an artist than his free manners made him acceptable as a house-friend. Fra Domenico da Leccio, also a Lombard, was at that time General of the monks of Monte Oliveto. On a visit to this compatriot in 1505, Sodoma received a commission to complete the cloister; and during the next two years he worked there, producing in all twenty-five frescoes. For his pains he seemed to have received but little pay--Vasari says, only the expenses of some colour-grinders who a.s.sisted him; but from the books of the convent it appears that 241 ducats, or something over 60_l._ of our money, were disbursed to him.
Sodoma was so singular a fellow, even in that age of piquant personalities, that it may be worth while to translate a fragment of Vasari's gossip about him. We must, however, bear in mind that, for some unknown reason, the Aretine historian bore a rancorous grudge against this Lombard, whose splendid gifts and great achievements he did all he could by writing to depreciate. ”He was fond,” says Vasari, ”of keeping in his house all sorts of strange animals: badgers, squirrels, monkeys, cat-a-mountains, dwarf-donkeys, horses, racers, little Elba ponies, jackdaws, bantams, doves of India, and other creatures of this kind, as many as he could lay his hands on. Over and above these beasts, he had a raven, which had learned so well from him to talk, that it could imitate its master's voice, especially in answering the door when some one knocked, and this it did so cleverly that people took it for Giovannantonio himself, as all the folk of Siena know quite well. In like manner, his other pets were so much at home with him that they never left his house, but played the strangest tricks and maddest pranks imaginable, so that his house was like nothing more than a Noah's Ark.”
He was a bold rider, it seems; for with one of his racers, ridden by himself, he bore away the prize in that wild horse-race they run upon the Piazza at Siena. For the rest, ”he attired himself in pompous clothes, wearing doublets of brocade, cloaks trimmed with gold lace, gorgeous caps, neck-chains, and other vanities of a like description, fit for buffoons and mountebanks.” In one of the frescoes of Monte Oliveto, Sodoma painted his own portrait, with some of his curious pets around him. He there appears as a young man with large and decidedly handsome features, a great shock of dark curled hair escaping from a yellow cap, and flowing down over a rich mantle which drapes his shoulders. If we may trust Vasari, he showed his curious humours freely to the monks. ”n.o.body could describe the amus.e.m.e.nt he furnished to those good fathers, who christened him Mattaccio (the big madman), or the insane tricks he played there.”
In spite of Vasari's malevolence, the portrait he has given us of Bazzi has so far nothing unpleasant about it. The man seems to have been a madcap artist, combining with his love for his profession a taste for fine clothes, and what was then perhaps rarer in people of his sort, a great partiality for living creatures of all kinds. The darker shades of Vasari's picture have been purposely omitted from these pages. We only know for certain, about Bazzi's private life, that he was married in 1510 to a certain Beatrice, who bore him two children, and who was still living with him in 1541. The further suggestion that he painted at Monte Oliveto subjects unworthy of a religious house, is wholly disproved by the frescoes which still exist in a state of very tolerable preservation. They represent various episodes in the legend of S.
Benedict; all marked by that spirit of simple, almost childish piety which is a special characteristic of Italian religious history. The series forms, in fact, a painted _novella_ of monastic life; its petty jealousies, its petty trials, its tribulations and temptations, and its indescribably petty miracles. Bazzi was well fitted for the execution of this task. He had a swift and facile brush, considerable versatility in the treatment of monotonous subjects, and a never-failing sense of humour. His white-cowled monks, some of them with the rosy freshness of boys, some with the handsome brown faces of middle life, others astute and crafty, others again wrinkled with old age, have clearly been copied from real models. He puts them into action without the slightest effort, and surrounds them with landscapes, architecture, and furniture, appropriate to each successive situation. The whole is done with so much grace, such simplicity of composition, and transparency of style, corresponding to the _naf_ and superficial legend, that we feel a perfect harmony between the artist's mind and the motives he was made to handle. In this respect Bazzi's portion of the legend of S. Benedict is more successful than Signorelli's. It was fortunate, perhaps, that the conditions of his task confined him to uncomplicated groupings, and a scale of colour in which white predominates. For Bazzi, as is shown by subsequent work in the Farnesina Villa at Rome, and in the church of S.
Domenico at Siena, was no master of composition; and the tone, even of his masterpieces, inclines to heat. Unlike Signorelli, Bazzi felt a deep artistic sympathy with female beauty; and the most attractive fresco in the whole series is that in which the evil monk Florentius brings a bevy of fair damsels to the convent. There is one group, in particular, of six women, so delicately varied in carriage of the head and suggested movement of the body, as to be comparable only to a strain of concerted music. This is perhaps the painter's masterpiece in the rendering of pure beauty, if we except his S. Sebastian of the Uffizzi.
We tire of studying pictures, hardly less than of reading about them! I was glad enough, after three hours spent among the frescoes of this cloister, to wander forth into the copses which surround the convent.
Sunlight was streaming treacherously from flying clouds; and though it was high noon, the oak-leaves were still a-tremble with dew. Pink cyclamens and yellow amaryllis starred the moist brown earth; and under the cypress-trees, where alleys had been cut in former time for pious feet, the short firm turf was soft and mossy. Before bidding the hospitable Padre farewell, and starting in our waggonette for Asciano, it was pleasant to meditate awhile in these green solitudes. Generations of white-stoled monks who had sat or knelt upon the now deserted terraces, or had slowly paced the winding paths to Calvaries aloft and points of vantage high above the wood, rose up before me. My mind, still full of Bazzi's frescoes, peopled the wilderness with grave monastic forms, and gracious, young-eyed faces of boyish novices.
