Part 2 (2/2)
We climbed the tower of the Palazzo del Comune, and stood at the alt.i.tude of 2000 feet above the sea. The view is finer in its kind than I have elsewhere seen, even in Tuscany, that land of panoramic prospects over memorable tracts of world-historic country. Such landscape cannot be described in words. But the worst is that, even while we gaze, we know that nothing but the faintest memory of our enjoyment will be carried home with us. The atmospheric conditions were perfect that morning. The sun was still young; the sky sparkled after the night's thunderstorm; the whole immensity of earth around lay lucid, smiling, newly washed in baths of moisture. Ma.s.ses of storm-cloud kept rolling from the west, where we seemed to feel the sea behind those intervening hills. But they did not form in heavy blocks or hang upon the mountain summits. They hurried and dispersed and changed and flung their shadows on the world below.
II.
The charm of this view is composed of so many different elements, so subtly blent, appealing to so many separate sensibilities; the sense of grandeur, the sense of s.p.a.ce, the sense of natural beauty, and the sense of human pathos; that deep internal faculty we call historic sense; that it cannot be defined. First comes the immense surrounding s.p.a.ce--a s.p.a.ce measured in each arc of the circ.u.mference by sections of at least fifty miles, limited by points of exquisitely picturesque beauty, including distant cloud-like mountain ranges and crystals of sky-blue Apennines, circ.u.mscribing landscapes of refined loveliness in detail, always varied, always marked by objects of peculiar interest where the eye or memory may linger. Next in importance to this immensity of s.p.a.ce, so powerfully affecting the imagination by its mere extent, and by the breadth of atmosphere attuning all varieties of form and colour to one harmony beneath illimitable heaven, may be reckoned the episodes of rivers, lakes, hills, cities, with old historic names. For there spreads the lordly length of Thrasymene, islanded and citadelled, in hazy morning mist, still dreaming of the shock of Roman hosts with Carthaginian legions. There is the lake of Chiusi, set like a jewel underneath the copse-clad hills which hide the dust of a dead Tuscan nation. The streams of Arno start far far away, where Arezzo lies enfolded in bare uplands. And there at our feet rolls Tiber's largest affluent, the Chiana. And there is the ca.n.a.l which joins their fountains in the marsh that Lionardo would have drained. Monte Cetona is yonder height which rears its bristling ridge defiantly from neighbouring Chiusi. And there springs Radicofani, the eagle's eyrie of a brigand brood. Next, Monte Amiata stretches the long lines of her antique volcano; the swelling mountain flanks, descending gently from her cloud-capped top, are russet with autumnal oak and chestnut woods. On them our eyes rest lovingly; imagination wanders for a moment through those mossy glades, where cyclamens are growing now, and primroses in spring will peep amid anemones from rustling foliage strewn by winter's winds. The heights of Casentino, the Perugian highlands, Volterra, far withdrawn amid a wilderness of rolling hills, and solemn snow-touched ranges of the Spolentino, Sibyl-haunted fastnesses of Norcia, form the most distant horizon-lines of this unending panorama. And then there are the cities, placed each upon a point of vantage: Siena; olive-mantled Chiusi; Cortona, white upon her spreading throne; poetic Montalcino, lifted aloft against the vaporous sky; San Quirico, nestling in pastoral tranquillity; Pienza, where aeneas Sylvius built palaces and called his birthplace after his own Papal name. Still closer to the town itself of Montepulciano, stretching along the irregular ridge which gave it building ground, and trending out on spurs above deep orchards, come the lovely details of oak-copses, blending with grey tilth and fields rich with olive and vine. The gaze, exhausted with immensity, pierces those deeply cloven valleys, sheltered from wind and open to the sun--undulating folds of brown earth, where Bacchus, when he visited Tuscany, found the grape-juice that pleased him best, and crowned the wine of Montepulciano king. Here from our eyrie we can trace white oxen on the furrows, guided by brown-limbed, white-s.h.i.+rted contadini.
The morning glory of this view from Montepulciano, though irrecoverable by words, abides in the memory, and draws one back by its unique attractiveness. On a subsequent visit to the town in spring time, my wife and I took a twilight walk, just after our arrival, through its gloomy fortress streets, up to the piazza, where the impendent houses lowered like bastions, and all the ma.s.ses of their mighty architecture stood revealed in shadow and dim lamplight. Far and wide, the country round us gleamed with bonfires; for it was the eve of the Ascension, when every contadino lights a beacon of chestnut logs and straw and piled-up leaves. Each castello on the plain, each village on the hills, each lonely farmhouse at the skirt of forest or the edge of lake, smouldered like a red Cyclopean eye beneath the vault of stars. The flames waxed and waned, leapt into tongues, or disappeared. As they pa.s.sed from gloom to brilliancy and died away again, they seemed almost to move. The twilight scene was like that of a vast city, filling the plain and climbing the heights in terraces. Is this custom, I thought, a relic of old Pales-wors.h.i.+p?
III.
