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CHAPTER XXI.
IN THE VALE OF THE ARNO

Florence, September 27th.

We are getting more into the heart of Italy as we come farther south. In the old Roman days the country watered by the Po was not a part of Italy; it was Cisalpine Gaul. This we leave behind as we turn southward from Genoa. The road runs along the shore of the Mediterranean; it is a continuation of the Riviera as far as Spezzia, where we leave the sea and strike inland to Pisa, one of the Mediæval cities, which in its best days was a rival of Genoa, and which has still some memorials of its former grandeur. Here we spent a night, and the next morning visited the famous Leaning Tower, and the Cathedral and Baptistery, and the Campo Santo (filled with earth brought from Jerusalem in fifty-three ships, that the faithful might be buried in holy ground), and then pursued our way along the Valley of the Arno to Florence.

And now the inspiration of the country, the genius loci, comes upon us more and more. We are in Tuscany, one of the most beautiful portions of the whole peninsula. We are favored by the season of the year. Before we came abroad I consulted some of my travelled friends as to the best time of the year to visit Italy. Most tourists come here in the winter. Rome especially is not thought to be safe till late in the autumn. But Dr. Bellows told me that, so far from waiting for cold weather, he thought Italy could be seen in its full beauty only in an earlier month, when the country was still clothed with vegetation. Certainly it is better to see it in its summer bloom, or in the ripeness of autumn, than when the land is stripped, when the mountains are bleak and bare, when there is not a leaf on the vine or the fig-tree, and only naked branches shiver in the wintry wind. We have come at a season when the earth has still its glory on. The vineyards are full of the riches of the year; the peasants are now gathering the grapes, and we have witnessed that most picturesque Italian scene, the vintage. Dark forests clothe the slopes of the Apennines. At this season there is a soft, hazy atmosphere, like that of our Indian summer, which gives a kind of purple tint to the Italian landscapes. The skies are fair, but not more fair than that heaven of blue which bends over many a beloved spot in America. Nor is the vegetation richer, nor are the landscapes more lovely, than in our own dear vales of Berkshire. Even the Arno at this season, like most of the other rivers of Italy, is a dried up bed with only a rivulet of muddy water running through it. Later in the autumn, when the rains descend; or in the spring, when the snows melt upon the mountains, it is swollen to such a height that it often overflows its banks, and the full stream rushes like a torrent. But at present the mighty Arno, of which poets have sung so much, is not so large as the Housatonic, nor half so beautiful as that silver stream, on whose banks the meadows are always fresh and green, and where the waters are pure and sparkling that ripple over its pebbled bed.

But the position of Florence is certainly one of infinite beauty, lying in a valley, surrounded by mountains. The approach to it by a railroad, when one gets his first view from a level, is much less picturesque than in the old days when we travelled by vettura, and came to it over the Apennines, and after a long day's journey reached the top of a distant hill, from which we saw Florence afar off, sitting like a queen in the Valley of the Arno, the setting sun reflected from the Duomo and the Campanile, and from all its domes and towers.

In this Valley of Paradise we have spent a week, visiting the galleries of pictures, and making excursions to Fiesolé and other points of view on the surrounding hills, from which to look down on as fair a scene as ever smiled beneath an Italian sun.

Florence is in many respects the most attractive place in Italy, as it unites the charms of art with those of modern life; as it exists not only in the dead past, but in the living present. It is a large, thriving, prosperous city, and has become a great resort of English and Americans, who gather here in the winter months, and form a most agreeable society. There are a number of American sculptors and painters, whose works are well known on the other side of the Atlantic. Some of their studios we visited, and saw abundant evidence, that with all our intensely practical life, the elements of taste and beauty, and of a genius for art, are not wanting in our countrymen.

Florence has had a material growth within a few years, from being for a time the capital of the new kingdom of Italy. When Tuscany was added to Sardinia, the capital was removed from Turin to Florence as a more central city, and the presence of the Court and the Parliament gave a new life to its streets. Now the Court is removed to Rome, but the impulse still remains, and in the large squares which have been opened, and the new buildings which are going up, one sees the signs of life and progress. To be sure, there is not only growing but groaning, for the taxes are fearfully high here, as everywhere in Italy. The country is bearing burdens as heavy as if it were in a state of war. If only Italy were the first country in Europe to reduce her armaments, she could soon lighten the load upon her people.