MONTEPULCIANO.
I.
For the sake of intending travellers to this, the lordliest of Tuscan hill-towns, it will be well to state at once and without circ.u.mlocution what does not appear upon the time-tables of the line from Empoli to Rome. Montepulciano has a station; but this railway station is at the distance of at least an hour and a half's drive from the mountain upon which the city stands.
The lumbering train which brought us one October evening from Asciano crawled into this station after dark, at the very moment when a storm, which had been gathering from the south-west, burst in deluges of rain and lightning. There was, however, a covered carriage going to the town.
Into this we packed ourselves, together with a polite Italian gentleman who, in answer to our questions, consulted his watch, and smilingly replied that a little half-hour would bring us easily to Montepulciano.
He was a native of the place. He knew perfectly well that he would be shut up with us in that carriage for two mortal hours of darkness and down-pour. And yet, such is the irresistible impulse in Italians to say something immediately agreeable, he fed us with false hopes and had no fear of consequences. What did it matter to him if we were pulling out our watches and chattering in well-contented undertone about _vino n.o.bile_, _biftek_, and possibly a _pollo arrosto_, or a dish of _tordi_?
At the end of the half-hour, as he was well aware, self-congratulations and visions of a hearty supper would turn to discontented wailings, and the querulous complaining of defrauded appet.i.tes. But the end of half an hour was still half an hour off; and we meanwhile were comfortable.
The night was pitchy dark, and blazing flashes of lightning showed a white ascending road at intervals. Rain rushed in torrents, splas.h.i.+ng against the carriage wheels, which moved uneasily, as though they could but scarcely stem the river that swept down upon them. Far away above us to the left, was one light on a hill, which never seemed to get any nearer. We could see nothing but a chasm of blackness below us on one side, edged with ghostly olive-trees, and a high bank on the other.
Sometimes a star swam out of the drifting clouds; but then the rain hissed down again, and the flashes came in floods of livid light, illuminating the eternal olives and the cypresses which looked like huge black spectres. It seemed almost impossible for the horses to keep their feet, as the mountain road grew ever steeper and the torrent swelled around them. Still they struggled on. The promised half hour had been doubled, trebled, quadrupled, when at last we saw the great brown sombre walls of a city tower above us. Then we entered one of those narrow lofty Tuscan gates, and rolled upon the pavement of a street.
The inn at Montepulciano is called Marzocco, after the Florentine lion which stands upon its column in a little square before the house. The people there are hospitable, and more than once on subsequent occasions have they extended to us kindly welcome. But on this, our first appearance, they had scanty room at their disposal. Seeing us arrive so late, and march into their dining-room, laden with sealskins, waterproofs, and ulsters, one of the party hugging a complete Euripides in Didot's huge edition, they were confounded. At last they conducted the whole company of four into a narrow back bed-room, where they pointed to one fair-sized and one very little bed. This was the only room at liberty, they said; and could we not arrange to sleep here?
_S'accomodi, Signore! S'accomodi, Signora!_ These encouraging words, uttered in various tones of cheerful and insinuating politeness to each member of the party in succession, failed to make us comprehend how a gentleman and his wife, with a lean but rather lengthy English friend, and a bulky native of the Grisons, could ”accommodate themselves”
collectively and undividedly with what was barely sufficient for their just moiety, however much it might afford a night's rest to their worse half. Christian was sent out into the storm to look for supplementary rooms in Montepulciano, which he failed to get. Meanwhile we ordered supper, and had the satisfaction of seeing set upon the board a huge red flask of _vino n.o.bile_. In copious draughts of this the King of Tuscan wines, we drowned our cares; and when the cloth was drawn, our friend and Christian pa.s.sed their night upon the supper table. The good folk of the inn had recovered from their surprise, and from the inner recesses of their house had brought forth mattresses and blankets. So the better and larger half of the company enjoyed sound sleep.
It rained itself out at night, and the morning was clear, with the transparent atmosphere of storm-clouds hurrying in broken squadrons from the bad sea quarter. Yet this is just the weather in which Tuscan landscape looks its loveliest. Those immense expanses of grey undulating uplands need the luminousness of watery suns.h.i.+ne, the colour added by cloud-shadows, and the pearly softness of rising vapours, to rob them of a certain awful grimness. The main street of Montepulciano goes straight uphill for a considerable distance between brown palaces; then mounts by a staircase-zigzag under huge impending ma.s.ses of masonry; until it ends in a piazza. On the ascent, at intervals, the eye is fascinated by prospects to the north and east over Val di Chiana, Cortona, Thrasymene, Chiusi; to south and west over Monte Cetona, Radicofani, Monte Amiata, the Val d'Ombrone, and the Sienese Contado. Grey walls overgrown with ivy, arcades of time-toned brick, and the forbidding bulk of houses hewn from solid travertine, frame these glimpses of aerial s.p.a.ce. The piazza is the top of all things. Here are the Duomo; the Palazzo del Comune, closely resembling that of Florence, with the Marzocco on its front; the fountain, between two quaintly sculptured columns; and the vast palace Del Monte, of heavy Renaissance architecture, said to be the work of Antonio di San Gallo.