The early history of Montepulciano is buried in impenetrable mists of fable. No one can a.s.sign a date to the foundation of these high-hill cities. The eminence on which it stands belongs to the volcanic system of Monte Amiata, and must at some time have formed a portion of the crater which threw that mighty ma.s.s aloft. But aeons have pa.s.sed since the _gran sa.s.so di Maremma_ was a fire-vomiting monster, glaring like Etna in eruption on the Tyrrhene sea; and through those centuries how many races may have camped upon the summit we call Montepulciano!
Tradition a.s.signs the first quasi-historical settlement to Lars Porsena, who is said to have made it his summer residence, when the lower and more marshy air of Clusium became oppressive. Certainly it must have been a considerable town in the Etruscan period. Embedded in the walls of palaces may still be seen numerous fragments of sculptured bas-reliefs, the works of that mysterious people. A propos of Montepulciano's importance in the early years of Roman history, I lighted on a quaint story related by its very jejune annalist, Spinello Benci. It will be remembered that Livy attributes the invasion of the Gauls, who, after besieging Clusium, advanced on Rome, to the persuasions of a certain Aruns. He was an exile from Clusium; and wis.h.i.+ng to revenge himself upon his country-people, he allured the Senonian Gauls into his service by the promise of excellent wine, samples of which he had taken with him into Lombardy. Spinello Benci accepts the legend literally, and continues: ”These wines were so pleasing to the palate of the barbarians, that they were induced to quit the rich and teeming valley of the Po, to cross the Apennines, and move in battle array against Chiusi. And it is clear that the wine which Aruns selected for the purpose was the same as that which is produced to this day at Montepulciano. For nowhere else in the Etruscan district can wines of equally generous quality and fiery spirit be found, so adapted for export and capable of such long preservation.”
We may smile at the historian's _navete_. Yet the fact remains that good wine of Montepulciano can still allure barbarians of this epoch to the spot where it is grown. Of all Italian vintages, with the exception of some rare qualities of Sicily and the Valtellina, it is, in my humble opinion, the best. And when the time comes for Italy to develop the resources of her vineyards upon scientific principles, Montepulciano will drive Brolio from the field and take the same place by the side of Chianti which Volnay occupies by common Macon. It will then be quoted upon wine-lists throughout Europe, and find its place upon the tables of rich epicures in Hyperborean regions, and add its generous warmth to Transatlantic banquets. Even as it is now made, with very little care bestowed on cultivation and none to speak of on selection of the grape, the wine is rich and n.o.ble, slightly rough to a sophisticated palate, but clean in quality and powerful and racy. It deserves the enthusiasm attributed by Redi to Bacchus:[A]--
Fill, fill, let us all have our will!
But with _what_, with _what_, boys, shall we fill?
Sweet Ariadne--no, not _that_ one--_ah_ no; Fill me the manna of Montepulciano: Fill me a magnum and reach it me.--G.o.ds!
How it glides to my heart by the sweetest of roads!
Oh, how it kisses me, tickles me, bites me!
Oh, how my eyes loosen sweetly in tears!
I'm ravished! I'm rapt! Heaven finds me admissible!
Lost in an ecstasy! blinded! invisible!-- Hearken all earth!
We, Bacchus, in the might of our great mirth, To all who reverence us, are right thinkers; Hear, all ye drinkers!
Give ear and give faith to the edict divine; Montepulciano's the King of all wine.
It is necessary, however, that our modern barbarian should travel to Montepulciano itself, and there obtain a flask of _manna_ or _vino n.o.bile_ from some trusty cellar-master. He will not find it bottled in the inns or restaurants upon his road.
IV.
The landscape and the wine of Montepulciano are both well worth the trouble of a visit to this somewhat inaccessible city. Yet more remains to be said about the attractions of the town itself. In the Duomo, which was spoiled by unintelligent rebuilding at a dismal epoch of barren art, are fragments of one of the rarest monuments of Tuscan sculpture. This is the tomb of Bartolommeo Aragazzi. He was a native of Montepulciano, and secretary to Pope Martin V., that _Papa Martino non vale un quattrino_, on whom, during his long residence in Florence, the street-boys made their rhymes. Twelve years before his death he commissioned Donatello and Michelozzo Michelozzi, who about that period were working together upon the monuments of Pope John XXIII. and Cardinal Brancacci, to erect his own tomb at the enormous cost of twenty-four thousand scudi. That thirst for immortality of fame, which inspired the humanists of the Renaissance, prompted Aragazzi to this princely expenditure. Yet, having somehow won the hatred of his fellow-students, he was immediately censured for excessive vanity.
Lionardo Bruni makes his monument the theme of a ferocious onslaught.
Writing to Poggio Bracciolini, Bruni tells a story how, while travelling through the country of Arezzo, he met a train of oxen dragging heavy waggons piled with marble columns, statues, and all the necessary details of a sumptuous sepulchre. He stopped, and asked what it all meant. Then one of the contractors for this transport, wiping the sweat from his forehead, in utter weariness of the vexatious labour, at the last end of his temper, answered: ”May the G.o.ds destroy all poets, past, present, and future.” I inquired what he had to do with poets, and how they had annoyed him. ”Just this,” he replied, ”that this poet, lately deceased, a fool and windy-pated fellow, has ordered a monument for himself; and with a view to erecting it, these marbles are being dragged to Montepulciano; but I doubt whether we shall contrive to get them up there. The roads are too bad.” ”But,” cried I, ”do you believe _that_ man was a poet--that dunce who had no science, nay, nor knowledge either? who only rose above the heads of men by vanity and doltishness?”