But leaving aside all political and financial questions, one may be permitted to enjoy this delightful old city, with its treasures of art, and its rich historical memories. Florence has lately been revelling in its glories of old days in a celebration of the four hundredth anniversary of the birth of Michael Angelo – as a few years since it celebrated the six hundredth anniversary of the birth of Dante. Surely few men in history better deserve to be remembered than Michael Angelo, whose rugged face looks more like that of a hard-headed old Scotchman, than of one who belonged to the handsome Italian race. And yet that brain was full of beautiful creations, and in his life of eighty-nine years he produced enough to leave, not only to Florence, but to Rome, many monuments of his genius. He was great in several forms of art – as painter, sculptor, and architect – and even had some pretension to be a poet. He was the sculptor of David and Moses; the painter of the Last Judgment and the frescoes of the Sistine Chapel, and the architect who built St. Peter's. And his character was equal to his genius. He was both religious and patriotic, not only building churches, but the fortifications that defended Florence against her enemies. Such was Michael Angelo – a simple, grand old man, whose name is worthy to live with the heroes of antiquity.

We were too late to enjoy the fétes that were given at this anniversary, and were only able to be present at the performance of Verdi's Requiem, which concluded the whole. This sublime composition was written for the great Italian author Manzoni, and to be sung in the Cathedral of Milan, whose solemn aisles were in harmony with its mournful and majestic strains. Now it would have seemed more fitting in the Duomo of Florence than in a theatre, though perhaps the latter was better constructed for an orchestra and an audience. The performance of the Requiem was to be the great musical event of the year; we had heard the fame of it at Milan and at Venice, and having seen what Italy could show in one form of art, we were now able to appreciate it in another. Months had been spent in preparation. Distinguished singers were to lead in the principal parts, while hundreds were to join their voices in the tremendous chorus. On the night that we witnessed the representation, the largest theatre in Florence was crowded from pit to dome, although the price of admission was very high. In the vast assembly was comprised what was most distinguished in Florence, with representatives from other cities of Italy, and many from other countries. The performance occupied over two hours. It began with soft, wailing melodies, such as might be composed to soothe a departing soul, or to express the wish of survivors that it might enter into its everlasting rest. Then succeeded the Dies Iræ – the old Latin hymn, which for centuries has sounded forth its accents of warning and of woe. Those who are familiar with this sublime composition will remember the terrific imagery with which the terrors of the Judgment are presented, and can imagine the effect of such a hymn rendered with all the power of music. We had first a quiet, lulling strain – almost like silence, which was the calm before the storm. Then a sound was heard, but low, as of something afar off, distant and yet approaching. Nearer and nearer it drew, swelling every instant, till it seemed as if the trumpets that should wake the dead were stirring the alarmed air. At last came a crash as if a thunder peal had burst in the building. This terrific explosion, of course, was soon relieved by softer sounds. There were many and sudden transitions, one part being given by a single powerful voice, or by two or three, or four, and then the mighty chorus responding with a sound like that of many waters. After the Dies Iræ followed a succession of more gentle strains, which spoke of Pardon and Peace. The Agnus Dei and other similar parts were given with a tenderness that was quite overpowering. Those who have heard the Oratorio of the Messiah, and remember the melting sweetness of such passages as "He leadeth me beside the still waters," and "I know that my Redeemer liveth," can form an idea of the marvellous effect. I am but an indifferent judge of music, but I could not but observe how much grander such a hymn as the Dies Iræ sounds in the original Latin than in any English version. Eternal rest are sweet words in English, but in music they can never be rendered with the effect of the Latin REQUIEM SEMPITERNAM, on which the voices of the most powerful singers lingered and finally died away, as if bidding farewell to a soul that was soaring to the very presence of God. This Requiem was a fitting close to the public celebrations by which Florence did honor to the memory of her illustrious dead.

Michael Angelo is buried in the church of Santa Croce, and near his tomb is that of another illustrious Florentine, whose name belongs to the world, and to the heavens– "the starry Galileo." We have sought out the spots associated with his memory – the house where he lived and the room where he died. The tower from which he made his observations is on an elevation which commands a wide horizon. There with his little telescope – a very slender tube and very small glass, compared with the splendid instruments in our modern observatories – he watched the constellations, as they rose over the crest of the Apennines, and followed their shining path all night long. There he observed the mountains in the moon, and the satellites of Jupiter. What a commentary on the intelligence of the Roman Catholic Church, that such a man should be dragged before the Inquisition – before ignorant priests who were not worthy to untie his shoes – and required, under severe penalties, to renounce the doctrine of the revolution of the globe. The old man yielded in a moment of weakness, to escape imprisonment or death, but as he rose from his knees, his spirit returned to him, and he exclaimed "But still it moves!" A good motto for reformers of all ages. Popes and inquisitors may try to stop the revolution of the earth, but still it moves!

There is another name in the history of Florence, which recalls the persecutions of Rome – that of Savonarola. No spot was more sacred to me than the cell in the Monastery, where he passed so many years, and from which he issued, crucifix in hand (the same that is still kept there as a holy relic), to make those fiery appeals in the streets of Florence, which so stirred the hearts of the people, and led at last to his trial and death. A rude picture that is hung on the wall represents the final scene. It is in the public square, in front of the Old Palace, where a stage is erected, and monks are conducting Savonarola and two others who suffered with him, to the spot where the flames are kindled. Here he was burnt, and his ashes thrown into the Arno. But how impotent the rage that thought thus to stifle such a voice! His words, like his ashes, have gone into the air, and the winds take them up and carry them round the world. Henceforth his name belongs to history, and in the ages to come will be whispered by

 
"Those airy tongues that syllable men's names,
On sands, and shores, and desert wildernesses."
 

It is a proof of the decline of Italy under the oppression of a foreign yoke – of the paralysis of her intellectual as well as her political life – that she has produced no name to equal these in four hundred years. For though Byron eulogizes so highly, and perhaps justly, Alfieri and Canova, it would be an extravagant estimate which should assign them a place in the Pantheon of History beside the immortals of the Middle Ages.

And yet Italy has not been wholly deserted of genius or of glory in these later ages. In the darkest times she has had some great writers, as well as painters and sculptors, and in the very enthusiasm with which she now recalls in her celebrations the names of Dante and Michael Angelo, we recognize a spirit of life, an admiration for greatness, which may produce in the future those who may rank as their worthy successors.

Within a few years Florence has become such a resort of strangers that some of its most interesting associations are with its foreign residents. In the English burying ground many of that country sleep far from their native island. Some, like Walter Savage Landor and Mrs. Browning, had made Florence their home for years. Italy was their adopted country, and it is fit that they sleep in its sunny clime, beneath a southern sky. So of our countryman Powers, who was a resident of Florence for thirty-five years, and whose widow still lives here in the very pretty villa which he built, with her sons and daughter married and settled around her, a beautiful domestic group. In the cemetery I sought another grave of one known to all Americans. On a plain stone of granite is inscribed simply the name

THEODORE PARKER,

Born at Lexington, Massachusetts,

In the United States of America,

August 24th, 1810

Died in Florence

May 10th, 1860

One could preach a sermon over that grave, for in that form which is now but dust, was one of the most vigorous minds of our day, a man of prodigious force, an omnivorous reader, and a writer and lecturer on a great variety of subjects, who in his manifold forms of activity, did as much to influence the minds of his countrymen as any man of his time. He struck fierce blows, right and left, often doing more ill than good by his crude religious opinions, which he put forth as boldly as if they were the accepted faith of all mankind; but in his battle for Liberty rendering services which the American people will not willingly let die.