”I don't know,” he answered, ”nor did I ever hear tell, while he was alive, about his being called a poet; but his fellow-townsmen now decide he was one; nay, if he had but left a few more moneybags, they'd swear he was a G.o.d. Anyhow, but for his having been a poet, I would not have cursed poets in general.” Whereupon, the malevolent Bruni withdrew, and composed a scorpion-tailed oration, addressed to his friend Poggio, on the suggested theme of ”diuturnity in monuments,” and false ambition.
Our old friends of humanistic learning--Cyrus, Alexander, Caesar--meet us in these frothy paragraphs. Cambyses, Xerxes, Artaxerxes, Darius, are thrown in to make the gruel of rhetoric ”thick and slab.” The whole epistle ends in a long-drawn peroration of invective against ”that excrement in human shape,” who had had the ill-luck, by pretence to scholars.h.i.+p, by big gains from the Papal treasury, by something in his manners alien from the easy-going customs of the Roman Court, to rouse the rancour of his fellow-humanists.
I have dwelt upon this episode, partly because it ill.u.s.trates the peculiar thirst for glory in the students of that time, but more especially because it casts a thin clear thread of actual light upon the masterpiece which, having been transported with this difficulty from Donatello's workshop, is now to be seen by all lovers of fine art, in part at least, at Montepulciano. In part at least: the phrase is pathetic. Poor Aragazzi, who thirsted so for ”diuturnity in monuments,”
who had been so cruelly a.s.saulted in the grave by humanistic jealousy, expressing its malevolence with humanistic crudity of satire, was destined after all to be defrauded of his well-paid tomb. The monument, a master work of Donatello and his collaborator, was duly erected. The oxen and the contractors, it appears, had floundered through the mud of Valdichiana, and struggled up the mountain-slopes of Montepulciano. But when the church, which this triumph of art adorned, came to be repaired, the miracle of beauty was dismembered. The sculpture for which Aragazzi spent his thousands of crowns, which Donatello touched with his immortalising chisel, over which the contractors vented their curses and Bruni eased his bile; these marbles are now visible as mere _disjecta membra_ in a church which, lacking them, has little to detain a traveller's haste.
On the left hand of the central door, as you enter, Aragazzi lies, in senatorial robes, asleep; his head turned slightly to the right upon the pillow, his hands folded over his breast. Very n.o.ble are the draperies, and dignified the deep tranquillity of slumber. Here, we say, is a good man fallen upon sleep, awaiting resurrection. The one commanding theme of Christian sculpture, in an age of Pagan feeling, has been adequately rendered. Bartolommeo Aragazzi, like Ilaria del Carretto at Lucca, like the canopied doges in S. Zanipolo at Venice, like the Acciauoli in the Florentine Certosa, like the Cardinal di Portogallo in Samminiato, is carved for us as he had been in life, but with that life suspended, its fever all smoothed out, its agitations over, its pettinesses dignified by death. This marmoreal repose of the once active man symbolises for our imagination the state into which he pa.s.sed four centuries ago, but in which, according to the creed, he still abides, reserved for judgment and reincarnation. The flesh, clad with which he walked our earth, may moulder in the vaults beneath. But it will one day rise again; and art has here presented it imperishable to our gaze. This is how the Christian sculptors, inspired by the majestic calm of cla.s.sic art, dedicated a Christian to the genius of repose. Among the nations of antiquity this repose of death was eternal; and being unable to conceive of a man's body otherwise than for ever obliterated by the flames of funeral, they were perforce led back to actual life when they would carve his portrait on a tomb. But for Christianity the rest of the grave has ceased to be eternal. Centuries may pa.s.s, but in the end it must be broken. Therefore art is justified in showing us the man himself in an imagined state of sleep. Yet this imagined state of sleep is so incalculably long, and by the will of G.o.d withdrawn from human prophecy, that the ages sweeping over the dead man before the trumpets of archangels wake him, shall sooner wear away memorial stone than stir his slumber. It is a slumber, too, unterrified, unentertained by dreams.
Suspended animation finds no fuller symbolism than the sculptor here presents to us in abstract form.
The boys of Montepulciano have scratched Messer Aragazzi's sleeping figure with _graffiti_ at their own free will. Yet they have had no power to erase the poetry of Donatello's mighty style. That, in spite of Bruni's envy, in spite of injurious time, in spite of the still worse insult of the modernised cathedral and the desecrated monument, embalms him in our memory and secures for him the diuturnity for which he paid his twenty thousand crowns. Money, methinks, beholding him, was rarely better expended on a similar ambition. And ambition of this sort, relying on the genius of such a master to give it wings for perpetuity of time, is, _pace_ Lionardo Bruni, not ign.o.ble.
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