Mrs. Browning's epitaph is still briefer. There is a longer inscription on a tablet in the front of the house which was her home for so many years, placed there by the municipal government of Florence. There, as one looks up to those Casa Guidi Windows, which she has given as a name to a volume of her poems, he may read that "In this house lived and died Elizabeth Barrett Browning, who by her genius and her poetry made a golden link between England and Italy." But on her tomb, which is of pure white marble, is only

E. B. B. Ob. 1861.

But what need of more words to perpetuate a name that is on the lips of millions; or to speak of one who speaks for herself in the poetry she has made for nations; whose very voice thus lives in the air, like a strain of music, and goes floating down the ages, singing itself to immortality?

CHAPTER XXII.
OLD ROME AND NEW ROME. – RUINS AND RESURRECTION

Rome, October 8th.

At last we are in Rome! We reached here a week ago, on what was to me a very sad anniversary, as on the first of October of last year I came from the country, bringing one who was never to return. Now, as then, the day was sadly beautiful – rich with the hues of autumn, when nature is gently dying, a day suited to quiet thoughts and tender memories. It was late in the afternoon when we found ourselves racing along the banks of the Tiber – "the yellow Tiber" it was indeed, as its waters were turbid enough – and just as the sun was setting we shot across the Campagna, and when the lamps were lighted were rattling through the streets of the Eternal City.

To a stranger coming here there is a double interest; for there are two cities to be studied – old Rome and new Rome – the Rome of Julius Cæsar, and the Rome of Pius IX. and Victor Emmanuel. In point of historical interest there is no comparison, as the glory of the ancient far surpasses that of the modern city. And it is the former which first engages our attention.

How strange it seemed to awake in the morning and feel that we were really in the city that once ruled the world! Yes, we are on the very spot. Around us are the Seven Hills. We go to the top of the Capitol and count them all. We look down to the river bank where Romulus and Remus were cast ashore, like Moses in the bulrushes, left to die, and where, according to the old legend, they were suckled by a wolf; and where Romulus, when grown to man's estate, began to build a city. Antiquarians still trace the line of his ancient wall. On the Capitol Hill is the Tarpeian Rock, from which traitors were hurled. And under the hill, buried in the earth, one still sees the massive arch of the Cloaca Maxima, the great sewer, built by the Tarquins, through which all the waste of Rome has flowed into the Tiber for twenty-five hundred years; and there are the pillars of the ancient bridge – so they tell us – held by a hero who must have been a Hercules, of whom and his deed Macaulay writes in his "Lays of Ancient Rome" how, long after, in the traditions of the people,

 
"Still was the story told,
How well Horatius kept the bridge,
In the brave days of old."
 

Looking around the horizon every summit recalls historical memories. There are the Sabine Hills, where lived the tribe from which the early Romans (who were at first, like some of our border settlements, wholly a community of men,) helped themselves to wives. Yonder, to the south, are the Alban Hills; and there, in what seems the hollow of a mountain, Hannibal encamped with his army, looking down upon Rome. In the same direction lies the Appian Way, lined for miles with tombs of the illustrious dead. Along that way often came the legions returning from distant conquests, "bringing many captives home to Rome," with camels and elephants bearing the spoils of Africa and the East.

These recollections increase in interest as we come down to the time of the Cæsars. This is the culminating point of Roman history, as then the empire reached its highest point of power and glory. Julius Cæsar is the greatest character of ancient Rome, as soldier and ruler, the leader of armies, and the man whose very presence awed the Roman Senate. Such was the magic of his name that it was said peculiar omens and portents accompanied his death. As Shakespeare has it:

 
"In the most high and palmy state of Rome,
A little ere the mighty Julius fell,
The graves stood tenantless, and the sheeted dead
Did squeak and gibber in the Roman streets."
 

It was therefore with an interest that no other name could inspire, that we saw in the Capitol a statue, which is said to be the most faithful existing representation of that imperial man; and in the Strada Palace the statue of Pompey, which is believed to be the very one at the base of which "great Cæsar fell."⁶

With Cæsar ended the ancient Republic, and began the Empire. It was then that Rome attained her widest dominion, and the city its greatest splendor. She was the mistress of the whole world, from Egypt to Britain, ruling on all sides of the Mediterranean, along the shores of Europe, Asia, and Africa. And then the whole earth contributed to the magnificence of the Eternal City. It was the boast of Augustus, that "he found Rome of brick, and left it of marble." Under him and his successors were reared those palaces and temples, the very ruins of which are still the wonder and admiration of the world.

The knowledge of these ruins has been greatly increased by recent excavations. Till within a few years Rome was a buried city, almost as much as Pompeii. The débris of centuries had filled up her streets and squares, till the earth lay more than twenty feet deep in the Forum, choking up temples and triumphal arches; and even the lower part of the Coliseum had been submerged in the general wreck and ruin. In every part of the city could be seen the upper portions of buildings, the frieze on the capitals of columns, that were half under ground, and that, like Milton's lion, seemed pawing to be free.

But the work of clearing away this rubbish was so vast that it had been neglected from century to century. But during the occupation by the French troops, that Government expended large sums in uncovering these ruins, and the work has since been continued by Victor Emmanuel, until now, as the result of twenty years continuous labor, a buried city has been brought to light. The Forum has been cleared away, so that we may walk on its pavement, amid its broken columns, and see the very tribune from which Cicero addressed the Roman people. But beside this Central Forum, there were half a dozen others – such as the Forum of Julius Cæsar, and of Augustus, and of Nerva, and of Trajan, where still stands that marvellous Column in bronze (covered with figures in bas-relief, to represent the conquest of the Dacians), which has been copied in the Column of the Place Vendome in Paris. All of these Forums were parts of one whole. What is now covered by streets and houses, was an open space, extending from the Capitol as far as the Coliseum in one direction, and the Column of Trajan in another, surrounded by temples and basilicas, and columns and triumphal arches, and overlooked by the palaces of the Cæsars. This whole area was the centre of Rome, where its heart beat, when it contained two millions of people; where the people came together to discuss public affairs, or to witness triumphal processions returning from the wars. Here the Roman legions came with mighty tread along the Via Sacra, winding their way up to the Capitoline Hill to lay their trophies at the feet of the Senate.

Perhaps the best idea of the splendor and magnificence of ancient Rome may be gained from exploring the ruins of the palaces of the Cæsars. They are of vast extent, covering all the slopes of the Palatine Hill. Here great excavations have been made. The walk seems endless through what has been laid open. The walls are built like a fortress, as if to last forever, and decorated with every resource of art known to that age, with sculptures and ceilings richly painted, like those uncovered in the houses of Pompeii. These buildings have been stripped of everything that was movable – the statues being transported to the galleries of the Vatican. The same fate has overtaken all the great structures of ancient Rome. They have been divested of their ornaments and decoration, of gilding and bas-reliefs and statues, and in some cases have been quite dismantled. The Coliseum, it is well known, was used in the Middle Ages as a quarry for many proud noble families, and out of it were built some of the greatest palaces in Rome. Nothing saved the Pantheon but its conversion from a heathen temple into a Christian church. Hundreds and thousands of columns of porphyry and alabaster and costly marbles, which now adorn the churches of Rome, were taken from the ruins of temples and palaces.

But though thus stripped of every ornament, ancient Rome is still magnificent in her ruins. One may wander for days about the palaces of the Cæsars, walking through the libraries and theatres, under the arches and over the very tessellated pavement where those proud emperors walked nearly two thousand years ago. He should ascend to the highest point of the ruins to take in their full extent, and there he will see, looking out upon the Campagna, a long line of arches reaching many miles, over which water was brought from the distant hills for the Golden House of Nero.

Perhaps the most massive ruin which has been lately uncovered, is that of the Baths of Caracalla, which give an idea of the luxury and splendor of ancient Rome, as quite unequalled in modern times.

But, of course, the one structure which interests most of all, is the Coliseum: and here recent excavations have made fresh discoveries. The whole area has been dug down many feet, and shows a vast system of passages underground; not only those through which wild beasts were let into the arena, but conduits for water, by which the whole amphitheatre could be flooded and turned into a lake large enough for Roman galleys to sail in; and here naval battles were fought with all the fury of a conflict between actual enemies, to the delight of Roman emperor and people, who shouted applause, when blood flowed freely on the decks, and dyed the waters below.

There is one reflection that often recurs to me, as I wander among these ruins – what it is of all the works of man that really lives. Not architecture (the palaces of the Cæsars are but heaps of ruins); but the Roman laws remain, incorporated with the legislation of every civilized country on the globe; while Virgil and Cicero, the poet and the orator, are the delight of all who know the Latin tongue. Thus men pass away, their very monuments may perish, but their thoughts, their wisdom, their learning and their genius remain, a perpetual inheritance to mankind.

After Imperial Rome comes Christian Rome. Many of the stories of the first Christian centuries are fables and legends. Historical truth is so overlaid with a mass of traditions, that one is ready to reject the whole. When they show you here the stone on which they gravely tell you that Abraham bound Isaac for the sacrifice; and another on which Mary sat when she brought Christ into the temple; and the staircase from Pilate's house, the Scala Santa, up which every day and hour pilgrims may be seen going on their knees; and a stone showing the very prints of the Saviour's feet when he appeared to Peter – one is apt to turn away in disgust. But the general fact of the early planting of Christianity here, we know from the new Testament itself. Ecclesiastical historians are not agreed whether Peter was ever in Rome (although he is claimed as the first Pope), but that Paul was here we know from his epistles, and from the Book of Acts, in which we have the particulars of his "appealing to Cæsar," and his voyages to Italy, and his shipwreck on the island of Malta, his landing at Puteoli, and going "towards Rome," where he lived two years in "his own hired house," "preaching and teaching, no man forbidding him." Several of his epistles were written from Rome. It is therefore quite probable that he was confined, according to the tradition, in the Mamertine Prison under the Capitol, and one cannot descend without deep emotion into that dark, rocky dungeon, far underground, where the Great Apostle was once a prisoner, and from which he was led forth to die. He is said to have been beheaded without the walls. On the road they point out a spot (still marked by a rude figure by the roadside of two men embracing), where it is said Paul and Peter met and fell on each other's neck on the morning of the last day – Paul going to be beheaded, and Peter into the city to be crucified, which at his own request was with his head downwards, for he would not be crucified in the same posture as his Lord, whom he had once denied. On the spot where Paul is said to have suffered now rises one of the grandest churches in the world, second in Rome only to St. Peter's.

So the persecutions of the early Christians by successive emperors are matters of authentic history. Knowing this, we visit as a sacred place the scene of their martyrdom, and shudder at seeing on the walls the different modes of torture by which it was sought to break their allegiance to the faith; we think of them in the Coliseum, where they were thrown to the lions; and still more in the Catacombs, to which they fled for refuge, where they worshipped, and (as Pliny wrote) "sang hymns to Christ as to a God," and where still rest their bones, with many a rude inscription, testifying of their faith and hope.

It is a sad reflection that the Christian Church, once established in Rome, should afterwards itself turn persecutor. But unfortunately it too became intoxicated with power, and could brook no resistance to its will. The Inquisition was for centuries a recognized institution of the Papacy – an appointed means for guarding the purity of the faith. The building devoted to the service of that tribunal stands to this day, close by the Church of St. Peter, and I believe there is still a Papal officer who bears the dread title of "Grand Inquisitor." But fortunately his office no longer inspires terror, for it is at last reduced to the punishment of ecclesiastical offences by ecclesiastical discipline, instead of the arm of flesh, on which it once leaned. But the old building is at once "a prison and a palace"; the cells are still there, though happily unoccupied. But in the castle of St. Angelo there is a Chamber of Torture, which has not always been merely for exhibition, where a Pope Clement (what a mockery in the name!) had Beatrice Cenci put to the torture, and forced to confess a crime of which she was not guilty. But we are not so unjust as to impute all these cruelties of a former and a darker time to the Catholic Church of the present day. Those were ages of intolerance and of persecution. But none can deny that the Church has always been fiercely intolerant. There is no doubt that the massacre of St. Bartholomew was the occasion of great rejoicings at Rome. The bloody persecution of the Waldenses found no rebuke from him who claimed to be the vicegerent of Christ; a persecution which called forth from Milton that sublime prayer: