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+The Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Italy, the Magic Land
+
+Author: Lilian Whiting
+
+Release Date: August 10, 2009 [EBook #29658]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ITALY, THE MAGIC LAND ***
+
+
+
+
+Produced by Juliet Sutherland, Emanuela Piasentini and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  [Illustration: _Temple, Taormina_]
+
+
+
+
+                       ITALY
+
+                  THE MAGIC LAND
+
+                        BY
+
+                  LILIAN WHITING
+
+  AUTHOR OF "THE FLORENCE OF LANDOR," "THE LAND OF
+  ENCHANTMENT," "THE WORLD BEAUTIFUL," ETC.
+
+
+         "And, under many a yellow star,
+         We dropped into the Magic Land!"
+
+
+         _Illustrated from Photographs_
+
+                      BOSTON
+             LITTLE, BROWN, AND COMPANY
+                       1907
+
+
+
+
+_Copyright, 1907_,
+
+BY LITTLE, BROWN, AND COMPANY.
+
+_All rights reserved_
+
+Published November, 1907
+
+THE GRIFFITH-STILLINGS PRESS, BOSTON, U.S.A.
+
+
+
+
+  TO
+  ELLA
+
+  (MRS. FRANKLIN SIMMONS)
+
+  WHOSE EARTHLY FORM REPOSES IN THE BEAUTIFUL ROMAN CEMETERY,
+  WHERE POETIC ASSOCIATIONS WITH KEATS AND SHELLEY HAUNT
+  THE AIR,--UNDER THE SCULPTURED "ANGEL OF THE RESURRECTION,"
+  WITH ITS MAJESTIC SYMBOLISM OF THE
+  TRIUMPH OF IMMORTALITY,--BUT WHOSE RADIANT
+  PRESENCE STILL TRANSFIGURES THE LIFE THAT
+  HELD HER IN IMMORTAL DEVOTION,--
+  THESE PAGES ARE INSCRIBED,
+
+  WITH THE UNFORGETTING LOVE OF
+
+                    LILIAN WHITING.
+
+ROME, ITALY, May Days, 1907.
+
+
+
+
+    "_Nor Life is ever lord of Death,
+    And Love can never lose its own._"
+
+
+
+
+PREFATORY NOTE
+
+
+That Florence, the "Flower City," receives only a passing allusion in
+this record of various impressions that gleam and glow through the days
+after several visits to the Magic Land, is due to the fact that in a
+previous volume by the writer--one entitled "The Florence of
+Landor"--the lovely Tuscan town with its art, its ineffable beauty, and
+its choice social life, formed the subject matter of that volume. Any
+attempt to portray Florence in the present book would savor only of the
+repetition of loves and enthusiasms already recorded in the previous
+work in which Walter Savage Landor formed the central figure. For that
+reason no mention of Florence, beyond some mere allusion, is attempted
+in these pages, which only aim to present certain fragmentary
+impressions of various sojourns in Italy, refracted through the prism of
+memory. Whatever inconveniences or discomfort attend the traveller
+swiftly fade, and leave to him only the precious heritage of resplendent
+sunset skies, of poetic association, of artistic beauty. In spirit he is
+again lingering through long afternoons in St. Peter's till the golden
+light through the far windows of the tribune is merged into the dusk of
+twilight in which the vast monumental groups gleam wraith-like. Again
+he is ascending the magnificent _Scala Regia_, and lingering in the
+Raphael Stanze, or in the wonderful sculpture galleries of the Vatican,
+or sauntering in the sunshine on the Palatine. In memory he is again
+spellbound by ancient and mediæval art. In the line of modern sculpture
+the work of Franklin Simmons in Rome is a feature of Italy that haunts
+the imagination. No lover of beauty would willingly miss his great
+studios in the Via San Nicolo da Tolentino, with their wealth of ideal
+creations that contribute new interest to the most divine of all the
+arts.
+
+    "The world of art is an ideal world,--
+    The world I love, and that I fain would live in;
+    So speak to me of artists and of art,
+    Of all the painters, sculptors, and musicians
+    That now illustrate Rome."
+
+The mystic charm of the pilgrimage to Assisi; the romance that reflects
+itself in the violet seas and flaming splendors of the sky on the shores
+of Ischia and Capri; the buried treasures of Amalfi; the magnetic
+impressiveness of the Eternal City,--all these enter into life as new
+forces to build and shape the future into undreamed-of destinies.
+
+                    L. W.
+
+  THE BRUNSWICK, BOSTON,
+  October Days, 1907.
+
+
+
+
+CONTENTS
+
+
+                                                          PAGE
+
+  I THE PERIOD OF MODERN ART IN ROME                         3
+
+  II SOCIAL LIFE IN THE ETERNAL CITY                       127
+
+  III DAY-DREAMS IN NAPLES, AMALFI, AND CAPRI              227
+
+  IV A PAGE DE CONTI FROM ISCHIA                           281
+
+  V VOICES OF ST. FRANCIS OF ASSISI                        341
+
+  VI THE GLORY OF A VENETIAN JUNE                          389
+
+  VII THE MAGIC LAND                                       423
+
+  INDEX                                                    459
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  Temple, Taormina                       _Frontispiece in Photogravure_
+
+  Angel, Church of San Andrea delle Fratte, Rome            _Page_   12
+
+  Detail from the Stuart Monument, St. Peter's, Rome          "      24
+
+  Tomb of Clement XIII, St. Peter's, Rome                     "      32
+
+  "The Genius of Death," Detail from the Tomb
+  of Clement XIII, St. Peter's, Rome                          "      43
+
+  "La Fortuna," Accadémia di San Luca, Rome                   "      47
+
+  Spanish Steps, Piazza Trinità dei Monti, Rome               "      72
+
+  Tomb of Pio Nono, San Lorenzo (Fuori le Mura) Rome          "      75
+
+  "The Dance of the Pleiades"                                 "      92
+
+  "Grief and History," Detail from Naval Monument,
+  Washington                                                  "     105
+
+  "The Genius of Progress Leading the Nations"                "     108
+
+  "Mother of Moses"                                           "     112
+
+  "Valley Forge"                                              "     116
+
+  La Pieta, St. Peter's, Rome                                 "     120
+
+  Villa Medici, Rome                                          "     134
+
+  Entrance to Villa Pamphilia-Doria, Rome                     "     159
+
+  Statue of Christ, Ancient Church of San Martina, Rome       "     193
+
+  Castel San Angelo and St. Peter's, Rome                     "     204
+
+  Porta San Paola, Pyramid of Caius Cestius, Rome             "     216
+
+  Castel Sant'Elmo, Naples                                    "     231
+
+  Ancient Temple, Baiæ                                        "     241
+
+  Ischia, from the Sea                                        "     282
+
+  La Rocca, Ischia                                            "     294
+
+  Castello di Alfonso, Ischia                                 "     306
+
+  Detail from "Parnassus," Raphael Stanze, Palazzo
+  Vaticano, Rome                                              "     311
+
+  Vittoria Colonna, Galleria Buonarroti, Florence             "     320
+
+  San Francescan Convent-Church, Assisi                       "     346
+
+  St. Francis d'Assisi, The Duomo, Assisi                     "     366
+
+  Santa Chiara, The Duomo, Assisi                             "     375
+
+  Baiæ and Ischia, from Camaldoli                             "     382
+
+  Ruins of the Greek Theatre, Taormina, Sicily                "     429
+
+  Ponte Vecchio, Florence                                     "     434
+
+  Campo Santo, Genoa                                          "     453
+
+
+
+
+    "_Rest we content if whispers from the stars
+    In wafting of the incalculable wind
+    Come blown at midnight through our prison-bars._"
+
+
+
+
+THE MAGIC LAND
+
+    _By woodland belt, by ocean bar,
+      The full south breeze our forehead fanned;
+    And, under many a yellow star,
+      We dropped into the Magic Land._
+
+           *       *       *       *       *
+
+    _We heard, far-off, the siren's song;
+      We caught the gleam of sea-maids' hair;
+    The glimmering isles and rocks among
+      We moved through sparkling purple air._
+
+    _Then Morning rose, and smote from far
+      Her elfin harps o'er land and sea;
+    And woodland belt, and ocean bar
+      To one sweet note sighed--"Italy!"_
+
+                    OWEN MEREDITH.
+
+
+
+
+ITALY, THE MAGIC LAND
+
+
+
+
+I
+
+THE PERIOD OF MODERN ART IN ROME
+
+    But ah, that spring should vanish with the Rose!
+    That youth's sweet-scented manuscript should close?
+    The nightingale that in the branches sang,
+    Oh, where and whither flown again,--who knows?
+
+                    OMAR KHAYYAM.
+
+
+ROME, as the picturesque city of the Popes in the middle years of the
+nineteenth century, was resplendent in local color. It was the Rome of
+sunny winters; the Rome of gay excursions over that haunted sea of the
+Campagna to pictorial points in the Alban and Sabine hills; the Rome of
+young artist life, which organized impromptu festas with Arcadian
+freedom, and utilized the shadow or the shelter of ruined temples or
+tombs in which to spread its picnic lunches and bring the glow of
+simple, friendly intercourse into the romantic lights of the poetic,
+historic, or tragic past. There were splendid Catholic processions and
+ceremonials that seemed organized as a part of the stage scenery that
+ensconced itself, also, with the nonchalance of easy possession, in the
+vast salons of historic palaces where tapestried walls and richly
+painted ceilings, arched high overhead, with statues dimly seen in
+niches here and there, and the bust of some crowned Antoninus, or
+radiant Juno, gleaming from a shadowy corner, all made up the
+_mise-en-scène_ of familiar evenings. There were lingering hours in the
+gardens of the Villa Medici into whose shades one strolled by that
+beguiling path along the parapet on Monte Pincio, through the beautiful
+grove with its walks and fountains. The old ilex bosquet, with its
+tangled growth and air of complete seclusion, had its spell of
+fascination. Then, as now, the elevated temple, at the end of the main
+path, seemed the haunt of gods and muses. In all the incidental, as well
+as the ceremonial social meeting and mingling, art and religion were the
+general themes of discussion. This idyllic life--
+
+    "Comprehending, too, the soul's
+    And all the high necessities of art"--
+
+has left its impress on the air as well as its record on many a page of
+the poet and the romancist. The names that made memorable those
+wonderful days touch chords of association that still vibrate in the
+life of the hour. For the most part the artists and their associates
+have gone their way--not into a Silent Land, a land of shadows and
+vague, wandering ghosts--but into that realm wherein is the "life more
+abundant," of more intense energy and of nobler achievement; the realm
+in which every aspiration of earth enlarges its conception and every
+inspiration is exalted and endowed with new purpose; the realm where, as
+Browning says,--
+
+    "Power comes in full play."
+
+The poet's vision recognizes the truth:--
+
+    "I know there shall dawn a day,
+      --Is it here on homely earth?
+    Is it yonder, worlds away,
+      Where the strange and new have birth,
+    That Power comes in full play?"
+
+The names of sculptor, painter, and poet throng back, imaged in that
+retrospective mirror which reflects a vista of the past, rich in ideal
+creation. Beautiful forms emerge from the marble; pictorial scenes glow
+from the canvas; song and story and happy, historic days are in the
+very air. To Italy, land of romance and song, all the artists came
+trooping, and
+
+    "Under many a yellow Star"
+
+they dropped into the Magic Land. If the wraiths of the centuries long
+since dead walked the streets, they were quite welcome to revisit the
+glimpses of the moon and contribute their mystery to the general
+artistic effectiveness of the Seven-hilled City. All this group of
+American idealists, from Allston and Page to Crawford, Story, Randolph
+Rogers, Vedder, Simmons, and to the latest comer of all, Charles Walter
+Stetson, recognized something of the artist's native air in this Mecca
+of their pilgrimage.
+
+It was, indeed, quite natural, on account of the stupendous work of
+Michael Angelo and the unrivalled museums of the Vatican, that Rome
+should have become pre-eminently the artistic centre of the nineteenth
+century and should have attracted students and lovers of art from all
+parts of the world. The immortal works of the two great periods, the
+Greek and the Renaissance,--the art that was forever great because it
+was the outgrowth of profound religious conviction,--were enshrined in
+the churches and the galleries of Rome. The leading countries of Europe
+sent here their aspiring students and established permanent academies
+for their residence. Germany, France, and England were thus represented.
+Thorwaldsen came as a pensioner from the Academy of Fine Arts in
+Copenhagen; and it was during his life, and that of the noble Canova,
+that Rome began to be recognized as the modern world-centre of art. Was
+it not a natural sequence that the early painters and sculptors who came
+to study under the stimulating influences of the great masterpieces of
+the past should linger on in the city whose very air became to them the
+breath of inspiring suggestion? Where but in Rome would have come to
+Crawford the vision of his "Orpheus" and of his noble Beethoven? or to
+Story his "Libyan Sibyl," and that exquisite group, "Into the Silent
+Land"? or to Vedder his marvellous creations of "The Fates Gathering in
+the Stars," the "Cumæan Sibyl," or the "Dance of the Pleiades"? to
+Simmons his triumphant "Angel of the Resurrection," and "The Genius of
+Progress Leading the Nations"? or to Stetson that ineffable vision of
+"The Child," and that wonderful group called "Music"? whose coloring
+Titian or Giorgione might well mistake for their own.
+
+Under the Pontifical _régime_ the general character of Rome was mediæval
+and religious. The perpetual festas of the church made the streets
+constantly picturesque with their processions of monks, and friars, and
+priests, and these wonderful blendings of color and scenic effect
+stimulated the artistic sense. The expenses of living in Rome were then
+only a fraction of what the cost is at the present time; and as the city
+was the resort of the wealthy and cultured few, the artists were
+surrounded by the stimulus of critical appreciation and of patronage.
+Their work, their dreams, were the theme of literary discussion, and
+focussed the attention of the polite world. Their studios were among the
+important interests to every visitor in the Eternal City. In those days
+the traveller did not land with his touring car at Naples, make "the
+run" to Rome in a record that distanced any possibilities of railroad
+trains, pass two or three days in motoring about the city and its
+environs, seeing the exterior of everything in a dissolving view and the
+interior of nothing,--as within this time, at least, he must flash on
+in his touring car to Florence. On the contrary, the traveller proceeded
+to Rome with serious deliberation, and with a more realizing sense of
+undertaking a journey than Walter Wellman experiences in attempting to
+fly in his aero-car to the North Pole and send his observations across
+the polar seas by wireless telegraphy. The visitor went to Rome for a
+winter, for a year, and gave himself up to leisurely impressions. Rome
+was an atmosphere, not a spectacle, and it was to be entered with the
+lofty and reverent appreciation of the poet's power and the artist's
+vision.
+
+In Rome, Thomas Cole painted some of his best pictures; and in Rome or
+Florence wrought a long list of painters and sculptors. Whether in the
+Eternal City or in the Flower City, their environment was alike
+Italy--the environment of the Magic Land. Among the more prominent of
+all these devotees of Beauty several nationalities were represented.
+Each might have said of his purpose, in the words of William Watson:--
+
+    "I follow Beauty; of her train am I,
+      Beauty, whose voice is earth and sea and air;
+    Who serveth, and her hands for all things ply;
+      Who reigneth, and her throne is everywhere."
+
+Among these artists there flash upon memory the names of Vanderlyn,
+Benjamin West, Allston, Rauch, Ange, Veit, Tenerani, Overbeck, Schadow,
+Horace Vernet, Thorwaldsen, John Gibson, Hiram Powers, Crawford, Page,
+Clark Mills, Randolph Rogers, William Rinehart, Launt Thompson, Horatio
+and Richard Greenough, Thomas Ball, Anne Whitney, Larkin G. Mead, Paul
+Akers, William Wetmore Story, Harriet Hosmer, J. Rollin Tilton, and,
+later, Elihu Vedder, Moses Ezekiel, Franklin Simmons, Augustus St.
+Gaudens, and Charles Walter Stetson, the name of Mr. Stetson linking the
+long and interesting procession with the immediate life of to-day. Of
+these later artists Story, Miss Hosmer, Ezekiel, Vedder, Simmons, and
+Stetson are identified with Rome as being either their permanent or
+their prolonged residence. Mr. St. Gaudens was a transient student,
+returning to his own country to pursue his work; and of two young
+sculptors, Hendrick Christian Anderson and C. Percival Dietsch, time has
+not yet developed their powers beyond an experimental stage of brilliant
+promise.
+
+  [Illustration: ANGEL, CHURCH OF SAN ANDREA DELLE FRATTE, ROME
+                 Giovanni Lorenzo Bernini
+                 _Page 32_]
+
+The Rome of the artists of clay and canvas was also the Rome of the
+poets and romancists, of authors in all lines of literary achievement.
+How the names of the procession of visitors and sojourners in the
+Eternal City, from Milton, Goethe, and Mme. de Staël to Henry James,
+Marion Crawford, Richard Bagot, and Grace Ellery Channing (Mrs. Charles
+Walter Stetson), gleam from that resplendent panorama of the modern past
+of Rome! Like the words in electric fire that flash out of the darkness
+in city streets at night, there shine the names of Shelley and of Keats;
+of Gladstone, on whom in one memorable summer day, while strolling in
+Italian sunshine, there fell a vision of the sacredness and the
+significance of life and its infinite responsibility in the fulfilment
+of lofty purposes. What charming associations these guests and
+sojourners have left behind! Hawthorne, embodying in immortal romance
+the spirit of the scenic greatness of the Eternal City; Margaret Fuller,
+Marchesa d'Ossoli, allying herself in marriage with the country she
+loved, and living in Rome those troubled, mysterious years that were to
+close the earthly chapter of her life; Robert and Elizabeth Browning,
+the wedded poets, who sang of love and Italy; Harriet Beecher Stowe,
+finding on the enchanted Italian shores the material which she wove
+with such irresistible attraction into the romance of "Agnes of
+Sorrento;" Longfellow, with his poet's vision, transmuting every vista
+and impression into some exquisite lyric; Lowell, bringing his
+philosophic as well as his poetic insight to penetrate the untold
+meaning of Rome; Thomas William Parsons, making the country of Dante
+fairly his own; Thackeray, with his brilliant interpretation of the
+_comédie humaine_; Emerson, who, oblivious of all the glories of art or
+the joys of nature, absorbed himself in writing transcendental letters
+to his eccentric, but high-souled aunt, Mary Moody Emerson; Ruskin,
+translating Italian art to Italy herself; Dr. Samuel Gridley Howe and
+his poet wife, Mrs. Julia Ward Howe, in the first flush of their bridal
+happiness, when Mrs. Howe's impassioned love for the Seven-hilled City
+inspired many a lyric that mirrors the Roman atmosphere of that day;
+Kate Field, with a young girl's glad enthusiasm over the marvellous
+loveliness of a Maytime in Rome, and her devotion to those great
+histrionic artists, Ristori and Salvini; George Stillman Hillard,
+leaving to literature the rich legacy of his "Six Months in
+Italy,"--a work that to this day holds precedence as a clear and
+comprehensive presentation of the scenic beauty, the notable monumental
+and architectural art, and the general life and resources of this land
+of painter and poet. Other names, too, throng upon memory--that of
+William Dean Howells, painting Italian life in his "Venetian Days," and
+charming all the literary world by his choice art; and among later work,
+the interesting interpretations of Rome and of social life in Rome, by
+Marion Crawford, Henry James, and Richard Bagot,--in chronicle, in
+romance, or in biographical record. During the last quarter of the
+nineteenth century, indeed, the visitors to Rome--authors, artists,
+travellers of easy leisure--defy any numerical record. Mrs. Louise
+Chandler Moulton, poet, romancist, and delightful _raconteur_ as well,
+has recorded some charming impressions of her various sojourns in Rome
+both in her "Random Rambles" and in "Lazy Tours." Of the Palatine Hill
+we find her saying:--
+
+     "Sometimes we go to the Palace of the Cæsars, and look off upon the
+     heights where the snow lingers and the warm light rests, making
+     them shine like the Delectable Mountains. Nearer at hand are the
+     almond trees, in flower, or the orange trees, bright at once with
+     their white, sweet blossoms and their golden fruit."
+
+Mrs. Moulton writes of the "stately dwellers" in Rome whom time cannot
+change; and to whom, whenever she returns, she makes her first visit;
+some of whom are in the mighty palace of the Vatican and some of whom
+dwell in state in the Capitol.
+
+     "The beautiful Antoninus still wears his crown of lotus in Villa
+     Albani and the Juno whom Goethe worshipped reigns forever at the
+     Ludovisi," she writes; "I can never put in words the pleasure I
+     find in these immortals." Mrs. Moulton loved to wander in the Villa
+     Borghese "before the place is thronged with the beauty and fashion
+     of Rome as it is in the late afternoon. I do not wonder that Miriam
+     and Donatello could forget their fate in these enchanted glades,"
+     she wrote, "and dance as the sunbeams danced with the shadows.
+     Sometimes I seem to see them where the sun sifts through the young
+     green leaves, and her beauty--her human, deep-souled beauty--and
+     his fantastic grace are the only things here that cannot change.
+
+     "The walls will crumble; the busts of kings and heroes and poets
+     will lose their contours, the lovely Roman ladies also grow old and
+     fade, and vanish from sight and from memory; but still these two,
+     hopeless yet happy, will dance in these wild glades immortally
+     beyond the reach of the effacing years."
+
+The visit to Rome of the Rev. Dr. Phillips Brooks--later the Bishop of
+Massachusetts--is immortalized in the most lifelike portrait bust of the
+great preacher ever modelled; a bust in which the genius of the
+sculptor, Franklin Simmons, found one of its noblest expressions, and
+has perpetuated, with masterly power, the energy of thought, at once
+profound and intense, in the countenance of Bishop Brooks. These, and
+many another whom the gods have loved and dowered with gifts, rise
+before any retrospective glance over the comparatively recent past of
+Rome. Bishop Brooks passed there the Holy Week of one Lenten season,
+and of the Miserere in the Sistine Chapel he wrote that it was certainly
+the most wonderful music to which he had ever listened; and he added:--
+
+     "The Miserere in the Sistine, the Benediction from the balcony, the
+     solemn moment of the elevation of the Host on Easter, and the
+     illumination of St. Peter's, these all seem to reach very
+     remarkably the great ideal of the central religious commemoration
+     of Christendom."
+
+It was in the winter of 1828 that Mr. Longfellow first visited Rome,
+which "is announced," he wrote, "by Nero's tomb," and he quotes Dupaty's
+lines:--
+
+    "Quoi! c'est là Rome? quoi!
+    C'est le tombeau de Neron qui l'annonce."
+
+Mr. Longfellow expressed his love for the Eternal City, and in a
+personal letter[1] he said:--
+
+     "I have been so delighted with Rome that I have extended my
+     residence much beyond my original intention. There is so much in
+     the city to delay the stranger; the villages in the environs are so
+     beautiful, and there is such a quiet and stillness about everything
+     that, were it in my power, I should be induced to remain the whole
+     year round. You can imagine nothing equal to the ruins of Rome. The
+     Forum and the Coliseum are beyond all I had ever fancied them; and
+     the ruined temples and the mouldering aqueducts which are scattered
+     over the Campagna; I do not believe there is a finer view in the
+     world than that from the eastern gate of the city, embracing the
+     Campagna, with its ruined aqueducts diverging in long broken
+     arcades, and terminated by the sweep of the Albanian hills,
+     sprinkled with their white villages, and celebrated in song and
+     story! But the great charm of the scene springs from association;
+     and though everything in Italy is really picturesque, yet strip the
+     country of its historic recollections,--think merely of what it is,
+     and not of what it has been,--and you will find the dream to be
+     fading away.
+
+     "You would be shocked at the misery of the people, especially in
+     the Pope's dominions: but their element seems to be in rags and
+     misery; and with the ceremonials of their religion and the holidays
+     of the church, which average nearly three a week, they are
+     poor--and lazy and happy. I mean, happy in their way."
+
+In a later visit the poet was domiciled in an hotel on the Piazza
+Barberini, where the wonderful view included then the entire city "to
+where St. Peter's dome darkens against the sunset." Of this visit his
+brother, Rev. Samuel Longfellow, writes:--
+
+     "Here Mr. Longfellow became for the season the centre of the group
+     of American visitors and resident artists, whose well-known names
+     need not be recounted. Here he made, also, acquaintances among the
+     Italians,--especially the Duke of Sermoneta, the Dantean scholar,
+     and Monsignore Nardi, of the papal court. The Pope himself he did
+     not visit. An interesting acquaintance was that made with the Abbé
+     Liszt, who was spending the winter in Rome, having rooms in the
+     abandoned Convent of Santa Francesca, in the Forum. Calling there
+     one evening, in company with Mr. Healy the artist, the inner door
+     of the apartment was opened to them by Liszt himself, holding high
+     in his hand a candle which illuminated his fine face. The picture
+     was so striking that Mr. Longfellow begged his companion to put it
+     upon canvas,--which he did; and the painting now hangs in the
+     library of Craigie House. At a morning visit, Liszt delighted the
+     party with a performance upon his Chickering pianoforte.
+
+     "To see Rome, as all travellers know, is a work for many months;
+     and it was pursued with tolerable diligence. But Mr. Longfellow was
+     never a good sight-seer. He was impatient of lingering in picture
+     galleries, churches, or ruins. He saw quickly the essential points,
+     and soon tired of any minuter examination."
+
+But long, indeed, before nineteenth-century artists and authors laid
+siege to the Eternal City, in the far-away years of 1638, Milton visited
+Rome, and there still remains the tablet, on the wall of the _casa_ in
+the Via delle Quattro Fontane in which he stayed, a tablet bearing an
+inscription giving the date of his visit; as, also, in Via Machella,
+there is an inscription marking the place where Scott lived during his
+visit to Rome. Goethe made his memorable tour to Italy in 1786--fourteen
+years before the dawn of the nineteenth century--and wrote: "I feel the
+greatest longing to read Tacitus in Rome;" and again (an observation
+with which every visitor to the Eternal City will sympathize) he
+noted:--
+
+     "It grows more and more difficult for me to render an account of my
+     residence in Rome, for as we always find the sea deeper the further
+     we go, so it is with me in observation of this city.... Wherever we
+     go and wherever we stand, we see about us a finished
+     picture,--forms of every kind and style; palaces and ruins; gardens
+     and wastes; the distant and the near houses; triumphal arches and
+     columns,--often all so close together that they might be sketched
+     on a single sheet. One should have a thousand points of steel with
+     which to write, and what can a single pen do? and then in the
+     evening one is weary and exhausted with the day of seeing and
+     admiring. Here one reads history from within outward."
+
+Chateaubriand, who in his earliest youth had visited America as the
+guest of Washington, passed the winter of 1803-4 in Rome, and his
+pictorial transcriptions of the city and its environs are among the most
+exquisite things in literary record. As, for instance, this description
+of a sunset from Monte Mario:--
+
+     "I was never weary of seeing, from the Villa Borghese, the sun go
+     down behind the cypresses of Monte Mario, and the pines of the
+     Villa Pamphili planted by Le Notre. I have stood upon the Ponte
+     Molle to enjoy the sublime spectacle of the close of day. The
+     summits of the Sabine hills appeared of lapis lazuli and pale gold,
+     while their bases and sides were bathed in vapors of violet or
+     purple. Sometimes lovely clouds, like fairy cars, borne along by
+     the evening wind with inimitable grace, recall the mythological
+     tales of the descent of the deities of Olympus. Sometimes old Rome
+     seems to have spread all over the west the purple of her consuls
+     and her Cæsars, beneath the last steps of the god of day. This rich
+     decoration does not vanish so quickly as in our climate. When we
+     think the hues are about to disappear they revive on some other
+     point of the horizon; one twilight follows another and the magic of
+     sunset is prolonged."
+
+It was in the same year that Mme. de Staël visited Rome and recorded, in
+her glowing romance, "Corinne," the impressions she received. In the
+spring of 1817 Lord Byron found in Rome the inspiration that he
+transmitted into that wonderful line in "Childe Harold":--
+
+    "The Niobe of Nations! There she stands."
+
+It was two years later that Shelley passed the spring in the
+Seven-hilled City, retiring to Leghorn later, to write his tragedy of
+"The Cenci."
+
+In Rome the visitor follows Michael Angelo and Raphael through the
+various churches and museums. The celebrated sibyls of Raphael are in
+the Santa Maria della Pace; his "Isaiah" is in San Agostino and his
+"Entombment" in the Casino of the Villa Borghese. While the sublime work
+of Michael Angelo in the Sistine Chapel is always one of the first
+things in Rome to which the traveller goes to study that incomparable
+work portraying the Creation--the Prophets and the Sibyls, the Angels
+and the Genii, that record the impassioned power of the master--yet all
+footsteps turn quickly, too, to the church called San Pietro in Vincoli,
+near the house in which Lucrezia Borgia lived, in which is the colossal
+Moses of Michael Angelo. As it stands, it fails to convey the first
+design of the great sculptor. Originally intended for the tomb of Pope
+Julius II, the plan included a massive block of marble (some forty by
+twenty feet) surmounted by a cornice and having its niches, its columns,
+and its statues, of which the Moses was to have been one. It would then
+have been judged relatively to the entire group, while now it is seen
+alone, and thus out of the proportions that were in the mind of the
+artist. The entire conception, indeed, was to unite sculpture and
+architecture into one splendid combination. "Thus the statue of Moses
+was meant to have been raised considerably above the eye of the
+spectator," writes Mr. Hillard, "and to have been a single object in a
+colossal structure of architecture and sculpture, which would have had a
+foreground and a background, and been crowned with a mass at once
+dome-like and pyramidal. Torn, as it is, from its proper place; divorced
+from its proportionate companionship; stuck against the wall of a
+church; and brought face to face with the observer,--what wonder that so
+many of those who see it turn away with no other impressions than those
+of caricature and exaggeration!"
+
+Mr. Hillard adds:--
+
+     "But who that can appreciate the sublime in art will fail to bow
+     down before it as embodied in this wonderful statue? The majestic
+     character of the head, the prodigious muscles of the chest and
+     arms, and the beard that flows like a torrent to the waist,
+     represent a being of more than mortal port and power, speaking with
+     the authority, and frowning with the sanctions of incarnate law.
+     The drapery of the lower part of the figure is inferior to the
+     anatomy of the upper part. Remarkable as the execution of the
+     statue is, the expression is yet more so; for notwithstanding its
+     colossal proportions, its prominent characteristic is the
+     embodiment of intellectual power. It is the great leader and
+     lawgiver of his people that we see, whose voice was command, and
+     whose outstretched arm sustained a nation's infant steps. He looks
+     as if he might control the energies of nature as well as shape the
+     mould in which the character of his people should be formed. That
+     any one should stand before this statue in a scoffing mood is to me
+     perfectly inexplicable. My own emotions were more nearly akin to
+     absolute bodily fear. At an irreverent word, I should have expected
+     the brow to contract into a darker frown, and the marble lips to
+     unclose in rebuke."
+
+  [Illustration: DETAIL FROM STUART MONUMENT, ST. PETER'S, ROME
+                   Antonio Canova
+                   _Page 33_]
+
+William Watson condenses his impressions of this majestic sculpture in
+the following quatrain.--
+
+    "The captain's might, and mystery of the seer--
+      Remoteness of Jehovah's colloquist,
+    Nearness of man's heaven-advocate--are here:
+      Alone Mount Nebo's harsh foreshadow is miss'd."
+
+The impressive group of sculptures and buildings on the
+Campidoglio--where once the shrine of Jupiter Capitolinus stood--owes
+its present picturesque scheme largely to Michael Angelo. The
+fascination of the long flights of steps leading from the Piazza
+Aracöeli to the Capitoline, where the ancient bronze equestrian statue
+of Marcus Aurelius forever keeps guard, is indescribable. The historic
+statues of Castor and Pollux mark the portals; on either hand there are
+seen the Muses of ancient sculpture, the Palazzo Senatoriale and the
+Palazzo dei Conservatori. There is in the entire world no more classic
+ground than is found in this impressive grouping of art and
+architecture.
+
+The genius of Raphael has recorded itself in those brilliant and
+imperishable works that enthrall the student of art in the Raphael
+stanze in the Vatican. He was imbued with the spirit of Greek art, and
+while Titian is a greater colorist, while Correggio, Botticelli,
+Perugino, and other artists that could be named equal or exceed Raphael
+in certain lines, yet as the interpreter of the profoundest thought, and
+for his philosophic grasp and his power to endow his conceptions with
+the most brilliant animation, he stands alone. The religious exaltation
+of "The Transfiguration" reveals the supreme degree of the divine genius
+of Raphael. That this painting was the last work of his life, that it
+was placed above his body as it lay in state, and was carried in his
+funeral procession, invests it with peculiar interest.
+
+As a draftsman Raphael was second only to Michael Angelo, with whom he
+must forever share the immortality of fame. The Academy in Venice holds
+some of his choicest drawings, and in the Venetian sketch-book in the
+National Gallery in London are many of his small pictures, including
+that of the "Knight's Dream."
+
+It was in the autumn of 1508, when Raphael was in his twenty-fifth year,
+that he was called to Rome in the service of the Pope. The Pontiff at
+this time was Pope Julius II, whose successor was Leo X, and under their
+pontificates (from 1508 to 1520) Raphael produced these masterpieces
+which stand unrivalled in the world save by the creations of Michael
+Angelo in the Capella Sistina. The celebrated "Four Sibyls" of Raphael
+are not, however, in the stanze of the Vatican, but in the Church of San
+Maria della Pace. In the Palazzo Vaticano these four wonderful stanze
+entrance the visitor; the Stanza della Signatura, the Stanza d'Eliodoro,
+the Stanza dell'Incendio and the Sala di Constantino.
+
+For the decoration of these stanze several painters from Umbria had been
+summoned,--Perugino, Sodoma, Signorelli, and others; but when Raphael
+had produced the "Disputa" in the Sala della Signatura, Pope Julius II
+recognized the work as so transcendent that he ordered the other artists
+to cease and even had some of their paintings obliterated that there
+might be more space for the exercise of Raphael's genius. In the
+"Disputa" are glorified the highest expressions of the human
+intellect--the domain portrayed being that of Theology, Philosophy,
+Poetry, and Justice. The splendor of this creation transcends all
+attempts of interpretation in language. Against a background of gold
+mosaic are portrayed these typical figures enthroned on clouds where
+genii flit to and fro bearing tablets with inscriptions. Theology holds
+in the left hand a book, while the other points to the vision of angels;
+Poetry, laurel-crowned, is seen seated on a throne with books and lyre;
+Philosophy wears a diadem, and Justice, with her balance and her sword,
+is also crowned. The title of this marvellous work is misleading. Its
+message is not that of disputation but of beatitude. At the altar are
+grouped the congregation; the mystic spell of heavenly enthusiasm
+enfolds the scene as an atmosphere, as above the heavens open and the
+glorified Christ, surrounded by the saints who have kept the faith, is
+disclosed to the devotees kneeling below, while a choir of listening
+angels bend over them from the distant clouds in the background.
+
+Under Poetry are grouped Apollo and the Muses, and the figures of Homer,
+Dante and Virgil, of Petrarcha, Anacreon and Sappho, of Pindar and of
+Horace are recognized. The great scholars seen in the Philosophy include
+Plato and Aristotle, while in the groups under Justice, Moses and Solon
+are seen.
+
+"Raphael seems to have never known despair," remarked Franklin Simmons
+of the work of this divine genius. "His paintings reveal no struggle,
+but seem to have been produced without effort, as if brought into
+existence by an enchanter's wand."
+
+No observation could more vividly interpret the wonderful effect
+produced on the student by Raphael, and he cannot but recall the truth
+expressed in these lines of Festus:--
+
+            "All aspiration is a toil;
+    But inspiration cometh from above
+    And is no labor."
+
+The inspiration of Raphael was of the noblest order. His genius, his
+kindling enthusiasm, his ecstasy of religious devotion, have left an
+imperishable heritage to art. By his transcendent gifts he represents
+the highest manifestation of the art of painting in the Renaissance. For
+the true note in art lies in spiritual perception. Not so brilliant a
+colorist as Titian, he was more the interpreter of the extension of
+human activity into that realm of the life more abundant, and with his
+extraordinary facility of execution he united exquisite refinement and
+unerring sense of beauty and the masterly power in composition that
+fairly created for the spectator the visions that his soul beheld. "I
+say to you," said Mr. Bryce recently in a press interview,--"I say to
+you, each oncoming tide of life requires and needs men of lofty thought
+who shall dream for it, sing for it, who shall gather up its tendencies,
+formulate its ideals and voice its spirit." One of those men of lofty
+thought who thus dream for the ages was Raphael, and his power and glory
+have left an ineffaceable impress upon human life. He was the divinely
+appointed messenger of beauty, and he was never disobedient to the
+heavenly vision.
+
+    "Time hath no tide but must abide
+      The servant of Thy will;
+    Tide hath no time, for to Thy rhyme
+      The ranging stars stand still."
+
+The decline of art after Michael Angelo and Raphael was marked. The very
+splendor and power of their creations, instead of inspiring those who
+immediately followed them, produced almost the inertia of despair. In
+the reverence and awe and admiration with which these transcendent
+masterpieces were approached any power to originate seemed futile by
+contrast. Imitation rather than creation became the method adopted,
+resulting in an increased poverty of design and feeble execution. The
+art of the sixteenth century deteriorated rapidly till the baroco style
+was in evidence. One reason, too, for the decline was in that art was no
+longer so exclusively dedicated to the high service of religion, but
+aimed, instead, to please and to procure patrons, and thus were all
+worthy standards lowered to pernicious levels.
+
+A sculptor who left his impress upon the sixteenth-century art was
+Lorenzo Bernini, a Neapolitan (born in 1598) who died in Rome in 1685.
+The work of Bernini has a certain fascination and airy touch that, while
+it sometimes degenerates into the merely fantastic and even into tawdry
+and puerile affectations, has at its best a refinement and grace that
+lend to his sculptures an enduring charm, as seen in his "Apollo and
+Daphne" (a work executed in his eighteenth year) which is now in the
+Casino of the Villa Borghese. Bernini's name is perpetuated in the
+colossal statues on the colonnade of St. Peter's, the great bronze
+angels with their draperies streaming to the winds on the Ponte San
+Angelo, and in the vast fountain in the Piazza Navona. In the court of
+the Palazzo Bernini is one of the most interesting of his works--a
+colossal figure, allegorical in significance, illustrating "Truth
+Brought to Light by Time." One of the most important works of
+Bernini--now placed in the Museo Nazionale--is the group of "Pluto and
+Proserpine."
+
+  [Illustration: TOMB OF CLEMENT XIII, ST. PETER'S, ROME
+                 Antonio Canova
+                 _Page 42_]
+
+The influence that was to reform and regenerate the art of sculpture in
+the sixteenth century came with the great and good Canova, with which
+was united that of Flaxman and of Thorwaldsen. The heavenly messengers
+are always sent and appear at the time they are most needed. Neither
+Truth nor Art is ever left without a witness.
+
+    "God sends his teachers unto every age,
+    To every clime, and every race of men,
+    With revelations fitted to their growth
+    And shape of mind; nor gives the realm of truth
+    Into the selfish rule of one sole race."
+
+Canova's genius and services were widely recognized. In 1719 he was made
+a Senator; he was ennobled with the title of Marchese of Ischia and
+granted a yearly allowance of three thousand scudi; and his noble and
+generous enthusiasms, not less than his genius, have left their record
+on life as well as on art. When he died (in Venice, Oct. 3, 1822) his
+work included fifty-nine statues, fourteen groups, twenty-two monuments,
+and fifty-four busts. The statue of Pius V and the tomb of Clement XIII
+are his greatest works, and the latter is perhaps even increasingly
+held as a masterpiece of the ages.
+
+Canova, warned by the fatal influence of imitation in art in the
+sixteenth century, frequently counselled his pupils against copying his
+own style and constantly urged them to study from the Greeks. He advised
+them to visit frequently the studios of other artists, "and especially,"
+he would add, "the studios of Thorwaldsen, who is a very great artist."
+
+In the early part of the nineteenth century contemporary sculpture in
+Rome was led by the three great artists,--Canova, Thorwaldsen, and
+Gibson. In 1829 Gibson had the honor of being elected a member of the
+Accadémia di San Luca in place of the sculptor Massimiliano, who had
+then just died. Cammuccini, the historical painter, proposed Gibson, and
+with the ardent assistance of Thorwaldsen he was elected resident
+Academician of merit. "Like Canova, Thorwaldsen was most generous to
+young artists," says Gibson of the great Danish master, "and he freely
+visited all who required his advice. I profited greatly by the knowledge
+which this splendid sculptor had of his art. On every occasion when I
+was modelling a new work he came to me, and corrected whatever he
+thought amiss. I also often went to his studio and contemplated his
+glorious works, always in the noblest style, full of pure and severe
+simplicity. His studio was a safe school for the young, and was the
+resort of artists and lovers of art from all nations. The old man's
+person can never be forgotten by those who saw him. Tall and strong,--he
+never lost a tooth in his life,--he was most venerable looking. His kind
+countenance was marked with hard thinking, his eyes were gray, and his
+white locks lay upon his broad shoulders. At great assemblies his breast
+was covered with orders."
+
+Thorwaldsen (born in Copenhagen, Nov. 19, 1770) went to Rome in
+1797--sent by the government of Denmark as a pensioner. It is said that,
+in his enthusiasm for Rome, Thorwaldsen dated his birth from the hour he
+entered the Eternal City. "Before that day," he exclaimed, "I existed; I
+did not live." For nearly fifty years--until his death in 1844--he lived
+and worked in Rome, occupying at one time the studio in Via Babuino that
+had formerly been that of Flaxman.
+
+John Gibson, who went to Rome in 1817,--twenty years after Thorwaldsen
+first arrived,--had the good fortune to be for five years a pupil of
+Canova, whose death in 1822 terminated this inestimable privilege. The
+elevation of purpose that characterized the young English student made
+his progress and development a matter of peculiar interest to the
+master. Gibson, also, bears his testimony to the stimulus of the Roman
+environment. "Rome above all other cities," he says, "has a peculiar
+influence upon and charm for the real student; he feels himself in the
+very university of art, where it is the one thing talked about and
+thought about. Constantly did I feel the presence of this influence.
+Every morning I rose with the sun, my soul gladdened by a new day of a
+happy and delightful pursuit; and as I walked to my breakfast at the
+Caffè Greco and watched with new pleasure the tops of the churches and
+palaces gilt by the morning sun, I was inspired with a sense of daily
+renovated youth, and fresh enthusiasm, and returned joyfully to the
+combat, to the invigorating strife with the difficulties of art. Nor did
+the worm of envy creep round my heart whenever I saw a beautiful idea
+skilfully executed by any of my young rivals, but constantly spurred on
+by the talent around me I returned to my studio with fresh resolution."
+
+Again to a friend Gibson writes:--
+
+     "I renewed my visits to the Vatican, refreshing my spirits in that
+     Pantheon of the gods, demigods, and heroes of Hellas.... In the art
+     of sculpture the Greeks were gods.... In the Vatican we go from
+     statue to statue, from fragment to fragment, like the bee from
+     flower to flower."
+
+These five years in which Canova, Thorwaldsen, and Gibson lived and
+wrought together--although the youngest of this trio was still in his
+student life--form a definite period in the history of modern art in
+Rome. The dreams, the enthusiasm, the devotion to ideal beauty which
+characterized their work left its impress and its vitality of
+influence--a mystic power ready to incarnate itself again through the
+facility of expression of the artists yet to come. To the young men
+whose steps were turned toward Rome in these early years of the century
+just passed, how great was the privilege of coming into close range of
+the influence of such artists as these; to study their methods; to hear
+the expression of their views on art in familiar meeting and
+conversation! These artists were closely in touch with that "lovely and
+faithful dream which came with Italian Renaissance in the works of
+Pisani, Mino di Fiesole, Donatello, Michael Angelo, and Giovanni da
+Bologna--all who caught the spirit of Greek art." Artistic truth was the
+keynote of the hour, and it is this truth which is the basis of the
+highest conception of life.
+
+    "Art's a service,--mark:
+    A silver key is given to thy clasp
+    And thou shalt stand unwearied night and day,
+    And fix it in the hard, slow-turning wards
+    To open, so that intermediate door
+    Betwixt the different planes of sensuous form
+    And form insensuous, that inferior men
+    May learn to feel on still through these to those,
+    And bless thy ministration. The world waits for help."
+
+In their true relation art and ethics meet in their ministry to
+humanity, for only in their union can they best serve man. All the
+nobler culture has its responsibility in service. "Many a man has a
+blind notion of stewardship about his property, but very few have it
+about their knowledge," said Bishop Phillips Brooks, and he added: "One
+grows tired of seeing cultivated people with all their culture cursed by
+selfishness." To the true idealist--as distinct from the mere
+emotionalist with æsthetic tastes--selfishness is an impossible prison.
+The only spiritual freedom lies in the perpetual sharing of the fuller
+life. The gift shared is the gift doubled. Art is the spiritual glory of
+life; the supreme manifestation, the very influence of spiritual
+achievement. Mr. Stillman, discussing the revival of art, has
+questioned: "Does the world want art any longer? Has it, in the present
+state of human progress, any place which will justify devotion to it?"
+
+He questions as to whether man is still
+
+    "Apparelled in celestial light,"
+
+or whether he has lost "the glory and the freshness" of his dreams.
+
+     "No one can admit," continues Mr. Stillman, "that the human
+     intellect is weaker than it was five or twenty centuries ago; but
+     it is certain that if we take the pains to study what was done five
+     centuries ago in painting, or twenty centuries ago in sculpture,
+     and compare it with the best work of to-day, we shall find the
+     latter trivial and 'prentice work compared with the ordinary work
+     of men whose names are lost in the lustre of a school.
+
+     "Then, little men inspired by the Zeitgeist, painted greatly; now,
+     our great men fail to reach the technical achievement of the little
+     men of them. There is only one living painter who can treat a
+     portrait as a Venetian artist of 1550 A.D. would have done it, and
+     how differently in the mastery of his material! If we go to the
+     work of wider range, the Campo Santo of Pisa, the Stanze, the
+     Sistine Chapel, the distance becomes an abyss; the simplest
+     fragment of a Greek statue of 450 B.C. shows us that the best
+     sculpture of this century, even the French, is only a happy
+     child-work, not even to be put in sight of Donatello or Michael
+     Angelo. The reason is simple, and already indicated. The early men
+     grew up in a system in which the power of expression was taught
+     from childhood; they acquired method as the musician does now, and
+     the tendency of the opinion of their time was to keep them in the
+     good method."
+
+Is this not too narrow and sweeping a judgment? The art of portraiture
+certainly did not die with the Venetian painters of 1550, however great
+their work; and if there be but "one living painter" who can treat
+portrait art like the early Venetians, there are scores of artists who
+achieve signal success by other methods of treatment.
+
+At all events, these three men, Canova, Thorwaldsen, and Gibson, worked
+with the conviction that art is service. With Victor Hugo, Canova could
+have said: "Genius is not made for genius; it is made for men.... Let
+him have wings for the infinite provided he has feet for the earth, and
+that, after having been seen flying, he is seen walking. After he has
+been seen an archangel, let him be still more a brother.... To be the
+servant of God in the march of progress--such is the law which regulates
+the growth of genius."
+
+They worked and taught by this creed. Thorwaldsen, on first arriving in
+Rome, wandered for three years, it is said, among the statues of gods
+and heroes, like a man in a dream. The atmosphere of the earlier day
+when Titian was employed by the king of Portugal and Raphael by the Pope
+to create works of great public importance still lingered and exerted
+over Thorwaldsen, and over all artists susceptible to its subtle
+influence, a peculiar spell. Its power was revealed in his subsequent
+works--the "Christ;" the sculptured groups for tombs in St. Peter's and
+in other churches; the poetic reliefs symbolizing "Day" and "Night;"
+"Ganymede Watering the Eagle;" the "Three Graces," "Hebe," and many
+others.
+
+Among Canova's works his immortal masterpiece is the monumental memorial
+group for the tomb of Pope Clement XIII in St. Peter's. The Pope is
+represented as kneeling in prayer. The modelling of the entire figure is
+instinct with expression. The fine and beautiful hands express reverence
+and trust. The countenance is pervaded with that peace only known to the
+soul that is in complete harmony with the divine power. The Holy Father
+has taken the tiara from his head and it lies before him on the
+cushion on which he kneels. Although the entire portrayal of the figure
+reveals that devotion expressed in the solemn and searching words of the
+church service, "And here we offer and present unto thee, O Lord,
+ourselves, our souls and bodies to be a reasonable, holy, and living
+sacrifice unto thee,"--although it is the very utmost rendering of the
+soul to God, it is yet the deliberate, the joyful, the living acceptance
+of divine love and no mere trance of ecstasy. No more wonderful figure
+in all the range of sculpture has been created than the Clement XIII of
+Canova.
+
+  [Illustration: "THE GENIUS OF DEATH,"
+                 DETAIL FROM TOMB OF CLEMENT XIII,
+                 ST. PETER'S, ROME
+                 Antonio Canova
+                 _Page 43_]
+
+The group is completed by two symbolic figures representing Religion and
+Death. The former is personified as a female figure holding a cross; the
+latter sits with his torch reversed. Grief, but not hopeless and
+despairing sorrow, is portrayed; it is the grief companioned by faith
+which ever sees
+
+    "The stars shine through the cypress trees."
+
+The base of the monument represents a chapel guarded by lions.
+Pistolesi, the great Italian authority on the sculpture of St. Peter's
+and the Vatican galleries, notes that the lions typify the firmness and
+the force and the courage, "_la fortezza dell'anima_," that so signally
+characterized Clement XIII. There is probably no sacred monument in the
+realm of all modern art which can equal this creation in its delicacy,
+its lofty beauty, and the noble message that it conveys.
+
+The oldest art school, the Accadémia di San Luca, founded in 1507 by
+Sixtus, when he called to Rome all the leading artists of Europe to
+assist in the decoration of the Sistine Chapel, is an organization that
+magically links the present with the days of Canova, Thorwaldsen, and
+Gibson, as it linked them, also, with the remote and historic past. The
+father of the present custodian of the Academy knew Thorwaldsen well.
+The grandfather of the gifted Italian sculptor, Tadolini (who has
+recently completed the tomb for Pope Leo XIII, placed in the Basilica of
+San Giovanni Laterano), modelled the bust of Thorwaldsen, and in one
+gallery hangs the great Danish sculptor's portrait, painted by himself.
+The first director of San Luca was Federigo Zuccaro. In the early years
+of the nineteenth century this Academy was a vital centre of art life,
+and it is still a school that draws students, although the visitor who
+does not loiter and linger in his Rome may fail to know of this most
+alluring place. The San Luca is in the Via Bonella, one of the old,
+dark, narrow, and gloomy streets of the oldest part of Rome,--a short
+street of hardly more than two blocks, running between the Via
+Alessandra and the Forum. Hawthorne vividly pictures all this old Rome
+when he speaks of the "narrow, crooked, intricate streets, so
+uncomfortably paved with little squares of lava that to tread over them
+is a penitential pilgrimage; so indescribably ugly, moreover; so cold,
+so alley-like, into which the sun never falls and where a chill wind
+forces its deadly breath into our lungs; the immense seven-storied,
+yellow-washed hovels, or call them palaces, where all that is dreary in
+domestic life seems magnified and multiplied; those staircases which
+ascend from a ground floor of cook shops and cobblers' stalls, stables
+and regiments of cavalry, to a middle region of princes, cardinals, and
+ambassadors, and an upper tier of artists just beneath the unattainable
+sky: ... in which the visitor becomes sick at heart of Italian
+trickery, which has uprooted whatever faith in man's integrity had till
+then endured;" the city "crushed down in spirit by the desolation of her
+ruin and the hopelessness of her future;" one recalls these words when
+passing through the unspeakable gloom and horror and desolation and
+squalor of ancient Rome. In these surroundings one's cab stops at "No.
+44," and ringing the bell the door is open, whether by super-normal
+agency or by some invisible terrestrial manipulation one is unable to
+determine; but in the semi-darkness of the narrow hall he discerns
+before him a flight of steep stairs, and, as no other vista opens, he
+reasons that, by the law of exclusion, this must be the appointed way.
+Along the wall are seen, here and there, some antique casts from
+Trajan's Column, and reliefs from Canova and Thorwaldsen. The galleries
+above hold only a small and a comparatively unimportant collection of
+pictures. There are marines from Vernet and Claude Lorraine; a "Venus
+Crowned by the Graces" from Rubens; Giulio Romano's copy of Raphael's
+"Galatea,"--the original of which (in the Villa Farnesina) represents
+Galatea surrounded by Nymphs, Cupids, and Tritons, being carried in a
+shell across the sea. There is a Cupid, and also the "Fortuna" of Guido
+Reni,--the latter a figure of ineffable grace floating in the air. One
+of Raphael's early works representing "St. Luke Painting the Madonna" is
+here. There are several works by Titian, but these have less than would
+be expected of the glory usually associated with his name; and a Vandyke
+representing the Virgin and Child, with two angels playing, the one on a
+lute, the other on the violin.
+
+  [Illustration: "LA FORTUNA," ACCADÉMIA DI SAN LUCA, ROME
+                 Guido Reni
+                 _Page 47_]
+
+One salon filled with portraits of artists is especially interesting,
+and that of Thorwaldsen is so feminine in its costume and the parting of
+the hair, that it is almost inevitably mistaken for that of a woman.
+Guido's graceful "Fortuna" is represented as a female figure flying
+through the air, her long hair streaming in the wind, and the picture
+recalls to one the Greek legend of Opportunity, as told by Kainos. The
+legend runs:--
+
+     "'Of what town is thy sculptor?'
+
+     "'Of Lukzon.'
+
+     "'What is his name?'
+
+     "'Lysippos.'
+
+     "'And thine?'
+
+     "'Opportunity, controller of all things.'
+
+     "'But why standest thou on tiptoe?'
+
+     "'I am always running.'
+
+     "'Why, then, hast thou wings on both feet?'
+
+     "'I fly like the wind.'
+
+     "'But wherefore bearest thou a razor in thy right hand?'
+
+     "'As a sign to men that I am sharper than any steel.'
+
+     "'And why wearest thou thy hair long in front?'
+
+     "'That I may be seized by him who approaches me.'
+
+     "'By Zeus! And thou art bald behind?'
+
+     "'Because once I have passed with my winged feet no one may seize
+     me then.'"
+
+From one landing, on the steep narrow staircase of San Luca, opens the
+Biblioteca Sarti, an art library of some fifteen thousand volumes. The
+sculpture gallery is now closed and can only be entered by special
+permission. This is the more to be regretted as it contains the
+principal collections in Rome of the original casts of the works of
+Thorwaldsen and Canova.
+
+The latter-day artists who have been setting up their Lares and Penates
+in Rome at various periods during the early and into the later years of
+the nineteenth century have found the Eternal City in strong contrast
+with its twentieth-century aspects, however it may have differed from
+the Rome of the Popes. The earlier American artists to seek the
+Seven-hilled City were painters; and Allston, Copley, and Stuart had
+already distinguished themselves in pictorial art before America had
+produced any sculptor who could read his title clear to fame. It is to
+Hiram Powers (born in Vermont in 1805) that America must look as her
+first sculptor, chronologically considered, closely followed by Thomas
+Crawford, who was but eight years his junior, and by Horatio Greenough,
+who was also born in the same year as Powers, and who preceded him in
+Italy, but whose work has less artistic value. Mr. Greenough has left a
+colossal (if not an artistic) monument to his gifts in stately shaft
+marking Bunker Hill which he designed. Problematic in their claim to
+artistic excellence as are his "Washington"--a seated figure in the
+grounds of the Capitol in Washington--and his group in relief called
+"The Rescue" in the portico of the Capitol, his name lives by his
+personality as a man of liberal culture and noble character, if not by
+his actual rank in art. First of the American group in Italy, he was
+followed by Powers, who sought the ineffable beauty and enchantment of
+Florence in 1837. Horatio Greenough died in comparatively early life,
+leaving perhaps the most interesting of his works in a relief (purchased
+by Professor George Ticknor, the distinguished historian of Spain)
+"representing in touching beauty and expression a sculptor in an
+attitude of dejection and discouragement before his work, while a hand
+from above pours oil into his dying lamp, an allegory illustrative of
+the struggles of genius and the relief which timely patronage may extend
+to it."
+
+Mr. Powers passed his entire life in Florence. His work attracted great
+attention and inspired ardent appreciation. In portrait busts Powers was
+especially successful; and his "Greek Slave," his "Fisher Boy," "Il
+Penseroso," and "Proserpine" impressed the art-loving public of the time
+as marked by strong artistic power and as entitled to permanent rank in
+sculpture.
+
+Mr. Crawford died young; but his name lives in the majestic bronze
+statue of "Beethoven" which is in the beautiful white and gold interior
+of Symphony Hall, in Boston; and his "Orpheus" and some other works
+claim high appreciation. Writing of Crawford, Mr. Hillard said:--
+
+     "Crawford's career was distinguished by energy, resolution, and
+     self-reliance. While yet a youth, he formed the determination to
+     make himself an artist; and with this view went to Rome--alone,
+     unfriended, and unknown--and there began a life of toil and
+     renunciation; resisting the approaches alike of indolence and
+     despondency. His strength of character and force of will would have
+     earned distinction for powers inferior to his. Nothing was given to
+     self-indulgence; nothing to vague dreams; nothing to unmanly
+     despair. He did not wait for the work that he would have, but
+     labored cheerfully upon that which he could have. Success came
+     gradually, but surely; and his powers as surely proved themselves
+     to be more than equal to the demand made upon them."
+
+On the death of Mr. Crawford, Thomas William Parsons wrote a memorial
+poem in which this stanza occurs:--
+
+    "O Rome! what memories awake,
+      When Crawford's name is said,
+    Of days and friends for whose dear sake
+    That path of Hades unto me
+      Will have no more of dread
+    Than his own Orpheus felt, seeking Eurydice!
+      O Crawford! husband, father, brother
+      Are in that name, that little word!
+    Let me no more my sorrow smother;
+      Grief stirs me, and I must be stirred."
+
+Thomas Ball, who went in early manhood to Florence, where he remained
+until when nearly at the age of fourscore he returned to his native
+land, still continues, at the age of eighty-five, to pursue the art he
+loves. He has created works, as his equestrian statue of "Washington" in
+the Public Gardens and his "Lincoln Freeing the Slave" in Park Square,
+both in Boston; his great Washington Memorial group in Methuen,
+Massachusetts; his "Christ Blessing Little Children," and many other
+historic and ideal sculptures, that seem endowed with his beautiful and
+winning spirit as well as with his rare gifts. Larkin G. Mead chose
+Florence rather than Rome for his home and work. His noble "River God,"
+placed at the head of the Mississippi near St. Paul, as well as other
+interesting creations, link his name with that of his native land.
+Randolph Rogers, a man of genius; Rinehart, Paul Akers, and Thompson all
+died before the full maturity of their powers; Akers at the early age of
+thirty-six, leaving, as his bride of a year, the poet, Elizabeth Akers
+Allen, who, under the _nom de plume_ of "Florence Percy," has endeared
+herself to all lovers of lyric art. In a monograph on Paul Akers,
+written after his death, the writer says of his studio in Rome:--
+
+     "Linked with this studio is Hawthorne's tale of 'The Marble Faun,'
+     as Kenyon's studio was none other than Paul Akers's. Though
+     Hawthorne in his romance saw fit to lay the scene in the rooms once
+     occupied by Canova, it was in the Via del Crecie that he wove the
+     thread of his Italian romance.
+
+     "Paul Akers's growing reputation and increase of work ere long made
+     it necessary for him to seek a more commodious studio, and he took
+     rooms once occupied by the famous Canova. Here he had made under
+     his supervision copies in marble of many of the famous works of the
+     Vatican and the Capitol. The largest collection of these was a
+     commission from Mr. Edward King of Newport, and among them were
+     busts of Ariadne, Demosthenes, and Cicero, and a facsimile of the
+     'Dying Gladiator' which Mr. King presented to the Redwood Library
+     of Newport.
+
+            *       *       *       *       *
+
+     "During his first winter in Rome he was permitted by the
+     authorities to make a cast of a mutilated bust of Cicero which had
+     long lain in the Vatican. A critic writing from Rome in 1857 says
+     of this bust of Cicero: 'Mr. Akers obtained permission to take a
+     cast from it; he then restored the eye, brow, and ears, and
+     modelled a neck and bust for it in accordance with the temperament
+     shown by the nervous and rather thin face. He has succeeded
+     admirably. It is the very head of the Vatican, yet without the
+     scars of envious time, and sits gracefully on human shoulders,
+     instead of being rolled awkwardly back upon a shelf.' This bust is
+     unlike the portrait which so long passed for Cicero's, but has been
+     identified by means of a medal which was struck by the Magnesians
+     in honor of the great orator during his consulate, and is now the
+     authorized portrait of Cicero. The finest of Paul Akers's creations
+     executed during his stay in Rome are 'St. Elizabeth of Hungary,'
+     which represents the princess at the moment the roses have fallen
+     to the ground; 'Una and the Lion,' an illustration of the line in
+     Spenser's 'Faerie Queene,'--
+
+    'Still while she slept he kept both watch and ward;'
+
+     the head of Milton and the 'Pearl Diver.' The 'Pearl Diver,' now
+     owned by the city of Portland, represents a youth stretched upon a
+     sea-worn rock and wrapped in eternal sleep. The arms are thrown
+     above the head, and about the waist is a net containing
+     pearl-bearing shells for which he has risked his life. There is no
+     trace of suffering; all is subdued to beauty. It is death
+     represented as the ancients conceived it, the act of the
+     torch-reverting god. This youth, who has lost his life at the
+     moment when all that for which he had dared was within his grasp,
+     suggests Paul Akers's own untimely death on the eve of his
+     triumph."
+
+It was from his Roman studio that Mr. Akers wrote to a friend:--
+
+     "Yesterday Browning called. He looked a long time at my Milton, and
+     said it was Milton, the man-angel. He praised the wealth of hair
+     which I had given the head, and then said that Mrs. Browning had a
+     lock of Milton's hair, the only one now in existence. This was
+     given her by Leigh Hunt, just before his death, who had the records
+     proving it to be genuine. The hair was, he said, like mine. He
+     invited me to visit him in Florence, where he would show me the
+     first edition of Milton's poems, marked to indicate the peculiar
+     accent which the poet sometimes adopted, a knowledge of which makes
+     clear somewhat that otherwise seems discordant. Milton was so great
+     a musician that there could have been no fault in sound in his
+     compositions. He looked over my books; said my edition of Shelley
+     was one which he had corrected for the press, not from a knowledge
+     of the original MS., but from his internal evidence that so it must
+     have been; said Poe was a wonderful man; spoke of Tennyson in the
+     warmest terms. Took up a copy of his own poems published in the
+     United States, and remarked that it was better than the English
+     edition, yet had some awful blunders, and wished me to allow him to
+     correct a copy for me. My head of the 'Drowned Girl' caught his eye
+     and interested him. I told him that I had thought of Hood's 'Bridge
+     of Sighs.' He then said that Hood wrote that on his deathbed, and
+     read it to him before any one else had seen it. Hood was doubtful
+     whether it was worth publishing. To-morrow Mrs. Browning is to
+     come; she has been quite ill since she came to Rome, and I have
+     seen her but once. I derive much comfort from the friendship of
+     Charlotte Cushman. She has just gone from here. She has frequent
+     breakfast parties; I have attended but one. Mr. and Mrs. James T.
+     Fields, Wild, the painter, and myself were the guests. Fields I
+     like much."
+
+The first works of Mr. Akers were two portrait busts, of Longfellow and
+of Samuel Appleton. Of his bust of Milton, Hawthorne in the "Marble
+Faun" has said:--
+
+     "In another style, there was the grand, calm head of Milton, not
+     copied from any one bust or picture, yet more authentic than any
+     of them, because all known representations of the poet had been
+     profoundly studied and solved in the artist's mind. The bust over
+     the tomb in Greyfriar's Church, the original miniatures and
+     pictures wherever to be found, had mingled each its special truth
+     in this one work--wherein likewise by long perusal and deep love of
+     'Paradise Lost,' the 'Comus,' the 'Lycidas,' and 'L'Allegro,' the
+     sculptor had succeeded even better than he knew in spiritualizing
+     his marble with the poet's mighty genius. And this was a great
+     thing to have achieved, such a length of time after the dry bones
+     and dust of Milton were like those of any other dead man."
+
+Richard Greenough and the painter, Mr. Haseltine, were prominent figures
+among the early American group of the nineteenth-century artists in
+Rome. There came Emma Stebbins, who modelled a fine portrait bust of
+Charlotte Cushman; and Anne Whitney, whose statues of Samuel Adams and
+of Leif Ericson adorn public grounds in Boston; whose life-size statue
+of Harriet Martineau is the possession of Wellesley College; and whose
+"Chaldean Astronomer," "Lotus-Eater," and "Roma"--a figure personifying
+the Rome of Pio Nono--reveal her power in ideal creation.
+
+The name of Harriet Hosmer stands out in brilliant pre-eminence among
+those of all women who have followed the plastic art. Her infinite charm
+of personality seems to impart itself to her work, and she has the gift
+to make friends as well as to call forms out of clay--the success of
+friendship being one even more permanently satisfying. In her early life
+as a girl hardly more than twenty, she sought Rome, living with art as
+her chaperon. Her versatility, her picturesque individuality, and her
+imaginative power all combined to win sympathetic recognition. Gibson,
+whose guidance was particularly well adapted to develop her gifts,
+received her into his own studio and took a deep interest in her work.
+It was during the period of her early efforts that Hawthorne was in
+Rome, and she is graphically depicted in his notebooks in her boyish cap
+at work in the clay. Gibson was an artist, _con amore_, and Miss
+Hosmer's joyous abandon to her art captivated his sympathy. "In my art
+what do I find?" he questioned; "happiness; love which does not depress
+me; difficulties which I do not fear; resolution which never abates;
+flights which carry me above the ground; ambition which tramples no one
+down." Master and pupil were akin in their unwearied devotion to art. Of
+Gibson, whose absence of mind regarding all the details of life made him
+almost helpless in travel and affairs, Miss Hosmer used gleefully to say
+that he "was a god in his studio, but God help him out of it!" This
+glancing sprite of a girl, frightening her friends by her daring and
+venturous horseback riding; gravitating by instinct to offer some
+generous, tender aid to the sick, the destitute, or the helpless; the
+life and light of gay dinners and of social evenings; working from six
+in the morning till night in her studio, "with an absence of
+pretension," says Mrs. Browning, "and simplicity of manners which accord
+rather with the childish dimples in her rosy cheeks than with her broad
+forehead and high aims," had the magic gift that merged her visitors and
+patrons into enthusiastic friends; and Mrs. Browning has chronicled the
+pretty scene when Lady Marion Alford, the daughter of the Earl of
+Northumberland, knelt before the girl artist and slipped on her finger
+a ring--a precious ruby set with diamonds--as a token of her devotion.
+Reading Miss Hosmer's life still further backward, the reader is
+transported, as if on some magic carpet, to St. Louis, in the United
+States, where a noble and lofty man, Hon. Wayman Crow,--a generous
+friend, a liberal patron of the arts, a man of the most refined tastes
+and culture, whose great qualities were always used in high
+service,--first aided Miss Hosmer to the preliminary studies in her art,
+and whose accomplished and lovely daughters (now Mrs. Lucien Carr of
+Boston, Mrs. Edwin Cushman of Newport and Rome, and Mrs. Emmons of
+Leamington, England) were as a trio of sisters to the young artist. And
+"the flowing conditions of life" bear on this lifelong friendship until
+a fair young girl, Élise (the daughter of Mrs. Emmons), catches up this
+sweet tie and as an accomplished and lovely young woman in Roman
+society, when these "flowing conditions" had come down even into the
+season of 1906-7, Miss Emmons cherished the fame of Harriet Hosmer and
+enjoyed the privilege of a constant correspondence with the
+distinguished artist. So the past links itself again with the present;
+and who can tell where any story in life begins or ends in the constant
+evolutionary progress?
+
+Miss Hosmer's work attracted wide attention. Her majestic statue of
+"Zenobia;" the winsome "Puck;" the impressive statue of "Beatrice
+Cenci," representing her as she lay in her cell in Castel San Angelo the
+night before her execution,--these and other works of hers are of an
+interesting character and will hold their permanent rank in sculpture.
+
+Were all the muses present at the christening of William Wetmore
+Story--sculptor, musician, poet and painter, jurist and man of letters,
+and the friend whose social relationships made life a thing of beauty--
+
+    "To winds and waterfalls,
+    And autumn's sunlit festivals,
+    To music and to music's thoughts
+    Inextricably bound"?
+
+Mr. Story made his first visit to Italy in 1847; not at that time with
+any fixed purpose of exchanging his profession of the law for art. He
+loved literature, and his grace and ease in expression had already
+manifested his literary talent; he had an inclination toward
+modelling--it could hardly, at this time, have been called by a stronger
+name--and curiously enough with him the usual conditions were reversed
+and he received a commission for a statue of his father, Judge Story,
+before he had made any definite turning toward the art of sculpture. A
+young man of versatile gifts and accomplished scholarship, sculpture was
+to him one among the many attractive forms of art rather than the
+supreme attraction; and it was the stimulus of the given work that
+determined him as a sculptor, rather than his determination to be a
+sculptor that determined the work. Among the goddesses of life Destiny
+must, perhaps, be allowed a place. At all events, after Mr. Story's
+initial glance at Italy, he sought Rome again a year later, and this
+time it was his choice for life, however unrevealed to his eye were the
+resplendent years that lay before him. He had fallen under the spell of
+the Magic Land. In a letter to Lowell, Mr. Story had questioned how he
+should ever endure again "the restraint and bondage of Boston." It was
+the picturesque Rome of the Popes that he first knew. The years of
+1848-49 were those of revolutionary activities in Italy. Pio Nono, one
+of the most saintly and beloved of the Popes,--whose mortal form now
+rests in that richly decorated chapel in old San Lorenzo, _fuori le
+mura_, on the site of the church that Constantine founded on the burial
+place of St. Lawrence,--made his flight to Gaeta and the Roman republic
+was established. It was a dramatic scene when Pio Nono returned (April
+12, 1850), entering Rome by the Porta San Giovanni. The scene from this
+gate was then, as now, one of the most impressive in the Eternal City.
+
+It was in this vast Basilica of San Giovanni Laterano that Pio Nono
+entered that April day, leaving his carriage and walking alone to the
+altar, where he knelt in devotion. A splendid procession awaited without
+to accompany the Holy Father to the Papal Palace. The superb state
+carriages conveyed princes and foreign ambassadors and great nobles.
+From the Piazza San Giovanni to St. Peter's every house was illuminated,
+and the populace cheered and waved until the very air vibrated with
+sound and color. These were the days when the methods of government were
+a visible spectacle, a drama, making the life in Rome a daily
+illuminated missal.
+
+The Storys, on their return to Italy, located themselves for a time in
+Florence, where they met the Brownings, and that lifelong friendship
+between the poet and the sculptor was initiated. In these happy
+Florentine days Mr. Story worked in his studio while his wife read to
+him the life of Keats, then just issued, written by Monckton Milnes,
+later Lord Houghton. But the "flowing conditions" soon bore them onward
+to Rome, where they settled themselves in the Via Porta Pinciana, and
+met the Crawfords, who were domiciled in the Villa Negroni. In these
+Roman days, too, appeared Mr. Cropsey, of poetic landscape fame, and
+here, too, was Margaret Fuller. Mazzini was then a leading figure in the
+Chamber of Deputies,--"the prophet not only of modern Italy, but of the
+modern world." He found Italy "utilitarian and materialistic, permeated
+by French ideas, and weakened by her reliance on French initiative. He
+was filled with hope that Italy might not only achieve her own unity,
+but might once more accomplish, as she had in the Rome of the Cæsars and
+the Rome of the Church, the unity of the Western world. 'On my side I
+believe,' he says, 'that the great problem of the day was a religious
+problem, to which all other questions were but secondary.'" He was
+asserting that "we cannot relate ourselves to the Divine, but through
+collective humanity. It is not by isolated duty (which indeed the
+conditions of modern life render more and more impossible), nor by
+contemplation of mere Power as displayed in the material world, that we
+can develop our nature. It is rather by mingling with the universal
+life, and by carrying on the evolution of the never-ending work."
+
+The studios of Mr. Crawford in those days were in the Piazza delle
+Terme, near the Baths of Diocletian. William Page, the painter, was
+domiciled on the slope of the Quirinal where he painted a portrait of
+Charlotte Cushman which Mrs. Browning described as "a miracle"; one of
+Mrs. Crawford; the head of Mrs. Story, which he insisted upon presenting
+to her husband; and a magnificent portrait of Browning which the artist
+presented to Mrs. Browning. "Both of us," wrote Robert Browning of this
+gift, "would have fain escaped being the subjects of such princely
+generosity; but there was no withstanding his delicacy and
+noble-mindedness." Mrs. Jameson was much in Rome in the early years of
+the 1850-60 decade, living in the old port by the Tiber nearly opposite
+to the new and splendid building of the law courts. Near the Tarpeian
+Rock Frederika Bremer had perched, in a tiny room of which she took all
+the frugal care, even to washing the blue cups and plates when she
+invited the Hawthornes to a tea of a simplicity that suggested, indeed,
+the utmost degree of "light" housekeeping. Thomas Buchanan Read was one
+of the hosts and guests of this social group, and it was at a dinner he
+gave that Hawthorne met Gibson, whose conversational talents were
+evidently (upon that occasion) chiefly employed in contemning the
+pre-Raphaelite school of painters and emphasizing the need of sculptors
+to discover and to follow the principles of the Greeks,--"a fair
+doctrine, but one which Mr. Gibson fails to practise," observes
+Hawthorne. The Brownings were variously bestowed in Rome through
+succeeding winters,--in the Bocca di Leone, in the Via del Tritone and
+elsewhere. Mrs. Browning, as her "Casa Guida Windows" and many other
+poems attest, took always the deepest interest in Italian politics.
+American and English friends come and go, but the little group of
+residents and the more permanent sojourners, as the Hawthornes and the
+Brownings, continue their daily variations on life in the social dinners
+and teas, the excursions and the sight-seeing of the wonderful city.
+
+Only the magician could "call up the vanished past again" and summon
+into an undeniable materialization those charming figures to come forth
+out of the shadowy air of the rich, historic past, and stand before us
+in the full light of contemporary attention. Not alone this group of
+choice persons, but the environment of their time, the very atmosphere,
+are demanded of this necromancy. The figure of Adelaide Kemble (Mrs.
+Sartoris) is one of these, and the tradition still survives of a concert
+given in the splendid, spacious hall of the Palazzo Colonna where she
+was the prima donna of the occasion. There were also musicals at the
+house of Mrs. Sartoris, where the guests met her famous sister, Fanny
+Kemble. Mrs. Browning was fond of both the sisters, and said of them
+that their social brilliancy was their least distinction. She found
+them both "noble and sympathetic," and her "dear Mr. Page" and "Hatty"
+(Miss Hosmer) "an immense favorite with us both," she said of her
+husband and herself; these and the Storys made up the special circle for
+the Brownings in Rome. "The Sartoris house has the best society in
+Rome," writes Mrs. Browning to Miss Mitford, "and exquisite music, of
+course. We met Lockhart there and my husband sees a good deal of him....
+A little society," she says, "is good for soul and body, and on the
+Continent it is easy to get a handful of society without paying too dear
+for it. This is an advantage of Continental life."
+
+Mrs. Browning greatly admired the work of Mr. Page, whose portraits she
+found "like Titian's." But the tinted statues of Gibson seemed to her
+inartistic. His famous painted Venus she called "pretty," but only as a
+wax doll might be, not as a work of genuine art. Then Thackeray and his
+two daughters came; Miss Anne (now known to the world of literature as
+Anne Thackeray Ritchie) was a special favorite with Mrs. Browning.
+
+Coming to Rome at one time from Florence in midwinter, the Brownings
+found that the Storys had taken an apartment for them (in the Via Bocca
+di Leone), and they arrived to find lighted fires and lamps. Their
+journey had included a week's visit at Assisi, studying the rich art of
+Cimabue and Giotto in the church of the great Franciscan monastery. Mrs.
+Browning visited studios in Rome and found that of Mr. Crawford more
+interesting to her than Mr. Gibson's, but no artist is "as near" to her,
+as she herself says, as Mr. Page. The Storys left the Porta Pinciana to
+live at No. 93 in the Piazza di Spagna, and in the same house with the
+Brownings, in the Bocca di Leone, Mr. Page had his apartment. To Lowell,
+Mr. Story wrote of the Brownings:--
+
+     "The Brownings and we became great friends in Florence, and, of
+     course, we could not become friends without liking each other. He,
+     Emelyn says, is like you. He is of my size, but slighter, with
+     straight black hair, small eyes, a smooth face, and manner nervous
+     and rapid. He has great vivacity, but not the least humor; some
+     sarcasm, considerable critical faculty, and very great frankness
+     and friendliness of manner and mind. Mrs. Browning will sit buried
+     up in a large easy-chair listening and talking very quietly and
+     pleasantly. Very unaffected is she.... I have hundreds of statues
+     in my head, but they are in the future tense. Powers I knew very
+     well in Florence. He is a man of great mechanical talent and
+     natural strength of perception, but with no poetry in his
+     composition, and I think no creative power.... I have been to hear
+     Allegri's 'Miserere' in the Sistine Chapel, with the awful and
+     mighty figures of Michael Angelo looking down from the ceiling; to
+     hear Guglielmi's 'Miserere' in St. Peter's, while the gloom of
+     evening was gathering in the lofty aisles and shrouding the
+     frescoed domes, was a deeply affecting and solemnly beautiful
+     experience. Never can one forget the plaintive wailing of the
+     voices that seemed to implore pity and pardon."
+
+It was in 1856 that the Storys located themselves in Palazzo Barberini,
+which Bernini designed and which was built "out of the quarry of the
+Coliseum" by Urban VIII. It is one of the wonderful old palaces of
+Rome,--this mass of Barberini courts, gardens, terraces, and vast
+apartments, with the interminable winding stairs, where on one landing
+Thorwaldsen's lion lies before the great doors decorated with the arms
+of Popes and princes. Here the old Cardinal Barberini lived his stormy
+life; here are the gallery and the library,--the latter stored with
+infinite treasures of ancient documents, old maps whose portrayal of the
+earth bears little resemblance to the present, and famous manuscripts
+and volumes in old vellum, some fifty thousand in all. In the Barberini
+gallery are a few noted works,--Raphael's "Fornarina," Guido's "Beatrice
+Cenci," a "Holy Family" by Andrea del Sarto, and others.
+
+  [Illustration: SPANISH STEPS, PIAZZA TRINITÀ DEI MONTI, ROME
+                 _Page 72_]
+
+The Via delle Quattro Fontane, on which the Palazzo Barberini stands,
+might well be known as the street of the wonderful vista. One strolls
+down it to the Via Sistina and to Piazza Trinità de' Monti at the head
+of the Spanish steps (the Scala di Spagna), pausing for the loveliness
+of the view. Across the city rises the opposite height of Monte Mario,
+and to the left the Janiculum, now crowned with the magnificent
+equestrian statue of Garibaldi, which is in evidence from almost every
+part of Rome. As far as the eye can see the Campagna stretches away,
+infinite as the sea--a very Campagna Mystica. The luminous air, the
+faint, misty blue of the distance, the deep purple shadows on the hills,
+make up a landscape of color. At the foot of the Spanish steps the
+flower venders spread out their wares,--great bunches of the
+flame-colored roses peculiar to Italy, the fragrant white hyacinths,
+golden jonquils, baskets of violets, and masses of lilies of the valley.
+
+On many a night of brilliant moonlit glory the artistic sojourners in
+Rome lingered on the parapet of the Pincian Hill watching the moonlight
+flood the Eternal City until churches and palaces seemed to swim in a
+sea of silver. Or in the morning, when the rose-red of dawn was aglow,
+there seemed to hover over the city that wraith of mist whose secret
+Claude Lorraine surprises in his landscapes. These dawn visions of
+mysterious, incredible beauty are a part of the very identity of Rome.
+
+There were mornings when the Hawthornes with Mrs. Jameson or some other
+friend would drive out to the old San Lorenzo (_fuori le mura_), the
+church founded by Constantine in 330 on the site where the body of St.
+Lawrence was buried. At various periods the church was enlarged and
+finally, as recently as in 1864, Pio Nono had great improvements made
+under the architect Vespignani. In the piazza in front was placed an
+immense column of red granite, some sixty feet high, with the statue of
+St. Lawrence, a standing figure, at the top. It is most impressive. The
+colonnade at the entrance of the church is decorated with frescoes and
+contains two immense sarcophagi, whose sides are beautifully sculptured
+with reliefs. The roof is supported by six Ionic columns. Entering the
+church one finds an interior of three aisles divided by colossal columns
+of Oriental granite. In the middle aisle, on both sides the galleries,
+are fresco paintings illustrating the martyrdom of St. Lawrence and of
+St. Stephen, one series on the right and the other on the left. One of
+these paintings, especially, of the life of St. Lawrence, is strangely
+haunting to the imagination. It represents the youthful, slender figure,
+nude, save for slight drapery, laid on the gridiron while the fire is
+being kindled under it and the fagots shovelled in. The physical
+shrinking of the flesh--of every nerve--from the torture, the spiritual
+strength and invincible energy of the countenance, are wonderfully
+depicted. The great aisle was painted by order of Pius IX by Cesare
+Fracassini; in it are two pulpits of marble. A double staircase of
+marble conducts to that part of the Basilica of Constantine which by
+Honorius III was converted into the presbytery. It is decorated at the
+upper end by twelve columns of violet marble which rise from the level
+of the primitive basilica beneath. At the end is the ancient pontifical
+seat, adorned with mosaic and precious marbles. The papal altar is under
+a canopy in the Byzantine style. The pavement of this presbytery is
+worthy of particular attention. Descending to the confessional which is
+under the high altar the tomb of the martyred saints, Lawrence, Stephen,
+and Justin, is found.
+
+  [Illustration: TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME
+                 _Page 75_]
+
+It was the request of Pio Nono that his mortal body should rest here,
+where it is placed in a simple tomb, according to his own instructions;
+but the chapel is very rich in decoration which was paid for by money
+sent from all parts of the world.
+
+The chapel walls are entirely encrusted in mother-of-pearl, gilt bronze,
+and beautiful marbles. The mosaic paintings are formed of gold and
+precious stones of fabulous value. This interior is perhaps the richest
+in the world in its decoration. San Lorenzo is a patriarchal church, and
+one of the seven pilgrimage churches of Rome. Near San Lorenzo is the
+Campo Verano, a cemetery containing many beautiful memorial sculptures.
+
+In those days, half a century ago, the entrance most often used by
+visitors to Rome was through the Via Flaminia and the Porta del Popolo,
+opening on the Piazza del Popolo, rather the most picturesque and
+impressive place in all Rome. On the left is the Pincian Hill (Monte
+Pincio), with its rich terraces, balustrades, its beautiful porticos
+filled with statuary, its groves of cypress and ilex trees; a classic
+vision rising on the sight and enchanting the imagination. On the side
+opposite the Porta three roads diverge in fan shape--the Via Babuino,
+the Corso, and the Ripetta, with the "twin churches" side by side; one
+between the Babuino and the Corso, the other between the Corso and the
+Ripetta.
+
+The Corso (which was the ancient Flaminian Way) runs straight to the
+Piazza Venezia at the foot of the Capitoline Hill. This Piazza del
+Popolo was widened and decorated by Pius VII. It is formed by two
+semicircles, adorned with fountains and statues, and terminated by four
+symmetrical edifices. In the semicircles are colossal groups in marble,
+and a road opposite the Pincio leads to the Ponte Margherita and the
+Prati di Castello.
+
+The obelisk in the centre of the piazza was brought to Rome from
+Heliopolis by Cæsar Augustus and originally stood in the Circus Maximus.
+It was erected here by Pope Sixtus V, and it is nearly a hundred feet in
+height. It is formed of red granite, and while it has been broken in
+three places, the hieroglyphics are still legible. This obelisk was
+first erected in Egypt as a part of the Temple of the Sun at Heliopolis,
+in a period preceding that of Rameses II. After the battle of Actium,
+Augustus transported it to Rome, and it was first placed in the Circus
+Maximus, but during the reign of Valentinian it fell from its pedestal
+and lay buried in the earth, until in the sixteenth century Pope Sixtus
+V had it placed in the centre of the Piazza del Popolo, and consecrated
+it to the cross. The two inscriptions are on opposite sides. One thus
+reads:--
+
+     "The Emperor Cæsar, son of the divine Cæsar Augustus, Sovereign
+     Pontiff, twelve times Emperor, eleven times Consul, fourteen times
+     Tribune, having conquered Egypt, consecrated this gift to the Sun."
+
+The other inscription is as follows:--
+
+     "Sixtus V, Sovereign Pontiff, excavated, transported, and restored
+     this obelisk, sacrilegiously consecrated to the Sun by the great
+     Augustus, in the great Circus, where it lay in ruins, and dedicated
+     it to the cross triumphant in the fourth year of his pontificate."
+
+The Church of Santa Maria del Popolo is built into the very wall of
+Monte Pincio on the site of Nero's tomb. It dates back to 1099, and
+consists of three naves and several chapels. In the first chapel is a
+"Nativity" by Pinturicchio, who also painted the lunettes. Another
+chapel belongs to the Cibo family, and is rich in marbles and adorned
+with sixteen columns of Sicilian jasper. The "Conception" is by Maratta,
+the "Martyrdom of St. Lawrence" by Morandi, and the "St. Catherine" by
+Volterra. The "Visitation" was sculptured by Bernini in 1679. The third
+chapel is painted by Pinturicchio (1513), and the fourth has an
+interesting bas-relief of the fifteenth century. The picture of the
+Virgin, on the high altar, is one of those attributed to St. Luke; the
+paintings on the vault of the choir are by Pinturicchio. The two marble
+monuments are, from their perfection of design and execution, reckoned
+among the best modern works. They are by Cantucci da S. Savino. In the
+chapel following is an "Assumption" by Annibale Carracci; the side
+pictures are by Caravaggio. The last chapel but one in the small nave is
+the Chigi chapel, and is one of the most celebrated in Rome.
+
+Raphael gave the designs for the dome, the paintings of the frieze, and
+the altar picture. This latter was begun by Del Piombo and finished by
+Salviati. The statue of Daniel is by Bernini. The front of the altar and
+the statues of Jonah and Elijah were done by Lorenzetto (1541), from
+designs by Raphael. Outside this chapel is the monument of Princess
+Odescalchi Chigi (1771), by Paolo Posi. The stained windows of the choir
+belong to the fourteenth century, and in the sacristy and the vestibule
+are monuments also of the fourteenth century and of the fifteenth.
+Luther resided in the convent attached to this church when he was in
+Rome.
+
+There is a legend that a large walnut tree grew on the site of Nero's
+tomb in whose branches innumerable crows had their home, and that they
+devastated all that part of Rome. An appeal was made to the Virgin, who
+declared that the crows were demons who kept watch over the ashes of
+Nero, and ordered the tree to be cut down and burned, the ashes being
+scattered to the air, and that, on the spot, a church should be built to
+her honor. This was accomplished, and the crows no more troubled the
+Eternal City.
+
+The gardens of Lucullus were on the Monte Pincio. The view of the
+terraced hillside from the Piazza del Popolo is one of the most
+impressive in Rome.
+
+The Hawthornes left Rome in 1859; and the death of Mrs. Browning in June
+of 1861 left the little circle of the Roman winters irreparably broken.
+"Returning to Rome," wrote Story to Charles Eliot Norton, "I have not
+one single intimate ... no one with whom I can walk any of the higher
+ranges of art and philosophy." Mr. Story had modelled the busts of both
+Mr. and Mrs. Browning during their sojourns in Rome; in 1853 Harriet
+Hosmer had made the cast of the "clasped hands" of the poets, the model
+having since been cast in bronze; Mr. Page had, as already noted,
+painted a portrait of Robert Browning; and Mr. Leighton (afterward Sir
+Frederick) had made a beautiful portrait sketch of Mrs. Browning. In
+later years all these memorials, with other paintings or plastic
+sketches of the wedded poets, were grouped in Mr. Barrett Browning's
+palace in Venice.
+
+At this time Mr. Story had completed his "Cleopatra," which Hawthorne
+had embalmed in literary mention in "The Marble Faun;" and beside his
+"Judith," "Sappho," and other lesser works, he had achieved one of his
+finest successes in the "Libyan Sibyl." Both the "Cleopatra" and the
+"Sibyl" became famous. Whether they would produce so strong an effect at
+the present stage of twentieth-century life is a problem, but one that
+need not press for solution. Mr. Story was singularly fortunate in
+certain conditions that grouped themselves about his life and combined
+to establish his fame. These conditions, of course, were largely the
+outer reflection of inner qualities, as our conditions are apt to be;
+still, the "lack of favoring gales" not infrequently foredooms some
+gallant bark to a disastrous course.
+
+    "Man is his own star....
+
+           *       *       *       *       *
+
+    Our acts, our angels, are, for good or ill,
+    Our fatal shadows that walk by us still,"
+
+it is true; yet has not Edith Thomas embodied something of that
+overruling destiny that every thoughtful observer must discern in life
+in these lines?--
+
+    "You may blame the wind or no,
+    But it ever hath been so--
+    Something bravest of its kind
+    Leads a frustrate life and blind,
+    For the lack of favoring gales
+    Blowing blithe on other sails."
+
+Only occasionally have we
+
+    "... the time, and the place,
+    And the loved one all together."
+
+Mr. Story's nature was eminently sympathetic with the other arts; he was
+himself almost as much a literary man as he was a sculptor; he was the
+friend and companion of literary men, and to the fact that art in the
+middle years of the nineteenth century was far more a literary topic
+than a matter of critical scrutiny, Mr. Story owed an incalculable
+degree of his fame. He was an extremely interesting figure with his
+social grace, his liberal culture, and his versatile gifts. His life was
+centred in choice and refined associations. If not dowered with lofty
+and immortal original genius, he had a singular combination of talent,
+of fastidious taste, and of the intellectual appreciation that enabled
+him to select interesting ideal subjects to portray in the plastic art.
+These appealed to the special interest of his literary friends and were
+widely discussed in the press and periodicals of the day. It is a
+_bonmot_ of contemporary studio life that Hawthorne rather than Story
+created the "Cleopatra," and one ingenious spirit suggests that as Mr.
+Story put nothing of expression or significance into his statues, the
+beholder could read into them anything he pleased; finding an empty
+mould, so to speak, into which to pour whatever image or embodiment he
+might conjure up from the infinite realm of imagination. One of the
+latest of these contemporary critics declares that "Story declined
+appreciably, year by year, falling away from his own standard; haunted
+to the point of obsession by visions of mournful female figures,
+generally seated, wrapped in gloom. It seems strange," this critic
+continues, "that so active a mind should dream of nothing but brooding,
+sinister souls, of bodies bowed in grief, or tense with rage. Never
+once, apparently, did there come to him a vision of buoyancy and grace;
+of a beauty that one could love; of good cheer and joy of very living;
+always these unwholesome creatures born of that belated Byronic
+romanticism."
+
+This criticism, while it has as little appreciation of Mr. Story's
+exquisite culture and of the taste and refinement of his art as the
+general rush of the motor car and telephonic conversational life of the
+first decade of the twentieth century has of the thoughtful, the poetic,
+the leisurely atmosphere of Mr. Story's time, is yet not without a keen
+flashlight of truth. Painting had its reactionary crisis from the
+pre-Raphaelite ideals and the _intransigeants_ have had their own
+conflicts in which they survived, or disappeared, according to the
+degree of artistic vitality within. Sculpture and literature must also
+meet the series of tests to which the onward progress of life persists
+in subjecting them, and those who are submerged and perish can only
+encourage the survivors as did the Greeks, as sung by Theocritus:--
+
+    "A shipwrecked sailor, buried on this coast,
+          Bids you set sail.
+    Full many a gallant ship, when we were lost,
+          Weathered the gale."
+
+"As we refine, our checks grow finer," said Emerson. As life becomes
+more elaborate and ambitious, the critical tests increase. Contemporary
+fame can be created for the artist by favorable contemporary comment;
+but it rests with himself, after all; it rests in the abiding
+significance of his work--or the lack of it--as to whether this fame is
+perpetuated. That of Mr. Story does not hold within itself all the
+qualities that insure the appreciation of the present day. It is, as the
+critic of the hour expresses himself, "too literary,"--too largely a
+question of classic titles which appealed to the mid-nineteenth-century
+authors whose judgment of art the twentieth century finds particularly
+amusing. Henry James has somewhere held up to ridicule the early Beacon
+Hill Boston for its impassioned devotion to the "attenuated outlines" of
+Flaxman's art. But the work of Story will survive all transient
+variations of opinion, even of the present realistic age; for is not
+true realism, after all, to be found in the eternal ideals of truth,
+grace, dignity, refinement, significance, and beauty? These qualities
+have a message to convey; and no one can study with sympathetic
+appreciation any sculpture of William Wetmore Story without feeling that
+the work has something to say; that it is not a mere reproduction of
+some form, but is, rather, an idea impersonated, and therefore it has
+life, it has significance. The criticism of the immediate hour is not
+necessarily infallible because it is contemporary. What does William
+Watson say?
+
+    "A deft musician does the breeze become
+      Whenever an Æolian harp it finds;
+    Hornpipe and hurdy-gurdy both are dumb
+      Unto the most musicianly of winds."
+
+It is an irretrievable loss if, in the passion for the _vita nuova_, a
+generation, or a century, shall substitute for the Æolian harp the mere
+hornpipe and hurdy-gurdy of the hour. In another of his keenly critical
+quatrains William Watson embodies this signal truth:--
+
+    "His rhymes the poet flings at all men's feet,
+      And whoso will may trample on his rhymes.
+    Should Time let die a song that's pure and sweet,
+      The singer's loss were more than matched by Time's."
+
+Art is progressive, and the present is always the "heir of all the ages"
+preceding; but it cannot be affirmed that it invariably makes the best
+use of its rich inheritance.
+
+There are latter-day sculptors who excel in certain excellences that
+Story lacked; still, it would not be his loss, but our own, if we fail
+in a due recognition of that in his art which may appeal to the
+imagination; for, whatever the enthusiasms of other cults may be, there
+are qualities of beauty, strength, and profound significance in the art
+of Story that must insure their permanent recognition. Still, it remains
+true that Mr. Story owes his fame in an incalculable degree to the
+friendly pens of Hawthorne and others of his immediate circle,--Lowell,
+Motley, Charles Eliot Norton, Thackeray, Browning,--friends who,
+according to the latest standards of art criticism, were not unqualified
+nor absolute judges of art, but who were in sympathy with ideal
+expression and recognized this as embodied in the statues of Story.
+
+Browning wrote to the London _Times_ an article on Mr. Story's work, in
+which he conjured up most of the superlative phrases of commendation
+that the limits of the English language allow to praise his work, none
+of whose marshalled force was too poor to do him reverence. The
+versatile gifts of Story's personality drew around him friends whose
+influence was potent and, indeed, authoritative in their time.
+
+Still, any analysis of these conditions brings the searcher back to the
+primary truth that without the gifts and grace to attract about him an
+eminent circle of choice spirits he could not have enjoyed this potent
+aid and inspiration; and thus, that
+
+    "Man is his own star,"
+
+is an assertion that life, as well as poetry, justifies. In the full
+blaze of this fundamental truth, it is, not unfrequently, the
+mysterious spiritual tragedy of life that many an one as fine of fibre
+and with lofty ideals
+
+    "Leads a frustrate life and blind,
+    For the lack of favoring gales
+    Blowing blithe on other sails."
+
+Mr. Story was himself of too fine an order not to divine this truth.
+With what unrivalled power and pathos has he expressed it in his
+poem--one far too little known--the "Io Victis":--
+
+    "I sing the song of the Conquered, who fell in the Battle of
+           Life,--
+    The hymn of the wounded, the beaten, who died overwhelmed
+           in the strife;
+    Not the jubilant song of the victors, for whom the resounding
+           acclaim
+    Of nations was lifted in chorus, whose brows wore the chaplet
+           of fame,
+    But the hymn of the low and the humble, the weary, the
+           broken in heart,
+
+           *       *       *       *       *
+
+    Whose youth bore no flower on its branches, whose hopes
+           burned in ashes away,
+    From whose hands slipped the prize they had grasped at, who stood
+           at the dying of day
+    With the wreck of their life all around them...."
+
+In this poem Mr. Story touched the highest note of his life,--as poet,
+sculptor, painter, or writer of prose; in no other form of expression
+has he equalled the sublimity of sentiment in these lines:--
+
+                             "... I stand on the field of defeat,
+    In the shadow, with those who are fallen, and wounded, and
+           dying, and there
+
+           *       *       *       *       *
+
+    Hold the hand that is helpless, and whisper, 'They only the
+         victory win
+    Who have fought the good fight, and have vanquished the
+         demon that tempts us within;
+    Who have held to their faith unseduced by the prize that the
+         world holds on high;
+    Who have dared for a high cause to suffer, resist, fight,--if
+         need be, to die.'"
+
+Such a poem must have its own immortality in lyric literature.
+
+For a period of forty years the home of the Storys in Palazzo Barberini
+was a noted centre of the most charming social life. Mr. Story's
+literary work--in his contributions of essays and poems to the _Atlantic
+Monthly_; in his published works, the "Roba di Roma," "Conversations in
+a Studio," his collected "Poems," and others--gave him a not transitory
+rank in literature which rivals, if it does not exceed, his rank in
+art.
+
+Meantime other artists were to take up their permanent abode in the
+Seven-hilled City,--Elihu Vedder in 1866; Franklin Simmons two years
+later; Waldo and Julian Story, the two sons of William Wetmore Story,
+though claiming Rome as their home, are American by parentage and
+ancestry; and Mr. Waldo Story succeeds his father in pursuing the art of
+sculpture in the beautiful studios in the Via San Martino built by the
+elder Story. In 1902 Charles Walter Stetson, with his gifted wife, known
+to the contemporary literary world by her maiden name, Grace Ellery
+Channing, set up their household gods and lighted their altar fires in
+the city by the Tiber, ready, it may be, to exclaim with Ovid:--
+
+    "Four times happy is he, and times without number is happy,
+    Who the city of Rome uninterdicted enjoys."
+
+  [Illustration: "THE DANCE OF THE PLEIADES"
+                 Elihu Vedder
+                 _Page 92_]
+
+If art is a corner of the universe seen through a temperament, the
+temperament of Mr. Vedder must offer an enthralling study, for it seems
+to be a lens whose power of refraction defies prophecy because it deals
+with the incalculable forces. His art concerns itself little with the
+æsthetic, but is chiefly the art of the intellect and the imagination.
+All manner of symbols and analogies; the laws of the universe that
+prevail beyond the stars; the celestial figures; the undreamed
+significance in prophecy or in destiny; omens, signs, and wonders; the
+world forces, advancing stealthily in the shadows of a dusky twilight;
+the Fates, under brilliant skies, gathering in the stars; oracles and
+supernatural coincidences that lurk in undreamed-of days; the Pleiades
+dancing in a light that never was on sea or land; unknown Shapes that
+meet outside space and time and question each other's identity; the dead
+that come forth from their graves and glide, silent and spectral,
+through a crowd, unseen by any one; the prayer of the celestial powers
+poured forth in the utter solitude of the vast desert,--it is these that
+are the realm of Vedder's art, and what has the normal world of portrait
+and landscape to do with such art as this? Can it only be relegated to a
+class, an order, of its own, and considered as being--Vedderesque? It
+seems to stand alone and unparalleled. In his work lies the
+transfiguration of all mystery. Vedder never paints nature, in the
+sense of landscapes, and yet one often feels that he has the key to the
+very creation of nature; that he has supped with gods and surprised the
+secrets of the stars. Do the winds whisper to him?--
+
+    "The Muse can knit
+    What is past, what is done,
+    With the web that's just begun."
+
+How can he find the design to phrase his thought--this painter of ideas?
+
+    "Can blaze be done in cochineal,
+    Or noon in mazarin?"
+
+Whatever the Roman environment may have done for Allston, Page, and
+Story, there is no question but that to Vedder it has been as his soul's
+native air. For him the sirens sing again on the coast; the sorceress
+works her spell; the Cumæan Sibyl again flies, wraithlike, over the
+plain, clasping her rejected leaves of destiny which Tarquin in his
+blindness has refused to buy. The Rome that lies buried under the ages
+rises for Vedder. His art cannot be catalogued under any known division
+of portrait, landscape, marine, or genre, but it is simply--the art of
+Vedder. It stands alone and absolutely unrivalled. The pictorial
+creations of Vedder are as wholly without precedent or comparison as if
+they were the sole pictorial treasures of the world. The visitor may
+care for them, or not care, according to his own ability to comprehend
+and to recognize the inscrutable genius there manifested; but in either
+case he will find nowhere else, in either ancient or contemporary art,
+any parallel to these works.
+
+One could well fancy that to any interrogation of his conceptions the
+artist might reply:--
+
+    "I am seeker of the stone,
+    Living gem of Solomon.
+    But what is land, or what is wave,
+    To me, who only jewels crave?
+
+           *       *       *       *       *
+
+    I'm all-knowing, yet unknowing;
+    Stand not, pause not in my going."
+
+In the rich, weird realm of Omar Khayyam's Persian poem, the Rubaiyat,
+Mr. Vedder found the opportunity of his life for translating its thought
+into strange, mystic symbolism. Never were artist and poet so blended
+in one as in Vedder's wonderful illustrations for this poem. It has
+nothing in common with what we ordinarily call an illustrated work. It
+is a great treasure of art for all the ages. It is a very fount of
+inspiration for painter and poet. An exquisite sonnet suggested by "The
+Angel of the Darker Cup" is the following by Louise Chandler Moulton:--
+
+    "She bends her lovely head to taste thy draught,
+      O thou stern Angel of the Darker Cup!
+      With thee to-night in the dim shades to sup,
+    Where all they be who from that cup have quaffed.
+    She had been glad in her own loveliness, and laughed
+      At Life's strong enemies who lie in wait;
+      Had kept with golden youth her queenly state,
+    All unafraid of Sorrow's threat'ning shaft.
+
+    "Then human Grief found out her human heart,
+      And she was fain to go where pain is dumb;
+        So Thou wert welcome, Angel dread to see,
+        And she fares onward with thee, willingly,
+    To dwell where no man loves, no lovers part,--
+      Thus Grief that is, makes welcome Death to come."
+
+The sonnet, the stanza, and the pictorial interpretation all form one
+beautiful trio in poetic and graphic art.
+
+Writing of Mr. Vedder, Mr. W. C. Brownell speaks of the personal force
+in a picture and says that with Vedder this personal force is
+imagination,--"the imagination of a man whose natural expression is
+pictorial, but who is a man as well as a painter; who has lived as well
+as painted, who has speculated, pondered, and felt much.... It is this,"
+he continues, "that places Vedder in the front rank of the imaginative
+painters of the day." Of Mr. Vedder's painting called "The Enemy Sowing
+Tares," Mr. Brownell writes:--
+
+     "... Here you note a dozen phases of significance. The theme is
+     unconventional; the man has become the archenemy; the night is
+     weird and awe-inspiring; the tares represent the foe of the
+     church--money; they are sown at the foot of the cross--the symbol
+     of the church.... Mr. Vedder has not passed his life in Rome for
+     nothing. His attitude is in harmony with the spirit of the Sistine
+     and the Stanze."
+
+One of the interesting and mystical works of Vedder is "The Soul between
+Doubt and Faith,"--three heads, that of the Soul hooded and draped,
+looking before her with eyes that seem to discern things not seen by
+mortals; the sinister face of Doubt at the left, the serene, inspiring
+countenance of Faith at the right. It is a magical picture to have
+before one with its profoundly significant message. The works of Mr.
+Vedder will grow more priceless as the years pass by. They are pictures
+for the ages.
+
+In Mr. Ezekiel, another American artist whose almost lifelong home has
+been in Rome, is a sculptor whose touch and technique have won
+recognition. In a recumbent figure of Christ is seen one of the best
+examples of his art. It is pervaded by the classic influences in which
+he has lived. The studios of Mr. Ezekiel, in the ruins of the old Baths
+of Caracalla, are very picturesque and his salon, with its music, its
+wealth of books including many rare and beautiful copies, and its old
+pictures and bric-a-brac, is one of the fascinating interiors of the
+Eternal City.
+
+The visitor who is privileged to see the Story studios in the Via San
+Martino finds Mr. Waldo Story occupying these spacious rooms where the
+flash of a fountain in the court, a view of the garden, green-walled by
+vines, with flowers and shrubs and broken statues, make the place
+alluring to dreamer and poet. In these rooms may be seen many of the
+elder Story's finest statues in cast or marble, the "Libyan Sibyl,"
+"Nemesis," "Sappho," the "Christ," "Into the Silent Land," and others,
+with many portrait busts, among which are those of Browning, Shelley,
+Keats, Theodore Parker, Mrs. Browning, Marchesa Peruzzi de Medici (Edith
+Story), John Lothrop Motley, one of Story's nearer friends, and Lord
+Houghton.
+
+In the work of Mr. Waldo Story one admirable portrait bust is of Cecil
+Rhodes. A decorative work, a fountain for the Rothschild country estate
+in England, is charmingly designed as a Galatea (in bronze), standing in
+a marble shell that is drawn by Nereids and attended by Cupids. The
+happy blending of marble and bronze gives to this work a pleasing
+variety of color. Another decorative design is that of "Nymphs Drinking
+at the Fountain of Love." These studios are among the most interesting
+in Rome.
+
+It was in 1868 that Franklin Simmons, then a young artist from Maine,
+turned to Rome as his artistic Mecca. Since then the Eternal City has
+always been his home, but his frequent and prolonged sojourns in America
+have kept him closely in touch with its national life. Mr. Simmons is
+the idealist who translates his vision into the actuality of the hour
+and who also exalts this actuality of the hour to the universality of
+the vision. In the creation of portrait busts and of the statues and
+monumental memorials of great men he infuses into them the indefinable
+quality of extended relation which relegates his work to the realm of
+the universal and, therefore, to the immortality of art, rather than
+restricting it to the temporal locality. Louis Gorse observes that it is
+not the absence of faults that constitutes a masterpiece, but that it is
+flame, it is life, it is emotion, it is sincerity. Under the touch of
+Mr. Simmons the personal accent speaks; to his creative power flame and
+life respond, and to no sculptor is the truth so admirably stated by M.
+Gorse more applicable.
+
+Mr. Simmons has been singularly fortunate in a wide American
+recognition, having received a liberal share of the more important
+commissions for great public works of sculpture. The splendid statue,
+_al fresco_, of the poet Longfellow for his native city, Portland, was
+appropriately the work of Mr. Simmons as a native of the same state; the
+portrait statues of General Grant, Gov. William King, Roger Williams,
+and Francis H. Pierrepont, all in Statuary Hall in the Capitol in
+Washington; the portrait busts of Grant, Sheridan, Porter, Hooker,
+Thomas, and other heroes of the Civil War; the colossal group of the
+Naval Monument at the head of Pennsylvania Avenue in Washington,--are
+all among the works of Mr. Simmons.
+
+Like all artists who, like the poet, are born and not made, Mr. Simmons
+gave evidence of his artistic bent in his early childhood. After
+graduating from Bates College he modelled a bust of its president, and a
+little later, going to Washington (in the winter of 1865-66), many of
+the noted men of the time gave him sittings, and in a series of portrait
+busts his genius impressed itself by its dignity of conception and an
+unusual power of sympathetic interpretation. He modelled the bust of
+Grant while he was the General's guest in camp, taking advantage of
+whatever spare minutes General Grant could give for sittings in the
+midst of his pressing responsibilities; and it is perhaps due to this
+unusually intimate intercourse with the great hero, and the _rapport_,
+not difficult of establishment, between two men whose natures were akin
+in a certain noble sincerity and lofty devotion to the purest ideals,
+that Mr. Simmons owes the power with which he has absolutely interpreted
+the essential characteristics of General Grant in that immortal portrait
+statue in the Capitol.
+
+Washington is, indeed, the place to especially study the earlier work of
+Franklin Simmons. An important one is the Logan memorial,--an equestrian
+statue which is considered the finest work in sculpture in the capital,
+and which is the only statue in the United States in which both the
+group and the pedestal are of bronze. The visitor in Washington who
+should be ignorant of the relative rank of the great men commemorated by
+the equestrian memorial monuments of the city might be justified in
+believing that General Logan was the most important man of his time, if
+he judged from the relative greatness of his statue. When Congress
+decided upon this group, Mr. Simmons was requested to prepare a model.
+This proving eminently acceptable, Mr. Simmons found himself, quite to
+his own surprise, fairly launched on this arduous work, involving years
+of intense concentration and labor. For this monumental work was to be
+not merely that of the brave and gallant military leader,--a single idea
+embodied, as in those of Generals Scott, Sheridan, Thomas, and
+others,--but it was to be a permanent interpretation of the
+soldier-statesman, mounted on his battle-horse; it was to be, in the
+comprehensive grasp of Mr. Simmons, the vital representation of the
+complex life and individuality of General Logan and, even more, it must
+reflect and suggest the complex spirit of his age. In this martial
+figure was thus embodied a manifold and mysterious relation, as one of
+the potent leaders and directive powers in an age of tumultuous
+activities; an age of strife and carnage, whose goal was peace; of
+adverse conditions and reactions, whose manifest outcome was yet
+prosperity and national greatness and splendid moral triumph. All these
+must be suggested in the atmosphere, so to speak, of the artist's work;
+and no sculptor who was not also an American--not merely by ancestry and
+activity, but one in mind and heart only; one who was an intense
+patriot and identified with national ideas--could ever have produced
+such a work as that of the Logan monument. So unrivalled does it stand,
+unique among all the equestrian art of this country, that it enchants
+the art student and lover with its indefinable spell. When this colossal
+work was cast in bronze, in Rome, the event was considered important.
+The king and the Royal family visited the studio of Mr. Simmons to see
+the great group, and so powerfully did its excellence appeal to King
+Umberto that he knighted Mr. Simmons, making him Cavaliere of the Crown
+of Italy. Nor was Mr. Simmons the prophet who was not without honor save
+in his own country, for his _alma mater_ gave him the degree of M.A. in
+1867; Colby College honored him with the Master's degree in 1885, and in
+1888 Bowdoin bestowed upon this eminent Maine artist the same degree. In
+1892 Mr. Simmons married the Baroness von Jeinsen, a brilliant and
+beautiful woman who, though a lady of foreign title, was an American by
+birth. An accomplished musician, a critical lover of art, and the most
+delightful of hostesses and friends, Mrs. Simmons drew around her a
+remarkable circle of charming people and made their home in the Palazzo
+Tamagno a notable centre of social life. No woman in the American colony
+of the Seven-hilled City was ever more beloved; and it was frequently
+noted by guests at her weekly receptions that Mrs. Simmons was as
+solicitous for the enjoyment of the most unknown stranger as for those
+of rank and title who frequented her house. Her grace and loveliness
+were fully equalled by her graciousness and that charm of personality
+peculiarly her own. Her death in Rome, on Christmas of 1905, left a
+vacant place, indeed, in many a home which had been gladdened by her
+radiant presence. One of the most beautiful works of Mr. Simmons is a
+portrait of his wife in bas-relief, representing her standing just at
+the opening of parted curtains, as if she were about to step behind and
+vanish. It is a very poetic conception. A bust of Mrs. Simmons, also, in
+his studio, is fairly a speaking likeness of this beautiful and
+distinguished woman. It is over her grave in the Protestant cemetery
+that Mr. Simmons has placed one of his noblest ideal statues, "The Angel
+of the Resurrection,"--a memorial monument that is one of the art
+features of Rome to the visitor in the Eternal City.
+
+  [Illustration: "GRIEF AND HISTORY," DETAIL FROM NAVAL MONUMENT,
+                 WASHINGTON
+                 Franklin Simmons
+                 _Page 105_]
+
+The brilliant and impressive Naval Monument, or Monument of Peace, as it
+is known in Washington, placed at the foot of Capitol Hill on
+Pennsylvania Avenue, is eloquent with the power of heroic suggestion
+that Mr. Simmons has imparted to it. The work breathes that exaltation
+of final triumph that follows temporary defeat. Those who died that the
+nation might live, are seen in the perpetual illumination of
+immortality. Not only has Mr. Simmons here perpetuated the suffering,
+the sacrifices of the Civil War, but that sublime and eternal truth of
+victory after defeat, of peace and serene exaltation after conflict, and
+the triumph of life after death, are all immortally embodied in this
+group crowned with those impressive and haunting figures, "Grief" and
+"History," which are considered as among the most classically beautiful
+and significant in the range of modern sculpture.
+
+In the early winter of 1907 Mr. Simmons was invited by the American
+Ambassador to the Court of St. James, Hon. Whitelaw Reid, to send
+for Dorchester House, London, three busts of distinguished
+Americans,--those of Alexander Hamilton, Chief Justice Chase, and Hon.
+James G. Blaine, which Mr. Reid, in visiting the Roman studios of Mr.
+Simmons, had seen and greatly admired. The Ambassador observed that he
+"would like a few Americans, as well as so many Roman Emperors," about
+him.
+
+These portrait busts all reveal an amazing force and mastery of work.
+The fine sculptural effect of the Hamilton and the wonderful blending of
+subtle delicacy of touch and vigor of treatment with which the nobility
+of character is expressed, mark this bust as something exceptional in
+portrait art. It has a matchless dignity and serene poise. The bust of
+Chief Justice Chase is a faithful and speaking reproduction of the very
+presence of its subject, instinct with vitality; and the fire and force
+and brilliancy of the bust of Hon. James G. Blaine fairly sweeps the
+visitor off his feet. The modelling is done with an apparent
+instantaneousness of power that is the highest realization of creative
+art. It is the magnetic Blaine, the impassioned and eloquent statesman,
+that rises before the gazer.
+
+Mr. Simmons has long been a commanding figure in plastic art. No
+American sculptor abroad has, perhaps, received so many important public
+commissions as have been given to him. He has created nearly a score of
+memorial groups; he has modelled over one hundred portrait busts and
+statues. His industry has kept step with his genius. The latest success
+of Mr. Simmons in the line of monumental art is the statue (in bronze)
+of Alexander Hamilton, which was unveiled at Paterson, N. J., in May of
+1907. The splendidly poised figure, the dignity, the serene strength and
+yet the intense energy of the expression and of the entire pose are a
+revelation in the art of the portrait statue.
+
+It is not, however, true that Mr. Simmons has ever resigned himself to
+the necessity of producing portrait and memorial sculpture exclusively.
+In the realm of the purely ideal Mr. Simmons finds his most felicitous
+field for creative work. A bas-relief entitled "The Genius of Progress
+Leading the Nations," with all its splendid fire and action, the _motif_
+being that of the spirits Life and Light beating down and driving out
+the spirits of darkness and evil; "The Angel of the Resurrection," with
+its glad, triumphant assertion of the power of the immortal life; the
+poetry and sacredness of maternity as typified in the "Mother of Moses;"
+the statues of the "Galatea" and the "Medusa," and other ideal
+creations, indicate "the vision and the faculty divine" of Mr. Simmons.
+To a very great degree his art is that which the French describe as the
+grand manner, and to this is added a spiritual quality, a power of
+radiating the intellectual purpose, the profounder thought and the
+aspiration of the subject represented.
+
+  [Illustration: "MOTHER OF MOSES"
+                 Franklin Simmons
+                 _Page 108_]
+
+One of the most charming of these ideal works is a statue of "Penelope,"
+represented seated in the chair, her rich robe falling in graceful
+folds, and the little Greek fillet binding her hair. The face bears a
+meditative expression, into which has entered a hint of pathos and
+wistfulness in the dawning wonder as to whether, after all, Ulysses will
+return. The classic beauty of the pose; the exquisite modelling of the
+bust and arms and hands, every curve and contour so ideally lovely; the
+distinction of the figure in its noble and refined patrician elegance,
+are combined to render this work one that well deserves immortality in
+art, and to rank as a masterpiece in modern sculpture.
+
+  [Illustration: "THE GENIUS OF PROGRESS LEADING THE NATIONS"
+                 Franklin Simmons
+                 _Page 107_]
+
+Another of his ideal figures, "The Promised Land," is a work of great
+spiritual exaltation and beauty. An Israelite woman has just arrived at
+the point when before her vision gleams the "Promised Land"; the face
+tells its own story of all she has passed through,--the trials, the
+sadness, the obstacles to be overcome; but now she sees the fulfilment
+of her hopes and dreams. It is a most interesting creation, and one in
+which is portrayed the artist's spiritual insight and susceptibility to
+poetic exaltation. To one visitor to Mr. Simmons's studio this statue
+suggested the following lines:--
+
+    Fair on her sight it gleams,--the Promised Land!
+      The rose of dawn sifts through the azure air,
+      And all her weariness and toil and care
+    Vanish, as if from her some tender hand
+      Lifted the burden, and transformed the hour
+      To this undreamed-of sense of joy and power!
+    The rapture and the ecstasy divine
+      Are deep realities that only wait
+      Their hour to dawn, nor ever rise too late
+    To draw the soul to its immortal shrine.
+
+    O Sculptor! thy great gift has shaped this clay,
+      To image the profoundest truth, and stand
+    As witness of the spirit power that may
+      Achieve the vision of the Promised Land!
+
+  [Illustration: "VALLEY FORGE"
+                 Franklin Simmons
+                 _Page 110_]
+
+In a statuette in bronze called "Valley Forge," Mr. Simmons has fairly
+incarnated the entire spirit of the Revolutionary period in that
+mysterious way recognized only in its result; all that unparalleled
+epoch of tragic intensity and sublime triumph lives again in this work.
+The fidelity to a lofty ideal which essentially characterizes Mr.
+Simmons is as unswerving as that of Merlin, who followed "The Gleam."
+
+    "Great the Master
+    And sweet the Magic
+    When over the valley
+    In early summers,
+    Over the mountain,
+    On human faces,
+    And all around me
+    Moving to melody,
+    Floated the Gleam."
+
+This American sculptor who, in his early youth, sought the artistic
+atmosphere of Rome as the environment most stimulating to his dawning
+power, who accepted with unfailing courage the incidental privations of
+art life in a foreign land more renowned for beauty than for comfort,
+who
+
+    "... never turned his back, but marched breast forward,
+    Never doubted clouds would break,"
+
+has expressed his message in many purely ideal works,--the message that
+the true artist must always give to the world and that leads humanity to
+the crowning truth of life, that of the ceaseless progress of the soul
+in its immortality.
+
+For the brief and significant assertion of the apostle condenses the
+most profound truth of life when he says:--
+
+     "To be carnally minded is death; but to be spiritually minded is
+     life and peace."
+
+In these words are imaged the supreme purpose of all the experiences of
+the life on earth; and to the artist whose works bear this lofty message
+of the triumph of spirituality, his reward shall appear, not in the
+praise of men, but in the effect on character that his efforts have
+aided to exalt; in the train of nobler influences that his work shall
+perpetually inspire and create.
+
+Mr. Simmons has always found Rome potent in fascination. One may not
+want to go to St. Peter's every day, but one knows it is there, and
+there is some inexplicable satisfaction in being where it is possible to
+easily enter this impressive interior. One may not go near the Forum
+for a month, or even a season, but the knowledge that one may find it
+and the wonderful Palatine Hill any hour of any day is a perpetual
+delight. The Vatican galleries, with their great masterpieces; the
+Sistine Chapel, the stately, splendid impressiveness of San Giovanni
+Laterano; the wanderings in Villa Borghese, and the picturesque climbing
+of the Spanish steps, even all the inconveniences and deprivations,
+become a part of the story of Rome which the artist absorbs and loves.
+
+The studios of Mr. Simmons in the Via San Nicolo da Tolentino are a
+centre of artistic resort, and his personal life is one of distinction
+amid the picturesque beauty and enchantment of the Eternal City.
+
+For many years (until the death of Mrs. Simmons in 1905) the sculptor
+and his wife had their home in the beautiful Palazzo Tamagno in the Via
+Agostino Depretis, where one of those spacious apartments of twenty to
+thirty rooms, only to be found in a Roman palace, was made by them a
+brilliant centre of social life. Mrs. Simmons was herself a musical
+artist, with impassioned devotion to music; and her rare personal charm
+and distinction of presence drew around her a most interesting
+circle. Her receptions were for many years a noted feature of Roman
+society. The social life in Rome is very brilliant, interesting, and
+fascinating. The sight-seeing is a kind of attendant atmosphere,--the
+perpetual environment offering, but not intruding itself. People come to
+Rome for reasons quite disconnected with the Golden House of Nero or the
+latest archæological discoveries in the Forum. The present, rather than
+the past, calls to them, and the present, too, is resplendent and
+alluring.
+
+Of the foreign painters in Rome, Charles Walter Stetson, whose work
+recalls the glory of the old Italian masters, is especially
+distinguished for his genius as a colorist. No visitor in Rome can
+afford to miss the studio of one of the most imaginative of modern
+artists. A wonderful picture still in process is a genre work with
+several figures, called "Music." An idyllic scene of a festa amid the
+ilex trees--with the Italian sky and the golden sunshine pervading a
+luminous atmosphere, while the joyous abandon of the dancers appeals to
+all who love Italy--is one of the many beautiful pictorial scenes of Mr.
+Stetson which enchant the eye and haunt the imagination. Another
+picture is called "Beggars,"--a name that illy suggests its splendor.
+There is the façade of a church to which a long flight of steps leads
+up, a procession of cardinals and friars in their rich robes, while at
+one side the groups of beggars shrink into the darkness. It is an
+impressive commentary upon life.
+
+For a long period, through the early and middle years of the nineteenth
+century, Rome held her place as the world centre of modern artistic
+activity. Great works of poetic and ideal sculpture elevated the general
+public taste to a high degree of appreciation. The standards were not
+ingeniously adjusted to mere spectacular methods whose sole appeal was
+to the crude fancy of possible patrons. Art held her absolute and
+inviolate ideals, and the spirit of her votaries might well have been
+interpreted in Mrs. Browning's words:--
+
+                    "I, who love my art,
+    Would never wish it lower to suit my stature."
+
+The tone of public appreciation is raised to a high quality only when
+the artist refuses to sell his soul for a mess of pottage. He may, to
+be sure, need the pottage, but the price is too great. Rather will he
+find his attitude expressed in these wonderful lines:--
+
+                              "I can live
+    At least my soul's life without alms from men.
+    And if it be in heaven instead of earth,
+    Let heaven look to it--I am not afraid."
+
+All art that has within itself true vitality must ever be the leader and
+the creator of the popular taste; only when it falls into decadence does
+it become the servile follower.
+
+It is a serious question as to the degree in which the art of to-day
+keeps faith with the eternal ideals. The great expositions of the past
+quarter of a century, while they have contributed immeasurably to the
+popularization of art and to the familiarization of the public with the
+work of individual painters and sculptors, have yet, in many ways, been
+a demoralizing influence in their insidious temptation to produce
+pictures or plastic art calculated to arrest immediate attention, thus
+putting a premium on the spectacular, the sensational, on that which
+makes the most immediate and direct appeal to the senses. The work
+becomes fairly a personal document wrought with perhaps an almost
+amazing finesse, but utterly failing in power to inspire joyous
+sensibility to beauty or to impart to the gazer that glow of radiant
+energy which lofty art invariably communicates to all who respond to its
+infinite exaltation.
+
+All great art is inspired by religious ideals. Painting and sculpture
+give to these a presence. Under their creative power are these ideals
+manifested. To embody them in living form becomes the absolute
+responsibility of the artist. In Greece all the fortunate conditions to
+produce great art were curiously combined and pre-eminently supported by
+the conjunction of events and by the prevailing sentiment of the time.
+The artist drew his inspiration from the most exalted conception of life
+embodied in gods rather than in men. Art, too, was an affair of the
+state. It was the supreme interest and held national importance. The
+temple was erected to form an inclosure for the statue, rather than that
+the statue was created as an adornment for the temple. The greatest
+gifts were consecrated to the service of art, and under these
+stimulating influences it is little wonder that artistic creation
+achieved that vital potency which has thrilled all succeeding
+centuries and has communicated to them something of the divine air of
+that remote period. With the Renaissance in Italy art culminated in the
+immortal work of Raphael and Michael Angelo. In the Sistine Chapel,
+where that sublime grouping of prophets and sibyls speaks of the very
+miracle of art in their impassioned fire and glow; where the figures,
+the pose, the draperies are so grandly noble and infused with dignity
+and presence,--the very atmosphere is vocal with the language of the
+spirit and the expressions of religious reverence. These marvellous
+shapes of grandeur and sublime intimations carry the soul into a
+conscious communion with the divine. In these stupendous works Michael
+Angelo has given to all the ages the message of the highest exaltation
+of art. In the technique, in the marvellous dignity of the sentiment, in
+the depth of the feeling involved, in the grace and power of the
+composition, these works embody the artistic possibilities of painting.
+
+Are such works as those of Canova and Thorwaldsen no longer created?
+
+Can it be that art is no longer of national importance? In our own
+country vast appropriations are made for internal improvements of all
+kinds, while art that kindles and re-enforces life is almost ignored.
+Our government--the government of the richest country in the
+world--appropriated $200,000 for a memorial monument to General Grant to
+be placed in Washington, while Italy--whose resources are so slender in
+comparison--appropriates seven million dollars--thirty-five times the
+amount--for her great monument to Victor Emmanuel which is now being
+erected in Rome to stand near the Capitol and the Palace of the
+Quirinale. Great art has always been closely associated with great
+devotion to religious ideals. The artist was the servant of the Lord,
+and it was his supreme purpose to embody the aspirations of the age and
+render his works a full and complete symbol of those true realities of
+life which have their being in the spiritual universe rather than in the
+changing temporal world of the outer universe. The so-called realism of
+the day is based on a false interpretation. "The things that are seen
+are temporal, while the things that are not seen are eternal." True
+realism is in spiritual qualities, not in physical attributes. True
+realism is found in such works as Canova's sublime group, where the
+figures of Religion and of Death forever impress all who stand before
+this magnificent monument; it is found in Thorwaldsen's "Christ;" in
+Franklin Simmons's "Angel of the Resurrection,"--in such works as those
+that have a language for the soul, rather than in a "Saturnalia."
+
+Again, another fatal rock on which art must inevitably make shipwreck is
+the theory that it is good to perpetuate ugliness, in either painting or
+in sculpture. The permanent reality of life is beauty. So far as any
+person or object departs from this enduring reality, so far it is the
+result of distortion and deformity, and these, being the temporary, the
+accidental, the deficient, should not be perpetuated in ideal creation.
+It is an Apollo who embodies the permanent ideal of manhood--not a
+cripple or a hunchback. Still further: art should not only refuse to
+embody the defective, which is a mere negative; it should not only give
+form to the utmost perfection it beholds in nature or in humanity, but
+beyond this the responsibility is upon the artist to penetrate into
+loftier realms, to catch the vision not revealed to mortals. The artist
+is, by virtue of his high calling, a co-worker with God. An English wit
+has declared that life copies art rather than that art copies life. In
+this he expresses a truth rather than a merely clever epigram. It is the
+artist's business to lead, not to follow. Only as he leads does he
+fulfil his divinely appointed destiny. "I maintain that life is not a
+form of energy," writes Sir Oliver Lodge; "that it is not included in
+our present physical categories; that its explanation is still to be
+sought. And it appears to me to belong to a separate order of existence,
+which interacts with this material frame of things, and while here
+exerts guidance and control on the energy which already here exists; for
+although they alter the quantity of energy no whit, and though they
+merely utilize available energy like any other machine, live things are
+able to direct inorganic terrestrial energy along new and special paths,
+so as to achieve results without which such living agency could not have
+occurred." Does it for an instant seem that a great scientist's
+theoretical speculations of the laws of the universe and of organic life
+have no connection with the province of art? On the contrary. Truly does
+Balzac exclaim: "Is not God the whole of science, the all of love,
+the source of poetry?" The artist is he who enters into the divine
+realm; who discerns the divine creations as the true ideals of humanity,
+and who interprets to the world the sublime significance of the divine
+thought. Shall such an artist degrade his power by portraying
+ugliness--the mere defects of negations and distortions? Shall he
+degrade life by calling these the realities?
+
+  [Illustration: "LA PIETA," ST. PETER'S, ROME
+                 Michael Angelo
+                 _Page 117_]
+
+The painter or sculptor who holds that it is as truly art to represent
+distortion and repulsiveness as it is to represent beauty is as false to
+his high calling as would be the poet who should insist that doggerel
+and mere commonplace truisms expressed in rhyme are poetry. Compare, for
+example, two statues, Cecioni's "_La Madre_," in which a woman's utter
+lack of personal attraction is so complete as to make her fairly
+repulsive to the gazer, and the "Mother of Moses," by Franklin Simmons,
+in which the mystic beauty, the very ideal of maternity, is embodied.
+Which of these statues is calculated to uplift and to exalt all who come
+near? This marvellously beautiful creation of Mr. Simmons shows a woman
+of exquisite delicacy and loveliness sitting, slightly bending forward,
+holding her baby to her breast. The modelling of the draped figure with
+the bare arms and neck revealing the tender curves, the yielding
+delicacy of the flesh and that inscrutable light upon the beautiful
+countenance, whose expression suggests that she is looking far into the
+future of the infant whom she holds in her arms, are a wonderful
+portrayal of the mystery and the sacredness of motherhood. The one
+statue degrades maternity; the other ennobles and exalts. The one
+embodies a pernicious and a false ideal; the other embodies the ideal
+that must appeal to all that is noble and divine in human life, and it
+thus ministers to moral progress by its contribution to the elevation of
+the social tone. For indeed, life follows art. It is art that exerts
+this powerful influence upon life which it may lead to loftier heights
+or drag down to the moral abyss. The artist is not merely the portrayer
+of existing types; he is the inspirer of those ideal types which human
+life should recognize as its pattern, its model to be followed and
+ultimately achieved. The world needs ideal and poetic art to minister to
+the attainment of the true social life and to the full and complete
+expression of man himself.
+
+Do not the visions of Fra Angelico and Botticelli still inspire the
+artist of to-day with the absolute realization of all the deep
+significance of the past?
+
+    "Is there never a retroscope mirror,
+      In the realms and corners of space,
+    That can give us a glimpse of the battle,
+      And the soldiers face to face?"
+
+Religion and art are inseparably united. In its true significance
+religion takes precedence of all else in that its influence is felt in
+every department and in every direction and expression of man's
+activity. It is the inexhaustible fountain of that lofty energy which
+communicates itself to every channel that carries inspiration to life
+and to art. Religion is the influence that redeems the mere shallow,
+surface presentation,--the petty trick to capture popularity, and holds
+art true to its real purpose. The glory of the mediæval art of Italy
+owed its greatness to religion. Cimabue and Giotto were directly
+inspired by that spring of a diviner life given to Italy and later to
+the world of that "sweet saint," Francis of Assisi. In an age of cruelty
+and terror he brought the new message that man is dear to God; that the
+soul is ceaselessly joyful; that man, created in the divine image, is a
+part of the divine life, and that only when he lives in this response
+and recognition does he truly live at all. In this restatement of the
+truth that Jesus came to proclaim, St. Francis opened the way for a
+revival of art, and opened the gates of that infinite and divine energy
+which has immortally recorded itself for all ages in the "Divina
+Comedia" of Dante. The irresistible wave of power which resulted from
+that liberating of thought, feeling, and emotion by the work of St.
+Francis expressed itself in the sublimest poem of all the ages, and in
+that glorious triumph of art that is still the treasure and the source
+of artistic inspiration.
+
+It is only when the world is lifted out of the limitations of the
+material by a period of great art that humanity is brought into close
+and inspiring relation with the living Christ.
+
+FOOTNOTES:
+
+[1] Henry Wadsworth Longfellow: Houghton, Mifflin & Co.
+
+
+
+
+    _Men and women make the world,
+    As head and heart make human life._
+
+                    MRS. BROWNING.
+
+       *       *       *       *       *
+
+    _Alas, our memories may retrace
+    Each circumstance of time and place;
+    Season and scene come back again,
+    And outward things unchanged remain;
+    The rest we cannot reinstate,
+    Ourselves we cannot re-create,
+    Nor set our souls to the same key
+    Of the remembered harmony._
+
+                    LONGFELLOW.
+
+
+
+
+     _And as, after the lapse of a thousand years, you stand upon that
+     hallowed spot, the yellow Tiber flowing sluggishly beneath you, the
+     ruins of the Eternal City all around you speaking of fallen
+     greatness, the mighty Basilica of St. Peter rising before you like
+     some modern tower of Babel that would monopolize the road to
+     heaven, the eye rests upon the figure of the Archangel sheathing
+     his glittering sword upon the summit of the Castle of St. Angelo,
+     and the heart asks, Why should that be a legend? Why should that be
+     a projection of a morbid and devout imagination? Why should it not
+     have been the clairvoyance of supernatural ecstasy opening the
+     world of spirits? It was no unreality when the angel of God, with
+     his sword drawn in his hand, withstood the prophet Balaam. It was
+     no morbid imagination when the angel of God smote with the edge of
+     the sword the first-born of the land of Egypt. It was no imposture
+     when the shining hosts of the army of the Almighty smote the
+     Assyrians. It was no deception when Gabriel, the King's messenger
+     from the court of heaven, was sent to comfort Daniel by the river
+     Hiddekel; or when he announced to the maiden, whom all generations
+     have called blessed, that she was to be the mother of the Divine
+     Redeemer.... The written Word from first to last is full of the
+     holy angels. It begins with angels, it ends with angels._
+
+                    THE VENERABLE ARCHDEACON WILBERFORCE,
+                                       Westminster Abbey.
+
+
+
+
+II
+
+SOCIAL LIFE IN THE ETERNAL CITY
+
+    And others came,--Desires and Adorations,
+      Winged Persuasions and Veiled Destinies!
+
+                    SHELLEY.
+
+    In what ethereal dances!
+    By what eternal streams!
+
+                    POE.
+
+
+Social life in Rome is no misnomer. From the most stately and beautiful
+ceremonials of balls at the court of the Quirinale, in ducal palaces, or
+at the embassies; of dinners whose every detail suggests stage pictures
+in their magnificence, to the simple afternoon tea, where conversation
+and music enchant the hours; the morning call _en tête-à-tête_, and the
+morning stroll, or the late afternoon drive,--a season in Rome
+prefigures itself, by the necromancy of retrospective vision, as a
+resplendent panorama of pictorial scenes. There rise before one those
+mornings, all gold and azure, of loitering over the stone parapet on
+Monte Pincio, gazing down on the city in her most alluring mood. The
+new bridge that is to connect the Pincio with the Villa Borghese is a
+picturesque feature in its unfinished state; but the vision traverses
+the deep ravine and revels in the scene of the Borghese grounds carpeted
+with flowers. Its picturesque slopes under the great trees, with a view
+of Michael Angelo's dome in the near distance, are the resort of morning
+strollers, who find that lovely picture of Charles Walter Stetson's--a
+stretch of landscape under the ilex trees, the scarlet gowns of the
+divinity students giving vivid accents of color here and there--fairly
+reproduced in nature before their vision. One should never be in haste
+as the bewildering beauty of the Roman spring weaves its emerald
+fantasies on grass and trees, and touches into magical bloom the scarlet
+poppies that flame over all the meadows, and caress roses and hyacinths
+and lilies of the valley into delicate bloom and floating fragrance
+until the Eternal City is no more Rome, but Arcady, instead--one should
+never be in haste to toss his penny into the _Fontane de Trevi_. Yet in
+another way it may work for him an immediate spell that defies all other
+necromancy. Judiciously thrown in, on the very eve of departure, it is
+the conjurer that insures his return; but at any time prior to this it
+may even weave the irresistible enchantment that falls upon him and may
+prevent his leaving at all. Nor can he summon up the moral courage to
+regret even the missing of all other engagements, and the failure to
+keep faith with his plans. For in the May days Rome falls upon him anew,
+like a revelation, and he is ready to confess that he has never seen her
+who sees her not in her springtime loveliness. The Italian winter by no
+means lives up to its reputation. It is not the chill of any one special
+day that discourages one from any further effort to continue in this
+vale of tears, but the cold that has, apparently, the chill and dampness
+and cold of all those two thousand and two hundred and sixty winters
+that have gone before which concentrate themselves in the atmosphere.
+One could presumably endure with some degree of courage, if not
+equanimity, the chill in the air of any _one_ winter; but when all the
+chill and cold that has ever existed in more than the two thousand
+winters of the past concentrates itself in the winter, say, of 1906-7,
+why, patience ceases to be a virtue although one that the sojourner in
+Rome is particularly called upon to practise if he fares forth to visit
+churches and galleries in the winter.
+
+Torrents of rain pour down, rivalling the cloud-bursts of Arizona.
+Virgil's cave of the winds apparently lets loose its sharpest blasts.
+Tramontana and sirocco alternate, and each is more unendurable than the
+other.
+
+The encircling mountains are white with snow. The streets are a sea of
+mud, for they are paved with small stones, and except in the new Villa
+Ludovisi quarter and along the Via Nazionale and a few other of the
+newer thoroughfares there are no sidewalks, the foot passengers (in all
+old Rome) pressing close to the wall to avoid the dangerously near
+proximity of carts and cabs. This rough pavement makes all driving hard
+and walking difficult. The Roman lady, indeed, does not walk; and the
+visitors who cannot forego the joy of daily promenades enter into the
+feelings of that nation which is said to take its pleasures sadly. But
+spring works a transformation scene. The air is filled with the most
+transparent shining haze; the sky lacks little of that intense, melting
+blue that characterizes the ineffable beauty of the skies in Arizona;
+and ruins and fragments and strange relics--ghosts of the historic
+past--are all enshrined in trailing green and riotous blossoms. To drive
+on the terraced roads of Monte Mario with all Rome and the emerald-green
+Campagna before one; through the romantic "Lovers' Lane," walled in by
+roses and myrtle; to enjoy the local life, full of gayety and
+brilliancy, is to know Rome in her most gracious aspects. One goes for
+strolls in the old Colonna Gardens, where still remain the ruins of the
+Temple of the Sun and of the Baths of Constantine. The terraces offer
+lovely views over the city. The old palace is occupied by the present
+Prince Colonna, and it is not unfrequently the scene of most elaborate
+and gorgeous receptions where the traditional Roman splendor is to be
+found. A series of arched bridges over the narrow street of the Via
+della Pilotta connect the Gardens with the Colonna Palace in the Piazza
+San Apostoli. Very fine old sarcophagi are half buried in trailing vines
+on the slope of the hill, dark with magnificent cypress trees. The
+Colonna Gardens are a very dream of the past, in their ruins of old
+temples, their shattered statues, their strange old tablets and
+inscriptions, and their grand view of the Capitol.
+
+In one's retrospective vision of a Roman season all the inconveniences
+and discomforts of the winter disappear, leaving only the beauty and the
+enjoyment to be "developed," as the photographer would say, on the
+sensitive plate of memory.
+
+No one really knows Rome until he has watched the transcendent
+loveliness of spring investing every nook and corner of the Eternal
+City. The picturesque Spanish steps are a very garden of fragrance, the
+lower steps of the terraced flight being taken possession of by the
+flower venders who display their wares,--masses of white lilac,
+flame-colored roses, rose and purple hyacinths and baskets of violets
+and carnations. Did all this fragrance and beauty send up its incense to
+Keats as he lay in the house adjoining, with the musical plash of
+Bernini's fountain under his window? It is pleasant to know that by the
+appreciation of American and English authors, the movement effectively
+directed by Robert Underwood Johnson, this house consecrated to a poet's
+memory has been purchased to be a permanent memorial to Keats and to
+Shelley. A library of their works will be arranged in it; and portraits,
+busts, and all mementos that can be collected of these poets will render
+this memorial one of the beautiful features of Rome.
+
+From the flower venders and the circulating libraries in the Piazza di
+Spagna that allure one in the morning, from the fascinating glitter of
+the little Via Condotti which is, in its way, the rue de la Paix of
+Rome, one leisurely climbs the steps to where the great obelisk looms up
+in front of the Convent Church of the Trinità di Monti and on, across
+the Piazza di Trinità, toward the Pincian, one wanders along the brow of
+the hill surmounted by the low stone parapet. The view is a dream of
+beauty. Over the valley lies Monte Mario, crowned with the Villa Madama,
+silhouetted against the blue Roman sky; and the commanding dome of St.
+Peter's, the splendid new white marble buildings of the Law Courts, the
+domes of other churches, all make up a picturesque panorama, while on
+the Janiculum the great equestrian statue of Garibaldi can be descried.
+Strolling on, one turns into the gardens of the Villa Medici, the
+French Academy of Art, in which the present director, the great Carolus
+Duran, is domiciled and in which twenty-four students--of painting,
+sculpture, music, and architecture--are maintained at the expense of the
+French government for several years, the twenty four being chosen from
+those who have given signal proof of their ability. The Villa Medici
+has, perhaps, a more beautiful site than any other building in Rome.
+Facing the west, with the Janiculum and Monte Mario forever before it,
+while below lies the Piazza di Spagna and the Piazza del Popolo, and all
+the changing splendors of the sunset sky as a perpetual picture gallery,
+the situation is, indeed, magnificent. It is still conceivable, however,
+that Monsieur Carolus Duran must have many quarters of an hour when he
+longs for the brilliancy and the movement and the stimulus of his Paris.
+The gardens of the Villa Medici are large, but they are laid out with
+narrow paths bordered with box, forming a wall as impervious as if of
+stone, and dark and damp by the shade of foliage. These walks are paved
+with gravel, and are always damp. These formal rectangles and alleys are
+utterly shut in, so that in any one part one can see only the two
+dense green walls of box that inclose him and the glimpse of sky
+overhead,--not precisely a cheering promenade. This is the Italian idea
+of a garden. Much broken sculpture, weather-stained and defective, is
+placed all along the way, and the perpetual Roman fountain is always
+gushing somewhere.
+
+  [Illustration: VILLA MEDICI, ROME
+                 _Page 134_]
+
+Another phase of the Roman season may rise before one in the stately
+beauty of any old historic palace, where the hostess, all grace and
+sweetness, receives her guests in the apartment in which Galileo had
+been confined when imprisoned in Rome. The approach to this _piano
+nobile_ was up a flight of easily graded marble stairs, where in
+frequent niches stood old statues. The large windows in the corridor on
+the landing were curtained with pale yellow, thus creating a golden
+light to fall on the old sculptured marbles. One salon was decorated
+with Flaxman's drawings on the wall, in their classical outlines. From a
+steep, dark stone stairway, down which one descended (at the imminent
+risk of a broken neck in the darkness and from the irregular stairs
+rudely carved in the stone), one emerged on a landing, where a little
+door opened into the balcony of the chapel, a curious, gloomy place,
+with tombs and altar and shrine, and some very poor old paintings. One's
+progress to it recalled the lines from Poe's "Ulalume":--
+
+    "By a route, obscure and lonely,
+    Haunted by ill angels only."
+
+Then, sitting in one of the richly decorated salons at afternoon tea in
+this same old palace one day, while an accomplished harpist was
+discoursing delicate music from its vibrating chords, flights of birds
+kept passing a window, making a scene like that of a Wagner opera. The
+groups present, largely of the Roman nobility, the titled aristocracy,
+resembling so closely some of the old portraits in the palazzo that it
+was easy to recognize that they were all one people, descendants of the
+same race.
+
+Many of the guests looked, indeed, as if they had stepped from out the
+sumptuously carved frames on the wall. At these pretty festas one meets
+much of the resident Roman world. The guests assembled seem to be
+speaking in all the romance languages. There are Russian and Spanish as
+well as Italian, French, German, and English at these alluring teas.
+All the salons of the spacious apartments are thrown open, and the men
+in their picturesque court dress or military costume, and the women and
+girls in dainty gowns, make up an alluring scene. The salons are richly
+furnished and abound in works of art, old pictures, inlaid cabinets,
+carvings, rich vases, busts, and statuettes. The library, with its
+wealth of books; the music room; the salon for dancing; the supper room,
+and the quiet rooms where groups gather before the blazing open fires,
+grateful in these lofty rooms whose temperature suggests the frozen
+circles of Dante,--all make up a delightful picture. One meets the most
+varying individualities. A Russian lady of title may confide her
+conviction that her country is ruined, and that she never desires to
+return to it. Italy is the country that attracts not only political
+refugees from other European countries, but many who are out of sympathy
+with conditions elsewhere and who find the cosmopolitan society and the
+varied interests of this land of sunshine their most enjoyable
+environment.
+
+One pleasant feature of a Roman winter is that of the usual course of
+lectures given by Professor Lanciani. The celebrated archæologist is a
+man of special personal charm, and his conversation, as well as his
+public lectures, is full of interest and value. The lectures are given
+under the auspices of the Società Archeologica, and a special subject
+recently discussed was the celebration to be held in 1911 in Rome. One
+project for this celebration includes the plan to lay out a carriage
+road around the Forum and the Palatine, and also around the Baths of
+Titus and of Caracalla, extending the drive to all those places included
+between the Appian and the Latin Way, the Villa Celimontana and the
+Circus Maximus.
+
+Professor Lanciani discussed the artistic history of Rome and the
+different appearances the city took on in different periods; the
+regulation plan drawn up by Julius Cæsar and accepted and carried out by
+Augustus, by which one-fifth of the total area of the city was reserved
+for public parks. In the third century of the empire the city was
+inclosed by parks and crossed from end to end by delightful portico
+gardens, where valuable works of art were collected. During the period
+of the Renaissance there were the famous villas and the Cesarini Park
+on the slopes of the Esquiline, and after regretting the many
+unnecessary acts of vandalism committed since 1870 in Rome, Professor
+Lanciani suggested that a complete reconstruction of the Baths of
+Caracalla should be made, to serve in 1911 as the Exhibition Building.
+He believed no artistic difficulties would present themselves, as in the
+fifteenth century different architects took plaster casts of the
+decorations of the statues and of every detail of the Baths. The
+archæological exhibition would be arranged in the two large halls,
+another hall would be for concerts, another for lectures, the others for
+different congresses to be held.
+
+In this way Rome would inaugurate for 1911 the Mediæval Museum in Castel
+Sant'Angelo, the mediæval collections in the Torre degli Anguillara, and
+the grand archæological exhibition in the reconstructed Baths of
+Caracalla.
+
+Italian women are by no means behind the age in their organizations to
+aid in social progress. The most important one in Italy is that of the
+leading women of the nobility and aristocracy, called "The Society for
+Women's Work," which holds annual meetings, over which Lady Aberdeen,
+the president of the International Council, and the Contessa Spalletti,
+the president of the National Council of Italy, preside. Many of the
+prominent women of the Italian nobility are taking active part in the
+larger outlook for women; and in this movement Margherita, _la Regina
+Madre_, leads the way, supported by a large following of the titled
+nobility.
+
+"Margherita holds the hearts of the people," remarked Cora, Contessa di
+Brazzá Savorgnan, at a brilliant little dinner one night, and no
+expression could more admirably represent the feeling of the nation
+toward the Queen Mother.
+
+Queen Elena as the reigning sovereign has, of course, her exclusive
+royal prerogatives, and she has youth and initiative and precedence; but
+Margherita is a most attractive woman, with learning and accomplishments
+galore, and she has an art of conversation that allures and fascinates
+visiting foreigners of learning and wit, as well as of rank. Roman
+society is not large numerically, and the same people are constantly
+meeting and consolidating their many points of contact and interest.
+Social life in these Italian cities is the supreme occupation of the
+residents, and one must concede that in proportion as one meets the same
+people constantly does society gain in dramatic interest. With each
+person who is in any sense an individual the play of life begins. It
+gains in dramatic sequence as it proceeds. The Eternal City is a
+wonderful scenic setting for the human drama.
+
+Local gossip suggests perceptible rivalry between the stately palace of
+the King and the pink palace on the hill, in which Margherita holds her
+state with not less ceremony than that observed at the Court of the
+Quirinale. It is a beautiful thing for a country to have in it a woman
+of high position, of leisure and of culture, who is so admirably fitted
+to be the friend of the people as is Margherita. She is a connoisseur in
+art; she has a most intelligent interest in science; she is a critical
+lover of literature; she is a wise and judicious and deeply sympathetic
+leader in all philanthropic work and purposes. One can hardly visit
+painter or poet or artist in any line, or school, institute, or
+association, but that he hears of the personal sympathy and
+encouragement bestowed by this noble and beautiful Italian Queen,--the
+_Regina Madre_.
+
+Practically there are, indeed, two courts in Rome; that of the Palazzo
+Margherita seeming to quite rival that held at the Palazzo Quirinale.
+The palace of the Queen Mother is an imposing three-story structure of
+pink-hued marble, with beautiful gardens and terraces, and adjoining it,
+in the palace grounds, is a marble villa, used for the entertainment of
+royal guests. This palace has been the residence of Margherita when in
+Rome since the tragic death of King Umberto, in 1900. It is in the
+Ludovisi quarter, and stands on the very site of the Gardens of Sallust.
+The Queen Mother receives noted visitors constantly, and entertains
+visiting royalties and members of the aristocracy. No great man of
+science, literature, and art visits Rome without seeking a presentation
+to the liberal-minded and accomplished _Regina Madre_, who is one of the
+most winning and attractive of all the royal women of Europe.
+
+It has become quite a feature in introducing young girls to present them
+first in private audience to Margherita, and then later to Queen Elena
+at the Court of the Quirinale. Surely no girl could be given a lovelier
+idea of womanhood than that embodied in the Dowager Queen. When the poet
+Carducci died in the early months of 1907, Margherita sent beautiful
+messages of consolation to his family, and, later, to his home city of
+Bologna she sent the following letter:--
+
+     "I announce that I make a free gift to the city of Bologna of the
+     house where Giosuè Carducci passed the last years of his life, and
+     the library he collected there.
+
+     "Bologna, that showed such affectionate hospitality for Giosuè
+     Carducci for so many years, and surrounded him with so much
+     devotion, will know, I feel sure, how to carefully preserve this
+     remembrance of the greatest poet of modern Italy.
+
+                    MARGHERITA."
+
+The Syndic replied in a letter hardly less fine in its expression of
+Bologna's appreciation, and with assurances that the name of the first
+Queen of Italy will in future be forever associated with Italy's
+greatest modern poet.
+
+The Regio Palazzo del Quirinale is near the Capitol, in the older part
+of the city, and only a small part of this is shown to visitors when
+the King and Queen are in residence. The Sala Regia may be seen, the
+chapel in which are preserved a large number of the wreaths and the
+addresses sent from all parts of the civilized world on the occasion of
+the death of Victor Emmanuel II, and a suite of reception rooms, the
+throne room with many historic portraits, the Sala des Ambassadeurs, and
+the audience chamber, containing Thorwaldsen's "Triumphal Procession of
+Alexander the Great," a gift from Napoleon I. In the small chapel of the
+Annunciation is an altar piece by Guido Reni.
+
+To artists the Queen Mother is most generously kind. One of the younger
+Italian sculptors, Turillo Sindoni, Cavaliere of the Crown of Italy,
+whose latest creation is a very beautiful statue of St. Agnes, has his
+studios in the Via del Babuino, and to especially favored visitors he
+sometimes exhibits a beautiful letter that he received from Margherita,
+who purchased two of his statues. With the letter expressing her warm
+appreciation of his art was an exquisite gift of jewelled sleeve-links.
+
+Notwithstanding the fascinating lectures of Professor Lanciani and the
+valuable and interesting work in the Forum that is being accomplished
+under the efficient directorship of Commendatore Boni, yet all the roads
+that traditionally lead to Rome do not converge to the palace on the
+Palatine. Modern Rome is only mildly archæological, and while it takes
+occasional recognition of the ancient monuments, and drives to the crypt
+of old St. Agnes, to the tomb of Cecilia Metella, and may manage a
+descent into the catacomb of St. Calixtus, it is far more actively
+interested in its dancing and dining and driving. As a scenic background
+for festivities Rome is a success, and as one comes into social touch
+with the titled nobility, and the resident life, by birth or adoption,
+one finds a city of infinite human interest and picturesque
+possibilities.
+
+Between the "Whites" (the loyal followers of the Palazzo Quirinale and
+the King) and the "Blacks" (the devoted followers of the Palazzo
+Vaticano and the Pope) a great gulf is fixed over which no one may
+cross.
+
+Pope Pius X is wonderfully accessible, considering the great
+responsibilities and duties he has on him, and his generous goodness,
+his gracious tact and the beauty of his spirit endear him to all,
+Catholic or Protestant alike, for every one recognizes in him the
+Christian gentleman, whose ideals of gentleness and inspiring
+helpfulness impress themselves on all who are so fortunate as to meet
+him.
+
+The most impressive ceremonial receptions of the "Blacks" are those
+given at the Spanish Embassy in the Piazza di Spagna. At the Embassy or
+in the private palace of any Roman noble which a Cardinal honors by
+accepting an invitation, he is received according to a most picturesque
+old Roman custom. At the foot of the stairs two servants bearing lighted
+torches meet his Eminence, and, making a profound obeisance, escort him
+to the portals of the grand reception salon and await, in the corridor,
+his return. On his departure they escort him in the same way down the
+staircase.
+
+In the College of Cardinals and among the many interesting
+individualities of the Vatican, the most marked figure is that of the
+Cardinal Secretary of State, Merry del Val. He occupies the Borgia
+apartments, which are hung with tapestry and ornamented with the most
+unique and valuable articles _de vertu_,--wonderful vases, inlaid
+cabinets, old tapestries, paintings, statues, busts, and ivories. These
+Borgia apartments are one of the most interesting features of the
+Palazzo Vaticano, and may be seen now and then by special permission
+when the Cardinal secretary is out, or when he may be pleased to retire
+into his more private salons in the apartment while the others are
+shown. Cardinal Rafael Merry del Val is an impressive personality, whose
+life seems strangely determined by destiny. His father was an _attaché_
+of the Spanish embassy to the Court of St. James when the future
+Cardinal was born in 1865. In 1904, at the early age of thirty-nine, he
+was advanced from the soutane violet of the bishop to the mantelletta
+scarlet of the cardinal, and after the accession of the present Pope,
+Pius X, he was appointed to the highest office in the Vatican, that of
+Secretary of State, the Pope paying him the high tribute because of his
+"devotion to work, his capability and absolute self-negation."
+
+Cardinal Merry del Val has had a wonderful training of experience and
+circumstances. At the early age of twenty-two he was a member of the
+papal embassy commissioned to the jubilee of Queen Victoria in 1887. He
+was also appointed a member of the embassy from the Vatican to attend
+the funeral of Emperor William I; and at the jubilee of Francis Joseph,
+Emperor of Austria, Cardinal (then Bishop) Merry del Val was the sole
+and accredited representative of the Holy See, as he was also at the
+coronation of King Edward. The Spanish Cardinal is the special trusted
+counsellor of the royal family of Spain.
+
+In Rome, Cardinal Merry del Val is an impressive figure. He is always
+attended by his _gentiluomo_, who is gorgeously arrayed in knee
+breeches, military hat and sword. This gentleman in waiting walks behind
+him on a promenade, sits in his carriage and stands near him in all
+religious ceremonies. His equipage is well known in the Eternal City,--a
+stately black carriage drawn by two massive black horses with luxurious
+flowing manes.
+
+It is freely prophesied in Rome that the Cardinal secretary is destined
+to yet exchange the mantelletta scarlet for the zucchetta white, when
+Pius X shall have gone the way of all his predecessors in the papal
+chair. He is the Cardinal especially favored by Austria and Spain.
+Although the conflict with France was at first ascribed to Cardinal
+Merry del Val, he has of late been completely exonerated from blame,
+even by the French prelates and clergy.
+
+Cardinal Merry del Val represents the most advanced and progressive
+thought of the day. He is an enthusiastic admirer of Marconi and the
+marvels of wireless telegraphy; he is an advocate of telephonic service,
+electric motors, electric lights, and of phonographs and typewriters for
+the Vatican service. He is a great linguist, speaking English, French,
+and German as well as Spanish, which is his native tongue, and Italian,
+which has become second nature. He is a good Greek scholar and a
+profound Latin scholar, and he speaks the ancient Latin with the fluency
+and the force of the modern languages. He is, indeed, a remarkable
+twentieth-century personality and one who has apparently a very
+interesting life yet to come in his future.
+
+At the Villa Pamphilia Doria, built by a former Prince Doria, the
+largest villa in the Roman environs and the finest now remaining, the
+Cardinal enjoys his game of golf, of which he is very fond. The Doria
+family rendered the villa magnificent in every respect. Besides the
+spacious avenues, woods, fountains, a lake, and cascades, are various
+edifices, among which is one in the form of a triumphal arch, decorated
+with ancient statues; the casino of the villa in which are preserved
+some ancient marbles and several pictures; the beautiful circular
+chapel, adorned with eight columns of marble and other stately
+ornaments. There is a monument erected by the present Prince Doria to
+the memory of the French soldiers who were killed there during the siege
+of 1849. From the terrace of the palace there is a magnificent view of
+the environs of Rome, as far as the sea. In consequence of excavations,
+some columbaria, sepulchres, inscriptions, and other relics have been
+found, which have attracted much attention from archæologists.
+
+It is near these grounds that the "Arcadians" still hold their _al
+fresco_ meetings. The society dates back to 1690, and the first _custos_
+(whose duty was to open and close the meetings) was Crescimbeni. The
+"Arcadians" organized themselves to protest against the degeneracy of
+Italian poetry that marked the seventeenth century. To keep their
+meetings a secret from the populace the "Arcadians" held their meetings
+in an open garden on the slope below San Pietro in Montorio,--a terrace
+still known as "Bosco Parrasio degli Arcadi."
+
+One of the enchanting views in Rome is from the Piazza San Giovanni. One
+looks far away past the Coliseum in its ruined grandeur and the _casa_
+where Lucrezia Borgia lived, and in the near distance is the colossal
+pile of San Giovanni di Laterano, its beautiful and impressive façade
+crowned with the statues of the apostles silhouetted against the western
+sky. In the piazza formed by the church, the museums, and the Baptistery
+of San Giovanni and the Scala Santa is one of the most remarkable
+obelisks in Rome, ninety-nine feet in height, formed of red granite and
+carved with hieroglyphics. This shaft is placed on a pedestal which
+makes it in all some 115 feet in height. It was placed in 1568 by Sixtus
+V. The museums of the San Giovanni are the "Museo Sacro" and the "Museo
+Profano,"--the latter founded by Pope Gregory XVI, and very rich in
+sculptures and mosaics. The "Museo Sacro" was founded by Pio Nono, and
+is rich in the antiquities of the Christian era. Within San Giovanni
+the visitor finds himself in a vast interior divided by columns of
+verd-antique into three aisles, each of which is as wide as, and far
+longer than, the interior of an ordinary church. Statues fill the
+niches, and the chapels and confessionals are all beautifully decorated.
+The Corsini Chapel is the richest and was executed by order of Clement
+XII, in honor of St. Andrew Corsini, who is represented in a rich mosaic
+painting copied from Guido. Two sculptured figures, "Innocence" and
+"Penitence," stand before the altar, and above is a relief depicting St.
+Andrew protecting the Florentine army at the battle of Anghiari.
+
+The tomb of Pope Clement XII (who himself belonged to the Corsini family
+and who was an uncle of Cardinal Corsini) is in a niche between two
+columns of porphyry, and there is a bronze statue of the Pope. On the
+opposite side is a statue of Cardinal Corsini, and in the crypt below
+are tombs of the Corsini family. On the altar--always lighted--is a
+"Pieta" by Bernini, of which the face of the Christ is very beautiful.
+
+Near the centre of the Basilica is a rich tabernacle of precious stones,
+defined by four columns of _verde antico_, and it is said that the
+heads of St. Peter and St. Paul are preserved here. The table upon which
+Christ celebrated the Last Supper is placed here, above the altar of the
+Holy Sacrament, a sacred relic that thrills the visitors. In one chapel
+is a curious and grotesque group of sculpture,--a skeleton holding up a
+medallion portrait, while an angel with outstretched wings hovers over
+it.
+
+San Giovanni has the reputation of being absolutely the coldest church
+in all Rome, which--it is needless to remark--means a great deal, for
+they all in winter have the temperature of the arctic regions. In all
+these great churches there is never any heat; no apparatus for heating
+has ever been introduced, and the twentieth century finds them just as
+cold as they were in the centuries of a thousand years ago. This
+colossal Basilica is considered the most important church in the world,
+as it is the cathedral of the Pontiff. It was founded in the third
+century by Constantine, destroyed by fire in 1308, and rebuilt by Pope
+Clement V, and every succeeding Pope has added to it. The façade is of
+travertine, with four gigantic columns and six pilasters, and the
+cornice is decorated with colossal figures of Jesus and a number of the
+saints. There are five balconies, the middle one being always used for
+papal benedictions. In the portico is the colossal statue of Constantine
+the Great. Within the columns are of _verde antico_; the ceiling was
+designed by Michael Angelo; the interior is very rich in sculpture, and
+there are some fine paintings and the chapels are most beautiful, one of
+them containing a tabernacle comprised wholly of precious stones. Above
+the altar of the Holy Sacrament the table upon which Christ celebrated
+the Last Supper with the disciples is preserved. It is wonderful to look
+upon this most sacred and significant relic.
+
+It is in this church that the tomb of Leo XIII has been constructed by
+the eminent Italian sculptor, Tadolini, opposite the tomb of Innocent
+III. The work was completed in the spring of 1907, the design being a
+life-size portrait statue of the Pope with two figures, one on either
+side, representing the church and the workman-pilgrim, forming part of
+the group. This is one of the most memorable monuments of all Rome, and
+the tomb of the great Leo XIII will form a new shrine for Christian
+pilgrimage.
+
+Included in the group of structures that form the great Basilica of San
+Giovanni is the Scala Santa, which offers a strange picture whenever one
+approaches it. These twenty-eight marble steps that belonged to Pilate's
+house in Jerusalem are said to have been once trodden by Jesus and may
+be ascended only on one's knees. At no hour of the day can one visit the
+Scala Santa without finding the most motley and incongruous throng thus
+ascending, pausing on each step for meditation and prayer. These stairs
+were transported from Jerusalem to Rome under the auspices of St.
+Helena, the Empress, about 326 A.D., and in 1589 they were placed by
+Pope Sixtus V in this portico built for them with a chapel at the top of
+the stairs called the "Sancta Sanctorum," formerly the private chapel of
+the Popes. In this sanctuary is preserved a wonderful portrait of the
+Saviour, painted on wood, which is said to have been partly the work of
+St. Luke but finished by unseen hands. The legend runs that St. Luke
+prepared to undertake the work by three days' fasting and prayer, and
+that, having drawn it in outline, the painting was done by angelic
+ministry, the colors being filled in by invisible hands. In ancient
+times--the custom being abolished by Pius V in 1566--this picture was
+borne through Rome on the Feast of the Assumption and the bearer halted
+with it in the Forum, when the "Kyrie Eleison" would be chanted by
+hundreds of voices.
+
+Myth and legend invest every turn and footfall of the Eternal City, and
+there are few that are not founded on what the church has always called
+supernatural manifestations, but which the new age is learning to
+recognize as occurrences under natural law.
+
+The story of Luther's ascent of the Scala Santa is thus told:--
+
+     "Brother Martin Luther went to accomplish the ascent of the Scala
+     Santa--the Holy Staircase--which once, they say, formed part of
+     Pilate's house. He slowly mounted step after step of the hard
+     stone, worn into hollows by the knees of penitents and pilgrims.
+     Patiently he crept halfway up the staircase, when he suddenly stood
+     erect, lifted his face heavenward, and in another moment turned
+     and walked slowly down again.
+
+     "He said that as he was toiling up a voice as if from heaven spoke
+     to him and said, 'The just shall live by faith.' He awoke as if
+     from a nightmare, restored to himself. He dared not creep up
+     another step; but rising from his knees he stood upright like a man
+     suddenly loosed from bonds and fetters, and with the firm step of a
+     free man he descended the staircase and walked from the place."
+
+The entire legendary as well as sacred history is almost made up of
+instances of the interpenetration of the two worlds; the response of
+those in the spiritual world to the needs of those in the natural world.
+Pope Paschal recorded that he fell asleep in his chair at St. Peter's
+(somewhere about 8.20 A.M.) with a prayer on his lips that he might find
+the burial place of St. Cecilia, and in his dream she appeared to him
+and showed him the spot where her body lay, in the catacombs of
+Calixtus. The next day he went to the spot and found all as had been
+revealed to him. The miraculous preservation of St. Agnes is familiar to
+all students of legendary art. Throughout all Rome, shrine and niche
+and sculpture, picture, monument, arch and column, speak perpetually of
+some interposition of unseen forces with events and circumstances in
+this part of life. The Eternal City in its rich and poetic symbolism is
+one great object lesson of the interblending of the two worlds, the
+natural and the spiritual. The first stage regarding all this marvellous
+panorama was entire and unquestioning acceptance; the succeeding stage
+was doubt, disbelief; the third, into which we are now entering, is that
+of an enlightened understanding and a growing knowledge and grasp of the
+laws under which these special interpositions and interventions occur.
+
+For that "according to thy faith be it unto thee," is as true now in the
+twentieth century as it was in the first. The one central truth that is
+the very foundation of all religious philosophy is the continuity of
+life and the persistence of intercourse and communion, spirit to spirit,
+across the gulf we call death. The evidences of this truth have been
+always in the world. The earliest records of the Bible are replete with
+them. The gospels of the New Testament record an unbroken succession
+of occurrences and of testimony to this interpenetration of life in the
+Unseen with that in the Seen. Secular history is full of its narrations
+of instances of clairvoyance, clairaudience, and of communications in a
+variety of ways; and the sacred and legendary art of Rome, largely
+founded on story and myth and legend, when seen in the light of
+latter-day science is judged anew, and the literal truth of much that
+has before been considered purely legendary is revealed and realized.
+One reads new meanings into Rome when testing it by this consciousness.
+It is a city of spiritual symbolism. It is a great object lesson
+extending over all the centuries. Making due allowance for the
+distortion and exaggeration of ages of testimony, there yet remains a
+residuum indisputable. The Past and the Present both teem with record
+and incident and experience proving that life is twofold, even now and
+here; that all the motives and acts of the life which we see are
+variously incited, modified, strengthened, or annulled by those in the
+realm of the Unseen.
+
+  [Illustration: ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME
+                 _Page 159_]
+
+The intelligent recognition of this truth changes the entire conduct of
+life. It entirely alters the point of view. It extends the horizon line
+infinitely. Instead of conceiving of life as a whole, as comprised
+between the cradle and the grave, it will be regarded in its larger and
+truer scope as a series of experiences and achievements, infinite in
+length and in their possibilities and unbroken by the change we call
+death. This will impart to humanity a new motor spring in that greater
+hope which puts man in a working mood, which makes him believe in the
+value of that which he undertakes, which encourages him to press on amid
+all difficulties and against all obstacles. Increasing hope, all
+activity is proportionately increased. It was an event of incalculable
+importance to the progress of humanity when the swift communication by
+cable was established between America and Europe. It is one of
+infinitely greater importance to establish the truth and enlarge the
+possibility of direct communication with the world of higher forces and
+larger attainment and scope than our own. This communication exists and
+has always existed, but it has been regarded as myth and legend and
+phenomenon rather than as a fact of nature whose laws were to be
+ascertained and understood. It must be made clear as an absolute
+scientific demonstration that the change of form by the process we call
+death does not put an end to intelligent and rational intercourse, but
+that, indeed, instead of setting up a barrier, it removes barriers and
+renders mutual comprehension far clearer and more direct than before.
+This realization alters the entire perspective of life, and is the new
+Glad Tidings of great joy.
+
+It is something of all this that the Eternal City suggests to one as he
+makes his pilgrimages to shrine and cloister and chapel and Basilica.
+The mighty Past is eloquent with a thousand voices, and they blend into
+a choral harmony of promise and prophecy for the nobler future of
+humanity.
+
+At the foot of the Scala Santa, on either side, are statues of Christ
+and Judas, and of Christ and Pilate, very interesting groups by
+Jacometti, and there is also a kneeling statue of Pio Nono.
+
+The statue of Judas is considered one of the most notable of the late
+modern Italian sculpture.
+
+The Rome of to-day is in strange contrast even to the city that Page and
+Hawthorne knew, in the comparatively recent past; and the Rome of the
+ancients is traced only in the churches and the ruins. It is a _mot_
+that one hears every language spoken in Rome, except the Italian! So
+largely has the Seven-hilled City become the pleasure ground of foreign
+residents. The contrast between the ordinary breakfast-table talk in
+Rome and in--Boston, for instance, or Washington, is amusing. In the
+Puritan capital it usually includes the topic of weather predictions and
+the news in the morning paper, with whatever other of local or personal
+matters of interest. In Washington, where the very actors and the events
+that make the nation's history are fairly before one's eyes, the
+breakfast-table conversation is apt to turn on matters that have not yet
+got into the papers,--the evening session of the previous night,
+perhaps, when too long prolonged under the vast dome to admit of its
+having been noted in the morning press. But in Rome the breakfast-table
+talk is apt to be of the new excavations just taken from the bed of the
+Tiber; the question as to whether the head of St. Paul could have
+touched (at the tragic scene of his execution) at three places so far
+apart as the tri-fontanes; or a discussion of the marvellous freshness
+of the mosaics in the interior of the Palace of the Cæsars; or, again,
+of the last night's balls or dinners, and matters most frankly
+_mondaine_, and of contemporary life.
+
+The American Embassy, whose location depends on the individual choice of
+the Ambassador of the time, is now in the old Palazzo del Drago on the
+corner of the Via Venti Settembre and the Via delle Quattro Fontane. The
+street floor, like all the old palaces, is not used for living purposes.
+The portiere, the guards, the corridors, and approaches to the
+staircases monopolize this space. The piano nobile is the residence of
+the beautiful and lovely Principessa d'Antuni, the youthful widow of the
+Principe who was himself a grandson of Marie Christine, the Queen of
+Spain. The young Princess who was married to him at the age of
+seventeen, ten years ago, is left with three little children, of whom
+the only daughter bears the name of her great-grandmother, the Spanish
+Queen. Perfectly at home in all the romance languages, an accomplished
+musician, a thinker, a scholar, a student, a lovely figure in life, a
+beautiful and sympathetic friend is the Princess d'Antuni. She is "of a
+simplicity," as they say in Italy, investing the dignity of her rank
+with indescribable grace and sweetness. The two long flights of stairs
+that lead up to the secundo piano in the Palazzo del Drago--the floor
+occupied by the American Embassy--have at least a hundred steps to each
+staircase, yet so broad and easy of ascent as hardly to fatigue one.
+These flights are carpeted in glowing red, while along the wall are
+niches in each of which stands an old statue, making the ascent of the
+guest seem a classic progress.
+
+The Palazzo del Drago has an elevator, but elevator service in Rome is a
+thing apart, something considered quite too good for human nature's
+daily food, and the slight power is far too little to permit any number
+of people to be accommodated, so on any ceremonial occasion the elevator
+is closed and the guests walk up the two long flights. The total lack of
+any mastery of mechanical conditions in Italy is very curious.
+
+The grand ball given at the American Embassy just before Ash Wednesday
+in the winter of 1907 was a very pretty affair. Up the rose-red carpeted
+stairs the guests walked, the statues looking silently on, but
+apparently there was no Galatea to step down from her niche and join the
+happy throng. In the antechamber each guest was asked to write his name
+in the large autograph books kept for that purpose, and then, passing
+on, was received by the Ambassador and Ambassadress in the first of the
+splendid series of salons thrown open for the occasion. At this time it
+was Mr. and Mrs. Henry White who represented the United States, and won
+the hearts of all Rome as well, and assisted by their charming daughter,
+Miss Muriel White, they made this ball an affair to leave its lovely
+pictures in memory. The scenic setting of an old Roman palace captivates
+the stranger. It may not impress him as especially comfortable, but it
+is certainly picturesque, and who would not prefer--at least for the
+"one night only" of the traditional _prima donna_ announcements--the
+pictorially picturesque and magnificent to the merely comfortable? The
+lofty ceilings, painted by artists who have long since vanished from
+mortal sight, make it impossible to attain the temperature that the
+American regards as essential to his terrestrial well-being, and as the
+only sources of heat were the open fireplaces the guests hovered around
+these and their radii of comfortable warmth were limited. In one salon
+there was one especially beautiful effect of a great jar of white lilacs
+placed before a vast mirror at sufficient distance to give the mirror
+reflection an individuality as a thing apart, and the effect was that of
+a very garden of paradise. The music was fascinating, the decorations
+all in good taste, and the occasion was most brilliant,--_très
+charmante_ indeed. The American ambassadress was ablaze with her famous
+diamonds, her corsage being literally covered with them, and her
+coiffure adorned with a coronet, but the temperature soon forced the
+ambassadress to partially eclipse her splendor with the little ermine
+shoulder cape that is an indispensable article for evening dress in
+Rome. The temperature does not admit the possibility of _décolleté_
+gowns without some protection, when these resplendent glittering robes
+that seem woven of the stars are worn. Among the more distinguished
+guests, aside from the _corps diplomatique_ and the titled nobility of
+Rome and visiting foreigners, were M. Carolus Duran, the celebrated
+portrait artist of Paris, and among other interesting people were Miss
+Elise Emmons of Leamington, England, a grand-niece of Charlotte Cushman.
+M. Carolus Duran was very magnificent, his breast covered with jewelled
+orders and decorations from the various societies, academies, and
+governments that have honored him. He is a short man and has grown quite
+stout, but he carries himself with inimitable grace and dignity, and in
+his luminous eyes one still surprises that far-away look which Sargent
+so wonderfully caught in his portrait of the great French artist,
+painted in his earlier life.
+
+The number of spacious salons with their easy-chairs and sofas enabled
+all guests who desired to ensconce themselves luxuriously to do so, and
+watch the glittering scene. The supper room and the salon for dancing
+were not more alluring than the salons wherein one could study this
+brilliant throng of diplomates, titled nobility, distinguished artists,
+social celebrities, and those who were, in various ways, each _persona
+grata_ in Rome. Among those at this particular festivity were the
+American novelist, Frank Hamilton Spearman, with Mrs. Spearman. In late
+American fiction Mr. Spearman has made for himself a distinctive place
+as the novelist whose artistic eye has discerned the romance in the new
+phases of life created by the extensive systems of mountain railroading,
+and the great irrigation schemes of the far West, which have not only
+opened up new territory, but have called into evidence new combinations
+of the qualities most potent in human life,--love, sacrifice, heroism,
+devotion to duty, and tragedy and comedy as well. In his novels, "The
+Daughter of a Magnate" and "Whispering Smith," in such vivid and
+delightful short stories as "The Ghost at Point of Rocks," which
+appeared in _Scribner's Magazine_ for August of 1907, Mr. Spearman has
+dramatized the pathos, the wit, the vast and marvellous spirit of
+enterprise, the desolation of isolated regions, the all-pervading
+potency and one may almost say intimacy of modern life made possible by
+the Arabian Nights' dream of wireless telegraphy, "soaring" cars,
+long-distance telephoning, and lightning express train service in cars
+that climb the mountains beyond the clouds, or dash through tunnels with
+ten thousand feet of mountains above them. Mr. Spearman is the novelist
+_par excellence_ of this intense _vie modernité_.
+
+On Washington's Birthday, again, the stately salons of the American
+Embassy in the old Palazzo del Drago were well filled from four to six
+with an assemblage which expressed its patriotism and devotion to
+Washington by appearing in its most faultless raiment and in an apparent
+appreciation of the refreshment tables, from which cake and ices, tea
+and various other delicacies, were served.
+
+The informal weekly receptions at the Embassy are always delightful, and
+the dinners and ceremonial entertainments are given with that faultless
+grace which characterizes the American ambassadress.
+
+The American consulate is always a charming centre in Rome, and in the
+present residence of Consul-General and Mrs. De Castro, who have
+domiciled themselves on a lofty floor of a palace in the Via Venti
+Settembre, commanding beautiful views that make a picture of every
+window, the consulate is one of the favorite social centres for
+Americans and other nationalities as well, who enjoy the charming
+welcome of Mrs. De Castro.
+
+Professor and Mrs. Jesse Benedict Carter, in their lovely home in the
+Via Gregoriana, add another to the pleasant American centres in the
+Eternal City, Professor Carter having succeeded Professor Norton as the
+principal of the American Classical School.
+
+Mrs. Elihu Vedder, assisted by her accomplished daughter, Miss Anita
+Vedder, has a pretty fashion of receiving weekly in Mr. Vedder's studio
+in the Via Flaminia, and these Saturday receptions at the Vedders' are a
+feature of social life in Rome which are greatly sought. The
+distinguished artist reserves these afternoons for leisurely
+conversation, and pictures and sketches are enjoyed the more that they
+may be enjoyed in the presence of their creator. Miss Vedder has called
+to life again the almost lost art of tapestry, and her productions of
+wonderful beauty are considered as among the most desirable in modern
+decorative art. Among these tapestries are "The Lover's Song," "Salome
+Dancing before Herod," "The Annunciation," "The Legend of the Unicorn,"
+"The Lovers' Picnic," and "The Lovers." The tapestries were painted in
+Rome and in the Vedder villa, _Torre Quattro Venti_ on Capri, where the
+artist and his wife and daughter pass their summers. The established
+English Church has two chapels in Rome, one the Holy Trinity, of which
+Rev. Dr. Baldwin is the rector, and the other English chapel in Via del
+Babuino has for its chaplain Rev. Dr. Nutcombe Oxenham, whose ministry
+is one of the most helpful factors in Rome. Dr. and Mrs. Oxenham occupy
+a charming apartment in the Piazza del Popolo, the most picturesque
+piazza in Rome, with the terraced Pincion hillside crowned by the Villa
+di Medici on one side, and the "twin churches" on another; and the
+beautiful salon of Mrs. Oxenham, with its wealth of books and classic
+engravings and gems of pictures, is one of the homelike interiors in
+Rome. Mr. and Mrs. Oxenham receive on Wednesdays, and an hour with them
+and their guests is always a privileged one.
+
+The work of this church, largely through the active co-operation of Mrs.
+Oxenham, extends into wide charities which are without discrimination as
+to sect or race,--the only consideration being the human need to be met
+in the name of Him whose care and love are for each and all.
+
+Among the delightful hostesses of Rome is the American wife of Cavaliere
+Cortesi, an Italian man of letters, and in their apartment, in one of
+the notable palaces in the Corso, some of the most brilliant musicals
+and receptions are given, the "All'Illustrissima Signora" being assisted
+in the informal serving of tea by the two little fairy daughters,
+Annunziata and Elizabetta, whose childish loveliness lingers with the
+_habitués_ of this pleasant home.
+
+In the Palazzo Senni, in the old part of Rome, looking out on Castel San
+Angelo and the Ponte d'Angelo, across to the dome of St. Peter's, the
+Listers had their home; and though Mrs. Lister, one of the most
+distinguished English ladies of Rome, has gone on into the fairer world
+beyond, her daughter, Miss Roma Lister, sustains the charming
+hospitalities for which her mother was famous. Her salons on the piano
+nobile of the palace are rich in souvenirs and rare objects of art. Mrs.
+Lister, who was of a noted English house, was evidently a favorite with
+Queen Victoria and the royal family; and her marriage gifts included two
+drawings by the Queen, both autographed, and a crayon portrait of the
+Empress Frederick with autographic inscription to Mrs. Lister. Another
+personal gift was a portrait of Cardinal Newman, with his autograph. A
+bust of Lady Paget of Florence, the widow of Sir Augustus Paget,
+formerly the English Ambassador to Italy, is another of the interesting
+treasures which include, indeed, gifts and offerings from a large number
+of those eminent in state, in art, in literature, or in the church. The
+gracious hospitality of Miss Lister is dispensed to groups of
+cosmopolitan guests, and her dinners and other entertainments are among
+the most brilliant in Rome.
+
+The Eternal City is not as hospitable to various phases of modern
+thought as is Florence, in which Theosophy, Christian Science, and
+psychic investigation flourish with rapidly increasing ardor; but Rome
+has a Theosophical Society, among whose leaders is the Baroness
+Rosenkrans, the mother of the distinguished young Danish novelist, and
+the aunt of Miss Roma Lister. The society has its rooms in the very
+heart of old Rome, and holds weekly meetings, often with an English
+lecturer as the speaker of the hour. A Theosophical library, in both
+English and Italian, is easily accessible, and the meetings are
+conducted in either language as it chances at the time. The accession of
+Annie Besant to the presidency of the Theosophical Society, succeeding
+Colonel Olcott, whose death occurred early in 1907, was most
+satisfactory to the Roman members. Mrs. Besant is one of the most
+remarkable women of the day. She is in no sense allied with any fads
+or freaks; she is essentially a woman of scholarship and poise, of
+genuine grasp of significant thought and of brilliant eloquence.
+Theosophy, rightly interpreted, is in no sense antagonistic, but,
+rather, supplemental to Christianity. It offers the intellectual
+explanation--the details, so to speak--of the great spiritual truths of
+the Bible.
+
+Rome seems fairly on its way to become an English-speaking city, so
+numerous are the Americans and English who throng to Rome in the winter.
+
+There are now at least a dozen large new hotels on the scale of the best
+modern hotels in New York and Paris, beside the multitude of the older
+ones which are comfortable and retain all their popularity; yet this
+increase in accommodation does not equal the increase in demand. In
+February the tide of travel sets in toward Rome, and from that date
+until after Easter every nook and niche are filled to overflowing. The
+demand for apartments in Rome is greater than the supply, although the
+city is being constantly extended and new buildings are rapidly being
+erected. It would seem as if, with the present increasingly large number
+of Americans and English, it might be an admirable financial enterprise
+for capitalists to come and build comfortable modern apartment hotels.
+There seems to be no adequate reason why, in this age, people should be
+compelled to live in these gloomy, dreary, cold, old stone palaces,
+without elevator service and with no adequate heating, lighting, and
+running-water facilities. There would seem to be no conceivable reason
+why these conveniences should not be at hand in Rome as well as in New
+York. As for the climate, with warm houses to live in, it would be
+charmingly comfortable, for the deadly cold is not in the temperature
+out of doors, but only in the interiors. One is warm in the sunshine in
+the streets, when he is fairly frozen in the house. Mentioning this,
+however, with wonder that some enterprising American did not begin such
+building operations, a friend who has lived for sixteen years in Rome
+replied that the Italians would never permit it; that no foreigner is
+allowed to come in here and initiate business operations. And the
+Italians continue building after the old and clumsy fashion of five
+hundred years ago.
+
+Italy has a curiously pervasive and general suspicion of any latter-day
+comfort. The new apartment houses of from four to seven stories are
+largely without any elevator; if there is one it usually only ascends
+about halfway, and it is so clumsy and slow in its methods, so poorly
+supported by power, that half the time it does not run at all. The
+streets of Rome are paved with rough stones; the sidewalks are very
+narrow; the lighting is inadequate. Bathrooms are rare and insufficient
+in number, and all interior lighting and heating arrangements lack much
+that is desirable according to American ideas of comfort.
+
+Still the Eternal City is so impressive in and of itself that sunshine
+or storm, comfort or the reverse, can hardly affect one's intensity of
+joy and wonder and mysterious, unanalyzable rapture in it. The
+twentieth-century Rome is a very different affair from the Rome on which
+Hawthorne entered one dark, cold, stormy winter night more than half a
+century ago. In the best modern hotels one may be as comfortable as he
+likes, with all the fascinations of life added besides. No wonder that
+Rome is one of the great winter centres, with some of the most
+interesting people in the world always to be found under the spell of
+its enchantment.
+
+The Rome of to-day is a curious mixture of ruins and of modern buildings
+which are neither modern nor mediæval in their structure, but many of
+which combine the most picturesque features of the latter with the
+latest beauty of French and American architectural art. The classic
+buildings are now largely in unpleasant surroundings; as, for instance,
+the Pantheon, which is surrounded by a fish market, with unspeakable
+odors and other repulsive features. "But the portico, with its sixteen
+Corinthian columns, is forever majestic; the interior, a vast circular
+cell surmounted by a dome through which alone it is lighted, there being
+no windows in the walls, is massive and grim, but the magical
+illumination, the eye constantly revealing the sky above, gives it
+wonderful beauty. Over the outer portals is the inscription of its
+erection by Agrippa twenty-seven years before Christ, so it has stood
+for nearly two thousand years. Colossal statues of Augustus and Agrippa
+fill niches. In diameter the interior of the Pantheon is one hundred and
+thirty-two feet, and it is the same in height, which insures the
+singularly harmonious proportions. The tribune of the High-Altar is cut
+in the thickness of the wall in the form of a semicircle, and is
+ornamented, like the door, with four pilasters and two columns of violet
+marble. The six chapels are also cut in the wall and ornamented by two
+columns and two pilasters. The columns and the pilasters support the
+beautiful cornice of white marble; the frieze is of porphyry, and goes
+round the whole temple. Above this order there is a species of attic
+with fourteen niches, and the great cornice from which rises the
+majestic dome. Eight other niches are between the chapels, and these are
+also with a pediment supported by two Corinthian columns. They are now
+converted into altars. In this temple are buried several artists, among
+whom are Raphael, Giovanni da Udine, Baldassare Peruzzi, and Annibale
+Carracci. Raphael is buried beneath the base of the statue called la
+Madonna del Sasso, sculptured by Lorenzetti. This church is, however,
+without paintings or sculptures of much interest. Victor Emmanuel was
+entombed here on the 20th of January, 1878, and King Umberto on the 9th
+of August, 1900." One of the imposing ceremonies of Rome is that always
+celebrated in the Pantheon on March 14, in memory of King Umberto Primo.
+
+A grand catafalque, surmounted by the royal crown, and surrounded by
+tall candelabra with wax candles, is erected in the centre of the
+temple, draped with black velvet and gold lace, and lighted with
+electric lamps. The mass is for a chorus of voices only. All the civil
+and military authorities, the state dignitaries, and the _corps
+diplomatique_ to the court of Italy are present. The troops, in full
+dress uniform, file in the Piazza of the Collegio Romano, Via Piè di
+Marmo, and the Piazza della Minerva, enclosing thus a large square in
+the Piazza del Pantheon. The spectacle is one of the most imposing of
+all Roman ceremonies.
+
+The King, and Queen Elena, and the Dowager Queen Margherita, accompanied
+by their respective civil and military households, assist at the requiem
+mass celebrated in the Pantheon, and at a commemoration service, on the
+same day, in the Royal Chapel of the Sudario, where also assemble the
+ladies and gentlemen of the Order of the Annunziata.
+
+On the same morning the feast of St. Gregory, Pope and Doctor of the
+church, is celebrated at his church on the Cælian Hill. He was born of a
+noble family, and was Prefect of Rome in 573. Pope Pelagius II made him
+regionary deacon of Rome, and sent him as legate to Constantinople in
+578, where he remained till the death of Pelagius, when he was elected
+Pope (590). He introduced the Gregorian chant. His first great act was
+to send St. Augustine to convert the Saxons of England to the Christian
+faith. An inscription in the Church of San Gregorio Magno states that
+St. Augustine was educated in the abbey which was erected on the site of
+the present church by Gregory, and that many early archbishops of York
+and Canterbury were also educated there. It was on the steps of this
+church that Augustine and his forty monks took leave of Gregory, when
+setting out for England. He died in 604, after a pontificate of thirteen
+years and six months. He was buried in the portico of the Vatican
+Basilica, and his body lies under the altar dedicated to him in this
+same church. His church, on the Cælian Hill, was built on the site of
+the monastery founded by him. In the chapel of the triclinium, near the
+church, the table on which he served the poor is shown. Near the church
+also is seen his cell, where his marble chair and one of his arms are
+exhibited.
+
+During the Lenten season of 1907 one of the privileges of Rome was to
+hear the sermons of Monsignor Vaughn, in the English Catholic Church of
+San Silvestre. Monsignor Vaughn is the private chaplain of the Pope. His
+discourses attracted increasing throngs of both Catholic and Protestant
+hearers. This celebrated prelate is a brother of the late English
+Cardinal. He is a man of great distinction of presence, of beautiful
+voice and fascination of manner. One discourse had for its theme the
+joys of the life that is to come. The spiritual body, he said, has many
+qualities not pertaining to the physical body. It is immured from all
+disease and accidents; it is subtle and can pass through any substance
+which is (apparently) solid to us, as, for instance, when Jesus appeared
+in the midst of his disciples, "the doors being shut." It is not a clog
+on the soul, continued Monsignor Vaughn; the spiritual body is the
+vehicle of the soul and can waft its way through the air; it can walk
+the air as the physical body walks the earth. It is not--as is the
+physical body--the prison of the soul, but the companion of the soul.
+This is all a very enlightened presentation of spiritual truth, and it
+is little wonder that such preaching attracts large congregations. Holy
+Week in Rome bears little resemblance now to that of the past. The Pope
+is not visible in any of the ceremonials in any of the churches; and the
+impressiveness of former Catholic ceremonials is greatly lessened.
+Indeed, with the passing of the temporal power of the Pope, the
+picturesqueness of Rome largely vanished.
+
+Not, assuredly, from any lack of reverence for the colossal cathedral of
+St. Peter's is that Basilica a resort for Sunday afternoons; it suggests
+a social reunion, where every one goes, listens as he will to the music
+of the Papal choir in the Chapel of the Sacrament, and strolls about the
+vast interior where the promenade of the multitude does not yet disturb
+in the least the vesper service in the chapel. Here one meets
+everybody; the general news of the day is exchanged; greeting and
+salutation and pleasant little conversational interludes mark the
+afternoon, while the sun sinks behind the splendid pile of the Palazzo
+Vaticano, and the golden light through the window of the tribune fades
+into dusk. Can one ever lose out of memory the indescribable charm of
+this leisurely sauntering, in social enjoyment, in the wonderful
+interior of St. Peter's?
+
+In the way of the regulation sight-seeing the visitor to Rome compasses
+most of his duty in this respect on his initial sojourn and goes the
+rounds that no one ever need dream of repeating. Once for all the
+visitor to Rome goes down into the Catacombs; makes his appallingly hard
+journey over Castel San Angelo, into its cells and dungeons, and to the
+colossal salon in which is Hadrian's tomb; once for a lifetime he climbs
+St. Peter's dome; drives out to old St. Agnes and descends into the
+crypt; visits the Church of the Capucines and beholds the ghastly
+spectacle of the monks' skulls; drives in the Appian Way; visits the
+Palace of the Cæsars, the Baths of Caracalla--a mass of ruins; the
+Forum; the Temples of Vesta and Isis; the Coliseum, and the classic old
+Pantheon. These form a kind of skeleton for the regulation sight-seeing
+of the Eternal City; things which, once done, are checked off with the
+feeling that the entire duty of the tourist has been fulfilled, and
+that, henceforth in Rome, there is laid up for him the crown of
+enjoyment, if not rejoicing; that he may go again and again to study the
+marvellous treasures of the Vatican galleries, the masterpieces of art
+in the Raphael stanze in the Vatican, the interesting pictures and
+sculpture in the many rich churches and galleries. The deadly chill of
+most of these galleries and churches in the winter is beyond words to
+describe. It is as if the gloom and chill and darkness of a thousand
+centuries were there concentrated.
+
+One of the regulation places for the devout sight-seer, who feels
+responsible to his conscience for improving his privileges, is the Museo
+Nazionale, or the Tiberine Museum, a large proportion of whose treasures
+have been excavated in making the new embankments of the Tiber. It is
+located on the site of the Baths of Diocletian, the great ruins of which
+surround it in the most uncanny way. Built around a large court, the
+salons of the museum are entered from the inner cloisters. In the centre
+of the court is a fountain, and around it are antique fragments of
+statues, columns, and statuettes found in many places. The famous
+Ludovisi collection of antique statuary is now permanently placed in
+this museum,--a collection that includes the "Ludovisi Mars;"
+"Hercules," with a cornucopia; the "Hermes of Theseus," the "Discobolus
+Hermes;" the "Venus of Gnidus" as copied by Praxiteles; the "Dying
+Medusa;" the "Ludovisi Juno," which Winckelmann declares to be the
+finest head of Juno extant, a Greek work of the fourth century; a "Cupid
+and Psyche;" the two "Muses of Astronomy" and of "Epic Poetry," "Urania
+and Calliope;" "an Antoninus;" the largest sarcophagus known; a "Tragic
+Mask" (colossal) in rosso antico; a bust of "Marcus Aurelius" in bronze,
+and many other priceless works.
+
+The splendor of scenic setting for art in the magnificent salons of the
+Casino Borghese has never been surpassed. They are, perhaps, the most
+impressive of any Roman interior, with lofty, splendidly decorated
+ceilings and walls, where recess and niche hold priceless sculptures.
+The splendor of these salons, indeed, quite exceeds description. In the
+principal one is a group on one wall--a colossal relief--representing
+Marcus Curtius plunging into the gulf in the Forum. There are busts of
+the twelve Cæsars; there are busts of all the Roman Emperors, with
+alabaster draperies, placed on pedestals of red granite. There are
+Bernini's "Apollo and Daphne;" Canova's celebrated statue of Princess
+Pauline Borghese (the sister of Napoleon I); Bernini's "David" and
+"Æneas and Anchises;" Thorwaldsen's "Faun;" "Diana," "Isis," "Juno," and
+many other celebrated classic statues. All the great paintings which
+were formerly in the Palazzo Borghese--over six hundred in all--are now
+in this casino. The great work in this collection is Raphael's
+"Entombment of Christ," painted in his twenty-fourth year. Titian's
+"Divine and Human Love;" Raphael's portrait of "Cæsar Borgia;"
+Correggio's "Danaë;" Domenichino's "Cumæan Sibyl" and "Diana;" Peruzzi's
+"Venus Leaving the Bath;" Van Dyck's "Crucifixion;" Titian's "Venus and
+Cupid;" and "Annunciation," by Paul Veronese; Vasari's "Lucrezia
+Borgia;" Botticelli's "Holy Family and Angels;" Van Dyck's "Entombment;"
+Carlo Dolce's "Mater Dolorosa," and Sassoferrato's "Three Ages of Man"
+are among the great masterpieces in this museum.
+
+The Villa Borghese (by which is meant the park) is some three miles in
+extent, and was laid out some two hundred years ago by Cardinal
+Borghese. As recently as 1902 it was purchased by the government for
+three million francs, and its official name is now "Villa Comunale
+Umberto Primo." These grounds contain fountains, antique statues,
+tablets, small temples and many inscriptions, with statues of Æsculapius
+and Apollo, and an Egyptian gateway. They are open all day to every one
+freely and are one of the great attractions of Rome.
+
+The great palaces of Rome are of later date than those of Florence.
+There are some eighty principal ones, of which the Palazzos Veneziano,
+Farnese, Doria, Barberini, Colonna, and the Rospigliosi (containing
+Guido's famous "Aurora") are the most important. The Farnesina Palace
+contains some of the most interesting pictures in Rome, and the
+traditions of the residence of Agostino Chigi, during the pontificate
+of Leo X, are still found in Rome,--traditions of the lavish
+magnificence of the entertainments given here to the Pope and the
+Cardinals.
+
+The Monte Pincio is the famous drive of Roman society, and the promenade
+around the brow of the hill offers one of the most enchanting views of
+the world. Near the Trinità di Monti stands the historic Villa Medici,
+the French Academy of which the great Carolus Duran is now the director.
+The view across the valley in which lies the Piazza di Spagna, the river
+to St. Peter's, from the Villa Medici, is one of the finest in Rome.
+
+The architecture of the garden façade is attributed to Michael Angelo.
+These gardens have a circuit of more than a mile, laid out in the formal
+rectangles and densely bordered walks of the Italian custom. All manner
+of old fragments of sculpture are scattered through them,--a torso, a
+broken bust, a ruined statue, an old and partly broken fountain,--and
+entablatures and reliefs are seen in the walls on every hand. No sound
+of the city ever penetrates into this dense foliage which secludes the
+gardens of the famous Villa Medici.
+
+One of the features of Roman life is the fashionable drive on Monte
+Pincio in the late afternoons. An hour or two before sunset the terrace
+of the Piazza Trinità di Monti begins to be thronged with pedestrians,
+who lean over the marble balustrade, gazing at the incomparable pictured
+panorama where the vast dome of St. Peter's, the dense pines of the
+Villa Pamphilia-Doria on the Janiculum, and the dark cypress groves on
+Monte Mario loom up against the golden western sky.
+
+Compared with the extensive parks of modern cities the Monte Pincio
+would prefigure itself as a drive for fairies alone. It comprises a few
+acres only, thickly decorated with trees and shrubbery, with a casino
+for the orchestra that plays every afternoon, and a circular carriage
+drive so limited in extent that the same carriage comes in view every
+few minutes.
+
+The Eternal City has had so many birthdays that one would fancy them to
+have become negligible; but it was announced on April 21 of 1907 that
+the date was a special anniversary, and she took on aspects of
+festivity. The municipal palaces and museums were hung with tapestries,
+flags were flying from the Capitol, the municipal guards were all in
+full dress uniform and the municipal orchestra played in the Piazza
+Colonna. The historic bell began ringing at eight in the morning in
+peals that were well calculated to call the Cæsars from their tombs and
+which might, indeed, have been mistaken for the final trumpet calls of
+Gabriel. But the Romans take their pleasures rather sadly and
+sternly,--not like the light-hearted Florentines in song and laughter,
+or with the joyous abandon of the Neapolitans,--so there was no special
+manifestation on the part of the populace, and the day, cold, gloomy,
+and cheerless, did not inspire gayety.
+
+When the Republic of Rome was established (on Feb. 9, 1849) a
+provisional government was appointed. In March of that year Mazzini
+proposed that the assembly should appoint a Committee of War, and it was
+decided to send troops to Piedmont. Later a triumvirate, consisting of
+Mazzini, Saffi, and Armellini, was formed, but disaster was near. In
+April the French troops landed at Cività Vecchia, and the Italians
+prepared to defend their country from the control of Louis Napoleon.
+Mazzini is said to have been "the life and the soul" of this defence.
+But the Republic was doomed, and when it had fallen the Pope returned,
+only under the protection of the French. But the French Empire, too, was
+doomed to fall; and when Garibaldi transferred his successes to Victor
+Emmanuel, the monarchy was consolidated by the union of Rome with Italy,
+and the present "Via Venti Settembre" in Rome--the street named to
+commemorate that 20th of September, 1870, on which the Italian troops
+entered the city and the Papal reign ended--perpetuates the story of
+those eventful days. "Victor Emmanuel, Cavour, and Garibaldi have been
+designated, along with Mazzini, as the founders of the modern Italy,"
+said Dr. William Clarke, "but a broad line divides Mazzini from the
+others." Dr. Clarke sees between Cavour and Mazzini "the everlasting
+conflict between the idealist and the man of the world. The former," he
+continues, "stands by the intellect and the conscience; the latter by
+the limitations of actual fact and the practical difficulties of the
+case," and Dr. Clarke notes further:--
+
+     "It was pre-eminently Mazzini who gave to Italy the breath of a new
+     life, who taught her people constancy in devotion to an ideal
+     good. Prophets are rarely successful in their own day, and so it
+     has been with the prophet of modern Italy. The making of Italy has
+     not proceeded in the way he hoped it would; for the Italians, who
+     are an eminently subtle and diplomatic people, have apparently
+     thought it best to bend to the hard facts by which they have been
+     surrounded. But if, as Emerson teaches, facts are fluid to thought,
+     we may believe that the ideas of Mazzini will yet prevail in the
+     nation of his birth, and that he may yet be regarded as the
+     spiritual father of the future Italian commonwealth. For of him, if
+     of any modern man, we may say that he
+
+    'Saw distant gates of Eden gleam,
+    And did not dream it was a dream.'"
+
+  [Illustration: STATUE OF CHRIST, ANCIENT CHURCH OF SAN MARTINA, ROME
+                 _From the Artist's Original Cast_
+                 Albert Bertel Thorwaldsen
+                 _Page 193_]
+
+Between the period of the establishment of the Roman Republic in 1849
+and the consummation of United Italy in 1870 the years were rich to the
+artist, whatever they may have been to philosopher and patriot. The way
+for the painter and the sculptor seems to have been a flowery and a
+pictorial one,--a very _via buona fortuna_, through a golden,
+artistic atmosphere. The perpetual excursions may lead the serious
+spectator to wonder where working hours come in, but, at all events,
+those days are rich in color. Friends grouped together by the unerring
+law of elective affinities loitered in galleries and churches. San
+Martina, near the Mamertine prisons, was a point of interest because of
+Thorwaldsen's bequest to it of the original cast of his beautiful statue
+of "Christ" which is in Copenhagen. This is, perhaps, the finest work
+ever conceived by the Danish sculptor, and is one that no visitor of
+to-day can behold unmoved. Both Canova and Bernini are also represented
+in this church,--the former by a statue of "Religion" and the latter by
+a bust of Pietro da Cortona. Beneath the present Church of San Martina
+is the ancient one containing the shrine of the martyr, under a superb
+bronze altar. Of this church, Mrs. Jameson says in her "Sacred and
+Legendary Art":--
+
+     "At the foot of the Capitoline Hill, on the left hand as we descend
+     from the Ara Coeli into the Forum, there stood in very ancient
+     times a small chapel, dedicated to St. Martina, a Roman virgin. The
+     veneration paid to her was of very early date, and the Roman people
+     were accustomed to assemble there on the first day of the year.
+     This observance was, however, confined to the people, and was not
+     very general till 1634, an era which connects her in rather an
+     interesting manner with the history of art. In this year, as they
+     were about to repair her chapel, they discovered, walled into the
+     foundations, a sarcophagus of terra cotta, in which was the body of
+     a young female, whose severed head reposed in a separate casket.
+     These remains were very naturally supposed to be those of the saint
+     who had been so long venerated on that spot. The discovery was
+     hailed with the utmost exultation, not by the people only, but by
+     those who led the minds and consciences of the people. The Pope
+     himself, Urban VIII, composed hymns in her praise; and Cardinal
+     Francesco Barberini undertook to rebuild her church."
+
+The painter, Pietro da Cortona, entered into this feeling and at his own
+expense built the chapel and painted for its altar piece the picture
+representing the saint in triumph, while the temple in which she has
+gone to sacrifice falls in ruins from a raging tempest.
+
+In any stray ramble in Rome the sojourner might chance, at any moment,
+upon obelisk, a pedestal or inscription linked with the great names of
+the historic past. Hawthorne has recorded how, by mere chance, he turned
+from the Via delle Quattro Fontane into the Via Quirinale and was thus
+lured on to an obelisk and a fountain on the pedestal of which on one
+side was the inscription, "Opus Phidias," and on the other, "Opus
+Praxiteles," and he exclaims:--
+
+     "What a city is this, when one may stumble, by mere chance--at a
+     street corner as it were--on the works of two such sculptors! I do
+     not know the authority," he continues, "on which these statues
+     (Castor and Pollux I presume) are attributed to Phidias and
+     Praxiteles; but they impressed me as noble and godlike, and I feel
+     inclined to take them for what they purport to be."
+
+While the Papal ceremonies are neither so frequent nor so magnificent as
+in former days, still any hotel guest in Rome is liable, any morning,
+on coming down to the _salle-à-manger_ for coffee, to find every woman
+(who is taking her Rome seriously) arrayed in a black robe with a black
+lace veil on her head. One would fancy they were all a procession of
+nuns, about to retire from the world into the strict seclusion of the
+cloister. But it is nothing so momentous. It is only that every lady,
+with the devotion to spectacles which every visitor in Rome feels, as a
+matter of course, has secured the pink ticket entitling her to admission
+to the Vatican Palace to see the "passage" of the Pope, as he makes his
+way, attended by the Cardinals of the Sacred College, to the Sistine
+Chapel where his Holiness "creates" new Cardinals. Although rumored that
+the spectacle will be a gorgeous one, that the Pope will be carried
+aloft preceded by the silver trumpeters and attended by the Cardinals
+and the ambassadors and other dignitaries in the full dress of their
+ceremonial costumes and their orders, the reality is less impressive.
+Some feminine enthusiasts fare forth at the heroic hour of eight,
+although the procession is not announced to pass until a quarter after
+ten (which in Italy should be translated as a quarter after eleven, at
+the earliest, if not after twelve, which would be the more probable), in
+order to secure good standing room. For everybody is to stand--of
+course, comfort being a thing conspicuous only by its absence in Italy!
+Those of us too well aware by the experiences of previous visits to
+Italy that no Italian function was ever on time, from the starting of a
+railway train to the crowning of a king, only betake ourselves to the
+glories of the Palazzo Vaticano at the hour named, and we have then--as
+one's prophetic soul or his commonplace memory warned him--to wait more
+than an hour wedged into a dense crowd of all nationalities, none of
+whom seem at this particular juncture, at least, to be at all
+overburdened with good manners. And what went they out for to seek?
+Instead of an impressive spectacle--a thing to remember for a
+lifetime--one merely sees Pius X walking, surrounded by his Cardinals in
+a group,--not a procession,--he alone in the centre with his mitre on
+his head,--the whole scene hardly lasting over a minute, and as his
+Holiness is not as tall as most of his Cardinals, he is almost hidden
+from view. It had been rumored that the Pope was to be borne aloft in
+the Papal chair, preceded by the traditional white fan and the silver
+trumpets; but the present Pope is temperamentally inclined to minimize
+all the ceremonials investing his sacred office.
+
+Yet there is always a thrill in entering the Vatican. To ascend that
+splendid _Scala Regia_ designed by Bernini, with one of the most
+ingeniously treated perspective effects to be found, it may be, in the
+entire world; to cross this _Scala_ with its interesting frescoes by
+Salviati and others; to see at near range the picturesque Swiss
+Guard,--surely any pretext to enjoy such a morning is easily accepted of
+whatever occurrence one may grasp in order to obtain the hour.
+
+One curious feature of the past is to-day equally in evidence in Rome.
+Strolling at any time into the Church of San Agostino one beholds a
+curious spectacle. It is in this church that is placed the beautiful
+bronze statue of the Virgin and Child by Sansovino. It is approached by
+a platform on which is placed a stool that enables one to mount and thus
+reach the foot of the statue, which is kissed and the wish of the
+devotee is offered. This Madonna is believed to have the power to grant
+each wish and prayer; to heal the sick; restore the blind, the deaf, and
+the lame; to grant immunity from loss or illness; to grant success and
+prosperity. The poor Madonna must have her hands full with these
+avalanches of petitions, but she sits calmly in state and, if the
+striking testimony of votive offerings can be credited, she is most
+amiable in granting the prayers of her devotees. For she is hung with
+priceless jewels; necklaces, brooches, bracelets, diamond and ruby and
+sapphire rings on her fingers, she is a blaze of splendor. Around this
+statue there is a perpetual crowd, whatever hour of day one chances to
+wander in, and from prince to beggar the bronze foot is kissed, as each
+waits his turn to mount the stool and prefer his secret wish. The walls
+of the church are covered with the votive offerings to the Madonna for
+her aid,--rich jewels, orders, tablets,--offerings of all kinds. In this
+church is entombed the body of Santa Monica, the mother of St.
+Augustine, placed in an urn of verd-antique, in a special chapel
+beautifully decorated. After preferring one's secret wish to the Virgin
+one must wander on to the Fontane de Trevi and throw his penny into the
+water to insure his return to Rome, and then he may rest, _mens conscia
+recti_!
+
+Although Holy Week in Rome has less ceremonial observance in these
+latter days than those of the impressive scenes so vividly portrayed by
+Mme. de Staël in "Corinne," it still attracts a multitude of visitors
+and offers much to touch and thrill the life of the spirit, quite
+irrespective as to whether the visitor be of the Catholic or Protestant
+faith. In the great essentials of Christianity, all followers of Christ
+unite. The Pope does not now take part in public services on Easter, and
+that scene of the Pontifical blessing from the balcony of St. Peter's
+given to the multitude below who throng the piazza remains only in
+memory and in record. But the stately and solemn services of Good Friday
+in the vast and grand interior of St. Peter's are an experience to
+linger forever in memory. The three hours' service--the chanting of the
+Miserere--was a scene to impress the imagination. This service is held
+in the late afternoon of Good Friday, in the tribune of St. Peter's, the
+extreme end of the church where the vast window of yellow glass gives a
+perpetually golden light. The chair believed to have been that of St.
+Peter's is here placed, enclosed in ivory and supported by statues of
+four Fathers of the church, St. Augustine, St. Ambrose, St. Chrysostom,
+and St. Athanasius, from a design of Bernini.
+
+In the tribune is the tomb of Urban VIII (who was Matteo Barberini), of
+which the redundant decoration tells the story that it is also Bernini's
+work. Opposite this tomb is that of Paul III, by della Porta, under the
+supervision of Michael Angelo, it is said, and the beauty and dignity of
+the bronze figure of the aged Pope, in the act of giving the
+benediction, quite confirm this tradition. On a tablet in the wall of
+the tribune are engraved the names of all the bishops and prelates who,
+in 1854, accepted the belief of the Immaculate Conception,--this tablet
+being placed by the order of Pio Nono.
+
+In this tribune on the late afternoon of the Good Friday of 1907 the
+seats were filled with worshippers to listen to the three hours' chant
+of the Miserere. Princes and peasants sat side by side, and an immense
+throng who could not find seats stood, often wandering away in the dim
+distances of the cathedral and ever and again returning. The high altar,
+where Canova's beautiful figure of the kneeling Pope always enchains the
+visitor, was, as usual, surrounded. The lights burned--these perpetual
+lamps--and the moving throng went and came. The scene grew mystic,
+dream-like, as the solemn music floated on the air.
+
+The Chapel of the Holy Sacrament, on the left of the cathedral, was made
+into the sepulchre that day, and anything more beautiful than the myriad
+altar lights and the flowers could not be imagined. At the altar
+black-robed nuns were kneeling, and all over the chapel, kneeling on the
+floor, were people of all grades and ranks of life, from the duchess and
+princess to the beggar woman with a ragged shawl on her shoulders and
+her baby in her arms. St. Peter's was nearly filled all that day with
+people, not crowded, but apparently thronged in almost every part.
+
+The altar in the Chapel of the Holy Sacrament was one mass of deep red
+roses. The chapel was completely darkened, but the blaze of myriads of
+tall candles illuminated the roses and the black-robed nuns and the
+black-robed devotees. It was a scene never to be forgotten.
+
+Even in the latter-day Rome, historic names are not wanting. One of
+these, the Princess Christina Bonaparte, _née_ Ruspoli, died in 1907 in
+her Roman villa in Via Venti Settembre. She was the widow of Prince
+Napoleon Charles Bonaparte and a cousin of the Empress Eugénie. With her
+husband in Paris until 1870, she fled (whilst her husband was fighting
+at Metz) as soon as the Commune was proclaimed. The princess was
+considered a beautiful woman and her portrait had been painted by Ernest
+Hébert, but it was lost when the Palace of the Tuileries was destroyed
+in 1870.
+
+With this princess dies the name of the Bonaparte family. Her daughters,
+Donna Maria Gotti-Bonaparte and Princess Maria della Moskowa, were often
+with her in Rome.
+
+The Palazzo Bonaparte is very near Porta Pia. Although called a palace,
+it is simply a plain house of some five stories, with narrow halls and
+stone staircases, no elevator, no electric lights. The princess occupied
+the first floor, while the apartments above were let to various
+families.
+
+With the exception of the royal palaces there are few in which suites
+are not obtainable for residence by any one who desires them.
+
+  [Illustration: CASTEL SAN ANGELO AND ST. PETER'S, ROME
+                 _Page 204_]
+
+It was at a pleasant _déjeûner_ one spring day in Rome that the project
+was launched, that we should go motoring that afternoon to Frascati,
+Albano, Castel Gandolfo, Lago di Nemi, and all that wonderful region. We
+were lunching with a friend who had a charming apartment in one of the
+sumptuous old palaces of Rome, where, in a niche on the marble
+staircase, the statue of Cæsar Augustus stood,--a copy of the famous
+statue in the Capitoline,--where lofty, decorated ceilings, old
+paintings and sculptures adorned the rooms, and where from the windows
+we looked out on the tragedy-haunted Castel San Angelo, with the dome of
+San Pietro in the background. Our friend who invited us to fly in his
+motor had brought his touring car over from America. The one note of new
+luxury now is for travellers to journey with their touring cars. In a
+year or two more it will be airships or soaring machines. On this
+wonderful May afternoon, all azure and gold, we started off in the
+great, luxurious touring car which was arranged even to carry two
+trunks, with a safe in it for the deposit of valuables, a hamper for
+refreshments, and, indeed, almost every conceivable convenience. On we
+flew through Rome, past the great Basilica of San Maria Maggiore; past
+the wonderful pile of San Giovanni Laterano, with the colossal statues
+of the apostles surmounting the façade; through the Porta San Giovanni
+into the narrow, walled lane leading out on the Campagna; on, on, to the
+Alban hills. We flew past olive orchards and vineyards, and the vast
+green pasture lands of the Campagna whose vivid green was ablaze with
+scarlet poppies. Far away to the west there was a white shining
+line--the line of the sea.
+
+At Frascati we stopped at the Villa Torlonia, the country place of the
+ducal family, whose grand Roman palazzo is in the Bocca di Leone in the
+old part of Rome. The Torlonia have an only daughter, Donna Teresa,
+whose _débutante_ ball a year ago is said to have been the most
+magnificent entertainment in Rome for fifty years. A writer, in a recent
+article on the nobility of Rome, said of this family:--
+
+     "The Torlonia figure repeatedly in the novels of Thackeray, who
+     was never tired of portraying them. They have been most useful
+     citizens, and since the days of the old army contractor, who
+     founded the house, have augmented the family wealth by judicious
+     investments, especially in connection with the draining and
+     reclaiming of the marsh lands that abound in the former Papal
+     States. They have contracted matrimonial alliances with the
+     Colonna, with the Borghese, the Belmonte, the Doria, and the
+     Sforza."
+
+The Villa Torlonia at Frascati is a very large estate with extensive
+gardens, terraces, and a cascade of three falls on the hillside, which
+is turned on (the water) at pleasure. The house, however, is a
+shabby-looking affair, a two or three story, rambling, yellow structure,
+which, at Newport, would not be considered too good for the gardener.
+
+After the usual fashion of the Italians who seldom travel, the Torlonia,
+wealthy as they are, simply remove from their palace in Rome to their
+villa at Frascati instead of travelling to Switzerland, Germany, or
+elsewhere in the summer.
+
+The Duke and Duchess of Cumberland were the guests of the Torlonia that
+day, the entire party enjoying themselves _al fresco_, and the beautiful
+cascade pouring down within the near distance.
+
+These outlying towns, Frascati, Albano, Castel Gandolfo, and Lago di
+Nemi, the picturesque group in the Alban Mountains, are some sixteen to
+eighteen miles from Rome. These Alban hills rise like an island from the
+vast plain of the Campagna, the highest point being some three thousand
+feet above sea level. They are covered with villages and castles and
+villas, and have in all a population of some fifty thousand. The region
+is volcanic, and the beautiful Lago di Nemi and Lago di Albano were the
+craters of extinct volcanoes. All this region was the haunt of Cicero,
+Virgil, and Livy. At Tusculum, near Frascati, are the remains of
+Cicero's villa, and also of an ancient theatre hewn out of solid rock.
+The view to the west toward Rome is most beautiful. The dome of St.
+Peter's crowns the Eternal City; and the Campagna--a sea of green--is as
+infinite in sight as is the Mediterranean. There are splendid villas and
+estates in these Alban hills that belong to the Roman nobility, and
+here the Pope has his summer palace. "The Alban Mount is also full of
+historical and legendary interest," says a writer on the country around
+Rome. "The Latin tribe, one of the constituent elements of the Roman
+people, had here its seat. Upon the highest peak of the range was the
+temple of Jupiter Latiaris, where all the tribes of Latin blood, the
+Romans included, met every year to worship; and where the victorious
+generals of the Republic repaired to offer praises and acknowledgments.
+In these mountain glens undoubtedly most of that ballad literature of
+Rome, the loss of which Macaulay so eloquently laments and so
+successfully restores, had its origin. Nor need the scholar be reminded
+that this is the scene of the most original and vigorous portions of the
+Æneid of Virgil; nor how the genius of the poet, which rather languidly
+recounts the traditions borrowed from Greece, wakes to new life, when he
+feels his feet upon his own soil and deals with Latin names and Latin
+legends."
+
+The Villa Aldobrandini at Frascati is celebrated for its fantastic
+waterworks in elaborate fountains and cascades. In the gardens a statue
+of Pan with a pipe of reeds and one of a satyr with a trumpet are made
+to play (both the pipe and the trumpet) by water. The hydraulic engineer
+must have found in Frascati his earthly paradise, for he commanded the
+water to leap into foam and spray in the air, to rush down marble
+terraces, and to form itself into obelisks of liquid silver.
+
+At Grotto Ferrata is a vast monastery of monks of the Order of Basilio
+(Greek), a monastery so colossal as to be mistaken for a fortress. The
+chapel has frescoes by Domenichino. At Castel Gandolfo is the summer
+Papal palace, that has not been occupied by a Pope since the
+overthrowing of the temporal power in 1870. It has a beautiful and
+commanding view toward Rome. It was built by Urban VIII.
+
+All the magic of Italy is in this picturesque excursion. In the vast
+grounds of the Villa Barberini are the ruins of the ancient palace and
+gardens of Domitian. On one hillside is a broken wall; a long avenue of
+ilex trees reveals here and there fragments of mosaic pavement.
+Crumbling niches hold fragments of statues. The hill itself is still
+pierced with the long tunnels driven through it by Domitian that he
+might pass unseen,--presumably safe from his enemies,--from the palace
+to the gardens. From the parapet, Rome is seen across the shining
+Campagna and the dome of Michael Angelo gleams against the blue Italian
+sky.
+
+"The wreck is beautiful," writes Mrs. Humphry Ward, in "Eleanor," of
+this romantic spot; "for it is masked in the gloom of the overhanging
+trees; or hidden behind dropping veils of ivy; or lit up by straggling
+patches of broom and cytisus that thrust themselves through the gaps in
+the Roman brickwork and shine golden in the dark. At the foot of the
+wall, along its whole length, runs a low marble conduit that held the
+sweetest, liveliest water. Lilies of the valley grow beside it,
+breathing scent into the shadowed air; while on the outer or garden side
+of the path the grass is purple with long-stalked violets, or pink with
+the sharp heads of the cyclamen. And a little farther, from the same
+grass, there shoots up, in happy neglect, tall camellia trees, ragged
+and laden, strewing the ground red and white beneath them. And above the
+camellias again the famous stone-pines of the villa climb into the high
+air, overlooking the plain and the sea, peering at Rome and Soracte."
+
+One could wander all day in the strange ruins of the old Barberini
+grounds, and in the vast spaces of the gardens and through the Villa
+Doria.
+
+The beauty of the avenue of ilex trees through which we flew from Castel
+Gandolfo to Lago di Nemi surpasses description. This lake, some four
+miles in circumference, lies in a crater hollow, with precipitous hills
+surrounding it, the water so clear that the ancients called it the
+"Mirror of Diana." In it was constructed an artificial island in the
+design of a Roman state barge.
+
+Over the long viaduct at Ariccia we flew; everywhere in the little town
+people, donkeys--an almost indistinguishable mass--filled the narrow
+streets; and thus on to Genzano and the Lago di Nemi, with its fabled
+fleet at the bottom.
+
+The Chigi woods, that fill the deep ravine under the great viaduct at
+Ariccia, were in the most brilliant emerald green. Past these forests
+lay the vast stretch of the Pontine Marshes; and turning toward Rome
+again, the splendor of the sunset flamed in the sky. One could but
+recall Mrs. Humphry Ward's vivid picture of a storm seen over this part
+of the Campagna:--
+
+     "The sunset was rushing to its height through every possible phase
+     of violence and splendor. From the Mediterranean, storm clouds were
+     rising fast to the assault and conquest of the upper sky, which
+     still above the hills shone blue and tranquil. But the northwest
+     wind and the sea were leagued against it. They sent out threatening
+     fingers and long spinning veils of cloud across it--skirmishers
+     that foretold the black and serried lines, the torn and monstrous
+     masses behind. Below these wild tempest shapes again--in long
+     spaces resting on the sea--the heaven was at peace, shining in
+     delicate greens and yellows, infinitely translucent and serene,
+     above the dazzling lines of water. Over Rome itself there was a
+     strange massing and curving of the clouds. Between their blackness
+     and the deep purple of the Campagna rose the city--pale
+     phantom--upholding one great dome, and one only, to view of night
+     and the world. Round and above and behind, beneath the long flat
+     arch of the storm, glowed a furnace of scarlet light. The buildings
+     of the city were faint specks within its fierce intensity, dimly
+     visible through a sea of fire. St. Peter's alone, without visible
+     foundation or support, had consistence, form, identity; and between
+     the city and the hills, waves of blue and purple shade, forerunners
+     of the night, stole over the Campagna towards the higher ground.
+     But the hills themselves were still shining, still clad in rose and
+     amethyst, caught in gentler repetition from the wildness of the
+     west. Pale rose even the olive gardens; rose the rich brown
+     fallows, the emerging farms; while drawn across the Campagna from
+     north to south, as though some mighty brush had just laid it there
+     for sheer lust of color, sheer joy in the mating it with the
+     rose,--one long strip of sharpest, purest green."
+
+The Villa Falconieri, in Frascati, which was built by Cardinal Ruffini,
+with the old ilex tree preserved in the portals, has recently been
+purchased by the Emperor of Germany, who proposes to transform it into
+an Academy for the accommodation of German students in Rome. These
+national academies draw their corresponding numbers of students from the
+nations thus represented, and contribute to the cosmopolitan aspects of
+Rome. The American Academy in Rome is now being transferred from the
+Ludovisi quarter to a large and convenient building outside Porta Pia.
+
+Perhaps the eminently social quality of Roman life may be indirectly due
+to the lack of library privileges which is a conspicuous defect in Rome.
+The Biblioteca Vittorio Emanuele, under the courteous administration of
+Commendatore Conte Guili, has, it is true, a collection of over half a
+million volumes and thousands of very rare and valuable manuscripts. It
+has a large public reading room, and books are loaned on the signature
+of any embassy or consulate; yet this library, while offering peculiar
+advantages to theological and other special students and readers, does
+not afford any extended privileges to the general reader of modern
+English and American publications. It is located in a grim and
+forbidding old stone palace, approached by an obscure lane from the
+Corso, where, as there is no sidewalk, the pedestrian shares the narrow,
+dark, cold, stone-paved little street with carts, donkeys, peasants,
+and beggars.
+
+The great monument to King Victor Emmanuel, of mingled architecture and
+sculpture, a colossal structure of white marble with arches and pillars
+forming beautiful colonnades, the capital of each column heavily carved,
+and the sculpture, which is being done by a number of artists, will be
+of the most artistic and beautiful order. This memorial will occupy an
+entire block, and it is located very near the Capitol. All the old
+buildings in the vicinity will be torn down to give a fine vista for
+this transcendently noble and sumptuous memorial.
+
+The directors of this work aim to have it completed and ready to be
+unveiled in 1911, the jubilee year of Italy's resurrection as a united
+country.
+
+Encircled by the old Aurelian wall and near the great pyramid that marks
+the tomb of Caius Cestius, who died 12 B.C., lies the Protestant
+cemetery of Rome, full of bloom and fragrance and beauty, under the
+dark, solemn cypress trees that stand like ever-watchful sentinels. When
+Keats was buried here (in 1820), Shelley wrote of "the romantic and
+lovely cemetery ... under the pyramid of Caius Cestius, and the mossy
+walls and towers now mouldering and desolate which formed the circuit of
+ancient Rome. The cemetery is an open space among the ruins, covered
+even in winter with violets and daisies. It might make one in love with
+death," he added, "to think of being buried in so sweet a place."
+
+  [Illustration: PORTA SAN PAOLA, PYRAMID OF CAIUS CESTIUS, ROME
+                 _Page 216_]
+
+In the old cemetery (immediately adjoining the pyramid and separated
+from the new one by a wall) is the grave of Keats (who died in 1821)
+with its unique inscription, "Here lies one whose name was writ in
+water." Beside it is that of his friend, Joseph Severn, who died in
+1829, and near these the grave of John Bell, the famous writer on
+surgery and anatomy. In the new or more modern cemetery the visitor
+lingers by the graves of Shelley and his friend, Trelawney; August
+Goethe (the son of the poet); of William and Mary Howitt, who died in
+1879 and 1888. Not merely, however, do the names of Keats and Shelley
+allure the visitor to poetic meditations; but here lie the earthly forms
+of many a poet, painter, and sculptor of our own country, with their
+wives and children, who have sought in the Eternal City the
+atmosphere for art and who, enamoured by the loveliness of Rome,
+continued there for all their remaining years. These graves, these
+sculptured memorials, are eloquent with the joys, the sorrows, the
+achievements and the failures, the success and the defeat, of the
+artistic life in a foreign land. Many of these memorial sculptures are
+the work of the husband or the father, into which is inseparably joined
+the personal tenderness to the artist's skill. Especially noticeable are
+the graves of the wives of three American sculptors,--William Wetmore
+Story, Richard S. Greenough, and Franklin Simmons. Each of these is
+marked by a memorial sculpture created by the husband, and the three
+different conceptions of these sculptors are interesting to contrast.
+That of Mr. Story is of an angel with outspread wings, kneeling, her
+head bowed in the utter despair and desolation of hopeless sorrow. The
+figure has the greatest delicacy of beauty and refinement and
+tenderness; but it is the grief that has no support of faith, the grief
+that has no vision of divine consolation. On the memorial monument is
+simply the name, Emelyn Story, born in Boston, 1820, died in Rome in
+1898, and the note that it is the last work of W. W. Story, in memory of
+his beloved wife. Here, also, is Mr. Story buried, his name and dates of
+birth and death (1819-1901) alone being inscribed.
+
+At the tomb of Sarah B. Greenough, the wife of Richard S. Greenough, the
+monument is designed to represent Psyche escaping from the bondage of
+mortality. This Psyche is emerging from her garments and she holds in
+her hand a lamp. On this is the inscription: "Her loss was that as of a
+keystone to an arch."
+
+Mrs. Greenough was a very accomplished musician, and she had the unique
+honor of having been made a member of the "Arcadians."
+
+The memorial sculpture over the grave of Mrs. Franklin Simmons is, as
+elsewhere noted, the work of her husband, a figure called "The Angel of
+the Resurrection." The angel is represented as a male figure (Gabriel)
+holding in the left hand a golden trumpet while the right is
+outstretched. His wings are spread, his face partly turned to the right.
+The form is partially draped and in every detail is instinct with a
+complete harmony; every fold of the drapery, every curve of the body,
+and the lofty and triumphant expression of the face in its ineffable
+glory of achievement proclaim the triumph of immortality. It stands on a
+pedestal that gives it, from the base of the pedestal to the tip of the
+outstretched wings, a height of some twenty-one feet. This monument,
+seen against a background of dark cypress trees, speaks the word of
+positive and complete faith in the divine promise of eternal life.
+
+    "Then life is--to wake, not sleep,
+      Rise and not rest, but press
+    From earth's level where blindly creep
+      Things perfected, more or less,
+    In the heaven's height--far and steep."
+
+The visitor lingers over the grave of that interesting painter, J.
+Rollin Tilton, whose landscapes from Egypt and Italian scenes were so
+vivid and picturesque.
+
+Richard Henry Dana, the elder, born in Boston in 1815, came to Rome to
+die in 1882.
+
+Very near the tomb of William Wetmore and Emelyn Story is that of
+Constance Fenimore Woolson. Over the graves of William and Mary Howitt
+is the inscription: "Let not your heart be troubled; believe in God,
+believe also in me."
+
+On the wall just back of the new tomb erected over the ashes of Shelley
+by Onslow Ford in 1891 is a memorial tablet placed to Frederick W. H.
+Myers, bearing this inscription:--
+
+     "This tablet is placed to the memory of Frederick William Henry
+     Myers, born at Keswick, Cumberland, Feb. 6, 1843; died in Rome,
+     Jan. 17, 1901. 'He asked life of Thee, and Thou gavest him long
+     life ever and forever.'"
+
+Over the grave of John Addington Symonds, whose best monument is in his
+admirable History of the Renaissance in Italy, is a Latin inscription
+written by Professor Jowett of Oxford, and a stanza from the Greek of
+Cleanthes, translated by Mr. Symonds as follows:--
+
+    "Lead thou, our God, law, reason, motion, life;
+    All names for Thee alike are vain and hollow;
+    Lead me, for I will follow without strife,
+    Or, if I strive, still more I blindly follow."
+
+John Addington Symonds, who certainly ranks as the most gifted
+interpreter of Italy, in her art, her legends and associations, and her
+landscape loveliness, died in the Rome he so loved in 1893. His wife was
+ill in Venice, but his daughter, Margaret,--his inseparable companion
+and his helper in his work,--was with him. It is Miss Symonds who
+prefaced a memorial volume to her father with the exquisite lines:--
+
+    "O Love; we two shall go no longer
+    To lands of summer beyond the sea."
+
+Near the graves of Keats and of his friend, Joseph Severn, are those of
+Augustus William Hare and John Gibson, the sculptor, who died in 1868.
+Some ten years before Hawthorne, meeting Gibson at a dinner given by T.
+Buchanan Read, wrote of him that it was whispered about the table that
+he had been in Rome for forty-two years and that he had a quiet,
+self-contained aspect as of one who had spent a calm life among his clay
+and marble.
+
+Dwight Benton, an American painter and writer, who was for some time in
+the diplomatic service and whose home had been in Rome for more than a
+quarter of a century, lies buried here. For many years he was the
+editor of _The Roman World_, which still sustains the interesting
+character that marked it during his editorship. Of his work in art a
+friend wrote:--
+
+     "In painting, as in literature, Dwight Benton took his inspiration
+     from nature. His paintings of Italian scenery are true and faithful
+     representations of its character and atmospheric effects. His
+     tramps on the Roman Campagna were long and often tiring, but he
+     worked with all an artist's enthusiasm, unmindful of cold, rain,
+     and even hunger. He would delight, as all true artists, in an old
+     convent, a tree, a tower, a cross, which he would reproduce with a
+     peculiar and striking perfection of tone and color. In his
+     paintings of Keats's and Shelley's tombs, not only are the slabs
+     and marble there, but there, also, in all their naturalness, are
+     the stately pines and cypresses above, with the sunshine and
+     shadows alternating between them, and in the background the
+     turreted top of St. Paul's Gateway, the Pyramid of Caius Cestius,
+     all lending effect and picturesqueness to the whole."
+
+The present King of Italy purchased one of Mr. Benton's paintings,
+called "Giornata di tristezza."
+
+While art abounds in Rome, less can be said for literature. There is a
+large and admirable selected Italian library in connection with the
+Collegio Romano; but while these books circulate, under certain
+conditions, to visitors, and the courtesy of the librarian and his staff
+is generously kind, the location and the Italian methods render it a
+matter of some difficulty to avail one's self of its resources. In the
+Piazza di Spagna there are two circulating libraries, but although one
+of these claims twenty-five thousand volumes, the majority are of
+mediocre fiction and almost none, if any, of the important modern works
+are to be found here. The visitor who is a subscriber to this library
+passes into a small, dark room, where one window looking on the street
+hardly does more than make the darkness visible, and he must take the
+catalogue to the window and stand in order to decipher the list, which
+is hardly, indeed, worth the trouble, as there are very few volumes of
+any pretension to importance in the collection, and of late years no
+additions, apparently, have ever been made. The other circulating
+library, while far preferable, is still in crowded rooms and the
+assortment is limited. The visitor in Rome who cares for reading matter
+looks forward with delight to Florence, with its noble circulating
+library, to which access is so easy and whose conduct in all ways is so
+convenient and grateful to the guest.
+
+In Rome, however, one finds his romance embodied in life and his history
+written in the streets and in the marvellous structures. His poetry is
+in her art, her ruins, her magical loveliness of hillside vistas, her
+infinite views over the Campagna, her sapphire skies, and her luminous,
+golden atmosphere.
+
+
+
+
+    "_Here Ischia smiles
+    O'er liquid miles,
+      And yonder, bluest of the isles,
+    Calm Capri waits
+    Her sapphire gates,
+      Beguiling to her bright estates._"
+
+    "_Oh, Signor! thine the amber hand,
+      And mine the distant sea
+    Obedient to the least command
+      Thine eyes impose on me._"
+
+
+
+
+III
+
+DAY-DREAMS IN NAPLES, AMALFI, AND CAPRI
+
+    "With dreamful eyes
+    My spirit lies
+    Where summer sings but never dies."
+
+
+Naples is the paradise of excursions. It is set in the heart of
+incomparable loveliness. Over its sapphire sea one sails away--to the
+Fortunate Isles, or some others equally alluring. Its heights and
+adjacent mountains offer views that one might well cross the ocean to
+enjoy. Its atmosphere is full of classic interest; of song, and story,
+and legend, and romance; of history, too, which in its tragic and
+exciting episodes is not less vivid in color and in strange studies of
+human life than is any romance. Naples is the city of fascination. Rome
+is stately and impressive; Florence is all beauty and enchantment;
+Genoa is picturesque; Venice is a dream city; but Naples is
+simply--fascinating. There is the common life of the streets and the
+populace continually _en scène_; the people who are at home on the sunny
+side in winter, or the shady side in summer; there is the social life of
+the nobility, which is brilliant and vivacious. The excursions, of which
+Naples is the centre, are the chief interest to travellers, and these,
+while possible in winter, are far more enjoyable in the early spring.
+Still even in midwinter the days are sunny, and while the air is crisp
+and cool, it is not cold. The grass is as green as in June; but the
+foliage and flowers are more or less withered. Naples has the high and
+the lower town, the former the more desirable, and the fine hotels
+perched on the terraces, with the view all over the Bay of Naples,
+Capri, Sorrento, and Vesuvius, offer a vista hardly to be duplicated in
+the entire world. The lower town has its fine hotels on the water's
+edge, with a beautiful view over the bay, less enchanting than when seen
+from above. The Bay of Naples is enclosed in two semicircular arms that
+extend far out at sea, the southern reaching nearly to Capri, while near
+the termination of the northern,
+
+    "Fair Ischia smiles
+    O'er liquid miles."
+
+Far out at sea the sun shines dazzlingly on the blue Mediterranean. The
+landscape is full of those curious formations that are always inherent
+in volcanic regions. The region surrounding Naples is abrupt,
+picturesque, with the same irregular outline of hills that characterizes
+the elevations in the Tonto basin in Arizona. The vegetation is of the
+tropical type. The cactus is common, although it grows to no such
+monstrous heights as in Arizona. Orange and lemon groves prevail as far
+as the eye can see. On every height towns and villages crown the crests
+and sweep in winding terraces around the hillsides. Olive orchards
+abound. Castles and ruins gleam white in the sunshine on the ledge of
+rocky precipices. The curved shores shine like broken lines of silver,
+with deep indentations at Naples and at Castellammare. Between these two
+points rises Vesuvius, the thin blue smoke constantly curling from the
+summit that, since the eruption of 1906, has lost much of its elevation.
+In many places there is hardly the width of a roadway between the low
+mountains and the coast, but the cliffs are tropically luxurious in
+vegetation. Everywhere the habitations of the people crowd the space.
+From the monasteries and the castles that crown the heights, both
+distant and near to the clustered villages of the plain and those
+clinging to the hillsides, the scene is one unending panorama of human
+life. For Naples is only the focussing point of these densely populated
+regions of Southern Italy. The city stretches along the coast on both
+sides her semicircular bay; but the terraced hills, the stretches of
+land beyond, and every peak and valley are thickly sown with human
+habitations. Its commanding heights, two of which rise in the middle of
+the town, and its beautiful mirrored expanse of water give to it the
+most unparalleled variety and beauty of landscape loveliness.
+
+"What words can analyze," says George S. Hillard, "the parts and details
+of this matchless panorama, or unravel that magic web of beauty into
+which palaces, villas, forests, gardens, vineyards, the mountains, and
+the sea are woven? What pen can paint the soft curves, the gentle
+undulations, the flowing outlines, the craggy steeps, and the far-seen
+heights, which, in their combination, are so full of grace and, at the
+same time, expression? Words here are imperfect instruments, and must
+yield their place to the pencil and the graver. But no canvas can
+reproduce the light and color which play round this enchanting region.
+No skill can catch the changing hues of the distant mountains, the
+star-points of the playing waves, the films of purple and green which
+spread themselves over the calm waters, the sunsets of gold and orange,
+and the aerial veils of rose and amethyst which drop upon the hills from
+the skies of morning and evening. The author of the book of
+Ecclesiasticus seems to have described Naples, when he speaks of 'the
+pride of the height, the clear firmament, the beauty of heaven, with his
+glorious show.' 'See Naples and then die,' is a well-known Italian
+saying; but it should read, 'See Naples and then live.' One glance at
+such a scene stamps upon the memory an image which, forever after, gives
+a new value to life."
+
+  [Illustration: CASTEL SANT'ELMO, NAPLES
+                 _Page 231_]
+
+Naples gives to the visitor the impression of being a city without a
+past. If she has a history, it is not written in her streets. She is
+poetic and picturesque, not historic. The heights of Capodimonte and
+Sant'Elmo divide her into unequal parts, and there is the old Naples
+which only the antiquarian or the political economist would wish to
+see, and the new and modern city which is such a miracle of beauty that
+one longs to stay forever, and fails to wonder that the siren sought
+these shores. Naples has either been very much misrepresented as to its
+prevailing manners and customs, or else it has changed within the past
+decade, for, as a rule, the gentle courtesy and kindness of the people
+are especially appealing. Augustus often sojourned in Naples, and it was
+an especially poetic haunt of Virgil, whose tomb is here. Although the
+poverty and the primitive life of the great masses of the people have
+been widely discussed, it is yet true that Naples has a very charming
+social life, and that the University is a centre of learning and
+culture. One of the oldest universities in Europe, it has a faculty of
+over one hundred and twenty professors and more than five thousand
+students. A large and valuable library, and a mineralogical collection
+which specialists from all over the world come to study, are among the
+treasures of this University, which was founded in the early part of the
+thirteenth century by Emperor Frederick William II. There is now in
+process of erection a new group of buildings which will embody the
+latest laboratory and library and other privileges. Archæology is,
+naturally, a special feature of the University of Naples, and the
+proximity to Pompeii, Herculaneum, and to the wonderful Pompeian
+collection in the Museum of Naples affords peculiar and unrivalled
+advantages to students. A bust of Thomas Aquinas, during his life a
+lecturer at this University, is one of the interesting treasures. The
+Archives of the Kingdom of Naples attract many a scholar and savant to
+this city. There are in this collection (which is kept in the monastery
+adjoining the Church of San Severino) over forty thousand Greek
+manuscripts, some of which date back to the year 700. The Naples Museum
+is the great repository of all Pompeian art, and it is rich in
+sculpture; but it is badly arranged and the vast series of galleries and
+the long flights of stairs make any study of its work so fatiguing that
+a visit to it might rank as one of the seven labors of Hercules.
+
+In the royal museum of the Palazzo di Capodimonte, which is located on
+the beautiful height bearing that name, there are some pictures that are
+well worth visiting, not because they are particularly good art, but
+because of the interest attaching to the subjects. This gallery is
+largely the work of modern Neapolitan artists. Here is the celebrated
+picture of Michael Angelo bending over the dead body of Vittoria
+Colonna, kissing only her hand, and haunted by the after-regret that he
+did not kiss her forehead. Virginia Lebrun has here portraits of Maria
+Theresa and of the Duchess of Parma; there is one canvas (by Celentano)
+showing Benvenuto Cellini at the Castel Sant'Angelo; a scene depicting
+the death of Cæsar and a few others of some degree of interest.
+
+Curiously, Naples has never produced great art. Salvator Rosa was, to be
+sure, a Neapolitan, but his is almost the only name that has made itself
+immortal in the art of this city. Domenico Morelli, who has recently
+died, made himself felt as an original painter with certain claims that
+arrested attention. He is not a draughtsman, but he is a colorist of
+passionate intensity; he has original power and, more than all, he has a
+curious endowment of what may be called artistic clairvoyance.
+Transporting himself by the magic of thought to places on which his eye
+never rested, he yet sees as in vision their special characteristics.
+In one of his most important works, the motive of which is the
+temptation of Jesus in the wilderness, he has painted the desert with a
+startling reality. Here is a great plain, the stony, parched Judean
+plain, with the very feeling of its desolation pervading the atmosphere.
+The Royal Chapel in Naples was decorated by Morelli, the ceiling painted
+with an "Assumption of the Virgin," which stands alone in all the
+interpretations of this theme; not by virtue of superior artistic
+excellence,--on the contrary its art does not make a strong appeal,--but
+by its originality of treatment. The "Salve Regina" and the "Da Scala
+d'Oro" are among the more interesting works of this artist, whose recent
+death has removed a figure of exceptional character in modern art, one
+who had, pre-eminently, the courage of his convictions. Some few years
+ago Morelli's "Temptation of St. Anthony" was exhibited in both Paris
+and Florence, and was generally condemned, perhaps because not wholly
+understood. The form of the temptation was supposed to be the shapes
+taken by a morbid and diseased imagination; but while as a
+psychological conception it was not without value, it was yet far from
+attractive as a work of art. The finest conception, perhaps, ever
+depicted of the temptation of St. Anthony--a subject that has haunted
+many an artist--is that painted by the late Carl Guthers of Washington,
+a lofty and gifted spirit whose too brief stay on earth ended in the
+early months of 1907. In this picture the temptation of the saint
+appears as a vision of all that is purest and sweetest in life,--wife,
+children, home; it was from all this peace and loveliness that St.
+Anthony turned, sacrificing personal happiness to the duty of
+consecrated service to his Master, in the exquisite conception of Mr.
+Guthers. Edoardo Dalbano is the typical leader of the Neapolitan school
+of painting of the present day, and his fascinating picture, called the
+"Isle of Sirens," representing the sirens singing in the sunlit Bay of
+Naples, might well be held as the keynote to all this enchanting region.
+Surely, if the sirens sing not in those blue waters, it were useless to
+search elsewhere for them. Buono is an artist of the Neapolitan shores,
+who paints its fisher-folk; Brancaccio catches the very spirit and
+animated atmosphere of the street scenes of Naples; Campriani and
+Pratello are landscapists of note; Esposito, too, despite his Spanish
+name, is a Neapolitan marine painter whose work is often most arresting
+in its power to catch the flickering sunshine over blue water that
+bathes the rocks rising out of the sea,--these isles of the sirens from
+which float the melodies that enchanted Odysseus.
+
+The traveller may be surprised to find that in size Naples ranks fourth
+on the European Continent,--Paris, Berlin, and St. Petersburg, only,
+exceeding it. Naples should be, not only a port, a pleasure haunt, and a
+paradise for excursions, but one of the great cities of the world in
+commercial and in social importance. It has one of the finest natural
+harbors of the world; it has a beautiful and attractive adjoining
+country in which to extend, indefinitely, its residence and trade
+districts; it has the most enchanting fairyland of views that ever were
+seen this side the ethereal world; it has an atmosphere of song and
+story and a climate that is far from being objectionable. Naples is
+seldom the possessor of a higher temperature in summer than is New York
+or Boston; the winters are mild, and they offer weeks of sunny
+loveliness when Rome is swept by the icy tramontana from the snow-clad
+Alban hills. Naples offers, too, exceedingly good facilities for living;
+the groups of excellent hotels, both on the terraces and on the water's
+edge in the lower town and along the Villa Nazionale, offer every
+comfort, and the politeness and courtesy of the Neapolitans, as a rule,
+are among the alluring features of this enchanting city.
+
+What shall be said of one hotel, especially, perched on the cliffs, to
+which one ascends by an elevator, finding it the most luxurious
+fairyland that imagination can conjure? Leaving the street one walks
+through a marble tunnel lighted with electricity, wondering if he is,
+indeed, in the grotto of the Muses. Entering a "lift" truly American in
+its comfort and speed, he is wafted up the heights and steps out in--is
+it paradise? Here is a large salon entirely of glass with an
+incomparable view all over the gleaming bay, with Capri and Sorrento
+shining fair on the opposite sides and Vesuvius, a purple peak, in the
+near distance. The great city of Naples lies spread out below, with its
+interior heights of Capodimonte and others. It is a view for which alone
+one might well sail the four thousand miles of sea from the American
+shores. Through open French windows one may step out on the terrace. If
+it is cold he may still enjoy this sublimely wonderful view behind the
+glass walls that reveal all its beauty and protect him from wind or
+chill. Elsewhere adjoining salons stretch away, where sunshine, music,
+reading matter, and dainty writing-desks allure the guest and create for
+him, indeed, an earthly paradise.
+
+Of the drive on the Strada Nuova di Posilipo, skirting the coast while
+following the winding rise of the hill, with the sumptuous villas and
+gardens on one side and the blue sea on the other,--what words can
+suggest its charm? On a jutting promontory on the ruins of the Palazzo
+di Donna Ana are seen the palace whose convenient location made it
+possible for the royal hosts to throw their guests into the sea whenever
+they became tiresome, an accommodation that the modern hostess might, at
+times, appreciate. On this road, winding up the Posilipo, is the villa
+where Garibaldi passed the last winter of his life and which is marked
+by a tablet. And everywhere and at every turn are the beautiful views,
+commanding Bagnoli, Camaldoli, Ischia, Baia and Procida, Capri, Nisida
+and the Neapolitan waters. The hill slopes are overgrown with myrtles
+and orange trees and roses. Here and there a defile is filled with a
+vineyard under careful culture.
+
+In the presence of all this marvel of nature's loveliness the visitor
+hardly remembers the historic interest; yet it was on the little island
+of Nisida that Brutus and Cassius concocted the conspiracy against
+Cæsar. The vast Phlegræan Plain before the eye is invested with Hellenic
+traditions and is the region of many scenes in the poems of Virgil and
+Homer. In the years of the first and second centuries this plain was
+dotted with the rich villas of the Roman aristocracy. Here, too, lay the
+celebrated Lacus Avernus, a volcanic lake which the ancients regarded as
+the entrance to Avernus itself. Truly it required little imagination to
+see here the approach to the infernal regions. The air was so poisonous
+that no bird could fly over the lake and live. Virgil's scene of the
+descent of Æneas, guided by the sibyl, into the infernal depths is laid
+here; and near this lake are resorts of the latter-day tourist, known
+as the "Sibyl's Grotto," the "Grotto della Pace," the "Bagni di Sibyl,"
+and the "Inferno."
+
+  [Illustration: ANCIENT TEMPLE, BAIÆ
+                 _Page 241_]
+
+Baia, on the coast, was the Newport of Rome in the days of Augustus,
+Hadrian, Cicero, and Nero. It was then the most magnificent summer
+watering-place known to the world. The glory of the Roman Empire was
+reflected in the glory of Baia. In one of the Epistles of Horace a Roman
+noble is made to say: "Nothing in the world can be compared with the
+lovely bay of Baia." Some five hundred years ago this region became so
+malarial that no one could dwell in it. Fragments and ruins still remain
+of the imposing baths and villas of the Roman occupancy. An old crater
+called the Capo Miseno is described by Virgil as the burial place of
+Misenus:--
+
+    "_At pius Æneas ingenti mole sepulcrum
+    Inponit, suaque arma viro remumque tubamque
+    Monte sub aereo, qui nunc Misenus ab illo
+    Dicitur aeternumque tenet per saecula nomen._"
+
+Cumæ was the most ancient Greek colony of Italy on the coast, and the
+last survivors of the Tarquinii died here. This is the most classic of
+all these legendary coast towns near Naples, as it was here that the
+Cumæan Sibyl dwelt with the mysterious sibylline leaves,--the books that
+were carried to Rome. A colossal Acropolis was once here, fragments of
+whose walls are now standing; and the rocky foundation is honeycombed
+with secret passages and openings. It is here that Virgil's "Grotto of
+the Sibyl" is supposed to have stood,--the grotto "whence resound as
+many voices, the oracles of the prophetess."
+
+The journey from Naples to Herculaneum is easily made by electric train
+cars within an hour, and while there is not much to see it is still an
+excursion well worth making. Dr. de Petra, of the chair of Archæology in
+the University of Naples, and formerly the Director of the National
+Museum, is warmly in favor of the proposed excavation of this buried
+city, as is Professor Spinazzola of the San Martino museum, who believes
+that Italy may well become one vast museum of antiquities. "As the
+theatre of Herculaneum is actually at present a subterranean
+excavation," he observed, "why not excavate in a similar way the entire
+city underneath modern Resina? In this way a perfectly unique
+underground museum would be formed, which would have the merit of
+leaving magnificent Roman art treasures exactly in their proper places
+in the villas. Such a work ought to be perfectly practicable, with the
+resources of modern engineering, and would certainly be unique in the
+world.
+
+"There would be no need to build a special museum for the objects
+discovered. Not only would this money be saved, but I feel convinced
+that so many visitors would be attracted as to more than pay for the
+maintenance. A subterraneous Herculaneum--surely a perfectly unique
+place of pilgrimage, just as it was nearly two thousand years ago--might
+be lighted by electric arc lights. I feel certain it would attract
+sight-seers from the ends of the world. At the same time work might go
+on in the open parts of the city.
+
+"Pompeii was more of an industrial town, while Herculaneum was a
+favorite resort of the Roman patricians, who did not bring their
+treasures with them from their northern homes, but had them executed by
+Greek artists in the south."
+
+Under the mighty floods of _lava d'acqua_ that buried Herculaneum
+doubtless lie temples, a splendid forum, magnificent villas, and most
+valuable art and literary treasures. In the eighteenth century
+excavations brought to light rare bronzes, mosaics, and papyri. The
+famous equestrian statue of Balbo, in the Naples Museum, was excavated
+from Herculaneum. Professor Lanciani and Commendatore Boni of Rome--the
+latter the present director of the Forum, succeeding Lanciani--believe
+that some of the richest art of ancient times may be found in
+Herculaneum; as does Professor Dall'Osso, inspector of excavations at
+Pompeii.
+
+Herculaneum is held to have been founded by Hercules when he landed at
+Campania, returning from Iberia, some three hundred years B.C., and it
+was in 63 A.D. that it was destroyed. Of this cataclysm Pliny, the
+Younger, wrote:--
+
+     "The sea seemed to roll back on itself by the convulsions of the
+     earth. On the other side hung a black and dreadful cloud, bursting
+     with fiery and serpentine vapors. Naught was heard in the darkness
+     but the shrieks of women, the screams of children, and the frenzied
+     cries of men calling for children, for wives, for parents,--all
+     lifting hands to the gods, praying and wishing for death."
+
+Dr. Charles Waldstein of Cambridge University, the eminent archæologist,
+whose efforts toward initiating the excavation of Herculaneum were a
+notable event of 1906, thus writes of this buried city:--
+
+     "It is important to bear in mind that naturally all the best works
+     in the Museum of Naples, especially the bronzes, came from
+     Herculaneum and not from Pompeii.
+
+     "What is most striking is the marvellous preservation of these
+     works. This fact of itself ought to counteract the strange but
+     widespread misapprehension that, while Pompeii was covered with
+     cinders and ashes, Herculaneum was covered with lava, and that the
+     hardness of that material made excavation difficult, if not
+     impossible. All geologists and archæologists are agreed that no
+     lava issued from the eruption of 79 A.D. Herculaneum was covered by
+     a torrent of mud consisting of ashes and cinders mixed with water.
+     The mass which covers it, so far from being less favorable to the
+     preservation of objects, is much more favorable than that which
+     covers Pompeii. Pompeii was partially covered with hot ashes and
+     pumice stones, which burnt or damaged the works of art. As it was
+     not wholly covered, moreover, the inhabitants returned and dug up
+     some of their greatest treasures. Herculaneum, on the other hand,
+     had its actual life, arrested at the highest point, securely
+     preserved from depredation, to a depth of eighty feet, by a
+     material which preserved intact the most delicate specimens which
+     have come down to us in a state so perfect as to be really
+     remarkable.
+
+     "The most important of these delicate objects are manuscripts, of
+     which that one villa produced 1750. The state of preservation is
+     illustrated by one specimen, giving two pages from the works of the
+     philosopher Philademus. Unfortunately, the possessor of the villa
+     was a specialist, a student of Epicurean philosophy. While his
+     taste in art was fortunately so catholic, his taste in literature
+     was narrowed down by his special bent. Piso was the friend and
+     protector of the philosopher Philo. Already sixty-five copies of
+     that author's works have been found among the papyri.
+
+     "Yet the city of Herculaneum contained many such villas, and herein
+     it differed from Pompeii. Pompeii was a commonplace provincial town
+     devoted exclusively to commerce; it was not the resort of wealthy
+     and cultured Romans. It was essentially illiterate. No manuscript
+     can be proved to have been found there. It is true a wax tablet
+     with writing has been found; yet this contains--receipts of
+     auctions. Herculaneum, on the other hand, was the favorite resort
+     of wealthy Romans, who built beautiful villas there as in our times
+     people from modern Rome settle for the summer at Sorrento and
+     Castellammare."
+
+The present descent into the theatre of Herculaneum is made by a flight
+of more than a hundred steps, slippery and cold, in total darkness save
+for the candle that is carried by the guide, and the visitor sees only
+the stone seats of the amphitheatre and the stage with the two vacant
+niches, the statues that filled each being now placed in the Museum in
+Naples.
+
+The journey of thirteen miles from Naples to Pompeii is through a
+succession of densely populated villages that seem to be an integral
+part of Naples itself, for there is no line of demarcation. Portici,
+Torre del Greco, Torre dell'Annunziata, and others all blend with each
+other and with Naples. However familiar one has become with the
+literature of Pompeii, with both archæological descriptions and
+imaginative interpretations in romance, and however familiar with its
+aspects he may have become from replicas in art museums, and from
+pictures, one can yet hardly approach this silent, phantom city without
+being thrilled by its deep significance. At a distance of a few miles
+over the gently undulating plain rises Vesuvius; one gazes on the paths
+where the rivers of molten fire must have rolled down. George S.
+Hillard, visiting Pompeii in 1853, thus described a house which the
+visitors of to-day study and admire:--
+
+     "The finest house we saw within the walls is one which had been
+     discovered and laid bare about four months previous to the date of
+     our visit, called the house of the Suonatrice, from a painting of a
+     female playing on a pipe, at the entrance. This house was deemed of
+     such peculiar interest that it was under the charge of a special
+     custode, and was only to be seen on payment of an extra fee. It was
+     not of large size, but had evidently been occupied by a person of
+     ample fortune and exquisite taste. The paintings on the walls were
+     numerous, and in the most perfect preservation. In the rear was a
+     minute garden not more than twenty or thirty feet square, with a
+     fairy fountain in the centre; around which were several small
+     statues of children and animals, of white marble, wrought with
+     considerable skill. The whole thing had a very curious effect, like
+     the tasteful baby-house of a grown-up child. Everything in this
+     house was in the most wonderful preservation. The metal pipes which
+     distributed the water, and the cocks by which it was let off,
+     looked perfectly suited for use. Nothing at Pompeii seemed so real
+     as this house, and nowhere else were the embellishments so numerous
+     and so costly.
+
+     "Pompeii, though a Roman city in its political relations, was
+     everywhere strongly marked with the impress of the Greek mind. It
+     stood on the northern edge of that part of Italy which, from the
+     number of Grecian colonies it contained, was called Magna
+     Græcia,--a region of enchanting beauty, in which the genius of
+     Greece attained its most luxurious development. It has been
+     conjectured that Pompeii had an unusually large proportion of men
+     of property, who had been drawn there by the charms of its
+     situation and climate, and that it thus extended a liberal
+     patronage to Greek architects, painters, and sculptors. At any
+     rate, the spirit of Greece still lives and breathes in its ashes.
+     Its temples, as restored by modern architects, are Greek. Its works
+     in marble and bronze claim a place in that cyclus of art of which
+     the metopes of the Parthenon are the highest point of excellence.
+     The pictures that embellish the walls, the unzoned nymphs, the
+     bounding Bacchantes, the grotesque Fauns, the playful arabesques,
+     all are informed with the airy and creative spirit of Greek art.
+
+     "The ruins of Pompeii are not merely an open-air museum of
+     curiosities, but they have great value in the illustration they
+     offer to Roman history and Roman literature. The antiquarian of our
+     times studies the great realm of the past with incomparable
+     advantage, by the help of the torch here lighted."
+
+From Pompeii to Castellammare, the beautiful seaside summer resort of
+the Neapolitans, "a lover of nature could hardly find a spot of more
+varied attractions. Before him spreads the unrivalled bay,--dotted with
+sails and unfolding a broad canvas, on which the most glowing colors and
+the most vivid lights are dashed,--a mirror in which the crimson and
+gold of morning, the blue of noon, and the orange and yellow-green of
+sunset behold a livelier image of themselves,--a gentle and tideless
+sea, whose waves break upon the shore like caresses, and never like
+angry blows. Should he ever become weary of waves and languish for
+woods, he has only to turn his back upon the sea and climb the hills for
+an hour or two, and he will find himself in the depth of sylvan and
+mountain solitudes,--in a region of vines, running streams,
+deep-shadowed valleys, and broad-armed oaks,--where he will hear the
+ringdove coo, and see the sensitive hare dart across the forest aisles.
+A great city is within an hour's reach; and the shadow of Vesuvius hangs
+over the landscape, keeping the imagination awake by touches of mystery
+and terror."
+
+The road to Sorrento, on a cliff a hundred feet or more above the sea,
+with mountains on the other side, towering up hundreds of feet high; a
+road cut in many places out of the solid rock, supported by galleries
+and viaducts from below,--a road that crosses deep gorges and chasms,
+always with the iridescent colors of the sea below,--and from Sorrento
+to Amalfi again, only, if possible, even more wonderful,--is there in
+the world any drive that can rival this picturesque and sublime route?
+Of it George Eliot wrote:--
+
+     "It is an unspeakably grand drive round the mighty rocks with the
+     sea below; and Amalfi itself surpasses all imagination of a
+     romantic site for a city that once made itself famous in the
+     world."
+
+Sorrento, with its memories and associations of Tasso, seems a place in
+which one cares only to sit on the balcony of the hotel overhanging the
+sea and watch the magic spectacle of a panorama unrivalled in all the
+beauty of the world. Flowers grow in riotous profusion; the fairy sail
+of a flitting boat is caught in the deepening dusk; the dark outline of
+Vesuvius is seen against the horizon; and orange orchards gleam against
+gray walls. Here Tasso was born, in 1544, fit haunt for a poet, with
+tangles of gay blossoms and the aerial line of mountain peaks. A low
+parapet borders the precipice, and over it one leans in the air heavy
+with perfume of locust blossoms. Has the lovely town anything beside
+sunsets and stars and poets' dreams? Who could ask for more?
+
+To La Cava,--to Amalfi,--still all a dream world!
+
+    "O summer day, beside the joyous sea!
+    O summer day so wonderful and white,
+    So full of gladness and so full of pain!"
+
+How Amalfi sets itself to song and music! Who can enter it without
+hearing in the air Longfellow's beautiful lines?--
+
+    "Sweet the memory is to me
+    Of a land beyond the sea,
+    Where the waves and mountains meet,
+    Where, amid her mulberry-trees,
+    Sits Amalfi in the heat,
+    Bathing ever her white feet
+    In the tideless summer seas.
+
+           *       *       *       *       *
+
+    'Tis a stairway, not a street,
+    That ascends the deep ravine,
+    Where the torrent leaps between
+    Rocky walls that almost meet.
+
+           *       *       *       *       *
+
+    This is an enchanted land!
+    Round the headlands, far away,
+    Sweeps the blue Salernian bay
+    With its sickle of white sand;
+    Further still and furthermost
+    On the dim discovered coast,
+    Pæstum with its ruins lies,
+    And its roses all in bloom."
+
+If ever a region was dropped out of paradise designed, solely, for a
+poet's day-dreams, it is Amalfi, and the even more beautiful Ravello
+just above. One fancies that it must have been in the mystic loveliness
+of this eyrie that the poet lost himself in a day-dream while Jupiter
+was dividing all the goods of the world. When he reproached the god for
+not saving a portion for him, Jupiter replied that all the goods were
+gone, it was true, but that his heaven was always open to the poet.
+
+The ancient Amalfi, the city of activities and merchandise, is gone.
+
+    "Where are now the freighted barks
+    From the marts of east and west?
+    Where the knights in iron sarks
+    Journeying to the Holy Land,
+    Glove of steel upon the hand,
+    Cross of crimson on the breast?
+    Where the pomp of camp and court?
+    Where the pilgrims with their prayers?
+    Where the merchants with their wares?
+
+           *       *       *       *       *
+
+    Vanished like a fleet of cloud,
+    Like a passing trumpet-blast,
+    Are those splendors of the past,
+    And the commerce and the crowd!
+    Fathoms deep beneath the seas
+    Lie the ancient warves and quays,
+    Swallowed by the engulfing waves."
+
+It is impossible to realize that Amalfi was once a flourishing city of
+Oriental trade. One looks in vain for any trace of ruin or shrine that
+still suggests the ancient splendors of activity. The strata of the
+past, so visible in other mediæval cities, are not apparent here. The
+great cathedral is a most interesting study in the art of
+architecture,--its exquisite arcades, its delicate, lofty campanile
+glittering in the sun. The green-roofed cupola is a distinctive feature,
+and up the many flights of stairs the old Capuccini convent lies,--the
+unique, romantic hotel where the cells of the monks are now the rooms of
+the perpetual procession of guests. Does the wraith of Cardinal
+Capuano, who founded this convent, still wander in midnight hours
+through the dim cloisters? Does he still keep watch by the body of St.
+Andrew, the apostle, which he is said to have found and brought to the
+cathedral where the saint lies, as a saint should lie, gloriously
+entombed. St. Andrew was the patron saint of Amalfi, but at his death
+his body was carried from Patras to the Bosphorus, where it was placed
+in a church in Constantinople. The legend runs that Cardinal Capuano,
+being in Constantinople, entered the Church of the Holy Apostles to
+pray, and knowing that the body of the saint was in that city, he
+besought the heavenly powers to guide him to it. Rising from his
+devotions he was approached by an aged priest, who announced to the
+Cardinal that the object of his search was in that very church in which
+he was praying for guidance; and, aided by unseen powers, he was able to
+recover it and convey it to Amalfi. All Italian towns that respect
+themselves offer the allurement of an entombed saint and if,
+occasionally, the same identical saint does duty for more than one city,
+who is to decide the local genuineness of the claim? Nothing in all
+Italy is so curious as is this town of staircases instead of streets; of
+houses perched on the angles of impossible eyries suggesting that, as
+the Venetians go about in gondolas, so the Amalfians must have airships,
+or the wings of Icarus, with which to circle in air from their dwellings
+to the beach.
+
+The precipitous gorges and dark ravines have on their crests low
+parapets of stone walls over which the visitor lingers and leans
+watching the bluest of seas lying fair under the bluest of skies. The
+main road,--there is only one,--descending from the hill to the water's
+edge, makes its progress through a tunnel.
+
+The old Amalfi, with its palaces, its arches and colonnades, lies under
+the sea. Just as the Pensione Caterina with its rose walks and terraces
+slipped into the sea in December of 1899, when two guests and several
+fishermen lost their lives, so the ancient Amalfi fell, its cliffs
+swallowed up in the waters below.
+
+    "Hidden from all mortal eyes,
+    Deep the sunken city lies;
+    Silent streets and vacant halls,
+    Ruined roofs and towers and walls;
+    Even cities have their graves!"
+
+When, on a May evening, the white moonlight falls in cascades of silver
+sheen over terraces and sea, with Amalfi all alabaster and pearl like a
+dream city in the ethereal air; when the stars hang low in the skies and
+the fairy lights of the fishermen's boats twinkle far out at sea; when
+the summer silence is suddenly thrilled by the melody of Neapolitan
+songs on the air, as if it were a veritable _chant d'amour_ of
+sirens,--then does one believe in the buried city. These rich baritone
+voices are surely those of some singers of the buried ages. They are
+floating across the centuries since Amalfi had its pride and place among
+the great centres of activity. Atrani, Amalfi's twin city, lies in the
+adjoining defile of the mountains which arch above them. The strange old
+houses are all dazzlingly white, transfigured under the moon to an
+unearthly loveliness.
+
+The tragedy of the ruin of Amalfi is related by Petrarca, who was then
+living in Naples. It was in 1343 that a terrible cataclysm--an
+earthquake accompanied by a tempest--caused the destruction and the
+submergence of the city in the sea.
+
+The believers in astrology will find their faith re-enforced by the fact
+that a bishop, who was also an astrologist, had read in the stars that
+in December of 1343 a terrible disaster would occur on the Naples coast.
+It arrived on schedule time. Petrarca, writing of it to Giovanni
+Colonna, states that in consequence of the prediction of the bishop, the
+people were in a condition of wild terror, endeavoring to repent of
+their sins and aspiring to a purer moral life. In this tide of religious
+emotion, ordinary occupations were neglected. On the very day of the
+calamity people were crowding the churches and kneeling in prayer. At
+night, after the people were in bed, the shock came. The sunset had been
+fair, the evening quiet, and the people were reassured. But they were
+awakened from sleep by the violence of falling walls and the terror of
+the tempest. Petrarcha was lodging in a convent, and he heard the monks
+calling to one another as they rushed from cell to cell. They hastily
+gathered crosses and sacred relics in their hands, and, preceded by the
+prior, sought the chapel, where they passed the night in prayer while
+the tempest raged outside. The sea broke against the rocks with a fury
+that seemed to tear the very foundations of the earth. The thunder
+pealed, and mingled with it were the shrieks of the frightened
+populace. The rain fell in torrents, deluging the city as if the sea
+itself were pouring on it. When the morning came the darkness still
+continued. In the harbor broken ships crashed helplessly together. The
+sands were strewn with mutilated dead bodies. Between Capri and the
+shore the sea ran mountains high. Amalfi was completely destroyed, and
+has never regained her prestige.
+
+The cathedral at Ravello has traces of the rich art it once enshrined,
+and the rose gardens of the Palazzo Rufolo might enchant Hafiz himself.
+The terrace on the very crest of the mountain commands one of the
+wonderful views of the world. The cloistered colonnades of this old
+Saracenic palace reveal views even to the plains of Pæstum. There are
+rare mosaics and fragments of bronzes and marbles yet remaining.
+
+The noble Greek ruins at Pæstum--the three temples--stand in all the
+majesty of utter desolation. They are overgrown with flowers, however,
+and they stand "dewy in the light of the rising dawn-star."
+
+    "The shrine is ruined now, and far away
+    To east and west stretch olive groves, whose shade,
+    Even at the height of summer noon, is gray.
+
+           *       *       *       *       *
+
+    "Yet this was once a hero's temple, crowned
+    With myrtle boughs by lovers, and with palm
+    By wrestlers, resonant with sweetest sound
+    Of flute and fife in summer evening's calm,
+    And odorous with incense all the year,
+    With nard and spice and galbanum and balm."
+
+The detour to Pæstum is full of significance. The massive columns of the
+temples stand like giants of the ages. "It is difficult," writes John
+Addington Symonds, "not to return again and again to the beauty of
+coloring at Pæstum. Lying basking in the sun on a flat slab of stone,
+and gazing eastward, we overlook a foreground of dappled light and
+shadow; then come two stationary columns built, it seems, of solid gold,
+where the sunbeams strike along their russet surface. Between them lies
+the landscape, a medley first of brakefern and asphodel and feathering
+acanthus and blue spikes; while beyond and above is a glimpse of
+mountains, purple almost to indigo with cloud shadows, and flecked with
+snow."
+
+The sail from Amalfi to Pæstum is one incomparable in loveliness. The
+sunshine is all lurid gold. The faint, transparent blue haze fills all
+the defiles of the mountains; the cliffs disclose yawning caverns where
+vast clusters of stalactites hang; and as the boat floats toward Capri
+from the Sorrento promontory its rocky headlands rise and flame into
+purple and rose against the glowing sky. Across the Bay of Naples rises
+the great city. It stands in some subtle way reminding one of the scene
+where one
+
+    "... rowing hard against the stream,
+    Saw distant gates of Eden gleam."
+
+Capri is the idyllic island of prismatic light and shade, of gay and
+joyous life. Here Tiberius had his summer palace, and it was from these
+shores that he sent the historic letter which revolutionized the life of
+Sejanus. The letter--_verbosa et grandis epistola_--is still vivid in
+the historic associations of Rome. Capri is one of the favorite resorts
+both for winter and summer. Its former modest prices are now greatly
+increased, like all the latter-day expenses of Italy; but its beauty is
+perennial, and the artist and poet can still command there a seclusion
+almost impossible to secure elsewhere in Italy. The distinguished
+artist, Elihu Vedder of Rome, has a country house on Capri, and another
+well-known artist, Charles Caryl Coleman, makes this island his home.
+There are days--sometimes several days in succession--that the sea is
+high and the boats cannot run between Naples, Sorrento, and Capri; and
+the enforced seclusion is still the seclusion of the poet's dream. For
+he shares it with Mithras, the "unconquered god of the sun," whose cult
+influenced all the monarchs of Europe and who holds his court in the
+Grotto de Matrimonia. Into this grotto one descends by a flight of
+nearly two hundred feet; he strolls among the ruins of the villa of
+Tiberius, where the very air is still vital and vocal with those strange
+and tragic chapters of Roman life. The Emperor Augustus first founded
+here palaces and aqueducts. Tiberius, who retired to Capri in the year
+27 A.D., had his architects build twelve villas, in honor of the gods,
+the largest of these being for Jupiter and known as the Villa Jovis. In
+31 A.D. occurred that dramatic episode in Roman history, the fall of
+Sejanus, and six years later Tiberius died. The vast white marble baths
+he had built for him are now submerged on the coast, and boats glide
+over the spot where they stood. The Villa Jovis stood on a cliff seven
+hundred feet above the sea, and the traditions of the barbarities and
+atrocities that took place there still haunt the island. The natives
+apparently regard them as a certain title to fame, but the wise tourists
+persistently ignore horrors; life is made for joy, sweetness, and charm;
+it is far wiser to think on these things.
+
+And there is charm and joy to spare on lovely Capri. "Sea-mists are
+frequent in the early summer mornings, swathing the cliffs of Capri and
+brooding on the smooth water till the day wind rises," says John
+Addington Symonds. "Then they disappear like magic, rolling in
+smoke-wreaths from the surface of the sea, condensing into clouds and
+climbing the hills like Oceanides in quest of Prometheus, or taking
+their station on the watch towers of the world as in the chorus of the
+Nephelai. Such a morning may be chosen for the _giro_ of the island. The
+Blue Grotto loses nothing of its beauty, but rather gains by contrast,
+when passing from dense fog you find yourself transported to a world of
+wavering subaqueous sheen. It is only through the very topmost arch that
+a boat can glide into this cavern; the arch itself spreads downward
+through the water so that all the light is transmitted from beneath and
+colored by the sea. Outside the magic world of pantomime there is
+nothing to equal these effects of blue and silver.... Numberless are the
+caves at Capri. The so-called Green Grotto has the beauty of moss agate
+in its liquid floor; the Red Grotto shows a warmer chord of color; and
+where there is no other charm to notice, endless beauty may be found in
+the play of sunlight upon roofs of limestone, tinted with yellow,
+orange, and pale pink, mossed over, hung with fern, and catching tones
+of blue or green from the still deeps beneath.... After a day upon the
+water it is pleasant to rest at sunset in the loggia above the sea. The
+Bay of Naples stretches far and wide in front, beautiful by reason of
+the long fine line descending from Vesuvius, dipping almost to a level,
+and then gliding up to join the highlands of the north. Now sun and moon
+begin to mingle: waning and waxing splendors. The cliffs above our heads
+are still blushing like the heart of some tea-rose; when lo, the touch
+of the huntress is laid upon those eastern pinnacles, and the horizon
+glimmers with her rising. Was it on such a night that Ferdinand of
+Aragon fled from his capital before the French, with eyes turned ever to
+the land he loved, chanting, as he leaned from his galley's stern, that
+melancholy psalm, 'Except the Lord keep the city, the watchman waketh
+but in vain,' and seeing Naples dwindle to a white blot on the purple
+shore?"
+
+The roses of Capri would form a chapter alone. What walks there are
+where the air is all fragrance of acacia and rose and orange blossoms!
+Cascades of roses in riotous luxuriance festoon the old gray stone
+walls; the pale pink of the early dawn or of a shell by the seashore,
+the amber of the Banskeia rose, the great golden masses of the Maréchal
+Niel, their faint yellow gleaming against the deep green leaves of
+myrtle and frond. The intense glowing scarlet of the gladiolus flames
+from rocks and roadside, and rosemary and the purple stars of hyacinths
+garland the ways, until one feels like journeying only in his singing
+robes. The deep, solemn green of stone pines forms canopies under the
+sapphire skies, and through their trunks one gazes on the sapphire sea.
+Is Capri the isle of Epipsychidion?
+
+                               "Is there now any one that knows
+    What a world of mystery lies deep down in the heart of a rose?"
+
+One walks among these rose-lined lanes, hearing in the very air that
+exquisite lyric by Louise Chandler Moulton:--
+
+    "Roses that briefly live,
+      Joy is your dower;
+    Blest be the Fates that give
+      One perfect hour.
+    And, though too soon you die,
+      In your dust glows
+    Something the passer-by
+      Knows was a Rose."
+
+Monte Cassino is one of the most interesting inland points in Southern
+Italy,--the monastery lying on the crest of a hill nearly two thousand
+feet above the sea. Dante alludes to this in his Paradiso (XXII,
+XXXVII), and in the prose translation made by that eminent Dantean
+scholar, Professor Charles Eliot Norton, this assurance of Beatrice to
+Dante is thus rendered:--
+
+     "That mountain on whose slope Cassino is, was of old frequented on
+     its summit by the deluded and ill-disposed people, and I am he who
+     first carried up thither the name of Him who brought to earth the
+     truth which so high exalts us; and such grace shone upon me that I
+     drew away the surrounding villages from the impious worship which
+     seduced the world. Those other fires were all contemplative men,
+     kindled by that heat which brings to birth holy flowers and fruits.
+     Here is Macarius, here is Romuald, here are my brothers, who within
+     the cloisters fixed their feet, and held a steadfast heart. And I
+     to him, 'The affection which thou displayest in speaking with me,
+     and the good semblance which I see and note in all your ardors,
+     have so expanded my confidence as the sun does the rose, when she
+     becomes open so much as she has power to be. Therefore I pray thee,
+     and do thou, father, assure me if I have power to receive so much
+     grace, that I may see thee with uncovered shape.' Whereon he,
+     'Brother, thy high desire shall be fulfilled in the last sphere,
+     where are fulfilled all others and my own. There perfect, mature,
+     and whole is every desire; in that alone is every part there where
+     it always was: for it is not in space, and hath not poles; and our
+     stairway reaches up to it, wherefore thus from thy sight it
+     conceals itself. Far up as there the patriarch Jacob saw it stretch
+     its topmost part when it appeared to him so laden with Angels. But
+     now no one lifts his feet from earth to ascend it; and my rule is
+     remaining as waste of paper. The walls, which used to be an abbey,
+     have become caves; and the cowls are sacks full of bad meal. But
+     heavy usury is not gathered in so greatly against the pleasure of
+     God, as that fruit which makes the heart of monks so foolish. For
+     whatsoever the Church guards is all for the folk that ask it in
+     God's name, not for one's kindred, or for another more vile. The
+     flesh of mortals is so soft that a good beginning suffices not
+     below from the springing of the oak to the forming of the acorn.
+     Peter began without gold and without silver, and I with prayers and
+     with fasting, and Francis in humility his convent; and if thou
+     lookest at the source of each, and then lookest again whither it
+     has run, thou wilt see dark made of the white. Truly, Jordan turned
+     back, and the sea fleeing when God willed, were more marvellous to
+     behold than succor here."
+
+Dante adds that the company "like a whirlwind gathered itself upward,"
+and that "the sweet lady urged me behind them, with only a sign, up over
+that stairway; so did her virtue overcome my nature. But never here
+below, where one mounts and descends naturally, was there motion so
+rapid that it could be compared unto my wing."
+
+The time was when Dante and Beatrice met, and he "was standing as one
+who within himself represses the point of his desire, and attempts not
+to ask, he so fears the too-much." And then he heard: "If thou couldst
+see, as I do, the charity which burns among us thy thoughts would be
+expressed. But that thou through waiting mayst not delay thy high end, I
+will make answer to thee, even to the thought concerning which thou art
+so regardful."
+
+The vast monastery of Monte Cassino, lying on the crest of a hill nearly
+two thousand feet above the sea, has one of the most magnificent
+locations in all Italy. This monastery was founded (in 529 A.D.) by St.
+Benedict, on the site of an ancient temple to Apollo. Dante alludes to
+this also in the Paradiso (Canto XX, 11). As seen from below this
+monastery has the appearance of a vast castle, or fortress. Its
+location is one of the most magnificent in all Italy. The old entrance
+was a curious passage cut through solid rock and it is still used for
+princes and cardinals--no lesser dignitaries being allowed to pass
+through it--and within the past thirty years a new entrance has been
+constructed. In the passageway of the mediæval entrance St. Benedict is
+said to have had his cell, and of recent years the German Benedictines,
+believing they had located the original cell, had it located, restored,
+and decorated with Egyptian frescoes. Several of the courts of this
+convent are connected by beautiful arcades with lofty arches, and
+adorned with statues, among which are those of St. Benedict and his
+sister, St. Scholastica. Still farther up the hill, upon the monastery,
+stands the church which is built on the site of the ancient one that was
+erected by St. Benedict himself--this present edifice dating back to
+1637. Above the portals there is a long inscription in Latin relating
+the history of the monastery and the church. These portals are solid
+bronze, beautifully carved, with inlaid tablets of silver on which are
+inscribed a list of all the treasures of the abbey in the year 1006. The
+church is very rich in interior decoration of mosaics, rare marbles,
+and wonderful monumental memorials. Either side of the high altar are
+monuments to the Prince of Mignano (Guidone Fieramosca) and also to
+Piero de Medico. Both St. Benedict and his sister, St. Scholastica, are
+entombed under the high altar, which is one of the most elaborately
+sculptured in all the churches of Italy.
+
+Among the pictorial decorations of this church are a series of fresco
+paintings by Luca Giordano, painted in the seventeenth century,
+representing the miracles wrought by St. Benedict. In the refectory is
+the "Miracle of the Loaves," by Bassano; and in the chapel below are
+paintings by Mazzaroppi and Marco da Siena. Nothing can exceed the
+richness and beauty of the carvings of the choir stalls. These were
+executed in the seventeenth century by Coliccio.
+
+The library of this monastery is renowned all over Europe--indeed, it is
+famous all over the world--for its preservation of ancient manuscripts
+done by the monks. These are carefully treasured in the archives. Among
+them is the record of a vision that came to the monk Alferic, in the
+twelfth century, on which it is believed that Dante founded his
+immortal "Divina Commedia;" there is also a fourteenth-century edition
+of Dante with margined notes; and the Commentary of Origen (on the
+Epistle to the Romans), dating back to the sixteenth century; there is
+the complete series of Papal bulls that were sent to the monastery of
+Monte Cassino from the eleventh century to the present time, many of
+them being richly illuminated and decorated with curiously elaborate
+seals. There is an autograph letter of the Sultan Mohammed II to Pope
+Nicholas IV, with the Pope's reply,--the theme of the correspondence
+being the Pope's threat of war. The imperial Mohammed seems to have been
+in terror of this, and in his epistle he expresses his willingness, and,
+indeed, his intention, to be converted as soon as he shall visit Rome!
+Apparently the Holy Father of that day laid little stress on the
+sincerity of this offer on the part of the Sultan. Here, too, is a
+wonderful correspondence between Don Erasmo Gattola, the historian of
+the abbey, and a great number of the celebrated men of his time; and
+there are hundreds of other letters, manuscripts, and documents relating
+to kings, nobles, emperors, and many of the nobility of the age.
+
+In this monastery there is a most interesting collection of relics, in
+bronze, silver, gold, and _rosso antico_. The library proper contains
+some eleven thousand volumes, dating back to the very dawn of the
+discovery of the art of printing.
+
+Mr. Longfellow, whose poet's pen has pictured so many of the Italian
+landscapes and ancient monuments, thus set Monte Cassino to music,
+picturing the entire landscape of the Terra di Lavoro region:--
+
+    "The Land of Labor and the Land of Rest,
+      Where mediæval towns are white on all
+    The hillsides, and where every mountain's crest
+      Is an Etrurian or a Roman wall.
+
+           *       *       *       *       *
+
+    "There is Aquinum, the old Volscian town,
+      Where Juvenal was born, whose lurid light
+    Still hovers o'er his birthplace like the crown
+      Of splendor seen o'er cities in the night.
+
+    "Doubled the splendor is, that in its streets
+      The Angelic Doctor as a school-boy played,
+    And dreamed perhaps the dreams that he repeats
+      In ponderous folios for scholastics made.
+
+    "And there, uplifted, like a passing cloud
+      That pauses on a mountain summit high,
+    Monte Cassino's convent rears its proud
+      And venerable walls against the sky.
+
+    "Well I remember how on foot I climbed
+      The stony pathway leading to its gate;
+    Above, the convent bells for vespers chimed,
+      Below, the darkening town grew desolate.
+
+           *       *       *       *       *
+
+    "The silence of the place was like a sleep,
+      So full of rest it seemed; each passing tread
+    Was a reverberation from the deep
+      Recesses of the ages that are dead.
+
+    "For, more than thirteen centuries ago,
+      Benedict fleeing from the gates of Rome,
+    A youth disgusted with its vice and woe,
+      Sought in these mountain solitudes a home.
+
+    "He founded here his Convent and his Rule
+      Of prayer and work, and counted work as prayer;
+    The pen became a clarion, and his school
+      Flamed like a beacon in the midnight air.
+
+           *       *       *       *       *
+
+    "From the high window, I beheld the scene
+      On which Saint Benedict so oft had gazed,--
+    The mountains and the valley in the sheen
+      Of the bright sun,--and stood as one amazed.
+
+           *       *       *       *       *
+
+    "The conflict of the Present and the Past,
+      The ideal and the actual in our life,
+    As on a field of battle held me fast,
+      Where this world and the next world were at strife."
+
+The monastery of Monte Cassino entertains, as its guests, for dinner or
+for a night, all gentlemen who visit it; but there is an alms box on the
+ancient gate into which the guest is supposed to place whatever
+contribution he pleases for the poor of the place. The Italian
+government, in 1866, declared this monastery to be a "Monumento
+Nazionale," and it is now a famous ecclesiastical school with some two
+hundred students and a resplendent faculty of fifty learned monks under
+the direction of the Abbot. Some of the most celebrated prelates in
+Europe have been educated at Monte Cassino.
+
+Quite near Monte Cassino, as Longfellow depicts in his lines, is Monte
+Aquino, a picturesque hillside where the "Doctor Angelicus," Thomas
+Aquinas, was born (in 1224), the son of Count Landulf, in the Castel
+Roccasecca. He was educated in the monastery, and one finds himself
+recalling here these lines of Thomas William Parsons, entitled "Turning
+from Darwin to Thomas Aquinas:"--
+
+    "Unless in thought with thee I often live,
+    Angelic doctor! life seems poor to me.
+    What are these bounties, if they only be
+    Such boon as farmers to their servants give?
+    That I am fed, and that mine oxen thrive,
+    That my lambs fatten, that mine hours are free--
+    These ask my nightly thanks on bended knee;
+    And I do thank Him who hath blest my hive,
+    And made content my herd, my flock, my bee.
+    But, Father! nobler things I ask from Thee.
+    Fishes have sunshine, worms have everything!
+    Are we but apes? Oh! give me, God, to know
+    I am death's master; not a scaffolding,
+    But a true temple where Christ's word could grow."
+
+It was at Aquinum, too, at the foot of Monte Aquino, Juvenal was born.
+Near the peaks of Monte Cassino and Monte Aquino is that of Monte Cairo,
+five thousand five hundred feet high, from whose summit one of the
+finest views of all southern Europe is attained. The Gulf of Gaeta, the
+valley of San Germano, the wild and romantic mountain region of the
+Abruzzi and a view, too, of the blue sea are in the panorama, bathed in
+the opalescent, gleaming lights that often invest the Italian landscape
+with jewelled splendor.
+
+    "I ask myself, Is this a dream?
+      Will it all vanish into air?
+    Is there a land of such supreme
+      And perfect beauty, anywhere?"
+
+It might have been in this pictured dream-region that Hercules came to
+rest.
+
+    "When Heracles, the twelve great labors done,
+      To Calpe came, and there his journey stayed,
+    He raised two pillars toward the evening sun,
+      And carved them by a goddess' subtle aid.
+    Upon their shafts were sacred legends traced,
+    And round the twain a serpent cincture placed:
+    'T was at this bound the primal world stood still,
+    And of Atlantis dreamed, with baffled will."
+
+But still in unmeasured space, still beyond and afar and unattained,
+still lost in the unpenetrated realms of the poet's fancy,--
+
+    "Atlantis lies beyond the pillars yet!"
+
+
+
+
+    _"Here Ischia smiles
+    O'er liquid miles."_
+
+           *       *       *       *       *
+
+    _High o'er the sea-surge and the sands,
+      Like a great galleon wrecked and cast
+    Ashore by storms, thy Castle stands
+      A mouldering landmark of the Past._
+
+    _Upon its terrace-walk, I see
+      A phantom gliding to and fro;
+    It is Colonna,--it is she
+      Who lived and loved so long ago._
+
+                    LONGFELLOW.
+
+
+
+
+    _We are the only two that, face to face,
+    Do know each other, as God doth know us both.
+    --O fearless friendship, that held nothing back!
+    O absolute trust, that yielded every key,
+    And flung each curtain up, and drew me on
+    To enter the white temple of thy soul,
+    So vast, so cold, so waste!--and give thee sense
+    Of living warmth, of throbbing tenderness,
+    Of soft dependencies! O faith that made
+    Thee free to seek the spot where my dead hopes
+    Have sepulture, and read above the crypt
+    Deep graven, the tearful legend of my life!
+    There, gloomed with the memorials of my past,
+    Thou once for all didst learn what man accepts
+    Lothly--(how should he else?)--that never woman,
+    Fashioned a woman,--heart, brain, body, soul,--
+    Ever twice loved._
+
+          "_Vittoria Colonna to Michael Angelo._"
+
+                    MARGARET J. PRESTON.
+
+
+
+
+IV
+
+A PAGE DE CONTI FROM ISCHIA
+
+    "Unto my buried lord I give myself."
+
+       *       *       *       *       *
+
+                        Michael Angelo!
+    A man that all men honor, and the model
+    That all should follow; one who works and prays,
+    For work is prayer, and consecrates his life
+    To the sublime ideal of his art
+    Till art and life are one.
+
+                    LONGFELLOW, from "_Michael Angelo; A Fragment_."
+
+
+In that poetic sail along the Italian coast between Naples and Genoa the
+voyager feels that it is
+
+    "On no earthly sea with transient roar"
+
+that his bark is floating; that
+
+    "Unto no earthly airs he trims his sail,"
+
+as he flits along this coast when violet waves dash against a brilliant
+background of sky. Ischia reveals herself through the blue, transparent
+air, gleaming with opalescent lights, quivering, fading and flaming
+again as the afterglow in the east rivals in its coloring the sunset
+splendors of the west. Is there in the air a faint, lingering echo of
+the _chant d'amour_ of sirens on the rocky shores? Is Parthenope still
+to be descried? Gazing upon Ischia there is a rush of romantic
+impressions as if one were transported into ideal regions of song,
+before this impression begins to resolve itself into definite
+remembrance of fact and incident. Surely some exquisite associations in
+the past had enchanted this island in memory and invested it with the
+magic light that never was on sea or land. Traditions of beauty; of the
+lives of scholar and savant and princes of the church; of a court of
+nobility enriched and adorned by prelate and by poet; traditions, too,
+of a woman's consecration to an immortal love and the solace of grief by
+poetic genius and exalted friendships,--all these seem to cling about
+Ischia in a vague, atmospheric way till memory, still groping backward
+in the twilight of the richly historic past, suddenly crystallized into
+recognition that it was Ischia which was the home of Vittoria Colonna,
+the greatest woman poet of the Italian Renaissance. Lines, long since
+read, arose like an incantation; and like bars of music, each note of
+which vibrated in the air, came this fragment of one of her songs:--
+
+    "If in these rude and artless songs of mine
+    I never take the file in hand, nor try
+    With curious care and nice, fastidious eye
+    To deck and polish each uncultured line,
+    'T is that it makes small merit of my name
+    To merit praise....
+
+           *       *       *       *       *
+
+    But it must be that heaven's own gracious gift
+    Which, with its breath, divine, inspires my soul,
+    Strikes forth these sparks unbidden by my will."
+
+  [Illustration: ISCHIA, FROM THE SEA
+                 _Page 282_]
+
+Vittoria Colonna was called the most beautiful and gifted woman of her
+time in all Italy. Her life of nearly sixty years (1490-1547) lay
+entirely in that period when the apathy of ten centuries was broken,
+when the darkness fled before the dawning of a glorious day. New methods
+of thought, revised taste in poetry, new discoveries of science, a
+nobler progress in criticism, great discoveries, and a lofty and
+unprecedented freedom of conviction marked the century between 1450 and
+1550, stamping it as the marvellous time which we know as the
+Renaissance, "that solemn fifteenth century which can hardly be studied
+too much, not merely for its positive results in the things of the
+intellect and the imagination, its concrete works of art, its special
+and prominent personalities, with their profound æsthetic charm, but for
+its general spirit and character, for the ethical qualities of which it
+is a consummate type."
+
+It was peculiarly fitting that Italy should take the initiative in
+inaugurating this _vita nuova_. Italy had a language and literature and
+art. Dante had delivered his solemn message and Petrarca his impassioned
+song. Boccaccio had taught the gospel of gladness. Who shall analyze the
+secret springs of their inspiration and reveal to what degree Ovid and
+Horace and Virgil influenced the later literature? A new solar system
+was established by Copernicus. America was discovered. Science entered
+on her definite and ceaseless progress, and religion and art became
+significant forces in human life. Printing had been invented and the
+compass discovered.
+
+Into this time of new forces, when everything was throbbing and
+pulsating with life, was Vittoria Colonna born into social prestige and
+splendor. Her father, Fabrizio Colonna, and her mother, Agnesina di
+Montefeltro, a daughter of the Duke of Urbino, were then domiciled in
+the castle of Marino, on the Lago d'Albano, a magnificent palace some
+twelve miles from Rome, in which the Duke d'Amalfi (the father of
+Fabrizio Colonna) lived, and which is still standing, filled with
+memorials and relics of historic interest. Urbino, the seat of the
+Montefeltro, is renowned as having been the birthplace of Raphael, who
+
+    "Only drank the precious wine of youth,"
+
+but who
+
+    "... lives immortal in the hearts of men,
+    ... and the world is fairer
+    That he lived in it."
+
+The Colonna date back to the eleventh century, and they gave many
+princes and cardinals to the country. At the close of the thirteenth
+century they were arrayed against Boniface VIII, the Pope, who accused
+them of crime, while they disputed the validity of his election to the
+holy office. In retaliation, the Pope excommunicated the entire family,
+anathematized them as heretics and declared their estates forfeited to
+the church. The Colonna, far from being intimidated, commanded three
+hundred armed horsemen, attacked the papal palace, which they plundered,
+and made him a prisoner,--an incident referred to by Dante in the
+"Inferno." The Colonna and the Orsini were also at warfare, and when a
+member of the former family was elevated to the papacy under the name of
+Martin V, they despoiled property of the Orsini.
+
+Gay excursionists to-day, who fly over the Campagna in their
+twentieth-century touring cars to the lovely towns of the Alban hills,
+may look down from Castel Gandolfo on the gloomy, mediæval little town
+of Marino, part way up a steep hillside, whose summit is crowned by the
+castle once belonging to the Colonna and in which Vittoria passed her
+early childhood. "Nothing," in his "Roba di Roma," says Story, "can be
+more rich and varied than this magnificent amphitheatre of the Campagna
+of Rome, ... sometimes drear, mysterious, and melancholy in desolate
+stretches; sometimes rolling like an inland sea whose waves have
+suddenly become green with grass, golden with grain, and gracious with
+myriads of wild flowers, where scarlet poppies blaze and pink daisies
+cover vast meadows and vines shroud the picturesque ruins of antique
+villas, aqueducts, and tombs, or drop from mediæval towers and
+fortresses."
+
+Flying in the swift motor-car of the time toward the Alban hills, Marino
+may be easily reached in less than an hour from the Porta San Giovanni,
+and in the near distance Monte Albani, rising into the cone of Monte
+Cavi, is a picture before the eye, while on the lower slopes gleam the
+white villages of Albani, Marino, Castel Gandolfo, and Frascati, with
+the campanile of a cathedral, a fortress-like ruin, or gardens and olive
+orchards clambering up the heights. The Papal town of Rocca di Papa
+crowns one summit where once Tarquin's temple to Jupiter stood and on
+whose ruins now gleam afar in the Italian sunshine the white walls of
+the Passionist convent of Monte Cavi, built by Cardinal York. From this
+height Juno gazed upon the great conflict of contending armies, if
+Virgil's topography be entitled to authority. And here, through a defile
+in the hills, one may look toward Naples, "and then rising abruptly
+with sheer limestone cliffs and crevasses, where transparent purple
+shadows sleep all day long, towers the grand range of the Sabine
+mountains, whose lofty peaks surround the Campagna to the east and north
+like a curved amphitheatre.... Again, skirting the Pontine Marshes on
+the east, are the Volscian mountains, closing up the Campagna at
+Terracina, where they overhang the road and affront the sea with their
+great barrier. Following along the Sabine hills, you will see at
+intervals the towns of Palestrina and Tivoli, where the Anio tumbles in
+foam, and other little mountain towns nestled here and there among the
+soft airy hollows, or perched on the cliffs."
+
+In this landscape there are three ruined villages--Colonna, Gallicano,
+and Zagarda--perched on their respective hills. The castle of the
+Colonna family is now restored and modernized to a degree that leaves
+little trace of that former stately grandeur which is transmuted into
+modern convenience and comfort.
+
+In this scene of romantic beauty, with the vista of beauty almost
+incomparable in any inland view in Italy, Vittoria passed her infancy,
+until, at the age of four, her childhood was transplanted to fairy
+Ischia. In all this chain of Alban towns, including Marino, Viterbo,
+Ariccia, and Rocca di Papa, the great family of the Colonna owned
+extensive estates, each crowning some height, while the defiles between
+were filled, then as now, with the foam and blossom of riotous greenery.
+Then, as now, across the mystic Campagna, the dome of St. Peter's
+silhouetted itself against a golden background of western sky.
+
+One needs not to have had privileged access to the sibylline leaves of
+the Cumæan soothsayer to recognize that Vittoria Colonna was born under
+the star of destiny. Her horoscope seemed to be inextricably entwined
+with that of Italy; and the events which created and determined the
+conditions of her life and its panoramic series of circumstances were
+the events of Italy and of Europe as well--in political aspects and in
+the influence on general progress, brought to bear by strong and
+prominent individualities whose gifts, genius, or force dominated the
+movements of the day.
+
+To her father's change of political allegiance, from the French to the
+Spanish side, in the war raging between those countries in 1494,
+Vittoria owed all her life in Ischia; and her marriage, and all that
+resulted from her becoming a member of the d'Avalos family, was due to
+this espousal of a new political faith on the part of Fabrizio Colonna.
+To the fact that in 1425 the war with France again broke out was due the
+loss of her husband and the conditions that consecrated her life to
+poetry, to learning, and that made possible the beautiful and
+sympathetic friendship between herself and Michael Angelo. Her life
+presents the most forcible illustration of the overruling power on human
+life and destiny.
+
+It was the political change of faith on the part of Fabrizio Colonna
+that initiated an unforeseen and undreamed-of drama of life for his
+infant daughter, the first act of which included the command of the King
+of Naples that the little Vittoria should be betrothed to Francesco
+d'Avalos, the son of Alphonso, Marchese di Pescara, of Ischia, one of
+the nobles who stood nearest to the king in those troubled days.
+Francesco was born in the castle on Ischia in 1489, and was one year
+older than Vittoria. Fabrizio exchanged his castle at Marino for one in
+Naples, which city made him the Grand Constable. The d'Avalos castle in
+Ischia had at this time for its chatelaine the Duchessa di Francavilla,
+who is said by some authorities to have been the elder sister and by
+others to have been the aunt of Francesco. Donna Constanza d'Avalos,
+later the Duchessa di Francavilla, had been made the Castellana of the
+island for her courage in refusing to capitulate to the French troops
+when, after the death of her father, she was left in sole charge of the
+d'Avalos estates, and Emperor Charles V elevated her rank to that of
+Principessa. The Duchessa was one of the most remarkable women of the
+day. She was a classical scholar, and herself a writer, the author of a
+book entitled "_Degli Infortuni e Travagli del Mondo_." To the care of
+this learned and brilliant woman, a great lady in the social life of the
+time, the care of the little Vittoria was committed, and she studied and
+played and grew up with Francesco, her future husband. The d'Avalos
+family ranked among the highest nobility of the Court of Naples, and the
+Principessa reigned as a queen of letters and society in her island
+kingdom. It was under her care that the two children, Francesco and
+Vittoria, pursued their studies together and acquired every grace of
+scholarship and accomplishment of society. The circles which the
+Duchessa drew around her included many gentlewomen from Sicily and from
+Naples; and "the life at Castel d'Ischia was synonymous with everything
+glorious and elegant," recorded Visconti, "and its fame has been
+immortalized." Although Francesco (the future Marchese di Pescara) was
+born in Italian dominions, yet the d'Avalos family were of Spanish
+ancestry and traditions. The musical Castilian was the language of the
+household. The race ideals of Spain--the poetic, the impassioned, the
+joy in color and movement--pervaded the very atmosphere of Castel
+d'Ischia. Vittoria's earliest girlhood revealed her exceptional beauty
+and charm, and gave evidence that the gods loved her and had dowered her
+with their immortal gifts and genius, which flowered, under the
+sympathetic guidance and stimulus of such a woman as the Principessa
+(the Duchessa di Francavilla) and the society she drew around her, as
+the orange and the myrtle flower under the southern sunshine.
+
+The literature of biography presents no chapter that can rival this in
+the idyllic beauty of the lives of those two children on the lovely
+island in the violet sea. The perpetual conflicts that were waged in
+both Rome and Naples awakened no echoes in this romantic and isolated
+spot, whose atmosphere was that of the peace of scholarly pursuits and
+lofty thought that is found where the arts and the muses hold their
+sway.
+
+But in 1496 came the tragedy of the death of the young king and queen of
+Naples; four years later Rome celebrated a jubilee in which Naples took
+part, sending a splendid procession as escort to the famous Madonna that
+was carried from Naples to Rome and back, working miracles, it is said,
+on both journeys, as a Madonna should. A year later Frederick of Naples
+and the queen, and two of the king's sisters,--ladies of high
+nobility,--came as guests to the castle in Ischia,--royal exiles seeking
+shelter. Five years later the new king and queen were welcomed with
+gorgeous parade and acclamation. A pier was thrown out over one hundred
+feet into the sea; on this a tent of gold was erected, and all the
+nobility of Naples, in the richest costumes of velvet and jewels,
+thronged to meet the royal guests. Over the sunlit Bay of Naples
+resounded the thunder of the guns in military salute and the cheers of
+the people. Among the distinguished nobility present, Costanza, Duchessa
+and Principessa di Francavilla, was a marked figure with her young
+charge, Vittoria Colonna, at her side. She made a deep reverence and
+kissed the hand of the king as he passed, as did many of the ladies of
+highest rank, and at the fête of that evening Vittoria's beauty charmed
+all eyes. Although it was well understood that she had been betrothed
+since childhood to Francesco d'Avalos, yet many princes and nobles sued
+for her hand and were refused by her father, who was at this time
+established magnificently in Naples. Pope Julius II refused the
+pleadings of two dukes, both of whom wished to seek Vittoria in
+marriage, as he considered the love of the young girl for her betrothed
+a matter to be held sacred. Three years later, when Vittoria was
+nineteen and Francesco twenty, their marriage was celebrated in Castel
+d'Ischia with the richest state and beauty of ceremonial observance. A
+few months previous to this time she had returned to her father's
+country home in the family castle at Marino, whither both Fabrizio
+and Agnese Colonna accompanied their daughter. When the time appointed
+for her bridal came, Vittoria was escorted to Ischia by princes, and
+dukes, and ladies of honor, and the marriage gifts to the bride included
+a chain of rubies, diamonds, and emeralds, linked with gold; a writing
+desk of solid gold; wonderful bracelets; costumes of velvets, and
+brocades and rich embroideries, and a portion of fourteen thousand
+ducats.
+
+  [Illustration: LA ROCCA, ISCHIA
+                 _Page 294_]
+
+"The noted pair had not their equals in Italy at this time," writes a
+contemporary historian. "Their life in Naples was all magnificence and
+festivity, and when they desired to exchange it for the country they
+left Naples for Pietralba on Monte Emo, where they assembled pleasant
+parties of ladies and gentlemen. Much time was passed in their beloved
+Ischia, where the Duchessa, as Castellana, was obliged to receive much
+company. And here were found the flower of chivalry and the men most
+noted in letters.... They listened to the poets Sanazzaro, il Rota, and
+Bernardo Tasso; or they heard the admirable discourses on letters of
+Musefico, il Giovio, and il Minturno. It was an agreeable school for the
+youthful minds of Vittoria and Pescara. Thus passed in great happiness
+the first three years of their married life."
+
+It is not strange that to the young Marchesa di Pescara, Ischia had
+become an enchanted island. The scene of her happy childhood, of her
+studies, of her first efforts in lyric art, of her stately and
+resplendent bridal; the home, too, of her early married life,--it is
+little wonder that in after years she translated into song its scenic
+loveliness and the thoughts and visions it had inspired.
+
+Again, the ever-recurring war came on, and in the spring of 1512 the
+King of Naples conferred the doubtful privilege on the Marchesa di
+Pescara of serving as the royal representative. It is said that Vittoria
+personally superintended her young husband's outfit,--in horses,
+attendants, armor, and other details belonging to a gentleman of rank.
+Her father and her uncle, Prospero Colonna, were also among the military
+who led Italian troops. In the terrible battle of Ravenna (which was
+fought on the Easter Sunday, April 11, of 1512), Pescara was wounded,
+taken prisoner, and carried to the fortress of Porta Gobbia. A messenger
+was sent to Ischia, where Vittoria lived between her books and the
+orange groves; and the twentieth-century cynic of 1907 will smile at the
+form in which she expressed her sorrow,--that of a poem of some forty
+stanzas, which began:--
+
+    "_Eccelso Mio Signor! Questa ti scrivo
+    Per te narrar tra quante dubbie voglie,
+    Fra quanti aspri martir, dogliosa io vivo!_"
+
+A translation of this lyric epistle, made in prose, gives it more fully
+as follows:--
+
+     "Eccelso Mio Signor: I write this to thee to tell thee amid what
+     bitter anxieties I live.... I believed that so many prayers and
+     tears, and love without measure, would not have been displeasing to
+     God.... Thy great valor has shone as in a Hector or an Achilles."
+
+In this letter Vittoria tells him that when the messenger reached her,
+she was lying on a point of the island ("_I_, in the _body_, my _mind_
+always with _thee_," she says), and that the whole atmosphere had been
+to her that day "like a cavern of black fog," and that "the marine gods
+seemed to say to Ischia, 'To-day, Vittoria, thou shalt hear of disgrace
+from the confines: thou now in health and honor, thou shalt be turned
+to grief; but thy father and husband are saved, though taken
+prisoners.'"
+
+This presentiment she related to her husband's aunt, the Duchessa
+Francavilla, the Castellana of Ischia, who begged her not to think of it
+and said, "It would be strange for such a force to be conquered."
+
+Just after this conversation between the youthful Marchesa and the
+Duchessa, the messenger arrived. The psychic science of to-day would see
+in this occurrence a striking instance of telepathy. In her poetic
+epistle to her husband, Vittoria also says:--
+
+     "A wife ought to follow her husband at home and abroad; if he
+     suffers trouble, she suffers; if he is happy, she is; if he dies,
+     she dies. What happens to one happens to both; equals in life, they
+     are equals in death. His fate is her fate."
+
+These letters--in keeping with the times--were, on both sides, expressed
+in literary rather than in personal form. Pescara, from his captivity,
+wrote to her a "Dialogue on Love,"--a manuscript for which Visconti
+notes that he has searched in vain.
+
+The Marchesa di Pescara went from Ischia to Naples, after learning of
+the misfortunes that had overtaken her husband, in order that she might
+be able constantly to receive direct communication regarding his fate. A
+few months later the Marchese returned, making the day "brilliant with
+joy" to Vittoria, but after a year of happiness he was again called to
+service, and the Marchesa returned to her beloved Ischia. She gave
+herself to the study of the ancient classics; she wrote poems, and
+"considered no time of value but so spent," says Rota. The age was one
+of a general revival of learning. Royalty, the Pope, the princes and
+nobility were all giving themselves with ardor to this higher culture.
+Under Dante the Italian language assumed new perfection. This period was
+to Vittoria one of intense stimulus, and it must have had a formative
+influence on her gifts and her mental power. Having no children, she
+adopted a young cousin of her husband, the Marchese del Vasto, to
+educate and to be the heir of their estates. In 1515, Pescara again
+returned and the entire island of Ischia was "aflame with bonfires, and
+the borders of the beautiful shore bright and warm with lights," in
+honor of the event. Of this event, Vittoria wrote:--
+
+     "... My beloved returns to us ... his countenance radiant with
+     piety to God, with deeds born of inward faith."
+
+At a magnificent wedding festival in the d'Avalos family about this
+time, it is recorded that the Marchesa di Pescara "wore a robe of
+brocaded crimson velvet, with large branches of beaten gold wrought on
+it, with a headdress of wrought gold and a girdle of beaten gold around
+her waist."
+
+When the coronation of Charles V was to be celebrated at Aix-la-Chapelle
+the Marchese di Pescara was appointed ambassador to represent the House
+of Aragon on this brilliant occasion, when the new emperor was to be
+invested with the crown and the sceptre of Charlemagne. Charles had
+decided to journey by sea and to visit Henry VIII on the way, an
+arrangement of which Cardinal Wolsey was aware, although he had kept
+Henry in ignorance of it, according to those curious mental processes
+of his mind where his young monarch was concerned. Shakespeare, in the
+play of "King Henry VIII," describes the meeting of the two kings, which
+occurred at Canterbury, "at a grand jubilee in honor of the shrine of
+Thomas à Becket." One historian thus describes this scene:--
+
+     "The two handsome young sovereigns rode into Canterbury under the
+     same canopy, the great Cardinal riding directly in front of them,
+     and on the right and left were the proud nobles of Spain and
+     England, among whom was Pescara. The kings alighted from their
+     horses at the west door of the cathedral and together paid their
+     devotions before that rich shrine blazing with jewels. They humbly
+     knelt on the steps worn by the knees of tens of thousands of
+     pilgrims."
+
+On the return to Naples of the Marchese di Pescara he told the story of
+his regal journey to an assemblage of nobles in the Church of Santa
+Maria di Monte Oliveto, and he then joined the Marchesa in Rome, where
+she had gone to visit her family and to pay her devotions to Leo X, who
+had just created Pompeo Colonna a cardinal.
+
+Pope Leo aspired to draw around him a court distinguished for its
+culture and brilliancy in both art and literature. In this court the
+Marchesa di Pescara shone resplendent. "She was at the height of her
+beauty, and her charms were sung by the poets of the day," says a
+contemporary.
+
+A year later Leo X died, succeeded by Adrian (who had been tutor to
+Charles V), to the intense and bitter disappointment of Cardinal Wolsey,
+who had made the widest--and wiliest--efforts to gratify his own
+ambition of reigning in the Papal chair. Again the war between France
+and Italy, that which seemed to be a perpetually smouldering feud, and
+the Marchese di Pescara, again summoned to battle, was wounded at Pavia.
+For some time he lay between life and death at Milan, and a messenger
+was sent to beg Vittoria to come to him. She set out on this journey,
+leaving Naples in great haste; but on reaching Viterbo another messenger
+met her with the tidings of the death of the Marchese, which had
+occurred on Nov. 25, 1525. Overcome with grief, Vittoria was carried
+back to Rome and for the solace of entire seclusion she sought the
+cloistered silence of the convent of San Silvestre, which lay at the
+foot of the Monte Cavallo in Rome, almost adjoining the gardens of the
+Colonna palace. To the Marchese di Pescara, who had the military rank of
+general, was given a funeral of great pomp and splendor in Milan, and
+his body was brought to the famous Naples church of Santa Domenica
+Maggiore, where it was entombed with the princes and nobles of his
+house.
+
+Before the death of the Marchese there had been a political plot to join
+the Papal, Venetian, and Milanese forces and rescue Italy from the
+Emperor's rule, and the Pope himself had sent a messenger to Pescara
+asking him to unite with the league. The Marchese, Spanish by ancestry
+and by sympathies, used this knowledge to frustrate the Italian designs
+and to warn Spain. The Italian historians have execrated him for this
+act, which they regard as that of a traitor. Vittoria, however, did not
+take this view apparently, as in a letter to her husband she wrote:--
+
+     "Titles and kingdoms do not add to true honor.... I do not desire
+     to be the wife of a king, but I glory in being the wife of that
+     great general who shows his bravery in war and, still more, by
+     magnanimity in peace, surpasses the greatest kings."
+
+The inducement of the throne of Naples had been held out to Marchese di
+Pescara. He evidently regarded this in the nature of a dishonorable
+bribe, and it is this view which the Marchesa plainly shared.
+
+After his death her first impulse was to take the vows of a cloistered
+nun. The Pope himself intervened to dissuade her, and she consented to
+enter, only temporarily, the convent of San Silvestre on the Monte
+Cavallo.
+
+In the will of the Marchese di Pescara there was a clause directing that
+anything in his estate unlawfully acquired should be restored to the
+owner; and under this, Vittoria gave back to the monastery of Monte
+Cassino the Monte San Magno that had formerly been its property.
+
+From the cloistered shades of the convent Vittoria removed to the family
+castle of the Colonna at Marino, where, on the shore of this beautiful
+lake (which was the scenery of Virgil's Æneid), she passed some months,
+engaged in writing sonnets. Of one of these a translation runs in
+part:--
+
+     "I write solely to assuage my inward grief, which destroys in my
+     heart the light of this world's sun; and not to add light to _mio
+     bel sole_, to his glorified spirit. It is fit that other tongues
+     should preserve his great name from oblivion."
+
+In another, perhaps her most perfect sonnet, she beseeches the winds to
+convey to her beloved the message she sends:--
+
+     "_Ch'io di lui sempre pensi; o pianga, o parli_,"--That I always
+     think of him, or weep for him, or speak of him.
+
+Again, a year later, Vittoria returned to lovely Ischia, which, as one
+writer has described, "rises out of the blue billows of the
+Mediterranean like giant towers. The immense blocks of stone are heaped
+one upon another, in such a supernatural manner as to give a coloring to
+the legend, that beneath them, in those vast volcanic caverns, dwells
+the giant Tifeo." The castle where the Duchessa Francavilla and the
+Marchesa Pescara lived is built on a towering mass of rock joined to the
+island by a causeway. The castle includes the palace, a church, and
+other buildings for the family and their guests and dependants.
+
+For some three years the Marchesa did not again leave Ischia. In the
+mean time volumes of her poems were published. She received the
+acclamation of all the writers of her time. The crown of immortelles,
+often laid but on a tomb, was continually pressed upon her brow. She was
+the most famous woman of her time. Her beauty, her genius, her noble
+majesty of character impressed the contemporary world. Her days were
+filled with correspondence with the most distinguished men of the day.
+Ariosto, Castiglione, Ludovico Dolce, Cardinal Bembo, Cardinal
+Contarini, and Paolo Giovio were among her nearer circle of friends.
+
+  [Illustration: CASTELLO DI ALFONSO, ISCHIA
+                 _Page 306_]
+
+Stormy times fell upon Italy, in all of which the Colonna family bore
+prominent part, and all of which affected the life of Vittoria Colonna
+in many ways. Her biography, if written with fulness and accuracy, would
+be largely a history of the Italy of that time, for her life seemed
+always inseparably united with great events.
+
+In the year 1530 (Clement VII being the Pope) a full Papal pardon had
+been extended to all the Colonna, and their castles and estates had also
+been restored to them. For years past Rome had been in a state of
+conflict. Benvenuto Cellini, who had watched the terrible scenes from
+Castel San Angelo where he was immured, has described the terrors. The
+Eternal City, whose population under Leo X had been 90,000, was now--in
+1530--reduced to half that number. Palaces and temples had been the
+scenes of riot and destruction, yet to this very lawlessness of the time
+the Roman galleries of the present owe their ancient statues, which were
+uncovered by these assaults. The Coliseum was left in the ruined state
+in which it is now seen, and by the sale of the stones taken from it the
+Palazzo Barberini was erected.
+
+Vittoria, coming again to Rome and revisiting its classic greatness,
+exclaimed that happy were they who lived in times so full of grandeur;
+to which the poet Molza gallantly replied that they were less happy, as
+they had not known her! Everywhere was she received with the highest
+honors. She made a tour, visiting Bagni di Lucca, Bologna, and Ferrara,
+where she was the guest of the Duca and Duchessa Ercole in the ducal
+palace. The Duchessa was the Princesse Renée, the daughter of Louis XII
+of France, and an ardent friend of Calvin, who visited her in Ferrara.
+It was to this visit that Longfellow refers in his poem entitled
+"Michael Angelo," when he pictures Vittoria as sitting for her portrait
+to the artist and conversing with her friend Giulia, the Duchess of
+Trajetto, Michael Angelo begs them to resume the conversation
+interrupted by his entrance, and Vittoria says:--
+
+    "Well, first, then, of Duke Ercole, a man
+    Cold in his manners, and reserved and silent,
+    And yet magnificent in all his ways."
+
+To which the Duchessa replies:--
+
+    "How could the daughter of a king of France
+    Wed such a duke?"
+
+    MICHAEL ANGELO.
+
+                      "The men that women marry,
+    And why they marry them, will always be
+    A marvel and a mystery to the world."
+
+    VITTORIA.
+
+    "And then the Duchess,--how shall I describe her,
+    Or tell the merits of that happy nature
+    Which pleases most when least it thinks of pleasing?
+    Not beautiful, perhaps, in form and feature,
+    Yet with an inward beauty, that shines through
+    Each look and attitude and word and gesture;
+    A kindly grace of manner and behavior,
+    A something in her presence and her ways
+    That makes her beautiful beyond the reach
+    Of mere external beauty; and in heart
+    So noble and devoted to the truth,
+    And so in sympathy with all who strive
+    After the higher life."
+
+    JULIA.
+
+                            "She draws me to her
+    As much as her Duke Ercole repels me."
+
+    VITTORIA.
+
+    "Then the devout and honorable women
+    That grace her court, and make it good to be there;
+    Francesca Bucyronia, the true-hearted,
+    Lavinia della Rovere and the Orsini,
+    The Magdalena and the Cherubina,
+    And Anne de Parthenai, who sings so sweetly;
+    All lovely women, full of noble thoughts
+    And aspirations after noble things.
+
+           *       *       *       *       *
+
+                            With these ladies
+    Was a young girl, Olympia Morata,
+    Daughter of Fulvio, the learned scholar,
+    Famous in all the universities:
+    A marvellous child, who at the spinning-wheel,
+    And in the daily round of household cares,
+    Hath learned both Greek and Latin; and is now
+    A favorite of the Duchess and companion
+    Of Princess Anne. This beautiful young Sappho
+    Sometimes recited to us Grecian odes
+    That she had written, with a voice whose sadness
+    Thrilled and o'ermastered me, and made me look
+    Into the future time, and ask myself
+    What destiny will be hers."
+
+    JULIA.
+
+                                "And what poets
+    Were there to sing you madrigals, and praise
+    Olympia's eyes?" ...
+
+    VITTORIA.
+
+    "None; for great Ariosto is no more."
+
+           *       *       *       *       *
+
+    JULIA.
+
+    "He spake of you."
+
+    VITTORIA.
+
+                      "And of yourself, no less,
+    And of our master, Michael Angelo."
+
+    MICHAEL ANGELO.
+
+    "Of me?"
+
+    VITTORIA.
+
+              "Have you forgotten that he calls you
+    Michael, less man than angel, and divine?
+    You are ungrateful."
+
+    MICHAEL ANGELO.
+
+                          "A mere play on words."
+
+The Duca and Duchessa of Ferrara invited the most distinguished persons
+in Venice and Bologna and Lombardy to meet their honored guest. Bishop
+Ghiberto of Verona besought her to visit that city. Vittoria accepted
+and was for some time the Bishop's guest in his palace, and she took
+great interest in the historic city. With the Bishop she visited the
+ancient Duomo, which in 1160 had been restored by Pope Urban II, and
+reconsecrated. It was a strong desire of the Marchesa at this time to
+make a pilgrimage to Jerusalem; but the journey was then so perilous and
+so long--none too easy, indeed, at the present time--that she was
+dissuaded from the attempt.
+
+Verona, to do her honor, had a medal struck bearing her portrait. The
+group of great artists--Titian, Tintoretto, and Giorgione in Venice; Fra
+Angelico, Bartolommeo, and others of that day--were creating their
+wonderful works which Vittoria must have seen and enjoyed during this
+tour. Raphael, whose death had occurred in 1520, Vittoria had,
+doubtless, known; but whether it was she who was the original of the
+Muse in his great picture of "Parnassus," as is alleged, is not fully
+established.
+
+  [Illustration: DETAIL FROM "PARNASSUS," RAPHAEL STANZE,
+                 PALAZZO VATICANO, ROME
+                 Raphael Sanzio
+                 _Page 311_]
+
+    "Unto my buried lord I give myself,"
+
+wrote Vittoria Colonna in one of the sonnets to her husband's memory,
+and this line is the keynote to her entire life, both as woman and poet.
+It was no translation of her life into another key, no reckoning by
+stars that flashed from different skies, when there fell upon her the
+baptism and crown of that immortal friendship with Michael Angelo.
+
+The Marchesa di Pescara returned to Rome, from this notable tour in
+Northern Italy, in 1538. She was received with the honors that her fame
+inspired. Michael Angelo was then deeply absorbed in painting his "Last
+Judgment," in the Capella Sistina.
+
+"Every one in Rome took an interest in the progress of this magnificent
+fresco, from the Pope (who continually visited the artist) down to the
+humblest of the people. We may imagine Vittoria standing by the great
+painter to view his sublime work; but Michael Angelo did not require the
+patronage, even of a Colonna, and it is possible that Vittoria herself
+first sought out his friendship."
+
+In the Casa Buonarroti, in Florence, hangs that exquisite picture
+painted of Italy's greatest woman poet, in her early youth; and in its
+rare and precious collection of manuscripts are the letters of Vittoria
+to the poet and sculptor. Her influence is said to have produced a great
+change in his religious views, influencing his mind to a more lofty and
+more spiritual comprehension of the divine laws that govern the
+universe.
+
+Condivi, in referring to this chapter in their lives, has said:--
+
+     "In particular he was most deeply attached to the Marchesa di
+     Pescara, of whose divine spirit he was enamoured, and he was
+     beloved by her in return with much affection."
+
+It was about 1535 when Michael Angelo left Florence for Rome, appointed
+by the Pope, Paul III, as the chief architect, sculptor, and painter of
+the Vatican. He was enrolled in the Pontifical household, and he at once
+began his work in the Sistine Chapel. Mr. Symonds believes that he must
+have been engaged upon the "Last Judgment" through 1536, 1537. The great
+artist was not without a keen wit of his own as well; for on receipt of
+a letter from Pietro Aretino, from Venice, in September of 1537, with
+praises of his work that Michael Angelo deemed extravagant, he replied
+that while he rejoiced in Aretino's commendation, he also grieved; "as
+having finished a large part of the fresco," he said, "I cannot realize
+your conception which is so complete that if the Day of Judgment had
+come and you had been present and seen it with your eyes, your words
+could not have described it better."
+
+Vittoria Colonna now passed some years between Rome and Orvieto, that
+picturesque town with its magnificent cathedral rich in mediæval art,
+where she lived in the convent of St. Paolo d'Orvieto. She varied this
+residence by remaining at times in the convent of San Caterina di
+Viterbo, in that city. In Rome she had lived both at the convent of
+Santa Anna and also at the Palazzo Cesarini, which was the home of
+members of the Colonna family. A sonnet of Michael Angelo's written to
+Vittoria reflects the feeling that she inspired in him:--
+
+    "Da che concetto ha l'arte intera e diva
+      La forma e gli atti d'alcun, poi di quello
+      D'umil materia un semplice modello
+    È 'l primo parto che da quel deriva.
+    Ma nel secondo poi di pietra viva
+      S'adempion le promesse del martello;
+      E sì rinasce tal concetto e bello,
+    Che ma' non è chi suo eterno prescriva.
+    Simil, di me model, nacqu'io da prima;
+      Di me model, per cosa più perfetta
+      Da voi rinascer poi, donna alta e degna.
+    Se 'l poco accresce, 'l mio superchio lima
+      Vostra pietà; qual penitenzia aspetta
+      Mio fiero ardor, se mi gastiga e insegna?"
+
+Of this sonnet the following beautiful translation is made by John
+Addington Symonds:--
+
+    "When divine Art conceives a form and face,
+      She bids the craftsman for his first essay
+      To shape a simple model in mere clay:
+    This is the earliest birth of Art's embrace.
+    From the live marble in the second place
+      His mallet brings into the light of day
+      A thing so beautiful that who can say
+    When time shall conquer that immortal grace?
+    Thus my own model I was born to be--
+      The model of that nobler self, whereto
+      Schooled by your pity, lady, I shall grow.
+    Each overplus and each deficiency
+      You will make good. What penance then is due
+      For my fierce heat, chastened and taught by you?"
+
+The correspondence between Vittoria and Michael Angelo was undated, and
+all that now remains is fragmentary.
+
+The great artist, writing to his nephew, Sionardo, in 1554, says:--
+
+     "Messer Giovan Francisco Fattucci asked me about a month ago if I
+     possessed any writings of the marchioness. I have a little book
+     bound in parchment which she gave me some ten years ago. It has one
+     hundred and three sonnets, not counting another forty she afterward
+     sent on paper from Viterbo. I had these bound into the same book,
+     and at that time I used to lend them about to many persons so that
+     they are all of them now in print. In addition to these poems I
+     have many letters which she wrote from Orvieto and Viterbo. These,
+     then, are the writings I possess of the marchioness."
+
+In Rome, 1545, Michael Angelo thus writes to Vittoria:--
+
+     "I desired, lady, before I accepted the things which your ladyship
+     has often expressed the will to give me--I desired to produce
+     something for you with my own hand in order to be as little as
+     possible unworthy of this kindness. I have now come to recognize
+     that the grace of God is not to be bought, and that to keep it
+     waiting is a grievous sin. Therefore I acknowledge my error and
+     willingly accept your favors. When I possess them--not, indeed,
+     because I shall have them in my house, but for that I myself shall
+     dwell in them--the place will seem to encircle me with paradise.
+     For which felicity I shall remain ever more obliged to your
+     ladyship than I am already, if that is possible.
+
+     "The bearer of this letter will be Urbino, who lives in my service.
+     Your ladyship may inform him when you would like me to come and see
+     the head you promised to show me."
+
+With this letter Michael Angelo sent to Vittoria a sonnet which, in the
+translation made by John Addington Symonds, is as follows:--
+
+    "Seeking at least to be not all unfit
+    For thy sublime and boundless courtesy,
+    My lowly thoughts at first were fain to try
+    What they could yield for grace so infinite.
+    But now I know my unassisted wit
+    Is all too weak to make me soar so high,
+    For pardon, lady, for this fault I cry,
+    And wiser still I grow remembering it.
+    Yea, will I see what folly 't were to think
+    That largess dropped from thee like dews from heaven,
+    Could e'er be paid by work so frail as mine!
+    To nothingness my art and talent sink;
+    He fails who from his mental stores hath given
+    A thousandfold to match one gift divine."
+
+As a gift to Vittoria Colonna, Michael Angelo designed an episode from
+the Passion of our Lord, which Condivi describes as "a naked Christ at
+the moment when, taken from the cross, our Lord would have fallen at the
+feet of His most holy mother if two angels did not support Him in their
+arms. She sits below the cross with a face full of tears and sorrow,
+lifting both her widespread arms to heaven while on the stem of the tree
+above is written this legend: '_Non vi si pensa quanto sangue costa._'
+The cross is of the same kind as that which was carried by the White
+Friars at the time of the plague of 1348, and afterward deposited in the
+Church of Santa Croce at Florence."
+
+In presenting this cross to her he wrote:--
+
+     "Lady Marchioness, being myself in Rome, I thought it hardly
+     fitting to give the Crucified Christ to Messer Tommaso, and to make
+     him an intermediary between your ladyship and me, especially
+     because it has been my earnest wish to perform more for you than
+     for any one I ever knew upon the world. But absorbing occupations,
+     which still engage me, have prevented my informing your ladyship of
+     this. Moreover, knowing that you know love needs no taskmaster, and
+     that he who loves doth not sleep, I thought the less of using
+     go-betweens. And though I seemed to have forgotten, I was doing
+     what I did not talk about, in order to effect a thing that was not
+     looked for, my purpose has been spoiled. He sins who faith like
+     this so soon forgets."
+
+  [Illustration: VITTORIA COLONNA, GALLERIA BUONARROTI, FLORENCE
+                 _Page 312_]
+
+In reply Vittoria Colonna wrote:--
+
+     "Unique Master Angelo and my most singular friend: I have received
+     your letter and examined the crucifix which truly hath crucified in
+     my memory every other picture I ever saw. Nowhere could one find
+     another figure of our Lord so well executed, so living, and so
+     exquisitely finished. I cannot express in words how subtly and
+     marvellously it is designed. Wherefore I am resolved to take the
+     work as coming from no other hand but yours.... I have examined it
+     minutely in full light and by the lens and mirror, and never saw
+     anything more perfect."
+
+She added:--
+
+     "... Your works forcibly stimulate the judgment of all who would
+     look at them. My study of them made me speak of adding goodness to
+     things perfect in themselves, and I have seen now that 'all is
+     possible to him who believes.' I had the greatest faith in God that
+     He would bestow upon you supernatural grace for the making of this
+     Christ. When I came to examine it I found it so marvellous that it
+     surpasses all my expectations. Wherefore, emboldened by your
+     miracles I conceived a great desire for that which I now see
+     marvellously accomplished: I mean that the design is in all parts
+     perfect and consummate. I tell you that I am pleased that the angel
+     on the right hand is by far the fairer, since Michael will place
+     you, with all angels, upon the right hand of the Lord some day.
+     Meanwhile I do not know how else to serve you, than by making
+     orisons to this sweet Christ, whom you have drawn so well and
+     exquisitely, and praying you to hold me yours to command as yours
+     in all and for all."
+
+Again Vittoria wrote to him:--
+
+     "I beg you to let me have the crucifix a short while in my keeping,
+     even though it be unfinished. I want to show it to some gentlemen
+     who have come from the most reverend, the Cardinal of Mantua. If
+     you are not working will you not come at your leisure to-day and
+     talk with me?"
+
+It is an interesting fact to the visitor in the Rome of to-day that the
+convent of San Silvestre where Vittoria Colonna lived was attached to
+the church of San Silvestre in Capite, now used as the English-speaking
+Catholic church in the Eternal City. The wing which was formerly the
+convent (founded in 1318) is now converted into the central post office.
+
+It was in the sacristy of San Silvestre, decorated with frescoes by
+Domenichino, that a memorable meeting and conversation took place, one
+Sunday afternoon in those far-away days of nearly five hundred years
+ago, between Michael Angelo and Francesco d'Ollanda, a Spanish miniature
+artist,--the meeting brought about by Vittoria Colonna. The Spanish
+artist was a worshipper of Michael Angelo, who "awakened such a feeling
+of love," that if d'Ollanda met him in the street "the stars would come
+out in the sky," he says, "before I would let him go again." This
+fervent worship was hardly enjoyed by its object, who avoided the
+Spanish enthusiast. One Sunday, however, d'Ollanda had gone to San
+Silvestre finding there Tolomei, to whom he was also devoted, and
+Vittoria Colonna, both of whom had gone to hear the celebrated Fra
+Ambrosia of Siena expound the Epistles of St. Paul. The Marchesa di
+Pescara observed that she felt sure their Spanish friend would far
+rather hear Michael Angelo discuss painting than to hear Fra Ambrosia on
+the wisdom of St. Paul. Summoning an attendant she directed him to find
+Michael Angelo and tell him how cool and delightful was the church that
+morning and to beg him to join Messer Tolomei and herself; but to make
+no mention of the presence of d'Ollanda. Her woman's tact and her
+faultless courtesy were successful in procuring this inestimable
+privilege for the Spanish painter. Michael Angelo came, and began the
+conversation--which was a monologue, rather, as all three of the friends
+wished only to listen to the master--by defending artists from the
+charge of eccentric and difficult methods. With somewhat startling
+candor Michael Angelo proceeded:--
+
+     "I dare affirm that any artist who tries to satisfy the better
+     vulgar rather than men of his own craft will never become a
+     superior talent. For my part, I am bound to confess that even his
+     Holiness wearies and annoys me by begging for too much of my
+     company. I am most anxious to serve him, ... but I think I can do
+     so better by studying at home than by dancing attendance on my legs
+     in his reception room."
+
+Another meeting of this little group was appointed for the next Sunday
+in the Colonna gardens behind the convent, under the shadow of the
+laurel trees in the air fragrant with roses and orange blossoms, where
+they sat with Rome spread out like a picture at their feet. That
+beautiful terrace of the Colonna gardens, to which the visitor in Rome
+to-day always makes his pilgrimage, with the ruined statues and the
+broken marble flights of steps, is the scene of this meeting of Vittoria
+Colonna, Michael Angelo, and Francesco d'Ollanda. On this second
+occasion the sculptor asserted his belief that while all things are
+worthy the artist's attention, the real test of his art is in the
+representation of the human form. He extolled the art of design. He
+emphasized the essential nature of nobleness in the artist, and added:--
+
+     "In order to represent in some degree the adored image of our Lord,
+     it is not enough that a master should be great and able. I maintain
+     that he must also be a man of good conduct and morals, if possible
+     a saint, in order that the Holy Ghost may rain down inspiration on
+     his understanding."
+
+Of the relative degree of swiftness in work Michael Angelo said:--
+
+     "We must regard it as a special gift from God to be able to do that
+     in a few hours which other men can only perform in many days of
+     labor. But should this rapidity cause a man to fail in his best
+     realization it would be better to proceed slowly. No artist should
+     allow his eagerness to hinder him from the supreme end of
+     art--perfection."
+
+Mr. Longfellow, in his unfinished dramatic poem, "Michael Angelo" (to
+which reference has already been made), has one scene laid in the
+convent chapel of San Silvestre, in which these passages occur:--
+
+    VITTORIA.
+
+    "Here let us rest awhile, until the crowd
+    Has left the church. I have already sent
+    For Michael Angelo to join us here."
+
+    MESSER CLAUDIO.
+
+    "After Fra Bernardino's wise discourse
+    On the Pauline Epistles, certainly
+    Some words of Michael Angelo on Art
+    Were not amiss, to bring us back to earth."
+
+           *       *       *       *       *
+
+    MICHAEL ANGELO, _at the door_.
+
+    "How like a Saint or Goddess she appears!
+    Diana or Madonna, which I know not,
+    In attitude and aspect formed to be
+    At once the artist's worship and despair!"
+
+    VITTORIA.
+
+    "Welcome, Maestro. We were waiting for you."
+
+    MICHAEL ANGELO.
+
+    "I met your messenger upon the way.
+    And hastened hither."
+
+    VITTORIA.
+
+                          "It is kind of you
+    To come to us, who linger here like gossips
+    Wasting the afternoon in idle talk.
+    These are all friends of mine and friends of yours."
+
+    MICHAEL ANGELO.
+
+    "If friends of yours, then are they friends of mine.
+    Pardon me, gentlemen. But when I entered
+    I saw but the Marchesa."
+
+Vittoria tells the master that the Pope has granted her permission to
+build a convent, and Michael Angelo replies:--
+
+                       "Ah, to build, to build!
+    That is the noblest art of all the arts.
+    Painting and sculpture are but images,
+    Are merely shadows cast by outward things
+    On stone or canvas, having in themselves
+    No separate existence. Architecture,
+    Existing in itself, and not in seeming
+    A something it is not, surpasses them
+    As substance shadow....
+
+                   ... Yet he beholds
+    Far nobler works who looks upon the ruins
+    Of temples in the Forum here in Rome.
+    If God should give me power in my old age
+    To build for Him a temple half as grand
+    As those were in their glory, I should count
+    My age more excellent than youth itself,
+    And all that I have hitherto accomplished
+    As only vanity."
+
+To which Vittoria responds:--
+
+                       "I understand you.
+    Art is the gift of God, and must be used
+    Unto His glory. That in art is highest
+    Which aims at this."
+
+The poet, with his characteristically delicate divination, has entered
+into the inner spirit of these two immortal friends.
+
+Walter Pater, writing of Michael Angelo, truly says:--
+
+     "Michael Angelo is always pressing forward from the outward
+     beauty--_il bel del fuor che agli occhi piace_--to apprehend the
+     unseen beauty; _trascenda nella forma universale_--that abstract
+     form of beauty about which the Platonists reason. And this gives
+     the impression in him of something flitting and unfixed, of the
+     houseless and complaining spirit, almost clairvoyant through the
+     frail and yielding flesh."
+
+Again we find Pater saying:--
+
+     "Though it is quite possible that Michael Angelo had seen Vittoria,
+     that somewhat shadowy figure, as early as 1537, yet their closer
+     intimacy did not begin till about the year 1542, when Michael
+     Angelo was nearly seventy years old. Vittoria herself, an ardent
+     Neo-Catholic, vowed to perpetual widowhood since the news had
+     reached her, seventeen years before, that her husband, the youthful
+     and princely Marquess of Pescara, lay dead of the wounds he had
+     received in the battle of Pavia, was then no longer an object of
+     great passion. In a dialogue written by the painter, Francesco
+     d'Ollanda, we catch a glimpse of them together in an empty church
+     at Rome, one Sunday afternoon, discussing indeed the
+     characteristics of various schools of art, but still more the
+     writings of St. Paul, already following the ways and tasting the
+     sunless pleasures of weary people, whose hold on outward things is
+     slackening. In a letter still extant he regrets that when he
+     visited her after death he had kissed her hands only. He made, or
+     set to work to make, a crucifix for her use, and two drawings,
+     perhaps in preparation for it, are now in Oxford.... In many ways
+     no sentiment could have been less like Dante's love for Beatrice
+     than Michael Angelo's for Vittoria Colonna. Dante's comes in early
+     youth; Beatrice is a child, with the wistful, ambiguous vision of a
+     child, with a character still unaccentuated by the influence of
+     outward circumstances, almost expressionless. Vittoria is a woman
+     already weary, in advanced age, of grave intellectual qualities.
+     Dante's story is a piece of figured work inlaid with lovely
+     incidents. In Michael Angelo's poems frost and fire are almost the
+     only images--the refining fire of the goldsmith; once or twice the
+     phoenix; ice melting at the fire; fire struck from the rock which
+     it afterwards consumes."
+
+Visconti notes that among Italian poets, Vittoria Colonna was the first
+to make religion a subject of poetic treatment, and the first to
+introduce nature's ministry to man into poetry. Rota, her Italian
+biographer, states that she died in February of 1547, in the Palazzo
+Cesarini. This palace is in Genzano, on Lago di Nemi, and has been one
+of the Colonna estates; but from Visconti and other authorities it is
+evident that she died in Rome, either in the convent of Santa Anna or in
+the palace of Cesarini, the husband of her kinswoman, Giulio Colonna,
+which must have been near the convent in Trastevere, the old portion of
+Rome across the Tiber. Visconti records that on the last evening of her
+life when Michael Angelo was beside her, she said: "I die. Help me to
+repeat my last prayer. I do not now remember the words." He clasped her
+hand and repeated it to her, while her own lips moved, she gazed
+intently on him, smiled and passed away. This translation has been made
+of Vittoria Colonna's last prayer:--
+
+     "Grant, I beseech Thee, O Lord, that I may ever worship Thee with
+     such humility of mind as becometh my lowliness and such elevation
+     of mind as Thy loftiness demandeth.... I entreat, O Most Holy
+     Father, that Thy most living flame may so urge me forward that, not
+     being hindered by any mortal imperfections, I may happily and
+     safely again return to Thee."
+
+It is recorded by an authority that her body, "enclosed in a casket of
+cypress wood, lined with embroidered velvet," was placed in the chapel
+of Santa Anna which has since been destroyed. Visconti says: "She
+desired, with Christian humility, to be buried in the manner in which
+the sisters were buried when they died. And, as I suppose, her body was
+placed in the common sepulchre of the nuns of Santa Anna." Grimm
+declares that he cannot discover the place of her burial, and Visconti
+declares that her tomb remains unknown.
+
+But it is apparently a fact that the body of Vittoria Colonna is
+entombed in the sacristy of Santa Domenica Maggiore in Naples, the
+sarcophagus containing it resting by the side of the one containing the
+body of her husband, Francesco d'Avalos, Marchese of Pescara. This
+church is one of the finest in Naples, with twenty-seven chapels and
+twelve altars, and it is here that nearly all the great nobles of the
+kingdom of Naples are entombed. Here is the tomb of the learned Thomas
+Aquinas and here is shown, in relief, the miracle of the crucifix by
+Tommaso de Stefani, which--as the legend runs--thus addressed the
+learned doctor:--
+
+"_Bene scripsisti de me, Thoma; quam ergo mercedem recipies?_"
+
+To which he replied: "_Non aliam nisi te._"
+
+It is in the sacristy in which lie all the Princes of the House of
+Aragon that the sarcophagi of the Marchese and the Marchesa di Pescara
+are placed side by side in the high gallery near the ceiling. The altar
+has a fine Annunciation ascribed to Andrea da Salerno. The ceiling
+(whose coloring is as fresh and vivid as if painted yesterday) is by
+Solimena. Around the walls near the ceiling are two balconies or
+galleries, filled with very large wooden sarcophagi, whose scarlet
+velvet covers have faded into yellow browns with pink shades, many of
+which are tattered and are falling to pieces. The casket containing the
+body of Fernando Francesco d'Avalos, Marchese of Pescara (the husband of
+Vittoria Colonna), has on it an inscription by Ariosto; and his portrait
+(showing in profile a young face with blonde hair and a full reddish
+brown beard) and a banner, also, is suspended above the casket. That
+containing the body of the Marchesa, his wife (Vittoria Colonna), has an
+aperture at the top where the wood is worn away and the embalmed form,
+partly crumbled, may be seen. This seems strange to the verge of
+fantasy, but it is, apparently, true. The writer of this volume visited
+the Church of Santa Domenica Maggiore in Naples in December of 1906, and
+was assured by the sacristan that this sarcophagus contains the body of
+the Marchesa. Inquiries were then made of other prelates and of the
+Archbishop, who gave the same assurance. Later, learned archæologists in
+Rome were appealed to, regarding this assertion made in Naples, and the
+consensus of opinion obtained declares their assertion true. Professor
+Lanciani has himself publicly expressed this conviction. Still, it
+remains a curious question as to when this sarcophagus was placed in the
+sacristy, for the date goes back into long-buried centuries.
+
+Adjoining Santa Domenica Maggiore is the monastery in which Thomas
+Aquinas lived and lectured (in 1272), and the cell of the great doctor
+of philosophy is now made into a chapel. His lectures called together
+men of the highest rank and learning and were attended by the king and
+the members of the royal family. The entire locality of this church is
+replete with historic association. The most distinguished of the
+nobility of Naples have, for centuries, held their chapels in this
+church, and in these are many notable examples of Renaissance sculpture.
+
+The Accadémia des Arcades of Rome, founded in the seventeenth century to
+do honor to lyric art, celebrated the placing of a bust of Vittoria
+Colonna in a gallery of the Capitoline, in May of 1865, by a resplendent
+poetic festa. According to the gentle, leisurely customs of the land,
+where it is always afternoon and time has no value, thirty-two poets
+read their songs, written in Latin or in Italian, for this occasion,
+which were published in a sumptuous volume to be preserved in the
+archives of the Arcadians, who take themselves more seriously than the
+world outside quite realizes. This bust of Vittoria Colonna was the gift
+of the Duca and Duchessa of Torlonia of that period. It was crowned with
+laurel, as that of Petrarca had been, and the government took official
+recognition of the event.
+
+Goethe was made a member of this Accadémia that regarded itself as
+reflecting the glories of the Golden Age of Greece, and which was a
+century old at the time of his visit to Italy. "No stranger of any
+consequence was readily permitted to leave Rome without being invited to
+join this body," he recorded, and he wrote a humorous description of the
+formalities of his initiation.
+
+Mrs. Horatio Greenough was honored by being made a member of this
+Accadémia in recognition of her musical accomplishments, and the record
+of it is placed on the memorial marble over her grave in the Protestant
+cemetery in Rome. Every year, on Tasso's birthday (April 25), the
+Accadémia holds a festa in a little amphitheatre near "Tasso's oak," on
+the Janiculum, at which his bust is crowned with laurel. The gardens in
+which the seventeenth-century Arcadians disported themselves are now
+known among the Romans as _il Bosco Parrasio degli Arcadi_.
+
+Throughout Italy the fame of Vittoria Colonna only deepens with every
+succeeding century. Her nobility of character, her lofty spirituality of
+life, fitly crowned and perfected her intellectual force and brilliant
+gifts. Although from the customs of the time the Marchesa lived much in
+convents, she never, in any sense, save that of her fervent piety, lived
+the conventual life. Her noble gifts linked her always to the larger
+activities, and her gifts and rank invested her with certain demands and
+responsibilities that she could not evade. She was one of the messengers
+of life, and her place as a brilliant and distinguished figure in the
+contemporary world was one that the line of destiny, which pervades all
+circumstances and which, in her case, was so marked, absolutely
+constrained her to fill. She had that supreme gift of the lofty nature,
+the power of personal influence. Her exquisite courtesy and graciousness
+of manner, her simple dignity and unaffected sincerity, her delicacy of
+divination and her power of tender sympathy and liberal comprehension
+all combined to make her the ideal companion, counsellor, and friend, as
+well as the celebrity of letters and lyric art.
+
+No poet has more exquisitely touched the friendship between Vittoria
+Colonna and Michael Angelo than has Margaret J. Preston, in a poem
+supposed to be addressed to the sculptor by Vittoria, in which occur the
+lines:--
+
+    "We twain--one lingering on the violet verge,
+    And one with eyes raised to the twilight peaks--
+    Shall meet in the morn again.
+
+           *       *       *       *       *
+
+                  ... Supremest truth I gave;
+    Quick comprehension of thine unsaid thought,
+    Reverence, whose crystal sheen was never blurred
+    By faintest film of over-breathing doubt;
+                              ... helpfulness
+    Such as thou hadst not known of womanly hands;
+    And sympathies so urgent, they made bold
+    To press their way where never mortal yet
+    Entrance had gained,--even to thy soul."
+
+This is the _Page de Conti_ that one reads in the air as he sails past
+Ischia on the violet sea; and the _chant d'amour_ of the sirens catches
+the echo of lines far down the centuries:--
+
+    "I understood not, when the angel stooped,
+    Whispering, 'Live on! for yet one joyless soul,
+    Void of true faith in human happiness,
+    Waits to be won by thee, from unbelief.'
+
+    "Now, all is clear. For _thy_ sake I am glad
+    I waited. Not that some far age may say,--
+    '_God's benison on her, since she was the friend
+    Of Michael Angelo!_'"
+
+
+
+
+    _So sometimes comes to soul and sense
+    The feeling which is evidence
+    That very near about us lies
+    The realm of spiritual mysteries.
+    The sphere of the supernal powers
+    Impinges on this world of ours.
+    The low and dark horizon lifts,
+    To light the scenic terror shifts;
+    The breath of a diviner air
+    Blows down the answer of a prayer:--
+    That all our sorrow, pain, and doubt
+    A great compassion clasps about,
+    And law and goodness, love and force,
+    Are wedded fast beyond divorce.
+    Then duty leaves to love its task,
+    The beggar Self forgets to ask;
+    With smile of trust and folded hands,
+    The passive soul in waiting stands
+    To feel, as flowers the sun and dew,
+    The One true Life its own renew._
+
+                    WHITTIER.
+
+     "_For Thou only art holy. Thou only art the Lord. Thou only, O
+     Christ, with the Holy Ghost, art most high in the Glory of God the
+     Father._"
+
+
+
+
+    _Sometimes in heaven-sent dreams I do behold
+      A city with its turrets high in air,
+      Its gates that gleam with jewels strange and rare,
+    And streets that glow with burning of red gold;
+    And happy souls, through blessedness grown bold,
+      Thrill with their praises all the radiant air,
+      And God himself is light, and shineth there
+    On glories tongue of man hath never told._
+
+    _And in my dreams I thither march, nor stay
+      To heed earth's voices, howsoe'er they call,
+    Or proffers of the joys of this brief day,
+      On which so soon the sunset shadows fall;
+    I see the Gleaming Gates, and toward them press--
+    What though my path lead through the Wilderness?_
+
+                    LOUISE CHANDLER MOULTON.
+
+
+
+
+V
+
+VOICES OF ST. FRANCIS OF ASSISI
+
+    Oh, Italy! thy strength, thy power, thy crown
+    Lie in the life that in Assisi stirs
+    The heart, with impulse of self-sacrifice;
+    Where still St. Francis gathers weary souls
+    In his great love, which reaches out to all.
+                       ... His blessing falls
+    In clear sweet tones: "_Benedicat tibi
+    Convertat vultum suum ad te et
+    Det Pacem!_" Hushed and holy silence breathes
+    About the wanderer who lifts his heart
+    To catch the echo of that voice of love.
+
+                    CELIA RICHMOND.
+
+
+The mystic pilgrimage to Assisi, the "Seraphic City," prefigures itself
+almost as a journey to the Mount of Vision. "Any line of truth that
+leads us above materialism," says Dr. Wilberforce, Venerable Archdeacon
+of Westminster Abbey, "that forces us to think, that encourages the
+imagination to pierce the world's cobwebs, that forces us to remember
+that we are enwrapped by the supernatural, is helpful and stimulating. A
+human life lived only in the seen and felt, with no sense of the
+invisible, is a fatally impoverished life, a poor, blind, wingless life,
+but to believe that ever around us is a whole world full of spiritual
+beings; that this life, with its burdens, is but the shadow which
+precedes the reality; that here we are but God's children at school, is
+an invigorating conviction, full of hope, productive of patience and
+fruitful in self-control."
+
+To an age imprisoned in the fear of God the "sweet saint," Francis,
+brought the message of the love of God. To an age crushed under the
+abuses of religion as an organization of feudal bishops and
+ecclesiastics, St. Francis brought the message of hope and of joy. He
+revealed to his age the absolute reality of the spiritual world that
+surrounds us. He was born into a time when there existed on the one
+hand, poverty and misery; on the other, selfish and debasing
+self-indulgence of wealth and its corresponding oppression of the poor.
+The Church itself was a power for conquest and greed. Its kingdom was of
+this world. St. Bernard and others had nobly aimed to effect a reform
+and had illustrated by their own lives the beautiful example of
+simplicity and unselfishness, but their work failed in effectiveness
+and permanent impress.
+
+    "Oh, beauty of holiness!
+    Of self-forgetfulness, of lowliness."
+
+Not only in beauty, but in power does it stand. St. Francis brought to
+the sad and problematic conditions of his time that resistless energy of
+infinite patience, of a self-control based on insight into the divine
+relationships of life, and of unfailing fidelity to his high purpose.
+Through good report or through evil report he kept the faith, and
+pressed onward to the high calling of God. The twelfth and the
+thirteenth centuries had been a period of religious unrest and chaos. As
+Archdeacon Wilberforce has so impressively said in the words quoted from
+him, a life lived with no sense of the invisible is blind and
+impoverished. The movement initiated by St. Francis proclaimed anew the
+divine grace and love.
+
+    "Tokens are dead if the things live not. The light everlasting
+    Unto the blind is not, but is born of the eye that has vision."
+
+Something not unlike this trend of thought must drift through the mind
+of every one who journeys through the lovely Umbrian country to Assisi,
+one of those picturesquely beautiful hill towns of Italy whose romantic
+situation impresses the visitor. Seen from a little distance, one could
+hardly imagine how it could be reached unless he were the fortunate
+possessor of an airship. The entire region is most picturesque in
+character. Journeying from Rome to Assisi there is a constant ascent
+from the Campagna to the Apennines, and the road passes through wild
+defile and valley with amethyst peaks shining fair against the sky, with
+precipitous rocks, and the dense growth of oak and pine trees. In some
+places the valley is so narrow that the hills, on either side, rise
+almost within touch of the hand from the car window. The hill towns are
+frequent, and the apex of these towns is invariably crowned with a
+castle, a cathedral, or a ruin, and around it, circling in terraces, is
+built the town. The charm largely vanishes when fairly in these circling
+roads, for on either side are high walls, so that one's view is
+completely bounded by them; but from the summit and from the upper
+floors of the houses the most beautiful views are obtained. The Umbrian
+region, in which are located Perugia, Assisi, Spello, Foligno, Spoleto,
+Terni, Narni, and others, is simply the gem region of all Italy. The
+Umbrians are the most ancient of the Italian people, and Assisi claims
+to have been founded eight hundred and sixty-five years before the
+founding of Rome. It was the scene of constant warfare, and the streets
+are all underlaid by subterranean passages, in which the inhabitants
+could disappear from their enemies.
+
+To this ancient Umbrian city, from which went out the life and light
+that carried wonderful currents of vitality and illumination to all
+Italy and into almost all parts of the world, one comes as to a special
+and a sacred pilgrimage. For this mediæval town, perched on the top of a
+rocky hill, is the birthplace of St. Francis, the founder of the
+Franciscan order; in it were the scenes of his early life, and here, in
+1226, at the age of forty-four years, he died. The convent-church of San
+Francesco, built to his memory in 1230; the lower church, completed at
+that date, while the upper was finished in 1253; the magnificent
+Cathedral of Santa Maria Degli Angeli, completed in 1640; the Church of
+Santa Chiara and the Duomo, are the points of interest.
+
+  [Illustration: SAN FRANCESCAN CONVENT-CHURCH, ASSISI
+                 _Page 346_]
+
+The purple Apennines, on one spur of which Assisi is built, are a
+picturesque feature of lovely Umbria. The old houses of Assisi rise
+white in the sunshine. The ancient walls still surround the city, and
+its towers stand as they stood before the eyes of St. Francis, almost
+seven centuries ago. The peak of Mt. Subasio, a neighboring peak of the
+Apennines, looms above the colossal rock that crowns the hill around
+whose top Assisi clusters in winding terraces. The massive pile of the
+Francescan church and monastery--the two churches, one above the
+other--forms an architectural group whose imposing aspect arrests the
+eye of every traveller for miles around. The pointed arches of the
+cloisters and the square campanile contrast rather than blend in an
+effective and harmonious manner and resemble military fortifications
+rather than an edifice of the church. The old walls still surround
+Assisi, and the houses all rise white under the blue Italian sky. The
+narrow streets, hardly wide enough for one carriage to pass another, are
+so intricate in their curves as they climb the steep hill, that it
+requires a faith hardly less than the traditional degree said to move
+mountains to lead the visitor to suppose that he will ever emerge
+from one that he has entered. Many of the houses along these curious
+thoroughfares have no windows, the only light and air coming through the
+open door. The bells from the campanile of the Francescan
+convent-church, from the Duomo and from the Church of Santa Chiara ring
+every quarter of an hour; and this constant clash of bells is almost the
+only sound that breaks the silence of the mediæval town, which lends
+itself to visions and to dreams. On the very air is stamped the impress
+of St. Francis. His personality, his teachings, his faith pervaded the
+atmosphere in a way that no one could believe until he had himself
+entered into the experience. In narration it cannot but seem like a
+pleasing and half-poetic fancy; but the lingerer in this shrine of
+religion and art will realize that the actual personality of the man who
+trod these streets nearly seven hundred years ago is strangely before
+him. Canon Knox Little, in a series of lectures on St. Francis of Assisi
+delivered in the Ladye Chapel of Worcester Cathedral a few years since,
+says of the panorama of the town:--
+
+     "The scene which from Assisi presented itself daily to his youthful
+     eyes must have had, did have, as we know, a lasting effect upon his
+     mind. From thence the eye surveys a noble coronet of stately
+     mountains. You look from Radicofani, above Trena, to Monte Catria,
+     famous as the scene of some of Dante's saddest times of solitude,
+     and ever is the eye satisfied with the grace and grandeur of the
+     curves of mountain outline, and the changing hues of an
+     incomparable sky. There are rivers and cities and lakes,--from
+     Thrasymene, just hidden by a line of crests, to the Paglia and
+     Tiber beneath, where Orvieto crowns its severe and lonely rock.
+     With the changing lights and shadows always beautiful in the vivid
+     spring or burning summer, tender-tinted autumn or clear and
+     sparkling winter, with the bright and pure and buoyant atmosphere
+     always giving life and vigor, what spot on earth more fitted as the
+     birthplace of the saint who was, above all things, bright and
+     tender and strong?"
+
+Assisi was an important town in the twelfth century when Francis, the
+son of Pietro Bernardone di Mercanti, wandered over its hills, and after
+severe fasting and prayer communed with God. Born in the midst of the
+constant warfare between Assisi and Perugia, he was first a soldier. He
+was captured and thrown into prison, and it was a remarkable dream, or
+vision, that came to him before he was set free, that determined his
+life of consecration. Tradition invested his birth with legends, one of
+which is, that in his infancy an aged man came to the door and begged to
+be permitted to take the child in his arms, prophesying that he was
+destined to accomplish a great work. Pietro Bernardone was a wealthy
+merchant of Assisi. Pica, the mother of Francis, is said to have been of
+noble origin and of a deeply religious nature. The early youth of
+Francis was given to games, festivals, and pleasures that degenerated
+into dissipation, but the mother continually affirmed her assurance
+that, if it pleased God, her son would become a Christian. In this
+atmosphere was nurtured "the sweet-souled saint of mediæval Italy," who
+is described as a figure of magical power, whose ardent temperament and
+mystic loveliness attracted to him all men.
+
+There is also a legend that Pica went to pray at the Portiuncula and
+that, for seven years, she prayed for a son. Her prayer was answered in
+the coming of the infant who was to be the great saint of all the ages.
+Francis, in his childhood, also knelt and prayed at this shrine. In the
+year 1211, when Francis was twenty-nine years of age and had entered on
+his ministry, this chapel was given to him, "and no sooner had they come
+to live here," it is said, "than the Lord multiplied their number from
+day to day." At one time he had gone to his devotions in great
+depression of spirits, "when, suddenly, an unspeakable ecstasy filled
+his breast. 'Be comforted, my dearest,' he said, 'and rejoice in the
+Lord, and let us not be sad that we are few; for it has been shown to me
+by God that you shall increase to a great multitude and shall go on
+increasing to the end of the world. I see a multitude of men coming to
+me from every quarter--French, Spaniards, Germans, English--each in
+their different tongues encouraging the others.'"
+
+At a distance of perhaps a mile and a half from Assisi, down in the
+valley near the railroad station, four holy pilgrims founded a shrine in
+the fourth century. Later, on this site, St. Benedict erected a tiny
+chapel, called "St. Maria della Portiuncula" (St. Mary of the Little
+Patron), and once, when praying in the chapel, Benedict had a vision of
+a vast crowd of people kneeling in ecstasy, chanting hymns of praise,
+while outside greater multitudes waited to kneel before the shrine, and
+he took this to mean that a great saint would one day be honored there.
+
+So the legends, still conversationally told in Assisi, run on and are
+locally current. Undoubtedly the dwellers in this curious old town,
+whose streets have hardly one level spot but climb up and down the steep
+hillside, realize that their saint is their title to fame and their
+revenue as well; yet through all the tales there breathes a certain
+sincerity and simplicity of worship. The little dark primitive shops
+teem with relics, which make, it is true, a great draft on imagination,
+and by what miracle modern photography has contrived to present the
+saint of Assisi in various impressive attitudes and groups it would be
+as well not to inquire too closely. It is a part of the philosophy of
+travel to take the goods the gods provide, and the blending of amused
+tolerance and unsuspected depths of reverential devotion by which the
+visitor will find himself moved, while in Assisi, can hardly be
+described. For, surely, here
+
+                     "... there trod
+    The whitest of the saints of God,"
+
+and Catholic or Protestant, one equally enters into the beauty of his
+memory. The double and triple arches of the convent church enclose
+cloistered walls continually filled with visitors. No shrine in Italy
+holds such mysterious power. Simplicity and joy were the two keynotes of
+the life taught by St. Francis. "Poverty," he asserted, "is the happy
+state of life in which men are set free from the trammels of
+conventionalism, and can breathe the pure air of God's love. The richest
+inward life is enjoyed when life is poorest outwardly. Be poor," he
+continued, "try a new principle; be careless of having and getting; try
+_being_, for a change. Our life in the world ought to be such that any
+one on meeting us should be constrained to praise the heavenly Father.
+Be not an occasion of wrath to any one," he often said, "but by your
+gentleness may all be led to press onward to good works."
+
+The supreme aim of Francis was that of service to humanity. He gave
+himself with impassioned fervor to this one work. For him there were no
+ideals of cloistered seclusion or of devotion to learning and art, but
+the ideal alone to uplift humanity. It was literally and simply, indeed,
+the Christ ideal. Of the "Rule" made, one of his biographers says:--
+
+     "Amid all these encouragements the Rule was made. It consists, like
+     other monastic rules, of the three great vows of poverty, chastity,
+     and obedience, differing only in so far that the poverty ordained
+     by Francis was absolute. In other rules, though the individual was
+     allowed to possess nothing, the community had often rich
+     possessions, and there was no reason why the monks should not fare
+     sumptuously and secure to themselves many earthly enjoyments,
+     notwithstanding their individual destitution and their vow. But
+     among the Brothers Minor there was not to be so much as a provision
+     secured for the merest daily necessities. Day by day they were to
+     live by God's providence, eating what was given to them, taking no
+     thought how they were to be fed, or wherewithal clothed; 'neither
+     gold nor silver in your purses;' not even the scrip to collect
+     fragments in--as if God could not provide for every returning
+     necessity. There had been monasteries in Italy for centuries, and
+     the Benedictines were already a great and flourishing community;
+     but this absolute renunciation of all things struck a certain chill
+     to the hearts of all who heard of it, except the devoted band who
+     had no will but that of Francis. His friend, the Bishop of Assisi,
+     was one of those who stumbled at this novel and wonderful
+     self-devotion. 'Your life, without a possession in the world, seems
+     to me most hard and terrible,' said the compassionate prelate. 'My
+     lord,' said Francis, 'if we had possessions, arms and protection
+     would be necessary to us.' There was a force in this response which
+     perhaps we can scarcely realize, but the Assisan bishop, who knew
+     something of the temper of the lords of Umbria, and knew how lonely
+     were the brethren dwelling on the church lands--the little plot
+     (Portiuncula) a whole half league from the city gates--understood
+     and perceived the justice of the reply.
+
+     "Another grand distinction of the Rule drawn up by Francis was the
+     occupation it prescribed to its members. They were not to shut
+     themselves up, or to care first for their own salvation. They were
+     to preach--this was their special work; they were to proclaim
+     repentance and the remission of sins; they were to be heralds of
+     God to the world, and proclaim the coming of His kingdom. It is not
+     possible to suppose that when he thus began to organize the mind of
+     Francis did not make a survey of the establishments already in
+     existence--the convents bound by the same three great vows, where
+     life at this moment was going on so placidly, with flocks and herds
+     and vineyards to supply the communities, and studious monks in
+     their retirement, safe from all secular anxieties, fostering all
+     the arts in their beginning, and carrying on the traditions of
+     learning; while all around them the great unquiet, violent world
+     heaved and struggled, yet within the convent walls there was
+     leisure and peace. Blessed peace and leisure it was often, let us
+     allow, preserving for us the germs of many good things we now
+     enjoy, and raising little centres of safety and charity and
+     brotherly kindness through the country in which they were placed.
+     But such quiet was not in the nature of Francis. So far as we can
+     make out, he had thought little of himself--even of his own soul to
+     be saved--all his life. The trouble on his mind had been what to
+     do, how sufficiently to work for God and to help men. His fellow
+     creatures were dear to him; he gave them his cloak from his
+     shoulders many a day, and the morsel from his own lips, and would
+     have given them the heart from his bosom had that been possible."
+
+These are the "voices" that still echo in the air of Assisi. In the
+suburbs is still shown the spot where the chapel of St. Damian stood up
+a rocky path on the hillside in an olive grove. It was here that the
+scene of the miracle of the crucifix is laid. Before the altar Francis
+knelt, praying: "Great and Glorious Father, and thou, Lord Jesus, I pray
+ye, shed abroad your light in the darkness of my mind. May I in all
+things act in accordance with thy holy will."
+
+It is recorded that while he thus knelt in deep prayer, he was unable to
+turn his eyes from the cross, conscious that something marvellous was
+taking place. The image of the Saviour assumed life; the eyes turned
+attentively on him; a voice spoke accepting his service and he felt at
+once endowed with the most marvellous tide of vitality, of joy, and of
+exhilaration. At this moment he entered on that life whose impress is
+left on the ages. Of the character and the peculiar quality of its
+influence Mrs. Oliphant well says:--
+
+     "It is not always possible to follow with our sympathy that
+     literal, childlike rendering of every incident in the life of the
+     Master, which sometimes looks fantastical and often unmeaning. He
+     was a man of his time, and could live only under the conditions
+     which that time allowed. He made visible to a literal, practical,
+     unquestioning age the undeniable and astounding fact that the
+     highest of all beings chose a life of poverty, hardship, and
+     humbleness; that He chose submission instead of resistance, love
+     instead of oppression, peace and forgiveness instead of revenge and
+     war. Christ had died in their hearts, as said the legend of that
+     Christmas at Greccia; and, as in one of the bold and artless
+     pictures just then beginning to yield to a more refined and subtle
+     art, Francis set forth before the world the image of his Master.
+     The Son of man was lifted up, as on another cross, before the eyes
+     of Umbria, before all Italy, warlike and wily, priest and baron,
+     peasant and Pope. In this world Francis knew nothing, acknowledged
+     nothing, cared for nothing save Christ and Him crucified--except,
+     indeed, Christ's world, the universe redeemed, the souls to be
+     saved, the poor to be comforted, the friends to be cherished, the
+     singing birds and bubbling fountains, the fair earth and the sweet
+     sky. Courteous, tender, and gentle as any paladin, sweet-tongued
+     and harmonious as any poet, liberal as any prince, was the
+     barefooted beggar and herald of God. We ask no visionary reverence
+     for the Stigmata, no wondering belief in any miracle. As he stood,
+     he was as great a miracle as any then existing under God's
+     abundant, miraculous heavens; more wonderful than are the day and
+     night, the sun and the dew; only less wonderful than that great
+     Love which saves the world, and which it was his aim and destiny to
+     reflect and show forth."
+
+That mystic union to which all the ages attest, the union that may, at
+any moment, be formed between the soul and God, that mystery which the
+church calls conversion and which finds its perfect interpretation in
+the words of St. Paul, when he said, that if any man be in Christ he is
+a new creation, had been accomplished in the life of Francis. He
+realized the fulness of the knowledge of God's will; he longed only for
+wisdom and for spiritual understanding. Nor is this experience one to be
+relegated to the realm of miracle. It is simply entering into the
+supreme completeness of life. It is not alone St. Paul, but every man,
+who may truly say, "I can do all things through Christ, who
+strengtheneth me." Nor does this experience, when translated aright into
+daily life and action, require any abnormal form of expression. It does
+not, in its truest significance, mean a life apart from the ordinary
+duties, but rather it means that these duties shall be fulfilled in the
+larger and nobler way. The exceptional man may be called to be the
+standard bearer; to renounce all domestic ties and give his service to
+the world; but such a life as this differs only in degree from that
+which in the ordinary home and social relations finds ample means for
+its best expression. The persistent aim after perfection should be the
+keynote of every life. No one should be satisfied to hold as his
+supreme ideal any lesser standard of ultimate achievement than is
+involved in the divine command, "Be ye therefore perfect, even as your
+Father in heaven is perfect." This is the soul's ideal, whatever ages
+and eternities it may require for it to recognize this trackless path.
+
+St. Francis recognized joy as a factor of the nobler life. "It was his
+constant effort," writes one biographer, "that there should be bright
+looks and cheerful tones about him. To one of his brethren, who had the
+habit of walking about sadly with his head drooping, he said,--it is
+evident, with a spark of the impatience natural to his own vivacious
+spirit,--'You may surely repent of your sins, my brother, without
+showing your grief so openly. Let your sorrow be between God and you:
+pray to Him to pardon you by His mercy, and to restore to your soul the
+joy of His salvation. But before me and the others be always cheerful,
+for it does not become a servant of God to have an air of melancholy and
+a face full of trouble.'"
+
+An incident in the early life of St. Francis, which had determining
+significance, was his meeting with Dominic. The story is told "that
+Dominic, praying in a church in Rome, saw, in a vision, our Lord rise
+from the right hand of the Father in wrath, wearied at last with the
+contradiction of sinners, with a terrible aspect and three lances in his
+hand, each one of which was to destroy from the face of the earth a
+distinct class of offenders. But while the dreamer gazed at this awful
+spectacle, the Virgin Mother arose and pleaded for the world, declaring
+that she had two faithful servants whom she was about to send into it to
+bring sinners to the feet of the Saviour; one of these was Dominic
+himself, the other was a poor man, meanly clad, whom he had never seen
+before. This vision came to the devout Spaniard, according to the
+legend, during the night, which he spent, as he was wont, in a church,
+in prayer. Next morning, while he mused on the dream which had been sent
+to him, his eye fell all at once upon a stranger in a brown tunic, of
+aspect as humble and modest as his garb, coming into the same church to
+pray. Dominic at once ran to him, fell on his neck, and, saluting him
+with a kiss, cried, 'Thou art my companion: thy work and mine is the
+same. If we stand by each other, nothing can prevail against us.'"
+
+No magic mirror, however, revealed to Francis the wonderful panorama of
+his future. No sibyl turned the leaves of the records yet to unfold. "He
+was preparing himself for a life of penitence rather than a life of
+activity," in the opinion of Paul Sabatier, and he had dreamed no dream
+of becoming a religious founder. He was so entirely without any personal
+ambition, save that of being obedient to the Heavenly Vision, that this
+absolute consecration of purpose enabled the divine power to work
+through him without obstruction. He became a very perfect instrument, so
+to speak, in the divine hand. After repairing the little chapel called
+the Portiuncula, on the level ground at the foot of the hill, some two
+miles from Assisi, his plan was to there pass his time in meditation and
+prayer. But the legend runs that on the feast of St. Mathias (February
+24), in the winter of 1209, a Benedictine monk was celebrating mass and
+on his turning to read, "Wherever ye go preach, saying, The kingdom of
+heaven is at hand," Francis was profoundly and peculiarly impressed, and
+he exclaimed: "This is what I desire, O Father; from this day forth I
+set myself to put this command in practice." He felt that Jesus himself
+had spoken to him through the priest. Love and sacrifice became to him
+the supreme ideals, and in this moment, in that poor and bare little
+chapel, was inaugurated one of the greatest and most far-reaching
+religious movements of the entire world.
+
+    "Not always as the whirlwind's rush
+      On Horeb's mount of fear,
+    Not always as the burning bush
+      To Midian's shepherd seer,
+    Not as the awful voice which came
+      To Israel's prophet bards,
+    Nor as the tongues of cloven flame,
+      Nor gift of fearful words,--
+
+    "Not always thus with outward sign
+      Of fire or voice from Heaven
+    The message of a truth divine,
+      The call of God is given!"
+
+That great ministry of St. Francis, whose influence pervades all
+time,--that lies between the opening years of the thirteenth and the
+opening years of the twentieth centuries,--was initiated the next
+morning in Assisi, when Francis preached for the first time. He spoke
+simply, emphasizing the truths he had learned to realize through his own
+experience: the absolute duty of following after perfection; the
+importance of realizing the shortness of life and the need of
+repentance. The first disciple of Francis was a wealthy resident of
+Assisi, named Bernardo. He was impressed with the conviction that he
+should distribute his possessions and unite with Francis in all his aims
+and work. Without definite organization, others joined them. They passed
+that spring and summer going up and down the country, sometimes
+assisting the harvesters and haymakers, and everywhere entering into the
+common life of the people. The Bishop of Assisi, however, remonstrated
+with Francis, saying that to him it seemed very harsh and unwise to try
+to live without owning anything. To which Francis replied that he did
+not desire temporal possessions, as these required arms for their
+defence and were an obstacle to the love of God and one's neighbor. It
+has remained for later years to discern the still truer significance of
+the teachings of Jesus, that neither possessions nor the lack of
+possessions form the real test, but the use which is made of them. As
+spiritual insight is developed it is more and more clearly realized that
+the quality of the life lived is the sole matter of importance, and not
+the conditions that surround it.
+
+The brotherhood increased. The abbot of the Benedictines on Monte
+Subasio ceded to Francis and his order the little chapel called the
+Portiuncula, now enclosed within the vast and magnificent church of
+Santa Maria degli Angeli. M. Paul Sabatier, in his admirable biography
+of St. Francis, points out clearly that the founder of the Franciscans
+contemplated a laboring and not a mendicant order. During the decade
+1211 to 1221, which Francis and his followers passed at the Portiuncula,
+a portion of the time was constantly passed in industrial pursuits.
+"With all his gentleness, Francis knew how to show an inflexible
+severity toward the idle," says Sabatier, "and he even went so far as to
+dismiss a friar who refused to work." Although Francis espoused poverty,
+declaring that she was his bride, he was unfalteringly loyal to the
+ideals of honest industry and integrity.
+
+  [Illustration: ST. FRANCIS D'ASSISI, THE DUOMO, ASSISI
+                 Giovanni Dupré
+                 _Page 366_]
+
+The mystic legends of the life of their saint that abound in Assisi are
+touched with poetic romance in that a companion figure is always seen by
+his side, that of Santa Chiara. Not more inseparable in popular thought
+are Dante and Beatrice, or Petrarca and Laura, than are Francis and
+Clara. Their statues stand side by side in the Duomo; they are
+represented together by both painter and sculptor in the churches of
+Santa Chiara and Santa Maria degli Angeli in the old hill town. Chiara
+was the daughter of a noble family, and as a girl of sixteen, coming
+under the influence of Francis from hearing one of his sermons, she,
+too, became one of his followers and left her father's palace in Assisi
+to take the vows of perpetual and voluntary poverty at the altar of the
+Portiuncula. Followed by two women, she passed swiftly through the town
+in the dead of the night, and through dark woods, her hurrying figure
+seeming like some spirit driven by winds towards an unknown future. One
+thing alone was clear before her--that she was nearing the abode of
+Francis Bernardone whose preaching at San Giorgio only a month before
+had thrilled her, inspiring her in this strange way to seek the life he
+had described in fiery words. Just as she came in sight of the
+Portiuncula the chanting of the brethren, which had reached her in the
+wood, suddenly ceased, and they came out with lighted torches in
+expectation of her coming. Swiftly and without a word she passed in
+to attend the midnight mass which Francis was to serve, and the scene is
+thus described:--
+
+     "The ceremony was simple, wherein lies the charm of all things
+     Franciscan. The service over and the last blessing given, St.
+     Francis led Clare toward the altar, and with his own hands cut off
+     her long, fair hair and unclasped the jewels from her neck. But a
+     few minutes more and a daughter of the proud house of Scifi stood
+     clothed in the brown habit of the order, the black veil of religion
+     falling about her shoulders, lovelier far in this nun-like severity
+     than she had been when decked out in all her former luxury of
+     silken gowns and precious gems.
+
+     "It was arranged that Clare was to go afterward to the Benedictine
+     nuns of San Paolo, near Bastia, about an hour's walk farther on in
+     the plain. So when the final vows had been taken, St. Francis took
+     her by the hand and they passed out of the chapel together just as
+     dawn was breaking, while the brethren returned to their cells
+     gazing half sadly, as they passed, at the coils of golden hair and
+     the little heap of jewels which still lay upon the altar cloth."
+
+Clara founded a convent and lived as its abbess, and the great church of
+Santa Chiara is built on the site of this convent. She was born in
+Assisi in 1194, and died in 1253, surviving Francis by twenty-seven
+years. Her father was the Count Favorini Scifi, and he had destined his
+daughter--who had great beauty--to a rich and brilliant marriage. He
+violently opposed her choice of the religious life, but no earthly
+power, she declared, should sever her from it.
+
+The beauty of the lifelong friendship between Francis and Clara is thus
+touched upon by Mrs. Oliphant:--
+
+     "It was one of those tender and touching friendships which are to
+     the student of history like green spots in the desert; and which
+     gave to the man and the woman thus voluntarily separated from all
+     the joys of life a certain human consolation in the midst of their
+     hardships. They can have seen each other but seldom, for it was one
+     of the express stipulations of the Franciscan Rule that the friars
+     should refrain from all society with women, and have only the most
+     sparing and reserved intercourse even with their sisters in
+     religion. And Francis was no priest, nor had he the privilege of
+     hearing confession and directing the spiritual life of his daughter
+     in the faith. But he sent to her to ask enlightenment from her
+     prayers, when any difficulty was in his way. He went to see her
+     when he was in trouble; especially once on his way to Rieti to have
+     an operation performed on his eyes. Once the two friends ate
+     together at a sacramental meal, the pledge and almost the
+     conclusion on earth of that tenderest, most disinterested, and
+     unworldly love which existed between them. That he was sure of her
+     sympathy in all things, of her prayers and spiritual aid,
+     whatsoever he might be doing, wheresoever he might be, no doubt was
+     sweet to Francis in all his labors and trials. As he walked many a
+     weary day past that church of St. Damian, every stone of which was
+     familiar to him, and many laid with his own hands, must not his
+     heart have warmed at thought of the sister within, safe from all
+     conflict with the world, upon whose fellow-feeling he could rely
+     absolutely as man can rely only on woman? The world has jeered at
+     the possibility of such friendships from its earliest age; and yet
+     they have always existed,--one of the most exquisite and delicate
+     of earthly ties. Gazing back into that far distance over the
+     graves, not only of those two friends, but of a hundred succeeding
+     generations, a tear of grateful sympathy comes into the student's
+     eye. He is glad to believe that, all those years, Francis could see
+     in his comings and goings the cloister of Clara; and that this
+     sacred gleam of human fellowship,--love purified of all
+     self-seeking,--tender, visionary, celestial affection, sweetened
+     their solitary lives."
+
+Legends innumerable, attesting supernormal manifestations regarding
+Francis, sprang up and have been perpetuated through the ages. One is as
+follows:--
+
+     "Hardly more than three years from the moment when the pale
+     penitent was hooted through Assisi amid the derisive shouts of the
+     people, and driven with blows and curses into confinement in his
+     own father's house, we find that it has already become his custom
+     on Sunday to preach in the cathedral; and that, from his little
+     convent at the Portiuncula, Francis has risen into influence in the
+     whole country, which no doubt by this time was full of stories of
+     his visit to Rome and intercourse with the Pope, and all the
+     miraculous dreams and parables with which that intercourse was
+     attended. Already the mind of the people, so slow to adopt, but so
+     ready to become habituated to, anything novel, had used itself to
+     the sight of the brethren in their brown gowns, and, leaping from
+     one extreme to the other, instead of madmen, learned to consider
+     them saints. The air about the little cloister began to breathe of
+     miracles,--miracles which must have been a matter of common report
+     among the contemporaries of the saint, for Celano wrote within
+     three years of Francis's death. Once, when their leader was absent,
+     a sudden wonder startled the brethren. It was midnight between
+     Saturday and Sunday, and Francis, who had gone to preach at Assisi,
+     was at the moment praying in the canon's garden. A chariot of fire,
+     all radiant and shining, suddenly entered the house, awaking those
+     who lay asleep, and moving to wonder and awe those who watched, or
+     labored, or prayed. It was the heart and thoughts of their leader
+     returning to them in the midst of his prayer, which were figured by
+     this appearance."
+
+When Francis died a pathetic scene is thus described:--
+
+     "All the clergy of Assisi, chanting solemn hymns, came out to meet
+     the bier, and thus they climbed the hill to the birthplace of the
+     saint, the city of his toils and tears and blessing. When they came
+     to St. Damian an affecting pause was made. Clara within, with all
+     her maidens, waited the last visit of their father and friend.
+     Slowly the triumphant crowd defiled into the church of the nuns,
+     hushing, let us hope, their songs of joy, their transports of
+     gratulations, out of respect to the grief which dwelt there, and
+     could scarcely, by all the arguments of family pride, or the
+     excitement of this universal triumph, be brought to rejoice. The
+     bier was set down within the chancel, the coffin opened, and opened
+     also was the little window through which the nuns received the
+     sacrament on ordinary occasions. To this little opening the pale
+     group of nuns, ten of them, with Clara at their head, came marching
+     silently, with tears and suppressed cries. Clara herself, even in
+     face of that multitude, could not restrain her grief. 'Father,
+     father, what will become of us?' she cried out; 'who will care for
+     us now, or console us in our troubles?' 'Virgin modesty,' says
+     Celano, stopped her lamentations, and with a miserable attempt at
+     thanksgiving, reminding herself that the angels were rejoicing at
+     his coming, and all was gladness on his arrival in the city of God,
+     the woman who had been his closest friend in this world, whose
+     sympathy he had sought so often, kissed the pale hands--'splendid
+     hands,' says Celano, in his enthusiasm, 'adorned with precious gems
+     and shining pearls'--and disappeared from the little window with
+     her tears into the dim convent behind, where nobody could reprove
+     her sorrow."
+
+The personality of Chiara comes down to us through the ages invested
+with untold charm. It is said that when she was dying there came "a long
+procession of white-robed virgins, led by the Queen of Heaven, whose
+head was crowned with a diadem of shining gold, each of the celestial
+visitors stooped to kiss Chiara as her soul passed to its home."
+
+During all the life of Francis, whenever any new movement or work was to
+be undertaken, he invariably sent to ask the counsel and the prayers of
+Chiara.
+
+The miraculous preservation of the body of Santa Chiara is one of the
+articles of faith in Assisi. In 1850--six hundred years after her
+death--a tomb believed to be hers was found and opened in the presence
+of a distinguished group of ecclesiastics, among whom was Cardinal
+Pecci, later Pope Leo XIII. In this tomb a form is said to have been
+found, and it has been placed in a reliquary of alabaster and Carrara
+marble especially constructed for it. This sanctuary is placed in the
+church of Santa Chiara, in the crypt, behind a glass screen, where
+candles are kept perpetually burning. Lina Gordon Duff, writing the
+history of Assisi, says of this curious spectacle:--
+
+     "As pilgrims stand before a grating in the dimly lighted crypt, the
+     gentle rustle of a nun's dress is heard; slowly invisible hands
+     draw the curtain aside, and the body of Santa Chiara is seen
+     lying in a glass case upon a satin bed, her face clearly outlined
+     against her black and white veils, whilst her brown habit is drawn
+     in straight folds about her body. She clasps the book of her Rule
+     in one hand, and in the other holds a lily with small diamonds
+     shining on the streamers."
+
+  [Illustration: SANTA CHIARA, THE DUOMO, ASSISI
+                 Amalia Dupré
+                 _Page 375_]
+
+In all these churches--the great convent church, upper and lower, of the
+Franciscans elaborately adorned with frescoes by Cimabue and by Giotto;
+in the ancient Duomo; in Santa Chiara and in Santa Maria degli
+Angeli--statues of the two saints, Francis and Chiara, are placed side
+by side. She shares all the exaltation of his memory and the fulness of
+his fame.
+
+The strange problem of the stigmata has, perhaps, never been absolutely
+solved. Canon Knox Little says that as to the miracles of St. Francis
+generally speaking, there is no intrinsic improbability; that "his holy
+life, his constant communion with God, the abundant blessings with which
+it pleased God to mark his ministry, all point in the same direction."
+Latter-day revelations of psychic science disclose contemporary facts
+of the power of mental influence on the physical form that are, in many
+instances, hardly less wonderful than this alleged miracle of St.
+Francis. Whether the story is accepted literally or only in a figurative
+sense does not affect the transcendent power of his influence. His
+entire life and work illustrate the beauty of holiness. "Art in its
+widest sense gained a marvellous impulse from his work and effort," says
+Canon Knox Little. The French and Provençal literature and the schools
+of Byzantine art preceded the life of Francis; but his influence
+imparted a powerful wave of sympathetic and vital insight and awakened a
+world of new sensibilities of feeling. Indeed, it is a proverb of Italy,
+"Without Francis, no Dante." Certainly the life of Francis was the
+inspiration of the early Italian art. Cimabue and Giotto drew from the
+inspiration of that unique and lovely life the pictorial conceptions
+that have made Assisi the cradle of Italian painting. The great works of
+Giotto are in the lower church of the Franciscan monastery. One of these
+frescoes represents chastity as a maiden kneeling in a shrine, while
+angels bring to her branches of palm. Obedience is depicted as placing
+a yoke upon the bowed figure of a priest, while St. Francis, attended by
+two angels, looks on; Poverty, whom Francis declared to be his bride, is
+pictured as accompanied by Hope and Charity, who give her in marriage to
+St. Francis, the union being blessed by Christ, while the heavenly
+Father and throngs of angels gaze through the clouds on this nuptial
+scene. The fresco called Gloriosus Franciscus is perhaps the crowning
+work of Giotto. Francis is seen in a beatitude of glory, with a richly
+decorated banner bearing the cross and seven stars floating above his
+head and bands of angels in the air surrounding him. Canon Knox Little,
+alluding to these interesting works of Giotto, says that "even in their
+faded glories they give an immense interest to the lower church of
+Assisi. No one can look at them now unmoved, or wander on the hillside
+to the west of the little city, with the rugged rocks above one's head,
+and beneath one's feet the rich carpets of cyclamen, and before one's
+eyes long dreamy stretches of the landscape of Umbria, without being
+touched by the feeling of that beautiful and loving life devoted to God
+and man and nature, in utter truth, which therefore left such an
+impress on Christian art."
+
+The Madonna and saints painted by Cimabue are faded almost to the point
+of obliteration, yet there still lingers about them a certain grace and
+charm. The visitor to this Franciscan monastery church realizes that he
+is beholding the art which was the very pledge and prophecy of the
+Renaissance, and he realizes, too, that the Renaissance itself was the
+outgrowth of the new vitality communicated to the world by the life and
+character of St. Francis. He gave to the world the realization of the
+living Christ; he taught that religion was in action, not in theology.
+He liberated the spirit; and when this colossal church was being built
+(1228-53) the artists who had felt the new thrill of life opened by his
+teaching hastened to Assisi to express their appreciation by their
+pictorial work on its walls. The qualities of spiritual life--faith,
+sacrifice, sympathy, and love--began, for the first time, to be
+interpreted into artistic expression.
+
+The tomb of St. Francis is in the crypt of the church. The stone
+sarcophagus containing his body was discovered in 1818, and then placed
+here in a little chamber especially prepared, surrounded by an iron
+latticework with candles perpetually burning.
+
+From the sacristy of the lower church, stairs ascend to the upper, with
+its beautiful nave and transept with a high altar, and the choir stalls.
+While the lower church with its great arches is always dark, the upper
+is flooded with light from vast windows. There is a series of frescoed
+panels on either side, accredited to pupils of Giotto, full of forcible
+action and a glow of color. But the upper church, while it is
+magnificent, lacks somewhat of that mystic atmosphere one is so swiftly
+conscious of in the gloom and mystery of the lower church.
+
+Stretching behind the churches, along the crest of the high hill, is the
+colossal monastery itself, with that double row of arches and colonnades
+that makes it so conspicuous a feature of all the Umbrian valley.
+Formerly hundreds of monks dwelt here; but the Italian government
+suppressed this monastery in 1866, and since that time it has been used
+as a school for boys.
+
+The ancient Duomo, whose façade is of the twelfth century, has three
+exquisite rose windows, and on either side, as one approaches the high
+altar, stand the statues of St. Francis and of Santa Chiara. In the
+little piazza in front of the church is a bronze copy of Dupré's famous
+statue of St. Francis.
+
+The colossal church of Santa Maria degli Angeli, with its magnificent
+dome, is a contrast, indeed, to the primitive little Portiuncula where
+Francis knelt in prayer, and which is now preserved in the centre of
+this vast cathedral,--the rude structure encased in marble, and
+decorated, above the entrance, with a picture by Overbeck, whose motive
+is St. Francis as he stands, hushed and reverent, listening to the voice
+that tells him to embrace poverty. There is a fine Perugino in the
+church, representing the Saviour. The cell in which St. Francis died,
+enclosed in the little chapel which St. Bonaventura built over it, is
+preserved in this great cathedral.
+
+"And who was he that opened that door in heaven?" questions Canon Knox
+Little in reference to St. Francis. "Who was he that gave that fresh
+life and thought? Who but the man who had brought down in his own person
+the living Christ into his century, who had taught men again the love of
+God, and then the love of man and the love of nature; who had lifted
+the people out of their misery and degradation, and awakened the church
+out of its stiffness and worldliness; it was he, too, who inspired, who
+may at most be said to have created, Italian art,--the great St.
+Francis! Such are the deep, such are the penetrating, such are the
+far-reaching effects of sanctity. If a soul is, by divine grace, given
+wholly to God, it is impossible for us to say to what heights it may
+attain, or what good, in every region of human effort, it may do."
+
+  [Illustration: BAIÆ AND ISCHIA, FROM CAMALDOLI
+                 _Page 382_]
+
+Perugia, the neighboring city only fifteen miles from Assisi, is the
+metropolis of all this Umbrian region. Like Assisi, it is a "hill town,"
+built on an acropolis of rock, its foundations laid by the Etruscans
+more than three thousand years before the Christian era, and its
+atmosphere is freighted with the records of artists and scholars. The
+Perugians were the forerunners. They held the secret of artifice in
+metals and gems; they were architects and sculptors. The only traces of
+their painting that have come down to us are their works on sarcophagi,
+on vases or funeral urns,--traces that indicate their gifts for line and
+form. It was about 310 B.C. that all Umbria became a Roman province.
+The colossal porta of Augustus--a gateway apparently designed for the
+Cyclops--still retains its inscription, "Augustus Perusia." The
+imperishable impress of the great Roman conqueror is still seen in many
+places. Perugia was a firm citadel, as is attested by the fact that
+Totila and his army of Goths spent seven years in besieging it. The
+centuries from the thirteenth to the fifteenth inclusive, when it was
+under the sway of the Guelphs and the Ghibellines, were years of tragic
+violence. Even the cathedral became the scene of riot, and its interior
+was entirely washed with wine, and it was reconsecrated before it could
+be again used for holy offices. The little piazza in front of the
+cathedral, now dreaming in the sun, has been the scene of strange and
+contrasting crises of life. Strife and warfare have desolated it; the
+footsteps of Bernardino of Siena have consecrated it, as he passed
+within the great portals to preach the gospel of peace. He was one of
+the most potent of the Francescan disciples, and Bernardino (born of the
+noble family of the Albizzeschi, in 1380, in Siena, the year after St.
+Catherine's death) for forty years wandered over Italy, preaching
+peace and repentance. Vespasiano da Bisticci, a contemporary historian,
+records that Bernardino "converted and changed the minds and spirits of
+men marvellously and had a wondrous power in persuading men to lay aside
+their mortal hatreds." Bernardino died at the age of sixty-four in
+Aquila, and the towns in which he had faithfully carried on his
+apostolic work placed the sacred sign of the divine name (I.H.S.) upon
+their gates and palaces, in his memory. In the Sienese gallery is a
+portrait of San Bernardino by Sano, painted in 1460, representing the
+saint as the champion of the Holy Name, with the inscription, "I have
+manifested Thy name to men." In one of his impressive and wonderful
+sermons San Bernardino said:--
+
+     "There still remain many places for us to make. Ah! for the love of
+     God, love one another. Alas! see you not that, if you love the
+     destruction one of the other you are ruining your very selves? Ah!
+     put this thing right for the love of God. Love one another! What I
+     have done to make peace among you and to make you like brothers, I
+     have done with that zeal I should wish my own soul to receive. I
+     have done it all to the glory of God. And let no one think that I
+     have set myself to do anything at any person's request. I am only
+     moved by the bidding of God for His honor and glory."
+
+Opposite the Duomo of Perugia, on the other side of the piazza, is the
+Palazzo Municipio, with a Gothic façade, a beautiful example of
+thirteenth-century architecture. Here also is the colossal fountain with
+three basins, decorated with pictorial designs from the Bible by Niccolo
+Pisano and Arnolfo of Florence, and in the shadow of this fountain St.
+Dominic, St. Francis, and St. Bernardino often met and held converse.
+
+Perugia easily reads her title clear to artistic immortality in having
+been the home of Perugino, the master of Raphael. Here he lived for
+several years working with Pinturicchio in the frescoes that adorn the
+Collegio del Cambio, now held as a priceless treasure hall of art. They
+still glow with rich coloring,--the Christ seen on the Mount of
+Transfiguration; the Mother and Child with the adoring magi; and the
+chariot of the dawn driven by Apollo a century before Guido painted his
+"Aurora" in the Palazzo Rospigliosi in Rome.
+
+From the parapets of Perugia are views of supreme poetic beauty. The
+play of light and color on the picturesque hills and mountains of the
+Umbrian country; the gray-green gleam of olive orchards and the silver
+threads of winding streams; the towers and ruins and castles of a dozen
+towns and villages that crown the slopes, and the violet shadows of
+deepening twilight, with Assisi bathed in a splendor of rose and
+gold,--all combine to make this an ever-changing panorama for the poet
+and painter.
+
+No journey in Italy is quite like that to the lovely Umbrian valley and
+its Jerusalem, Assisi, the shrine which, with the single exception of
+Rome, is the special place of pilgrimage for the entire religious world.
+Perugia offers the charm of art, and attracts the visitor, also, by an
+exceptional degree of modern comfort and convenience; but Assisi is the
+shrine before which he kneels, where the footsteps of saints who have
+knelt in prayer make holy ground, and where he realizes anew the
+consecration of faith and sacrifice. The very air is filled with divine
+messages, and in lowly listening he will hear, again, those wonderful
+and thrilling words of St. Francis:--
+
+     "By the holy love which is in God I pray all to put aside every
+     obstacle, every care, every anxiety, that they may be able to
+     consecrate themselves entirely to serve, love, and honor the Lord
+     God, with a pure heart and a sincere purpose, which is what He asks
+     above all things."
+
+
+
+
+    _White phantom city, whose untrodden streets
+      Are rivers, and whose pavements are the shifting
+        Shadows of palaces and strips of sky;
+    I wait to see thee vanish like the fleets
+      Seen in mirage, or towers of clouds uplifting
+        In air their unsubstantial masonry._
+
+                    LONGFELLOW.
+
+
+    _Fair as the palace builded for Aladdin,
+    Yonder St. Mark uplifts its sculptured splendor--
+    Intricate fretwork, Byzantine mosaic,
+    Color on color, column upon column,
+    Barbaric, wonderful, a thing to kneel to!
+    Over the portal stand the four gilt horses,
+    Gilt hoof in air, and wide distended nostril,
+    Fiery, untamed, as in the days of Nero.
+    Skyward, a cloud of domes and spires and crosses;
+    Earthward, black shadows flung from jutting stonework.
+    High over all the slender Campanile
+    Quivers, and seems a falling shaft of silver._
+
+                    THOMAS BAILEY ALDRICH.
+
+
+
+
+    _As one who parts from Life's familiar shore,
+      Looks his last look in long-beloved eyes,
+      And sees in their dear depths new meanings rise
+    And strange light shine he never knew before;
+    As then he fain would snatch from Death his hand
+      And linger still, if haply he may see
+      A little more of this Soul's mystery
+    Which year by year he seemed to understand;
+    So, Venice, when thy wondrous beauty grew
+      Dim in the clouds which clothed the wintry sea
+    I saw thou wert more beauteous than I knew,
+      And long to turn and be again with thee.
+    But what I could not then I trust to see
+    In that next life which we call memory._
+
+                    PHILLIPS BROOKS.[2]
+
+FOOTNOTES:
+
+[2] From "Life of Phillips Brooks," by kind permission of Messrs. E. P.
+Dutton & Co.
+
+
+
+
+VI
+
+THE GLORY OF A VENETIAN JUNE
+
+     I have been between Heaven and Earth since our arrival at Venice.
+     The Heaven of it is ineffable--never had I touched the skirts of so
+     celestial a place. The beauty of the architecture, the silver
+     trails of water up between all that gorgeous color and carving, the
+     enchanting silence, the music, the gondolas,--I mix it all up
+     together, and maintain that nothing is like it, nothing equal to
+     it, no second Venice in the world.
+
+                    MRS. BROWNING, in the June of 1850.
+
+
+
+
+The first glimpse of enchanted Venice, as her towers and marble palaces
+rise wraith-like from the sea, is an experience that can never fade from
+memory. Like a mirage, like a vision invoked by some incantation or
+magician's spell, the scene prefigures itself, bringing a thrill of some
+vague and undefined memory, as if a breath floated by,--
+
+    "An odor from Dreamland sent,
+    That makes the ghost seem nigh me,
+      Of a splendor that came and went;
+    Of a life lived somewhere,--I know not
+      In what diviner sphere,--
+    Of memories that stay not and go not,"
+
+which eludes all translation into words. Nor does the spell dissolve and
+vanish when put to the test of one's actual sojourn in the Dream City.
+It is an experience outside the boundaries of the ordinary day and
+daylight world, as if one were caught up into the ethereal realm to find
+a city
+
+    "... of gliding and wide-wayed silence
+    With room in the streets for the soul."
+
+The sense of remoteness from common life could hardly be greater if one
+were suddenly swept away to some far star, blazing in the firmament; or
+if Charon had rowed him over the mystic river and he had entered the
+abodes of life on the plane beyond. Even the hotel becomes an enchanted
+palace whose salons, luxuriously decorated, open by long windows on
+marble balconies overhanging the Grand Canal. Dainty little tables piled
+with current reading matter, in French, English, and Italian, stand
+around; the writing-desks are sumptuous, filled with every convenience
+of stationery; and the matutinal coffee and rolls are served the guest
+in any idyllic niche wherein he chooses to ensconce himself, regardless
+of the regulation _salle-à-manger_. One looks across the Grand Canal to
+the beautiful Church of Santa Maria della Salute. The water plashes
+against the marble steps as gondolas glide past; the blue sky of Italy
+reflects itself in the waters below, until one feels as if he were
+floating in the air between sea and sky. In the heart of the city, with
+throngs of people moving to and fro, all is yet silence, save the cry of
+the gondolier, the confused echo of voices from the people who pass, and
+here and there the faint call of a bird. No whir and rush of electric
+cars and motors; no click of the horses' feet on the asphalt
+pavement--no pavement, indeed, and no horses, no twentieth-century rush
+of life. It is Venice, it is June, and the two combine to make an
+illuminated chapter. To live in Venice is like being domesticated in the
+heart of an opal. How wonderful it is to drift--a sky above and a sky
+below--on still waters at sunset, with the Dream City mirrored in the
+depths, every shade of gold and rose and amber mirrored back,--the very
+atmosphere a sea of color, recalling to one Ruskin's words that "none of
+us appreciate the nobleness and the sacredness of color. Of all God's
+gifts to man," he continues, "color is the holiest, the most divine,
+the most solemn. Color is the sacred and saving element." If the
+enthusiasm in these words savor of exaggeration, Venice is the place
+that will lure one to forgetfulness of it. One is simply conscious of
+being steeped in color and revelling in a strange loveliness. One no
+longer marvels at the glory of Tintoretto and Paolo Veronese. They but
+interpreted on canvas the shining reality. A charming writer on Venice
+has well said:--
+
+     "The aspects of Venice are as various, as manifold, as the hues
+     held in solution upon her waters beneath a sirocco sky. There is a
+     perpetual miracle of change; one day is not like another, one hour
+     varies from the next; there is no stable outline such as one finds
+     among the mountains, no permanent vista, as in a view across a
+     plain. The two great constituents of the Venetian landscape, the
+     sea and the sky, are precisely the two features in nature which
+     undergo most incessant change. The cloud-wreaths of this evening's
+     sunset will never be repeated again; the bold and buttressed piles
+     of those cloud-mountains will never be built again just so for us;
+     the grain of orange and crimson that stains the water before our
+     prow, we cannot be sure that we shall look upon its like again....
+     One day is less like another in Venice than anywhere else. The
+     revolution of the seasons will repeat certain effects; spring will
+     chill the waters to a cold, hard green; summer will spread its
+     breadth of golden light on palace front and water way; autumn will
+     come with its pearly-gray sirocco days, and sunsets flaming a
+     sombre death; the stars of a cloudless winter night, the whole vast
+     dome of heaven, will be reflected in the mirror of the still
+     lagoon. But in spite of this general order of the seasons, one day
+     is less like another in Venice than anywhere else; the lagoon wears
+     a different aspect each morning when you rise, the sky offers a
+     varied composition of cloud each evening as the sun sets. Words
+     cannot describe Venice, nor brush portray her ever-fleeting,
+     ever-varying charm. Venice is to be felt, not reproduced; to live
+     there is to live a poem, to be daily surfeited with a wealth of
+     beauty enough to madden an artist to despair."
+
+It was in the autumn of 1882 that the Rev. Dr. Phillips Brooks, later
+Bishop of Massachusetts, visited Venice and wrote of San Marco:--
+
+     "Strange how there is nothing like St. Mark's in Venice, nothing of
+     the same kind as the great church. It would have seemed as if,
+     standing here for so many centuries, and always profoundly loved
+     and honored, it would almost of necessity have influenced the minds
+     of the generations of architects, and shown its power in their
+     works. But there seems to be no sign of any such influence. It
+     stands alone."
+
+Dr. Brooks noted that Venice had "two aspects, one sensuous and
+self-indulgent, the other lofty, spiritual, and even severe. Both
+aspects," he continues, "are in its history and both are also in its
+art. Titian often represents the former. The loftier, nobler Tintoretto
+gives us the second. There is something in his greatest pictures, as,
+for instance, in the Crucifixion, at St. Rocco, which no other artist
+approaches. The lordly composition gives us an impression of
+intellectual grasp and vigor. The foreground group of prostrate women is
+full of a tenderness. The rich pearly light, which floods the centre,
+glows with a solemn picturesqueness, and the great Christ, who hangs
+like a benediction over the whole, is vocal with a piety which no other
+picture in the world displays. And the Presentation of the Virgin, in
+Santa Maria dell'Orto, is the consummate presentation of that beautiful
+subject, its beauty not lost in its majesty."
+
+Of other pictures Dr. Brooks said:--
+
+     "In the Academia there is the sunshine of three hundred years ago.
+     Paris Bordone's glowing picture of the Fisherman who brings the
+     Ring of St. Mark to the Doge, burned like a ray of sunlight on the
+     wall. Carpaccio's delightful story of St. Ursula brought the old
+     false standards of other days back to one's mind, but brought them
+     back lustrous with the splendor of summers that seemed forever
+     passed, but are perpetually here. Tintoretto's Adam and Eve was, as
+     it always is, the most delightful picture in the gallery, and
+     Pordenone's great St. Augustine seemed a very presence in the vast
+     illuminated room."
+
+Tennyson loved best, of all the pictures in Venice, a Bellini,--a
+beautiful work, in the Church of Il Redentore; and he was deeply
+impressed by the "Presentation of the Virgin," from Tintoretto, in the
+Church of the Madonna dell'Orto. "He was fascinated by St. Mark's,"
+writes the poet's son, "by the Doge's Palace and the Piazza, and by the
+blaze of color in water and sky. He climbed the Campanile, and walked to
+the library where he could scarcely tear himself away from the Grimani
+Breviary."
+
+Venice, though not containing any single gallery comparable with the
+Pitti and the Uffizi, is still singularly rich in treasures of art, and
+rich in legend and story. The school of encrusted architecture is
+nowhere so wonderfully represented as here, and it is only in this
+architecture that a perfect scheme of color decoration is possible. In
+all the world there is no such example of encrusted architecture as that
+revealed in St. Mark's. It is a gleaming mass of gold, opal, ruby, and
+pearl; with alabaster pillars carved in designs of palm and pomegranate
+and lily; with legions of sculptured angels looking down; with altars of
+gold ablaze with scarlet flowers and snowy lilies, while clouds of
+mystic incense fill the air. One most impressive place is the
+baptistery, where is the tomb of St. Mark and also that of the Doge
+Andrea Dandolo, who died at the age of forty-six, having been chosen
+Doge ten years before. His tomb is under a window in the baptistery, and
+the design is that of his statue in bronze, lying on a couch, while two
+angels at the head and the feet hold back the curtains.
+
+The sarcophagus that is said to contain the body of St. Mark is of the
+richest description, encrusted with gold and jewels on polished ebony
+and marble. There is a legend that after St. Mark had seen the people of
+Aguilia well grounded in religion he was called to Rome by St. Peter;
+but before setting off he took with him in a boat the holy Bishop
+Hennagoras and sailed to the marshes of Venice. The boat was driven by
+wind to a small island called Rialto, on which were some houses, and St.
+Mark was suddenly snatched into ecstasy and heard the voice of an angel
+saying, "Peace be to thee, Mark; here shall thy body rest."
+
+There is also a legend that in the great conflagration which destroyed
+Venice in 976 A.D., the body of St. Mark was lost and no one knew where
+to find it. Then the pious Doge and the people gave themselves to
+fasting and prayer, and assembled in the church, asking that the place
+be revealed them. It was on the 25th of June that the assemblage took
+place. Suddenly one of the pillars of the church trembled, and opened to
+disclose the sarcophagus,--a chest of bronze. The legend goes on to say
+that St. Mark stretched his hand out through the side and that a noble,
+Dolfini by name, drew a gold ring off the finger.
+
+The place where this miracle is said to have been wrought is now marked
+by the Altar of the Cross.
+
+Ruskin declares that "a complete understanding of the sanctity of color
+is the key to European art." Nowhere is this sanctity of color so felt
+as at San Marco. The church is like the temple of the New Jerusalem.
+
+The origin of Venice is steeped in sacred history. It is pre-eminently
+the city founded in religious enthusiasm. The chronicles of De Monici,
+written in 421, give this passage: "God, who punishes the sins of men by
+war, sorrow, and whose ways are past finding out, willing both to save
+the innocent blood, and that a great power, beneficial to the whole
+world, should arise in a place strange beyond belief, moved the chief
+men of the cities of the Venetian province both in memory of the past,
+and in dread of future distress, to establish states upon the nearer
+islands of the Adriatic, to which, in the last extremity, they might
+retreat for refuge.... They laid the foundation of the new city under
+good auspices on the island of the Rialto, the highest and nearest to
+the mouth of the Brenta, on March 25, 471."
+
+The first Doge of Venice was Paolo Lucio Anafesto, elected by the
+tribunal of commonalty, tribunals, and clergy, at Heraclea, in 697. The
+period of the subjection of the ecclesiastical to the ducal and
+patrician powers followed. The "Council of Ten" was established in 1335,
+and the last Doge elected was Lodovico Manin in 1789, who exclaimed,
+"_Tolè questo: no la doperò più_," as the French Revolution destroyed
+the Republic of Venice.
+
+The finest example of Renaissance architecture in Venice is that of the
+_Libreria Vecchia_, the work of Jacobo Sansovino, completed in the
+sixteenth century. Never were the creations of poet and philosopher more
+fittingly enshrined. The rich Doric frieze, the Ionic columns, the
+stately balustrade, with statues and obelisks, the resplendent richness
+of ornamentation, offer a majesty and beauty seldom found even in the
+best classical architecture of Europe. On the ceiling of one sala is a
+picture by Titian representing "Wisdom" as a woman, reclining on a
+cloud, her right hand outstretched to take a book that Genius is
+offering her. There are two beautiful caryatides by Vittoria and rich
+mural work by Battista Franco and De Moro.
+
+Petrarca, returning from his wanderings in 1362, pleaded with the Senate
+of Venezia to give him a house, in return for which he offered the
+inheritance of his library. This was the nucleus of the fine collection
+which since 1812 has been included in the Palace of the Doges. In it are
+some magnificent works by Paolo Veronese, one portrait by Tintoretto,
+and others by Salviati and Telotti.
+
+The Doge's Palace is a treasure house of history. One enters the Porta
+della Carta, which dates back to 1638, erected by Bartolomeo Buon. The
+portal is very rich in sculpture, and among the reliefs is a heroic one
+of Francesco Foscari, kneeling before the lion at St. Mark's. One
+recalls his tragic fate and passes on. Perhaps, _en passant_, one may
+say that his pilgrimage through Venice and Florence is so constantly in
+the scenes of tragedy that he is prone to sink almost into utter
+sadness, even, rather than seriousness. The air is full of ghosts. One
+feels the oppression of all the life that has there been lived, all the
+tragedies that have been enacted in these scenes.
+
+In Renaissance nothing more wonderful in Europe can be found than the
+court of the Palace of the Doges. Antonio Rizzo began the east façade of
+the building in 1480, and it was continued by Lombardo, and completed by
+Scarpagnino. "Words cannot be found to praise the beauty of these
+sculptures," says Salvatico, "as well as of the single ornaments of the
+walls and of the ogres which have been carved so delicately and richly
+that they cannot be excelled by the Roman antique friezes."
+
+By the golden staircase one goes to the council chambers,--the hall of
+the Senate, the Council of Ten, and the Council of Three. In the great
+council chamber is that most celebrated mural painting in the world,
+"The Glory of Venice," by Paolo Veronese, which covers the ceiling. In a
+frieze are the portraits of seventy-six of the Doges, but in one space
+is a black tablet only, with the inscription: "This in place of M. F.,
+who was executed for his crimes."
+
+The "Sala del Maggior Consiglio" (hall of the grand council) is very
+rich in paintings. Above the throne is Tintoretto's "The Glory of
+Paradise," and the walls are covered with battle pieces and symbolic and
+allegorical paintings. There is "Venice Crowned by Fame," by Paolo
+Veronese, "Doge Niccolò da Ponte Presenting the Senate and Envoys of
+Conquered Cities to Venice," by Tintoretto; "Venice Crowned by the
+Goddess of Victory," by Palma Giovane, and many another of the richest
+and most wonderful beauty.
+
+Descending into the prisons and dungeons brings one into a vivid
+realization of the grim history of which these were the scenes. The
+Bridge of Sighs has two covered passages, one for the political and one
+for the criminal prisoners. Here is shown a narrow ledge on which the
+condemned man stood, with a slanting stone passageway before him, which,
+when the guillotine had done its swift and deadly work, conveyed the
+crimson flood into the dark waters of the canal below, while the body
+was thrown in the water on the other side. There are the "Chambers of
+Lead," where prisoners were confined, intensely hot in the summer, and
+as intensely cold in the winter. Many of these dark, close, narrow
+cells--in which the one article of furniture allowed was the wooden
+slanting rack, that served as a bed--still remain. In many of these are
+inscriptions that were written by the prisoners. One reads (in
+translation): "May God protect me against him whom I trust; I will
+protect myself against him whom I do not trust."
+
+The murderer, Giovanni M. Borni, wrote in his cell: "G. M. B. was
+confined very unjustly in this prison; if God does not help it will be
+the last desolation of a poor, numerous, and honest family."
+
+All visitors to these gloomy dungeons recall the lines of Byron:--
+
+    "I stood in Venice on the Bridge of Sighs,
+    A palace and a prison on each hand."
+
+The piazza of St. Mark's is a distinctive feature, even in all Europe.
+It is not large; it is surrounded on three sides with shops, which are
+merely glittering bazaars of jewels and bric-a-brac; the sidewalk is
+blockaded with cafés _al fresco_, the ground is half covered with the
+dense flocks of white doves, but here all lingers and loiters. The
+façade of St. Mark's fills one end--a mass of gleaming color. At one
+corner is the tall clock tower (Torre dell'Orologio) in the Renaissance
+style of 1400, crowned with the gilded lion of St. Mark. On the festa
+days three figures, the Three Wise Men, preceded by an angel, come forth
+on the tower and bow before the Madonna, in a niche above,--a very
+ingenious piece of mechanism. With its rich architecture and sculptures
+and masses of color, the piazza of San Marco is really an open-air hall,
+where all the town congregates from morning till midnight.
+
+To study the art of the Venetian school is a work of months, and one
+that would richly repay the student. The churches and galleries of
+Venice give a truly unique opportunity. In the Church of San Sebastiano
+lies Paolo Veronese, the church in which he painted his celebrated
+frescoes, now transformed into a temple for himself. Here one finds his
+"Coronation of the Virgin," "The Virgin in the Gloria," "Adoration of
+the Magi," "Martyrdom of San Sebastian," and many others. In the Scuola
+di San Rocco are the great works of Tintoretto, "St. Magdalene in the
+Wilderness," the "Visitation," and the "Murder of the Innocents."
+
+In the San Maria dei Frari is the tomb of Titian,--an exquisite grouping
+of sculpture in Carrara marble, erected in 1878-80 by the command of the
+Emperor of Austria, the work of Zandomenighi. In this church is Titian's
+most famous painting, the "Madonna of the Pessaro," the work of which is
+probably, too, the greatest in all Venetian art. The Hall of Heaven is
+shown, supported by colossal columns. St. Peter, Francis, and Antoninus
+are commending the Pessaro family to the Virgin, who is enthroned on
+high. The beauty of line, the splendor of color, and the marvellous
+composition render this immortal masterpiece something whose sight marks
+an epoch in life. Canova's tomb in San Maria dei Frari is a wonderful
+thing. It is a pyramid of purest marble, with a door opening for the
+sarcophagus, above which is a portrait of Canova in relief, and on
+either side the door angels and symbolic figures are sculptured.
+
+The Church of Santa Maria della Salute, to which one is always
+returning, is a wonderful example of artistic architecture, as its snowy
+towers and dome seem to rise out of the water and float in the air.
+
+The fall of the Campanile in 1904 was regarded as a calamity by all the
+civilized world. For a thousand years it had stood at the side of St.
+Mark's; but the disaster aroused the attention of experts to the
+condition of the great cathedral itself, and it was found that the vast
+area of over fifty thousand square feet of matchless mosaic needed
+restoration in order that they should be preserved.
+
+The Palazzo Rezzonico, which dates to Clement XIII, usually known as the
+"Browning Palace," has been for many years one of the special interests
+to the visitor in Venice. In the early months of 1907 it passed out of
+the hands of Robert Barrett Browning, who had purchased it in 1888, and
+had held it sacredly, with its poetic and personal associations, since
+the death of his father, the poet, in 1889. To Mr. Barrett Browning is
+due the grateful appreciation of a multitude of tourists for his
+generous and never-failing courtesy in permitting them the privilege of
+visiting this palace in which his father had passed many months of
+enjoyment. It was from this residence that the poet Browning wrote, in
+October of 1880, to a friend:--
+
+     "Every morning at six I see the sun rise; far more wonderfully, to
+     my mind, than his famous setting which everybody glorifies. My
+     bedroom window commands a perfect view; the still, gray lagune, the
+     few sea-gulls flying, the islet of San Giorgio in deep shadow and
+     the clouds in a long purple rock behind which a sort of spirit of
+     rose burns up till presently all the rims are on fire with gold,
+     and last of all the orb sends before it a long column of its own
+     essence apparently; so my day begins."
+
+Later, of his son's palace, Mr. Browning wrote:--
+
+     "Have I told you that there is a chapel which he has restored in
+     honor of his mother--putting up there the inscription by
+     Tommaseo,[3] now above Casa Guidi in Florence?"
+
+
+In this palace Mr. Browning wrote some of his later poems, and it may
+well be that it was when he was clad in his singing robes that he
+perhaps most deeply felt the ineffable charm of Venice:--
+
+    "For the stars help me, and the sea bears part;
+      The very night is clinging
+    Closer to Venice' streets to leave one space
+      Above me...."
+
+It was from these lofty salons in the Browning Palace that the poet
+passed to the "life more abundant" on that December day of 1889, on the
+very day that his last volume, "Asolando," was published and also the
+last volume of Tennyson's. Regarding these Mr. Gladstone said, in a
+letter to Lord Tennyson: "The death of Browning on the day of the
+appearance of your volume, and we hear of one of his own, is a touching
+event."
+
+From the time of Mrs. Browning's death in Florence (in June of 1861) Mr.
+Browning never felt that he could see Italy again, until the autumn of
+1878, when he, with his sister, Miss Sarianna Browning, came to Venice
+by way of the Italian lakes and Verona. At this time they only remained
+for a fortnight, domiciled in the old Palazzo Brandolin-Rota, which was
+transformed into the Albergo dell'Universo. This palace was on the Grand
+Canal below the Accadémia, and here he returned through two or three
+subsequent years. Mr. Browning became very fond of Venice, and he
+explored its winding ways and gardens and knew it, not merely from the
+gondola view, but from the point of view of the curious little dark and
+narrow byways, the bridges, and the piazzas.
+
+It was in 1880 that Mr. Browning first met, through the kind offices of
+Mr. Story, a most charming and notable American lady, Mrs. Arthur
+Bronson (Katherine DeKay), who had domiciled herself in Casa Alvisi, an
+old palace on the Grand Canal opposite the Church of Santa Maria della
+Salute. She was a woman of very interesting personality, and had drawn
+about her a circle including many of the most distinguished people of
+her time, authors, artists, poets, and notable figures in the social
+world. She was eminently _simpatica_ and her lovely impulses of generous
+kindness were rendered possible to translate into the world of the
+actual by the freedom which a large fortune confers on its possessor.
+Between Mrs. Bronson and Mr. Browning there sprang up one of those rare
+and beautiful friendships that lasted during his lifetime, and to her
+appreciation and many courtesies he owed much of the happiness of his
+later years. In the autumn of 1880 Mrs. Bronson made Mr. Browning and
+his sister her guests, placing at their disposal a suite of rooms in the
+Palazzo Giustiniani Recanati--a palace adjoining her own--and each night
+they dined and passed the evening with her, with music and conversation
+to enchant the hours. After Mr. Browning's death, Mrs. Bronson was the
+friend whom all pilgrims to his shrine in Venice felt it a special
+privilege to meet and to hear speak of him. In her palace was a large
+easy-chair, with a ribbon tied across the arms, in which Browning was
+accustomed to sit, and which was held sacred to him. Mrs. Bronson was an
+accomplished linguist, and the _habitués_ of her salon represented many
+nationalities. Among these was the Princess Montenegro, the mother of
+the present Queen of Italy.
+
+It is little wonder that the Browning Palace was for so many years a
+focus for all who revered and loved the wedded poets, Robert and
+Elizabeth Barrett Browning.
+
+In the marble court, roofed only by the blue Venetian sky, stood Mr.
+Barrett Browning's statue of "Dryope" in bronze, on its marble
+pedestal,--a beautiful conception of the Dryope of Keats,--the dweller
+in forest solitudes whom the Hamadryads transformed into a poplar. Here
+a fountain makes music all day long, and the court is also adorned in
+summer by great Venetian jars of pink hydrangeas in full bloom. The
+grand staircase, with its carved balustrade and the wide landing where a
+rose window decorates the wall, leads to the lofty salons which were yet
+as homelike as they were artistic during the residence of the Brownings.
+Mr. Story's bust of Mrs. Browning, other portrait busts of both the
+poets, sculptured by their artist son, and by others, and other
+memorials abound. In the library were gathered many interesting volumes,
+autographed from their authors, and many rare and choice editions, among
+which was one of the "Sonnets from the Portuguese" in a sumptuous volume
+whose artistic beauty found a fitting setting to Mrs. Browning's
+immortal sonnets. Among other volumes were a collection of signed
+"Etchings" by Sir Laurence Alma-Tadema; presentation copies from
+Tennyson, Matthew Arnold, Aubrey De Vere, Walter Savage Landor, and many
+another known to fame; and a copy, also, of a study of Mrs. Browning's
+poetry[4] by an American writer.
+
+There is one memento over which the visitor always smiled--a souvenir of
+a London evening in 1855 when the Brownings had invited Dante Gabriel
+Rossetti and his brother and Lord Madox Brown to meet Tennyson and
+listen to his reading of his new poem, "Maud," then still unpublished.
+During the reading Rossetti drew a caricature representing Tennyson with
+his hair standing on end, his eyes glowering and his hand theatrically
+extended, as he held a manuscript inscribed,
+
+    "I hate the dreadful hollow behind the little wood."
+
+A reproduction of John Singer Sargent's painting, "The Gypsy Dance,"
+bore the inscription, "To _mon ami_, Browning." From the library is a
+niche, decorated in gold, with memorial entablatures to the memory of
+Mrs. Browning. On the outer wall of the palace is an inscription that
+runs:--
+
+     "Robert Browning died in this house 12th December, 1889.
+
+    "Open my heart and you will see
+    Graven inside it 'Italy.'"
+
+There is a sadness in the fact that this palace, consecrated to the
+memory of the immortal poets, husband and wife, has passed into the
+hands of strangers; but that is a part of the play in a world in which
+we have no continuing city. In the spring of 1905, Miss Sarianna
+Browning died in the home of her nephew, near Florence, and her body was
+buried in the new Protestant cemetery in that city; the old one, where
+all that was mortal of Elizabeth Barrett Browning was laid to rest,
+being now closed. Mr. Barrett Browning, in his Tuscan villa, is again
+dwelling near Florence, his native city, which must forever hold to him
+its atmosphere of consecrated beauty as the beloved home of his
+mother,--the noblest and greatest of all woman poets.
+
+The centenary of Carlo Goldoni was celebrated in Venice in the spring
+of 1907 by the publication of all his works and a monograph on his life;
+an exhibition of personal relics; the presentation of one of his dramas
+set to music by Baldassare Galuppi, the great Venetian composer of his
+time, and by a procession to lay a wreath of laurel on his monument in
+the Campo San Bartolommeo. The drama given, entitled the "Buranello,"
+was the last work of the author, and it was presented in the theatre
+Goldoni. The Municipal Council of Venice voted the sum of fifty thousand
+lire for the _édition de luxe_, which consists of twenty volumes, in
+octavo. In each volume is a different portrait of Goldoni, facsimile of
+manuscripts, and the reproduction of literary curiosities.
+
+The monograph of Goldoni was issued by the press of the Venetian
+Institute of Graphic Art in a limited number of copies.
+
+It contains more than three hundred printed pages and a series of very
+interesting illustrations. Among these are the reproductions of ancient
+engravings which are most rare (such as the view of the Grimani Theatre
+at San Giovanni Crisostomo, a famous theatre existing in the days of the
+Venetian republic, but now demolished), frontispieces of destroyed
+editions, and other personal memorials. The revival of the splendid work
+of the famous artist was one of the attractions of the festa of
+celebration. The art exhibition of Venice in this spring of 1907 was
+very picturesque. One special salon was allotted to the artists of Great
+Britain, and there was a fine loan collection of the portraits of
+English noblemen painted by Mr. Sargent. This salon was decorated with
+panels by Frank Brangwyn.
+
+Venice forever remains a dream, a mirage, an enchantment. Has it a
+recognized social life, with "seasons" that come and go? Has it trade,
+commerce, traffic? Has it any existence save on the artist's canvas, in
+the poet's vision? Has it a resident population to whom it is a home,
+and not the pilgrimage of passionate pilgrims?
+
+There are those who find this Venice of all the year round a society of
+stately nobles whose ancestral claims are identified with the history of
+the city and who are at home in its palaces and gondolas, but of this
+resident life the visitor is less aware than of that in any other city
+in Italy. For him it remains forever in his memory as the crowning
+glory of June evenings when the full, golden moon hangs over towers and
+walls, when gondolas freighted with Venetian singers loom up out of the
+shadows and fill the air with melody that echoes as in dreams, and that
+vanishes--one knows not when or where. Mr. Howells, in his delightful
+"Venetian Days," has interpreted much of that life that the tourist
+never recognizes, that eludes his sight; and the Dream City still, to
+the visitor who comes and goes, shrouds itself in myth and mystery. One
+of the poetic visions of Venice is that given in Robert Underwood
+Johnson's "Browning at Asolo" (inscribed to Mrs. Arthur Bronson), of
+which the opening stanzas run:--
+
+    "This is the loggia Browning loved,
+      High on the flank of the friendly town;
+    These are the hills that his keen eye roved,
+      The green like a cataract leaping down
+      To the plain that his pen gave new renown.
+
+    "There to the West what a range of blue!--
+    The very background Titian drew
+      To his peerless Loves. O tranquil scene!
+    Who than thy poet fondlier knew
+      The peaks and the shore and the lore between?
+
+    "See! yonder's his Venice--the valiant Spire,
+      Highest one of the perfect three,
+    Guarding the others: the Palace choir,
+    The Temple flashing with opal fire--
+      Bubble and foam of the sunlit sea."
+
+Edgar Fawcett, always enchanted with his Venetian days, pictures the
+northern lagoon, some six miles from Venice, as "a revel of pastoral
+greenness, with briery hedges, numberless wild flowers and the most
+captivating of sinuous creeks, overarched by an occasional bridge, so
+old that you greet with respect every moss-grown inch of its drowsy and
+sagging brickwork. The cathedral, the ineludible cathedral of all
+Italian settlements, is reached after a short ramble, and you enter it
+with mingled awe and amusement," he continues. "Some of its mosaics,
+representing martyrs being devoured by flames and evidently enjoying
+themselves a great deal during this mortuary process, challenge the
+disrespectful smile. But others are vested with a rude yet sacred
+poetry, and certain semi-Oriental marble sculptures, adjacent to the
+altar, would make an infidel feel like crossing himself for the crime of
+having yielded to a humorous twinge. This duomo dates far back beyond
+the Middle Ages, and so does the small Church of Santa Fosca, only a
+step away. What renders Torcello so individual among all the islands and
+islets of the lagoon, I should say, is her continual contrast between
+the ever-recurrent idyllicism of open meadows or wilding clusters of
+simple rustic thickets, and the enormous antiquity of these two hoary
+ecclesiastic fanes. History is in the air, and you feel that the very
+daisies you crush underfoot, the very copses from which you pluck a
+scented spray, have their delicate rustic ancestries, dating back to
+Attila, who is said once to have brought his destructive presence where
+now such sweet solemnity of desertion and quietude unmolestedly rules."
+
+History and legend and art and romance meet and mingle to create that
+indefinable sorcery of Venice. It is like nothing on earth except a
+poet's dream, and his poetic dream is of the ethereal realm. The
+wonderful music that floats over the "silver trail" of still waters; the
+mystic silences; the resplendence of color,--all, indeed, weave
+themselves into an incantation of the gods; it is the ineffable
+loveliness of Paradise where the rose of morning glows "and the June is
+always June," and it is no more earth, but a celestial atmosphere,--this
+glory of June in Venice.
+
+FOOTNOTES:
+
+[3] This inscription and a description in detail of all the memorials of
+Elizabeth Barrett Browning are given in full in a volume entitled "A
+Study of Elizabeth Barrett Browning." Boston: Little, Brown, & Co.
+
+[4] "A Study of Elizabeth Barrett Browning." Little, Brown, & Co.
+
+
+
+
+      _Dear Italy! The sound of thy soft name
+        Soothes me with balm of Memory and Hope.
+        Mine, for the moment, height and sweep and slope
+      That once were mine. Supreme is still the aim
+                    To flee the cold and gray
+                    Of our December day,
+    And rest where thy clear spirit burns with unconsuming flame._
+
+    _Thou human-hearted land, whose revels hold
+        Man in communion with the antique days,
+        And summon him from prosy greed to ways
+      Where Youth is beckoning to the Age of Gold;
+                    How thou dost hold him near
+                    And whisper in his ear
+      Of the lost Paradise that lies beyond the alluring haze!_
+
+                    ROBERT UNDERWOOD JOHNSON.
+
+
+
+
+     _Great ideas create great peoples. Let your life be the living
+     summary of one sole organic idea. Enlarge the horizon of the
+     peoples. Liberate their conscience from the materialism by which it
+     is weighed down. Set a vast mission before them. Rebaptize them._
+
+                    MAZZINI.
+
+
+     _All parts array for the progress of souls: all religion, all solid
+     things, arts, governments,--all that was or is apparent upon this
+     globe, or any globe, falls into niches and comes before the
+     procession of Souls along the grand roads of the universe.... Of
+     the progress of the souls of men and women along the grand roads of
+     the universe, all other progress is the needed emblem and
+     sustenance._
+
+                    WALT WHITMAN.
+
+
+
+
+VII
+
+THE MAGIC LAND
+
+     More than five hundred years have passed over the country of Dante
+     since the death of his mortal part--years of glory and of shame, of
+     genius and intolerable mediocrity, of turbulent liberty and mortal
+     servitude; but the name of Dante has remained, and the severe image
+     of the poet still rules the destinies of Italian generations, now
+     an encouragement and now a reproach. The splendor of no other
+     genius has been able to eclipse or dim the grandeur of Dante; never
+     has there been a darkness so profound that it could conceal this
+     star of promise from Italian eyes; neither the profanations of
+     tyrants and Jesuits, nor the violations of foreign invaders, have
+     been able to efface it. "_Sanctum Poetæ nomen quod nunquam
+     barbaries violavit._"
+
+                    MAZZINI.
+
+
+The true life of Italy is not read in any record of contemporary facts
+or statistics. Mazzini once said of Dante, in an essay on the immortal
+poet, that "the life, the true life of Dante does not lie in the series
+of the material facts of his existence. The life of Dante consists in
+the sufferings and aspirations of his soul; in its dominant impulses; in
+the ceaseless development of the idea which was at once his guide,
+inspiration, and consolation; in his belief as a man and as an Italian."
+The real life of Italy is, by analogy, to be read in that atmosphere
+of aspiration and of noble purpose which characterizes the nation rather
+than in the material facts of its general progress at the present time.
+As a country Italy is young. It is still less than forty years since her
+unity was declared, and to merge the large number of separate States
+into one harmonious whole is a task requiring the evolutionary progress
+of time; for a nation, like a university, cannot be a matter of
+instantaneous creation. It must germinate and grow. The country that,
+previous to so comparatively a recent date as the year 1870, was, in the
+phrasing of Prince Metternich, "a geographical expression," can hardly
+be judged by present national standards after an existence of only
+thirty-seven years, although it need be said in no spirit of apology;
+for Italy is advancing in scientific development, in manufactures, and
+in the problems involved in civil and hydraulic engineering to a notable
+degree in the northern part. Milan and Naples are separated by far more
+than geographical distance. In modern progress Milan is divided by
+centuries from all Southern Italy.
+
+Between Italy and the United States the _entente cordiale_ is not
+merely that of diplomatic and ceremonial courtesy, but of an exceptional
+degree of mutually sympathetic comprehensions. In noble ambitions and
+lofty purposes Americans and Italians are closely akin. In zeal for
+contemporary scientific progress, in an intense susceptibility to the
+glories of art, and in hospitality to all that makes for progress, both
+nations meet in mutual recognition. Of no people is it more deeply true
+than of Americans that "each man has two countries: his own and Italy."
+The average traveller sees this fair land with a breadth and
+thoroughness seldom called into requisition elsewhere. In England he is
+usually content with London, the tour of the cathedral towns and the
+lake region of the poets. France is summed up to him in Paris and in the
+chateaux of outlying districts. But Italy beguiles the traveller into
+every lonely foot-trail in the mountains; to every "piazza grande" of
+lonely hamlets, isolated on a rocky hillside; to every "fortezza" that
+crowns a mountain summit. The unexplored byways of Italy are magnetic in
+their fascination, and one special source of congratulation on the part
+of those fortunate tourists who travel with their own motor car is that
+they are thus enabled to penetrate into untrodden byways in Italy in a
+manner impossible to those who must depend entirely on the regulation
+railroad service. All lovers of Italy are devoted to these original
+tours of private exploration. A recent trip to Saracinesco, in the
+region of Tivoli, was made by Mrs. Stetson (Grace Ellery Channing) with
+her husband, and in a descriptive record of the little journey into an
+unfrequented mountain region this paragraph occurs:--
+
+     "Roused by 'an awful rose of dawn' which turned every solemn slope
+     to strange amber and amethyst, we left that rocky eyrie next day,
+     returning by way of Anticoli--beloved of artists. And if the ascent
+     had qualified us for Alpine climbers, the descent qualified us as
+     members of the Italian cavalry corps. Pictures of officers riding
+     down the face of cliffs will never impress us again; we know now it
+     is the very simplest of 'stunts.' Our way down was diversified by
+     the tinkling of thousands of sheep-bells, by the far too close
+     proximity of bulls to Maria's crimson headdress, which nothing in
+     the world would induce her to remove, and by sundry meetings with
+     relations, long-unseen friends, and strangers, from whom we culled
+     the whole register of deaths, births, marriages, and happenings for
+     a month past. At last, beside a little bridge near the railroad
+     station, Leonardo addressed his ten-thousandth adjuration to
+     Beppino, whose poor little legs trembled under him. It was no
+     longer, 'Ah, sacred one!--don't you see Anticoli!'--or 'the rock,'
+     or whatever it might be; now he said, 'Ah, sacred one!--don't you
+     comprehend?--the Signora descends'--and Beppino looked distinctly
+     pleased.
+
+     "Here we demanded the reckoning, skilfully evaded hitherto.
+
+     "'Well--a franc for each beast,--and half a franc for the
+     room,--the rest was nothing--a _sciocchezza_.'
+
+     "A franc apiece!--half a franc!--were _we_ brigands that we should
+     do this thing?"
+
+This typical picture of idyllic days in Italy, enjoyed in the impromptu
+excursion and trip, reveals the delicacy of feeling and the sunny
+kindness that characterize the _contadini_ and which imparts to any
+social contact with them a grace and sweetness peculiar to Italian
+life. There are parts of Italy where it is still the Middle Ages and no
+hint of the twentieth century has yet penetrated. The modern spirit has
+almost taken possession of Rome; it is largely in evidence in Florence
+and even Venice, and it dominates Milan; but in most of the "hill towns"
+and in the little hamlets and lonely haunts where a house is perhaps
+improvised out of the primeval rock, the prevailing life is still
+mediæval, and only awakens on festa days into any semblance of activity.
+
+Somewhere, away up in the hills, several miles from Pegli,--on the
+Mediterranean coast near Genoa,--is one of these sequestered little hill
+towns called _Acqua Sacra_. The name is obvious, indeed, for the sound
+of the "sacred water" fills the air, falling from every hillside and
+from the fountain of the _acqua sacra_ by the church. Pilgrims come from
+miles around to drink of these waters. Each house in this remote little
+hamlet is of solid stone, resembling a fortress on a small scale, and
+the houses cling to the hillsides like mosses to a rock. Though far up
+in the mountains, the hills rise around the hamlet like city walls,
+as if the life of all the world were kept outside. The unforeseen visit
+to these remote hamlets, suddenly chancing upon some small centre of
+happy and half-idyllic life, is one of the charms of tourist travel in
+this land of ineffable loveliness.
+
+  [Illustration: RUINS OF THE GREEK THEATRE, TAORMINA, SICILY
+                 _Page 429_]
+
+The approach to Italy, by whatever direction, by land or by sea, one
+enters, is one of magical beauty. Whether one enters from the
+Mediterranean or from the Adriatic, or by means of the Mont Cenis, the
+Simplon, or the St. Gothard pass, through the sublime mountain wall,
+each gateway is marvellous in attraction. Approaching from the seas that
+completely surround Italy except on one side, the almost undreamed-of
+splendor of Naples, Genoa, and Venice, as seen from off the shore,
+exceeds all power of painter or poet to reproduce. The precipitous coast
+of Sicily; the picturesque city of Palermo; the wonderful ruins of the
+Greek theatre on the heights in Taormina,--all enchant the tourist. To
+anchor off Naples, in the beautiful bay, serves the purpose of an hotel
+out at sea. It is like living in Venice--only more so! By the little
+rowboats one may go, at any moment, to Naples, and it is more delightful
+than passing the days in the city itself. For at night as one strolls
+or sits on deck what a picture is before the eye! All Naples, on her
+semicircular shores, with her terraced heights rising above, defined in
+a blaze of electric lights! Genoa, _la Superba_, is still more
+magnificent when seen from the sea; and Venice, rising dream-enchanted,
+completes the wonders of the approach by water.
+
+As the new Italy has not yet achieved any homogeneous unity, Naples,
+Rome, Florence, Venice, and Milan differ in their characteristics to
+such a degree that no general interpretation of the residents of any one
+would appropriately describe those of another. Paris and Vienna hardly
+differ as much as do Milan and Rome; and Venice, Florence, and Rome,
+each rich in art treasures, have little else in common. Certain
+characteristics of each of the large cities reveal themselves
+prominently, even to a superficial observer. Milan, as has been said, is
+a centre of activity, as Florence is of culture and accomplishments.
+Florence has the largest and the most choice circulating library in all
+Italy and one that ranks among the best on the Continent. Her galleries
+are treasure stores of art, and her social life is unsurpassed--one
+might almost say unrivalled--in its fine quality. Music, philosophic
+culture, learning in all lines of research characterize Florentine
+society. Education has always been regarded in Florence as a matter of
+prime importance, and when the government grant of funds is insufficient
+the sum is made up by private contributions, so that the _Scuola del
+Popolo_ gives free instruction, yearly, to eighteen hundred pupils, in
+every branch of technical and art education. This fact alone offers its
+own explanation of that general intelligence of the people which so
+impresses the visitor in Florence. But this is a municipal rather than
+national fact. Every special development in any direction in Italy will
+always be found to be the characteristic of the city or locality, not of
+the country as a whole; and thus the unity of Italy is still a political
+expression rather than a political fact. It is a theory which is not yet
+developed into an experience. Italy is in the making. Practically, she
+is the youngest of countries, with less than forty years of experimental
+attempt at _national_ life behind her. Not until 1919 will she have
+attained the first half century of her united life. Educational
+facilities, inclusive of schools, libraries, and museums; railroads,
+telegraph and telephone service, electric lighting and electric
+trams,--all the ways and means of the modern mechanism of life are,
+inevitably, in a nebulous state in Italy. The political situation is
+extremely interesting at the present time. That the "Blacks" and the
+"Whites" are diametrically opposed to each other is in the nature of
+history rather than that of contemporary record or of prophecy; and that
+this is a traditional attitude in this city of the Cæsars is not a fact
+by any means unknown; but the situation is complicated by the third
+party--the Socialists--who, by allying themselves with either, would
+easily turn the scales and command the situation. If they were ardent
+Catholics and were advocates of the Papal supremacy, the temporal power
+of the Pope would be restored in less time almost than could be
+recorded, and Pius X would be in residence in the Palazzo Quirinale
+rather than Victor Emanuele III. But this great modern uprising in
+Italy--a movement that is gathering force and numbers so rapidly that no
+one can venture to prophesy results even in the comparatively immediate
+future--this great modern movement is neither for church nor state. The
+Socialist uprising is very strong in Milan and through Northern Italy.
+It is much in evidence in the Umbrian region--in Foligno, Spoleto,
+Nervi, and those towns; and from Frascati to Genzano and in the Lake
+Nemi chain of villages--Rocca di Papa, Castel Gandolpho, Ariccia,
+Albano--these villages within some fifteen miles of Rome. In these there
+is a veritable stronghold of Socialism, where its purposes and policy
+are entrenched. Yet when one alludes to its policy, the term is rather
+too definite. If it had a settled and well-formulated policy on which
+all its adherents were in absolute accord they would carry all before
+them. But Socialism is still a very elastic term and covers, if not a
+multitude of sins, at least a multitude of ideas and ideals. There is
+now a rumor that the situation is forcing the absolutely inconceivable
+union of church and state--of the Vatican and the Quirinale--that they
+may thus withstand their common foe. A more amazing and extraordinary
+turn of affairs could not be imagined; and if the rumor (which is now
+becoming more coherent in Rome) should prove to be the forerunner of
+any truth, the situation will be one of the most amazing in all history.
+
+  [Illustration: PONTE VECCHIO, FLORENCE
+                 _Page 430_]
+
+Epoch-making events in the course of progress are always preceded by
+circumstances that form to them a natural approach and chain of
+causation. They are the results of which the causes stretch backward in
+the past. One of the things that has an incalculably determining
+influence on the present situation is that of the character of the
+present Pope. His Holiness, Pius X, brings to the Papacy an entirely new
+element. He is no ascetic or exclusive ecclesiastic; he is no diplomat
+or intriguant, but rather a simple, kindly man, of a simplicity totally
+unprecedented in the annals of the Palazzo Vaticano. Instead of clinging
+with unswerving intensity of devotion to the idea of the restoration of
+the temporal power of the church, Pope Pius X would not be disinclined
+to the uniting of church and state as in England; the Vatican to remain,
+like the See of Canterbury, the acknowledged head of the spiritual
+power, while the Quirinale remained the head of the government to which
+the church should give its political adherence, the Quirinale in return
+giving to the Vatican its religious adherence. Perhaps it is not too
+much to say that something not unlike this might easily become--if it is
+not already--the dream of Pius X. But in the mean time there is another
+factor with which to reckon, and that is the present Papal Secretary of
+State, Cardinal Merry del Val. He it is who really holds the mystic key
+of St. Peter's. He is a diplomatist, an ecclesiastic, an embodiment of
+all that is severe and archaic in authority. The Pope is by no means
+able to set his course by his own watch-lights. The College of Cardinals
+surrounds him, and the College of Cardinals is practically one Cardinal,
+the keen scholar and the all determining Cardinal Merry del Val, whose
+personality dominates the court of the Vatican. This remarkable prelate
+represents the most advanced and progressive thought of the day in many
+ways,--as has been noted in preceding pages,--but as a Jesuit he is
+unalterably devoted to what he considers the only ideal,--the
+restoration of the temporal power of the Pope. Spain revealed her
+attitude when King Alphonso asked of all the monarchs of Europe that the
+name of each should be borne by his infant son, the heir-apparent; and
+for Italy he asked the name of the Pope and not of the King, thus
+recognizing Pius X rather than Victor Emmanuel III as the head of the
+nation.
+
+That the Socialists have very logical and serious grounds for complaint
+is true. That their leader, Signor Enrico Ferri, an Italian journalist
+and a Senator, is one of the most able men in Italy since the time of
+Cavour is equally undeniable. The Socialists are fortunate, too, in
+other leading men. Turati, the editor of the _Critica Sociale_,
+Pantaleoni, Colajanni, and others are absolutely the hope of Italy at
+the present time in the struggle for better conditions. For the
+conditions of life in Italy, as regards taxation, the problems of
+transit, the government restrictions on agricultural production and on
+manufactures, are absolutely intolerable and should not be endured for a
+day. The taxation is so exorbitant that it is a marvel Italy is not
+depopulated. On land the tax rate is from thirty to fifty per cent; the
+income tax is not merely, as one would suppose, levied on a legitimate
+income derived from a man's possessions, but is levied on salaries,
+ranging from ten to twenty per cent of these, and also, not content with
+this unheard-of extortion, the tax is levied on the nature and source
+of his salary, and even the smallest wage is thus subject to an income
+tax. Again, there is a most absurd tax on salt, which, like sugar and
+tobacco, is held as a government monopoly. No poor person living on the
+seacoast in Italy is allowed to take even a pail of water from the sea
+to his house, as the government assumes that, by evaporation, it might
+yield a few grains of salt. The tax on sugar effectually checks an
+industry that might be made most profitable, that of putting up fruit in
+jams, jellies, and compote, and renders the price of these commodities
+absurdly high. Again, when taxes are paid the process is even worse than
+the unjust and exorbitant tax itself. No one is allowed to send a check
+or postal order; no tax gatherer calls at the home or the office. Each
+person must go himself or send a personal representative to a given
+place between certain hours. Here stand a long procession, each person
+in town going up, filling out pages of written formalities; talking of
+each item and discussing it according to the national custom, until the
+office hours are over for that day, and often not one-fourth of the
+persons waiting have been served. All then must take their chances the
+next day, and perhaps even a third or a fourth day,--a loss of time and
+energy that in no other country would be tolerated for a moment. But
+time has not yet any recognizable value in Italy. Every enterprise and
+manufacture is taxed in Italy, and as the returns of these are
+inevitably revealed so that no evasion is possible, and as the exactions
+of the government consume nearly all the profits, the result is that all
+business enterprises are discouraged and that Italy swarms with a great
+idle population, while nearly all articles and supplies are imported
+from other countries, with the payment of enormous duties, making their
+cost far greater, proportionately, than their value.
+
+There are great tracts of country in Southern Italy suitable for tobacco
+raising, but (as it is one of the government monopolies) people are
+forbidden to raise it; and in private gardens only three plants are
+permitted. Again, all industries are crippled, if not paralyzed, by the
+tax at the frontier, and also by the tax at every gate of every city. At
+every _porta_ in Rome are stationed government officers who scrutinize
+every box, basket, and package; and all fruit, eggs, garden stuff,
+milk, and commodities of every kind are taxed as they are brought inside
+the walls.
+
+The railroads of Italy are, at present, very poor in all facilities of
+transit. Within a year the Italian government has "taken over" these
+roads and better conditions are promised, which are, alas! not yet in
+sight. There are many "counts" to the indictment against the Italian
+railroads which are only suitable to adorn the very lowest circles of
+the Inferno described by Dante. They are uncleanly; the roadbeds are so
+rough that the miserably built compartments jolt and jostle over the
+tracks; the seats are so high that the feet can hardly touch the floor,
+and the facilities for light and air are as badly managed as is possible
+to conceive. As is well known, these are divided into first, second, and
+third class, these compartments all being in the same train, and between
+the first and second there is little difference save that of price.
+Curiously, the price of even second-class travelling in Italy is over
+half a cent a mile higher than that of the splendid trains in America,
+with their swift time, their smooth roadbeds, their admirable
+conveniences in every way. Again, no luggage is carried free, and the
+prices asked for it are extortionate beyond words. One may check all his
+impedimenta from San Francisco to New York without extra charge; but in
+going from Rome to Naples, or from Florence to Genoa to sail, the same
+luggage will cost from six to eight dollars to convey it to the steamer.
+Again, these railroads pay their employés so poorly that only the most
+inefficient service can be retained at all; only those persons who are
+the absolute prisoners of poverty will consent to accept such meagrely
+paid service.
+
+The Italian government consists, like that of most countries, of an
+upper and lower house, the Senate and the House of Deputies. But the
+former is rather a matter of miscellaneous honors than one of political
+initiative. There is no limit to the number of Senators; they are
+created by being named by the King, and the office is for life. If a man
+attracts the favorable notice of the King,--because he is a good artist,
+engineer, archæologist, chemist, or financier,--presto, he is liable to
+be made a Senator. Canova, the celebrated sculptor, was made a Senator
+because, indeed, he was a great artist! There is one condition,
+however, that a Senator must be one who pays annually not less than
+three thousand lire in taxes. The Senators receive no salary, and their
+times of meeting are uncertain and no man's presence is obligatory. The
+House of Deputies has five hundred and eight members, all of whom must
+be Italian subjects over thirty years of age. They have no salary, but
+are given the entire freedom of the realm in all transit on railroads
+and steamers. The Chamber of Deputies is largely made up of professional
+men, and it is little wonder that the Socialists are demanding an entire
+reform in the government of the country. There was never in any country
+more defective conditions than now prevail in Italy. The very fact that
+the young King is an estimable gentleman, who is personally not in the
+least to blame for the prevailing status of unfortunate conditions, is
+in one way an added misfortune, as the personal loyalty he justly
+inspires militates by so much against the revolution in government which
+is so deeply a necessity of Italy before her better and more prosperous
+life can begin. It is now a country of stagnation. All Southern and
+Central Italy simply lives off its tourists; and every year prices and
+fees and extortion in general from the visitors to Italy become greater.
+
+Senator Enrico Ferri, the leader of Socialism in Italy, was born in 1856
+in Mantua. He had a university education, was admitted to the bar, and
+in 1881 was called to the chair of penal law in the University of
+Bologna. The Senator is a scientific Socialist,--a man of the most
+exceptional gifts and qualities, and the author of a noted work,
+entitled "Criminal Sociology," which is translated into several
+languages. Senators Ferri and Lombroso are special friends and also
+co-workers.
+
+On taking his seat in the University of Bologna, Professor Ferri
+delivered a lecture, entitled "New Horizons in Penal Law," which was a
+most impressive effort. In it he said:--
+
+     "It was in this inaugural discourse that I affirmed the existence
+     of the positivist school of criminal law, and assigned to it these
+     two fundamental rules: First, while the classical schools of
+     criminal law have always studied the crime and neglected the
+     criminal, the object of the positivist school was, in the first
+     place, to study the criminal, so that, instead of the crime being
+     regarded merely as a juridical fact, it must be studied with the
+     aid of biology, of psychology, and of criminal statistics as a
+     natural and social fact, transforming the old criminal law into a
+     criminal sociology. Secondly, while the classical schools, since
+     Beccaria and Howard, have fulfilled the historic mission of
+     decreasing the punishments as a reaction from the severity of the
+     mediæval laws, the object of the positivist school is to decrease
+     the offence by investigating its natural and social causes in order
+     to apply social remedies more efficacious and more humane than the
+     penal counteraction, always slow in its effects, especially in its
+     cellular system, which I have called one of the aberrations of the
+     nineteenth century."
+
+Such is the man to whom it is no extravagance to allude as one of the
+present leaders of progress in Italy. He is in the early prime of mature
+life; he is a man of education, culture, great original gifts, and of
+sympathies with humanity as wise and judicious as they are liberal and
+all-embracing. Scientific Socialism tolerates no lawlessness, no
+violence, nor does it, like the so-called Christian Socialism, attempt
+to graft impossible conditions on society. It regards the laws of
+economics, and it is practicable and possible as well as considerate and
+just. And the great inspirer, proclaimer, and leader of scientific
+Socialism is Enrico Ferri.
+
+Italy not only inspires the enthusiasm of the lover of beauty in nature
+and art, she inspires a vital and abiding interest in all that shall
+make for her true progress, and she inspires, as well, absolute faith in
+her ultimate future. At present her monarchy is among the most liberal
+and progressive of Europe. King Victor Emmanuel is a man of integrity,
+of intelligence, and of devotion to the best interests of his country as
+he understands these interests to be. If they might be better served by
+a more democratic form of government, it is hardly to be asked or
+expected that such a view should present itself to an hereditary
+monarch. Among the most liberal element there are not wanting men who
+believe that for the immediate future the present form of government is
+the most feasible. In their conviction Italy is by no means prepared to
+be a republic. The masses of the people are uneducated; and a great
+work, requiring time, must be effected in the popularization of
+intelligence and of instruction, before democratic government could be
+adopted. Yet there is no faltering in the outlook on a glorious future.
+The noble words of Mazzini still ring in the Italian air: "Walk in
+faith, and fear not. Believe, and you will conquer." By way of enforcing
+his convictions Mazzini said:--
+
+     "Upon a day in the sixteenth century, at Rome, some men bearing the
+     title of _Inquisitors_, who assumed to derive wisdom and authority
+     from God himself, were assembled to decree the immobility of the
+     earth. A prisoner stood before them. His brow was illumined by
+     genius. He had outstripped time and mankind, and revealed the
+     secret of a world.
+
+     "It was Galileo.
+
+     "The old man shook his bold and venerable head. His soul revolted
+     against the absurd violence of those who sought to force him to
+     deny the truths revealed to him by God. But his pristine energy was
+     worn down by long suffering and sorrow; the monkish menace crushed
+     him. He strove to submit. He raised his hand, he too, to declare
+     the immobility of the earth. But as he raised his hand, he raised
+     his weary eyes to that heaven they had searched throughout long
+     nights to read thereon one line of the universal law; they
+     encountered a ray of that sun which he so well knew motionless amid
+     the moving spheres. Remorse entered his heart: an involuntary cry
+     burst from the believer's soul: _Eppur si muove!_ and yet it moves.
+
+     "Three centuries have passed away.
+     Inquisitors,--inquisition,--absurd theses imposed by force,--all
+     these have disappeared. Naught remains but the well-established
+     movement of the earth, and the sublime cry of Galileo floating
+     above the ages.
+
+     "Child of Humanity, raise thy brow to the sun of God, and read upon
+     the heavens: _It moves._ Faith and action! The future is ours."
+
+"Poetry," added Mazzini, "will teach the young the nobleness of
+sacrifice, of constancy, and silence; of feeling one's self alone
+without despairing, in an existence of suffering unknown or
+misunderstood; in long years of bitterness, wounds, and delusion,
+endured without murmur or lament; it will teach them to have faith in
+things to come, and to labor unceasingly to hasten their coming, even
+though without hope of living to witness their triumph;" and his final
+word in this great invocation to the new potencies of the opening future
+is an exhortation to believe in all greatness and goodness. "Faith," he
+said, "which is intellect, energy, and love, will put an end to the
+discords existing in a society which has neither church nor leaders;
+which invokes a new world, but forgets to ask its secret, its Word, from
+God." In universal education must lie the first national aid to the
+development of Italy. "_L'anima del gran mondo è l'allegria._"
+
+As Florence is pre-eminently the city of culture, so is Milan of
+activities. Her keynote is _modernité_. The visitor is at once impressed
+by her energy, her enterprise, and her commercial prosperity. Milan has
+the best municipal facilities and conveniences in all Italy. The
+electric lighting of streets, public buildings, and residences, the
+street transit, the arrangement and conduct of shops and all industrial
+matters, are in such contrast to any other city in Italy as to lead the
+sojourner to ask himself whether he can still be on the southern side of
+the Alpine range. In the Galleria Vittorio Emanuele Milan has the most
+wonderful structure in all Europe. This arcade was built in 1865, and
+under the magnificent glass dome it includes nearly one hundred of the
+most attractive and well-stocked shops, bazaars, and establishments. The
+dome is decorated with frescoes and caryatides, and with the statues of
+numbers of eminent men, among whom are Dante, Raphael, Savonarola, and
+Cavour. The offices and banks in Milan are centres of incessant energy.
+
+For all this stress of activity the visitor does not, however, forget
+the art features; the visit to the antique Church of St. Ambrosio; to
+the old convent where Leonardo da Vinci's celebrated fresco, "The Last
+Supper," is to be seen, though so faded that it is now difficult to
+discern all the figures. Nor does he fail to climb the wonderful
+cathedral that lifts its airy grace, as if about to float upward in the
+skies. Every flight of the steps, in the ascent, brings one to a new
+vision of beauty. On the roof of this cathedral one wanders as in a very
+forest of sculpture. Its scheme of decoration includes more than two
+thousand statues, two of which are by Canova. From the summit, when the
+air is clear, there are beautiful views of the Alps.
+
+To the savant and scholar the Ambrosian library in Milan is one of the
+special treasures of Europe. It contains some of the most rare and
+valuable manuscripts in the entire world,--some of Virgil's with
+annotations from Petrarcha; a manuscript of Dante's; drawings by
+Leonardo da Vinci, and other interesting matters of which no other
+copies exist.
+
+The Magic Land is seen under its most bewitching spell in the region of
+the Italian lakes. The palace of Isola Bella; the charming gardens; the
+lake of Como, green-walled in hills whose luxuriant foliage and bloom
+form a framework for the white villas that cluster on their terraced
+slopes,--all form a very fairyland of ethereal, rose-embowered beauty.
+At night the lakes are a strange, unreal world of silver lights and
+shadows.
+
+The completion of the Simplon tunnel has opened between Italy and Paris
+a route not only offering swifter facilities for transit, but adding
+another to the regions of beauty. This route has also still further
+increased the commercial importance of Milan, the portal and metropolis
+of Northern Italy. Milan has become the national centre of all
+scientific and technical pursuits, and it is fairly the Mecca for young
+men of Central and Southern Italy who are entering into the professions,
+or into civil and electrical engineering and other of the technical arts
+and industries.
+
+Bologna, with her historic University, with the long covered arcades of
+the streets, the fountain, which is the work of Giovanni di Bologna, and
+the gallery where many of Guido's best works are placed, has its
+individual interest for the tourist; and Verona, Pavia, Modena, Parma,
+and Turin all repay a visit from the leisurely saunterer in Italy.
+
+Pisa offers to the visitor four interesting architectural monuments in
+the Duomo, the Baptistery, the Leaning Tower, and the Campo Santo, all
+of which are unique. The cathedral has unique designs in its black and
+white marbles that render it almost as much an object of artistic study
+as is the cathedral in Siena. The view from the summit of the Leaning
+Tower reveals the Mediterranean six miles in the distance, gleaming like
+a sea of silver. The Campo Santo dates from the thirteenth century,
+when the earth of which it is composed was brought (in 1228) from the
+holy places in Jerusalem, conveyed to the city (then a seaport) by fifty
+galleys sent out by the Republic of Pisa. The interior walls of the
+Campo Santo are covered with fresco paintings by Orcagna which are one
+of the artistic spectacles of the country in their extravagant portrayal
+of theological beliefs, so realistically presented in their dramatic
+scenes from Paradise and from Hades, as to leave nothing to the
+imagination. The fantasies in this emblematic sculpture of memorial
+monuments over a period of seven hundred years can be seen in the Campo
+Santo of Pisa,--a strange and often a most grotesque medley.
+
+Genoa is well named La Superba. Her thoroughfares are streets of
+palaces. Her terraced gardens and villas, reached by the subterranean
+funicular street railway, are regions of unique and incomparable beauty,
+with the blue Mediterranean at their feet. Genoa is the paradise for
+walking. The streets are largely inaccessible to carriages, but the
+admirable street electric railway penetrates every locality. It passes
+in dark tunnels under the hills, reappears on the high terraces, and
+climbs every height. From the crest of one of these Corsica can often be
+seen. All the hill-slopes are a dream of pictorial grandeur, with their
+terraces, their palaces, their sculpture, fountains, and flowers. On the
+summit of almost every hill there is a fortress, and often ramparts
+which are silhouetted, in dark masses, against the sky. Orange groves
+abound on the terraces, often showing the golden fruit, buds, and
+blossoms all at the same time.
+
+Genoa is fairly a metropolis of sculpture. The great families have
+themselves perpetuated in portrait statues rather than in painted
+portraits. In one of the grand ducal palaces in the Via Balbi the
+visitor may see, not only the life-size statues and the busts of the
+family ancestry, but one group comprising nine figures, where three
+generations are represented, in both sitting and standing poses,
+ingeniously combined.
+
+The churches of Genoa are among the richest in Europe. That of the
+Annunziata, the special monument of the Lomellini family, glitters and
+gleams with its gold ceilings and rich frescoes. The cathedral has the
+special allurement of the emerald dish which King Solomon received as
+a gift from the Queen of Sheba. The little "street of the jewellers" is
+an alluring place,--so narrow that one can almost stand in the centre of
+the road and touch the shop windows on either hand, and these windows
+dazzle the eye with their fascinating glitter of gold and silver
+filigree work and their rich jewels.
+
+  [Illustration: CAMPO SANTO, GENOA
+                 _Page 453_]
+
+Beyond all other curious excursions that even a Magic Land can offer is
+that to the Campo Santo of Genoa. A cloistered promenade encloses a
+square, and above are terraced colonnades, each and all revealing
+statues, and monuments, and groups of sculpture whose varied beauty,
+oddity, or bizarre effects are a curious study. Some memorials--as one
+of an angel with outstretched wings; another of a flight of angels
+bearing the soul away; another combining the figure of Christ with the
+cross, and angels hovering near--are full of beauty. Others are a marvel
+of ingenious and incongruous combination. One of the latter represents
+the man whose memory it commemorates as lying on his bed in his last
+illness; the physician stands by, his fingers on the patient's pulse;
+on the opposite side a maid is approaching with a dish holding some
+article of food, and near the physician are grouped the wife, with a
+little child clinging to her skirts; the son, holding his hat with both
+hands and looking down on it, and the daughter, a young girl, with her
+eyes raised to heaven. Each of these figures is in life size; the bed is
+reproduced in marble, with the pillows and all the coverings in the most
+absolute realism, and the entire effect is so startling in its bizarre
+aspect that one could hardly believe in its existence until by personal
+observation he had verified so singular a monument.
+
+Yet there is beauty and symbolic loveliness, too, in many of the
+memorial sculptures of this Campo Santo, and turning away from this
+cemetery in which lies the body of the noble Mazzini, one hears on the
+air the refrain of his words on Dante:--
+
+     "It appeared to him of more importance to hasten to accomplish his
+     mission upon earth, than to meditate upon the inevitable hour which
+     marks for all men the beginning of a new task. And if at times he
+     speaks of weariness of life, it is only because he sees evil more
+     and more triumphant in the places where his mission was appointed.
+     He concerned himself, not about the length or the shortness of
+     life, but about the end for which life was given; for he felt God
+     in life, and knew the creative virtue there is in action."
+
+Eighty thousand people followed Mazzini to his tomb, and his name lives
+in the Italy of to-day as one to be associated with that of Dante as
+prophet and inspirer.
+
+The enchantment of approaching Genoa from the sea at night is an
+experience to remain as one of the pictorial treasures of memory. The
+magnificent _lanterna_, the lighthouse with its revolving light, that
+can be seen for fifty miles out from the coast; the brilliant
+illumination defining the _fortezza_ on the summit of one hill; the
+curving lights of the terraced residential district and the illumination
+of the very forest of shipping clustered in the bay,--all combine into a
+scene not easily effaced from the memories of foreign scenes.
+
+It is only in close relations with Italian literature that Italy can be
+adequately enjoyed and that the sojourner may enter into sympathetic
+associations with contemporary Italian life. Dr. Richard Garnett
+believes that the literature of Italy "is a less exhaustive
+manifestation than elsewhere of the intellect of the nation," and that
+"the best energies of the country are employed in artistic production.
+It is, indeed, remarkable," he continues, "that out of the nine Italians
+most brilliantly conspicuous in the first rank of genius and
+achievement,--Aquinas, Dante, Columbus, Leonardo, Michael Angelo,
+Raphael, Titian, Galileo, Napoleon,--only one should have been a man of
+letters."
+
+Contemporary Italian literature follows the trend of the day in
+reflecting the life of the people. The novels of Fogazzaro, the poems of
+Carducci, the biography and history written by Villari, to say nothing
+of several other writers who, while not approaching these authors, have
+still a definite place in the literature of the present, offer
+illumination on the outer scenery of life, and offer interpretation of
+the life itself. Art has declined; literature has advanced in Italy,
+even within the past decade. The law of progress is as inevitable as is
+the law of gravitation.
+
+    "Onward the chariot of the Unvarying moves;
+      Nor day divulges him nor night conceals;
+    Thou hear'st the echo of unreturning hooves,
+      And thunder of irrevocable wheels."
+
+The future of Italy inspires faith in the renewal of its noblest ideals
+of achievement. Its ineffable beauty is a heritage of joy to every
+visitor who comes under the indescribable spell of its attraction and
+finds that, in all the panorama of foreign life which haunts his memory,
+it is Italy which shines resplendent as the Magic Land!
+
+
+
+
+INDEX
+
+
+  Accademia des Arcades, Rome, 334.
+
+  Accadémia di San Luca, oldest art school, 44;
+    location of, 45;
+    galleries of, 46, 47, 48.
+
+  Acqua Sacra, 428.
+
+  Akers, Paul, in Rome, 10;
+    early death of, 53;
+    work of, 54, 55;
+    quoted, 56;
+    Hawthorne's estimate of, 57.
+
+  Aldrich, Thomas Bailey, quoted, 387.
+
+  Allen, Elizabeth Akers, quoted, 53.
+
+  Amalfi, 253-257;
+    destruction of, 258, 259.
+
+  Ambrosian library, Milan, 449.
+
+  American Academy, Rome, 214.
+
+  American Embassy, Rome, location of, 153;
+    ball at, 164-167;
+    receptions at, 169.
+
+  Anderson, Hendrick Christian, in Rome, 10.
+
+  Angelo, Michael, work of, 22, 23, 312;
+    message of, 117;
+    friendship with Vittoria Colonna, 290;
+    Longfellow's poem on, 308-310;
+    art of, 313, 314;
+    quoted, 314, 316, 317, 318, 323;
+    gift to Vittoria Colonna, 318;
+    meeting with Francesco d'Ollanda, 322, 323, 324;
+    Walter Pater's estimate of, 327, 328, 329.
+
+  Annunziata Cathedral, Genoa, 452.
+
+  Aquinas, Thomas, birthplace of, 276;
+    tomb of, 331;
+    monastery of, 333.
+
+  Aquinum, 277.
+
+  "Arcadians," meetings of, 150.
+
+  Ariosto, 306.
+
+  Art, as leader of popular taste, 115;
+    inspired by religious ideals, 116;
+    Renaissance in, 117;
+    national importance of, 117;
+    ignored, 118;
+    relation to ugliness, 119;
+    falseness of, 121;
+    influence on life, 122;
+    united with religion, 123.
+
+  Assisi, pilgrimage to, 341, 344;
+    founding of, 345;
+    points of interest in, 345, 346;
+    Canon Knox Little's description of, 348;
+    as a shrine, 385.
+
+  Assisi, Bishop of, 354, 364.
+
+  Assisi, St. Francis of, 123, 124;
+    message of, 342;
+    birthplace of, 345;
+    impress of, 347;
+    parents of, 348, 349;
+    early life of, 350;
+    legends regarding, 351;
+    quoted, 352, 354, 356;
+    supreme aim of, 353;
+    Rule of, 353, 354;
+    prayer of, 356;
+    character of, 357;
+    incident in early life of, 360;
+    first ministry of, 363;
+    first disciple of, 364;
+    at the Portiuncula, 365;
+    friendship with Clara, 365, 367, 368;
+    legends regarding, 370;
+    death of, 372;
+    miracles of, 375;
+    tomb of, 378.
+
+
+  Bagot, Richard, in Rome, 11, 13.
+
+  Baia, 241.
+
+  Baldwin, Rev. Dr., in Rome, 10, 171.
+
+  Ball, Thomas, work of, 52.
+
+  Balzac, quoted, 120.
+
+  Barberini, Cardinal, 72.
+
+  Baths of Caracalla, 139.
+
+  Baths of Diocletian, 184.
+
+  Bell, John, grave of, 216.
+
+  Bembo, Cardinal, 306.
+
+  Benedictines, 354, 365.
+
+  Benton, Dwight, grave of, 221;
+    estimate of, 221.
+
+  Bernardino of Siena, 382, 383;
+    quoted, 383.
+
+  Bernini, Lorenzo, work of, 22.
+
+  Besant, Mrs. Annie, 174.
+
+  Biblioteca Sarti, 48.
+
+  "Blacks," 145, 146.
+
+  Bologna, 450.
+
+  Bonaparte, Princess Christina, death of, 203.
+
+  Boni, Commendatore, opinion of, 244.
+
+  Boni, Giovanni M., 403.
+
+  Bronson, Mrs. Arthur, 409, 410.
+
+  Brooks, Rev. Phillips, in Rome, 15;
+    quoted, 16, 39, 388, 394, 395.
+
+  Brownell, W. C., quoted, 96.
+
+  Browning, Elizabeth B., in Rome, 11;
+    quoted, 60, 114, 125, 389;
+    death of, 80, 408;
+    meeting with Mrs. Bronson, 410, 411.
+
+  Browning Palace, 406, 410, 411, 412, 413.
+
+  Browning, Robert, quoted, 3, 407, 408;
+    in Rome, 11, 70;
+    in Venice, 406;
+    death of, 408.
+
+  Browning, Miss Sarianna, 408, 413.
+
+  Buono, 236.
+
+  Byron, Lord, in Rome, 22;
+    quoted, 22, 403.
+
+
+  Campagna, 73, 205.
+
+  Campanile, fall of, 406.
+
+  Campo Verano, 76.
+
+  Campo Santo of Pisa, 450, 451, 453.
+
+  Campidoglio, buildings on, 25.
+
+  Campriani, 237.
+
+  Canova, in Rome, 7;
+    his genius, 33;
+    masterpiece of, 42;
+    realism of, 118.
+
+  Capella Sistina, 27.
+
+  Capo Miseno, 241.
+
+  Capri, island of, 262, 263, 264;
+    roses of, 266.
+
+  Capuano, Cardinal, legends of, 256.
+
+  Capuccini, convent of, 255.
+
+  Carducci, 143.
+
+  Carter, Professor Jesse Benedict, in Rome, 169.
+
+  Carter, Mrs. Jesse Benedict, 34, 37, 169.
+
+  Casa Buonarroti, 312.
+
+  Casino Borghese, 185.
+
+  Castel d'Ischia, 292, 293, 294.
+
+  Castellammare, 250.
+
+  Castle Gandolfo, 286.
+
+  Castiglione, 306.
+
+  Cecioni's "La Madre," 121.
+
+  Cestius, Caius, tomb of, 215.
+
+  Channing, Grace Ellery, 10, 91.
+
+  Chapel of Holy Sacrament, 202.
+
+  Chateaubriand, in Rome, 21;
+    quoted, 21.
+
+  Cicero's villa, remains of, 207.
+
+  Cimabue, 376, 378.
+
+  Cole, Thomas, in Rome, 9.
+
+  Coleman, Charles Caryl, home of, 263.
+
+  College of Cardinals, 435.
+
+  Colonna, Fabrizio, 290.
+
+  Colonna family, 285, 288, 289, 306, 307.
+
+  Colonna palace and gardens, 131.
+
+  Colonna, Vittoria, home of, 282;
+    quoted, 283, 303;
+    parents of, 285;
+    early childhood of, 286, 288;
+    horoscope of, 289;
+    destiny of, 290;
+    betrothal of, 290;
+    marriage of, 294, 295;
+    early married life of, 295, 296;
+    quoted, 297, 298, 300, 303, 305, 319, 320, 321;
+    in Pope Leo's court, 302;
+    her husband's death, 302;
+    removal of, 304;
+    fame of, 306;
+    return to Rome of, 307;
+    Longfellow's picture of, 308, 309, 310, 325, 326, 327;
+    travels of, 308, 311;
+    her influence with Michael Angelo, 313;
+    life in Rome and Orvieto, 314;
+    receives letters and sonnet from Michael Angelo, 317;
+    receives present from Michael Angelo, 318;
+    arranges meeting of Michael Angelo and Francesco d'Ollanda,
+        322, 323, 324;
+    Walter Pater's comments on, 328;
+    death of, 329;
+    last prayer of, 330;
+    burial of, 331;
+    tomb of, 332;
+    bust of, 334;
+    fame of, 335, 336;
+    Margaret J. Preston's poem on, 337.
+
+  Condivi, quoted, 313.
+
+  Contarini, Cardinal, 306.
+
+  Corsini chapel, 152.
+
+  Crawford, Marion, in Rome, 11, 13.
+
+  Crawford, Thomas, in Rome, 49;
+    career of, 51;
+    poem on, 52.
+
+  Crow, Hon. Wayman, 61.
+
+  Cumæ, 241.
+
+  Cumæan Sibyl, 242.
+
+
+  da Bisticci, Vespasiano, 383.
+
+  Dalbano, Edoardo, 236.
+
+  Dana, Richard Henry, 219.
+
+  Dante, quoted, 267-270;
+    Mazzini's estimate of, 454.
+
+  d'Avalos, Donna Constanza, 291.
+
+  d'Avalos, Francesco, 290, 294, 295.
+
+  De Castro, Consul General, in Rome, 169.
+
+  Decline of art, 31.
+
+  d'Ollanda, Francesco, 322-324.
+
+  del Val, Cardinal Merry, 146-149, 435.
+
+  del Vasto, Marchese, 299.
+
+  De Monici, chronicles of, 398.
+
+  de Staël, Mme., in Rome, 11, 22.
+
+  Dietsch, C. Percival, in Rome, 10.
+
+  di Francavilla, Duchess, 291-293.
+
+  di Mercanti, Pica, 349, 350.
+
+  di Mercanti, Pietro Bernardone, 348, 349.
+
+  di Pescara, Marchesa, 296, 298, 299, 300, 301, 302, 306, 311, 312,
+      322, 331, 332, 335.
+
+  di Pescara, Marchese, 292, 296, 299, 300, 301, 302, 303, 304, 331,
+      332.
+
+  Doges, Palace of, 400-403.
+
+  Dolce, Ludovico, 306.
+
+  Don Erasmo Gattola, 273.
+
+  Duca de Torlonia, family of, 205.
+
+  Duff, Lina Gordon, quoted, 374.
+
+  Dupaty, quoted, 16.
+
+  Duran, M. Carolus, in Rome, 166, 167.
+
+
+  Elena, Queen, 140, 142, 179.
+
+  Eliot, George, quoted, 252.
+
+  Emerson, Mary Moody, letters to, 12.
+
+  Emerson, Ralph Waldo, in Rome, 12;
+    quoted, 85.
+
+  Emmons, Miss Elise, in Rome, 167.
+
+  Esposito, 237.
+
+  Ezekiel, Moses, in Rome, 10;
+    studios of, 97.
+
+
+  Fawcett, Edgar, quoted, 417.
+
+  Ferrara, Duca and Duchessa of, 311.
+
+  Ferri, Signor Enrico, 436, 442;
+    quoted, 442.
+
+  Festus, quoted, 30.
+
+  Field, Kate, in Rome, 12.
+
+  Florence, culture of, 430, 431.
+
+  Fra Ambrosia, 322.
+
+  Franciscan, 367.
+
+  Frascati, visited, 205.
+
+
+  Galileo, in Rome, 139, 445.
+
+  Galleria Vittorio Emanuele, 448.
+
+  Garibaldi, villa of, 239.
+
+  Garnett, Dr. Richard, quoted, 456.
+
+  Genoa, 430;
+    features of, 451;
+    as a metropolis of sculpture, 452;
+    churches of, 452;
+    enchantment of, 455.
+
+  Ghiberto, Bishop, 311.
+
+  Gibson, John, in Rome, 10, 36;
+    quoted, 34, 37, 59;
+    grave of, 221.
+
+  Giotto, 376, 377, 379.
+
+  Giovio, Paolo, 306.
+
+  Gladstone, in Rome, 11.
+
+  Goethe, in Rome, 11, 20;
+    quoted, 20.
+
+  Goethe, August, grave of, 216.
+
+  Goldoni, Carlo, centenary of, 413;
+    memorial of, 414.
+
+  Good Friday, service in Rome, 200, 201.
+
+  Greenough, Horatio, in Rome, 10;
+    work of, 49;
+    death, 50.
+
+  Greenough, Mrs. Horatio, 335.
+
+  Greenough, Richard, in Rome, 10, 58;
+    grave of, 217.
+
+  Greenough, Sarah B., tomb of, 218.
+
+  Grotto de Matrimonia, 263.
+
+  Grotto Ferrata, 209.
+
+  Guili, Commendatore Conte, 214.
+
+  Guthers, Carl, work of, 236.
+
+
+  Hare, Augustus William, grave of, 221.
+
+  Hawthorne, Nathaniel, quoted, 45, 57, 67, 195.
+
+  Healy, Mr., in Rome, 19.
+
+  Herculaneum, 242;
+    excavations in, 244;
+    Professor Spinazzola on, 242, 243;
+    destruction of, 244;
+    theatre in, 247.
+
+  Hillard, George Stillman, in Rome, 12;
+    quoted, 23, 24, 51, 230, 248.
+
+  Holy Week, in Rome, 200.
+
+  Hosmer, Harriet, in Rome, 10, 59, 60, 61;
+    work of, 62.
+
+  Howe, Dr. Samuel Gridley, in Rome, 12.
+
+  Howe, Julia Ward, in Rome, 12.
+
+  Howells, William Dean, in Rome, 13, 416.
+
+  Howitt, William and Mary, graves of, 216.
+
+  Hugo, Victor, 41.
+
+
+  Ischia, 281;
+    romantic impressions of, 282;
+    home of Vittoria Colonna, 282;
+    the d'Avalos castle in, 291;
+    as an enchanted island, 296;
+    Vittoria's return to, 299, 305.
+
+  Italy, land of romance and song, 6;
+    Mazzini's opinion of, 65;
+    true life of, 423;
+    as a youthful country, 424;
+    relation with United States, 425;
+    traveller in, 425;
+    picture of idyllic days in, 427;
+    approach to, 429;
+    cities of, 429, 430;
+    in the making, 431;
+    politics of, 432;
+    Socialistic uprising in, 433;
+    taxation in, 436-438;
+    railroads in, 439, 440;
+    government of, 440, 441;
+    future of, 444, 457;
+    lakes of, 449;
+    contemporary literature of, 456.
+
+
+  James, Henry, in Rome, 11, 13.
+
+  Jameson, Mrs., in Rome, 67;
+    quoted, 193.
+
+  Johnson, Robert Underwood, quoted, 416, 421.
+
+  Juvenal, birthplace of, 277.
+
+
+  Keats, in Rome, 11, 132;
+    memorial, 133;
+    grave of, 216.
+
+  Kemble, Adelaide, in Rome, 68.
+
+  Kemble, Fanny, in Rome, 68.
+
+  Keynote of life, 359.
+
+  Khayyam, Omar, quoted, 1, 94.
+
+
+  Lacus Avernus, 240.
+
+  Lanciani, Professor, lectures by, 138, 139;
+    opinion of, 244, 333.
+
+  Leaning Tower of Pisa, 450.
+
+  Libraries of Rome, 214, 223.
+
+  Lister, Mrs., in Rome, 172.
+
+  Liszt, Abbé, in Rome, 18, 19.
+
+  Little, Canon Knox, quoted, 347, 348, 376, 377, 380.
+
+  Lodge, Sir Oliver, quoted, 120.
+
+  Longfellow, Henry Wadsworth, in Rome, 12;
+    quoted, 16, 17, 125, 253, 274, 279, 281, 308, 309, 310, 325, 327, 387.
+
+  Longfellow, Rev. Samuel, quoted, 18.
+
+  Lowell, James Russell, in Rome, 12.
+
+  Ludovisi collection, 185.
+
+  Luther, in Rome, 80;
+    ascent of the Scala Santa, 156.
+
+
+  Margherita, Queen Mother, 140, 141;
+    palace of, 142;
+    quoted, 143;
+    relations with artists, 144;
+    at requiem mass, 179.
+
+  Marino, 286, 287.
+
+  Mazzini, 191, 192; quoted, 64, 422, 423, 444, 446;
+    works of, 190, 191;
+    estimate of, 191;
+    tomb of, 454.
+
+  Mead, Larkin G., in Rome, 10;
+    work of, 53.
+
+  Mediæval Museum of Rome, 139.
+
+  Meredith, Owen, quoted, 2.
+
+  Metella, Cecilia, tomb of, 145.
+
+  Milan, activity of, 430, 447;
+    structures of, 448;
+    Ambrosian library of, 449;
+    as scientific centre, 450.
+
+  Mills, Clark, in Rome, 10.
+
+  Milton, in Rome, 11, 19.
+
+  Misenus, burial place of, 241.
+
+  Monte Aquino, 276.
+
+  Monte Cairo, 277.
+
+  Monte Cassino, 304.
+
+  Monte Catria, 348.
+
+  Monte Mario, 21, 133.
+
+  Monte Pincio, 188.
+
+  Monte San Mano, 304.
+
+  Morelli, Domenico, work of, 234, 235.
+
+  Moulton, Louise Chandler, in Rome, 13;
+    quoted, 13, 14, 95, 267, 340.
+
+  Myers, Frederick W. H., memorial tablet to, 220.
+
+
+  Naples, described, 227-231;
+    University of, 232;
+    Museum, 233;
+    natural attractions of, 237;
+    hotels of, 238;
+    Bay of, 265.
+
+  Nardi, Monsignore, in Rome, 18.
+
+  Nero's tomb, 78, 80.
+
+  Nisida, island of, 240.
+
+  Norton, Charles Eliot, quoted, 267.
+
+
+  Obelisk in Piazza del Popolo, 77.
+
+  Oldest art school, 44.
+
+  Oliphant, Mrs., quoted, 357, 368.
+
+  Orvieto, 314.
+
+  Osso, Professor Dall', opinion of, 244.
+
+  Oxenham, Rev. Dr. and Mrs. Nutcombe, in Rome, 171.
+
+
+  Pæstum, 260, 261.
+
+  Page de Conti, 337.
+
+  Page, William, in Rome, 66.
+
+  Palatine Hill, 13, 112.
+
+  Palazzo Barberini, 72, 90.
+
+  Palazzo Bernini, 32.
+
+  Palazzo Bonaparte, 203.
+
+  Palazzo Brandolin-Rota, 409.
+
+  Palazzo Cesarini, 314, 329.
+
+  Palazzo del Drago, 163, 164.
+
+  Palazzo di Capodimonte, 233.
+
+  Palazzo di Donna Ana, 239.
+
+  Palazzo Margherita, 142.
+
+  Palazzo Municipio, 384.
+
+  Palazzo Quirinale, 142, 143, 432.
+
+  Palazzo Rezzonico, 406.
+
+  Palazzo Senni, 172.
+
+  Palazzo Tamagno, 104.
+
+  Palazzo Vaticano, 27.
+
+  Pantheon, 177;
+    ceremonies at, 179.
+
+  Papal supremacy, 432.
+
+  Parsons, Thomas William, quoted, 52, 276.
+
+  Pater, Walter, quoted, 327, 328.
+
+  Perugia, town of, 381-384.
+
+  Perugino, 384.
+
+  Petrarcha, 258, 259, 400.
+
+  Phlegræan Plain, 240.
+
+  Piazza Barberini, 18.
+
+  Piazza del Popolo, 76, 80, 134.
+
+  Piazza di Spagna, 70, 133, 146.
+
+  Piazza di Trinità, 133.
+
+  Piazza San Giovanni, 151.
+
+  Pietro da Cortona, work of, 194.
+
+  Pisa, architectural monuments of, 450.
+
+  Pistolesi, quoted, 43.
+
+  Pliny, the Younger, quoted, 244.
+
+  Poe, quoted, 136.
+
+  Pompeii, 243, 245, 248.
+
+  Pope Adrian, 302.
+
+  Pope Clement XII, tomb of, 152.
+
+  Pope Julius II, 23, 27, 28.
+
+  Pope Leo XII, 302.
+
+  Pope Leo XIII, tomb of, 154.
+
+  Pope Paschal, dream of, 157.
+
+  Pope Paul III, 313.
+
+  Pope Pio Nono, 64, 75.
+
+  Pope Pius X, 145, 147;
+    "passage" of, 196, 197;
+    ceremonial receptions of, 146;
+    residence of, 432;
+    character of, 434;
+    dream of, 435.
+
+  Portiuncula, 365, 366.
+
+  Posilipo, 239.
+
+  Powers, Hiram, in Rome, 10;
+    America's first sculptor, 49;
+    work, 50.
+
+  Pratello, 237.
+
+  Preston, Margaret J., quoted, 280, 337.
+
+  Principessa d'Antuni, 163, 164.
+
+
+  Quattro Fontane, Via delle, 72.
+
+
+  Raphael, work of, 22, 46, 47, 79;
+    genius of, 26;
+    masterpieces of, 27;
+    Franklin Simmons, opinion of, 29;
+    inspiration of, 30;
+    decline of art after, 31.
+
+  Ravello, Cathedral at, 260.
+
+  Ravenna, battle of, 296.
+
+  Read, Thomas Buchanan, in Rome, 67.
+
+  Realism, kinds of, 118.
+
+  _Regina Madre_, 140, 142.
+
+  Regio Palazzo del Quirinale, 143, 144.
+
+  Reid, Hon. Whitelaw, 105.
+
+  Reinhart, William, in Rome, 10.
+
+  Religion united with art, 123.
+
+  Renaissance in Italy, 117.
+
+  Richmond, Celia, 341.
+
+  Rocca di Papa, 287.
+
+  Rogers, Randolph, in Rome, 10;
+    early death of, 53.
+
+  Roman environment, 93.
+
+  Rome, features of, 1;
+    as artistic centre, 6, 10, 114;
+    under Pontifical régime, 8;
+    Longfellow's love for, 16;
+    Goethe's impressions of, 20;
+    work of Michael Angelo and Raphael in, 22;
+    oldest art school of, 44;
+    latter-day artists in, 49;
+    Brownings in, 67;
+    social life in, 113, 127;
+    new bridge of, 128;
+    in May, 129;
+    in winter, 129, 130;
+    in spring, 130, 132;
+    festas in, 136;
+    discussed by Professor Lanciani, 138;
+    society in, 140, 141, 170;
+    two courts of, 142;
+    modern features of, 145;
+    enchanting views in, 151;
+    poetic symbolism in, 158-160;
+    of the present day, breakfast-table talk in, 162;
+    American Embassy in, 163;
+    elevator service in, 164;
+    American consulate in, 169;
+    delightful hostesses in, 171, 172;
+    attitude toward modern thought in, 173;
+    Theosophical Society of, 173, 174;
+    demand for apartments in, 175;
+    sight-seeing in, 183;
+    great palaces in, 187;
+    famous drive of, 188;
+    birthday celebrations of, 189;
+    Republic of, 190;
+    rich years to artists in, 192, 193;
+    Papal ceremonies in, 195;
+    curious spectacle in, 198;
+    Holy Week in, 200;
+    Good Friday service in, 200, 201;
+    motoring from, 204, 205;
+    outlying towns of, 207;
+    American Academy in, 214;
+    libraries of, 214;
+    Protestant cemetery of, 215;
+    literature of, 223;
+    modern spirit in, 428.
+
+  Rosa, Salvator, 234.
+
+  Rosenkrans, Baroness, 173.
+
+  Rota, 329.
+
+  Ruskin, in Rome, 12;
+    quoted, 398.
+
+
+  Sabatier, Paul, quoted, 362, 365.
+
+  Sallust, Gardens of, 140.
+
+  Salvatico, quoted, 401.
+
+  San Agostino, church of, 198.
+
+  San Caterina di Viterbo, 314.
+
+  San Francesco, church of, 345.
+
+  San Giovanni, 153.
+
+  San Marco, 394.
+
+  San Maria della Pace, 27.
+
+  San Maria dei Frari, 405.
+
+  San Silvestre, 32.
+
+  Sansovino, Jacob, work of, 399.
+
+  Santa Anna, convent of, 314.
+
+  Santa Chiara (Clara), 365;
+    takes vows, 366, 367;
+    founds convent, 368;
+    family history of, 368;
+    friendship with St. Francis of Assisi, 368;
+    at death of Francis, 372;
+    personality of, 373;
+    preservation of body of, 374.
+
+  Santa Domenica Maggiore, church of, 303, 331, 333.
+
+  Santa Maria Degli Angeli, 345, 365, 380.
+
+  Santa Maria del Popolo, 78-80.
+
+  Santa Maria della Salute, 405.
+
+  Santa Monica, tomb of, 199.
+
+  Scala di Spagna, 72.
+
+  Scala Santa, 155;
+    Luther's ascent of, 156.
+
+  Scifi, Count Favorini, 368.
+
+  Scott, Sir Walter, in Rome, 20.
+
+  Sejanus, fall of, 263.
+
+  Sermoneta, Duke of, in Rome, 18.
+
+  Severn, Joseph, grave of, 216.
+
+  Shelley, in Rome, 22;
+    memorial, 133;
+    quoted, 215;
+    grave of, 216.
+
+  Simmons, Franklin, in Rome, 10, 15, 91, 98;
+    quoted, 29;
+    works of, 98-112;
+    early life, 100;
+    degrees conferred upon, 103;
+    marriage of, 103;
+    latest success of, 107;
+    studios of, 112;
+    realism of, 119;
+    beautiful creation of, 121;
+    grave of, 217.
+
+  Simmons, Mrs. Franklin, in Rome, 104;
+    death of, 112;
+    estimate of, 112;
+    grave of, 218.
+
+  Sindoni, Turillo, 144.
+
+  Sistine Chapel, art in, 177.
+
+  Sorrento, 251, 252.
+
+  Spearman, Frank Hamilton, in Rome, 167;
+    work of, 168.
+
+  Spinazzola, Professor, quoted, 242, 243.
+
+  St. Ambrosio, church of, 448.
+
+  St. Andrew, 256.
+
+  St. Benedict, work of, 270, 271;
+    tomb of, 272;
+    chapel of, 350.
+
+  St. Damian, chapel of, 356.
+
+  St. Gaudens, Augustus, in Rome, 10.
+
+  St. Gregory, feast of, 180.
+
+  St. Maria della Portiuncula, 351.
+
+  St. Mark's, Venice, 396, 397, 404.
+
+  St. Mark, tomb of, 397;
+    legend regarding, 397.
+
+  St. Paola d'Orvieto, 314.
+
+  Stebbins, Emma, in Rome, 58.
+
+  Stetson, Charles Walker, in Rome, 10, 91;
+    work of, 113.
+
+  Stetson, Mrs. Charles Walker, in Rome, 11;
+    quoted, 426.
+
+  Stillman, Mr., quoted, 39.
+
+  Story, Julian, in Rome, 91;
+    studio of, 97.
+
+  Story, Waldo, in Rome, 91;
+    studio of, 97;
+    works of, 98.
+
+  Story, William Wetmore, in Rome, 10;
+    first visit to Italy of, 62;
+    in Florence, 65;
+    quoted, 70, 80, 89, 90, 286;
+    in Palazzo Barberini, Rome, 71;
+    works of, 81-86;
+    estimate of, 82-90;
+    literary work of, 90;
+    grave of, 217.
+
+  Stowe, Harriet Beecher, in Rome, 11.
+
+  Strada Nuova di Posilipo, 239.
+
+  Symonds, John Addington, grave of, 220;
+    estimate of, 220;
+    quoted, 261, 264, 315, 316.
+
+
+  Tasso, 252, 253, 335.
+
+  Tennyson's choice of pictures in Venice, 395.
+
+  Thackeray, in Rome, 69.
+
+  Theocritus, quoted, 85.
+
+  Theosophical Society of Rome, 173.
+
+  Thomas, Edith, quoted, 82.
+
+  Thompson, Launt, in Rome, 10.
+
+  Thorwaldsen, in Rome, 7, 10;
+    quoted, 35;
+    realism of, 119.
+
+  Tiberius, summer palace of, 262;
+    baths of, 263.
+
+  Tilton, J. Rollin, in Rome, 10;
+    grave of, 219.
+
+  Titian, tomb of, 405.
+
+  Torlonia, Duca and Duchessa of, 334.
+
+  Trelawney, grave of, 216.
+
+  Trinità di Monti, church of, 133.
+
+  Tusculum, 207.
+
+
+  Umberto, King, 142.
+
+  Umbrians, 345.
+
+  Urbino, 285.
+
+
+  Vanderlyn, in Rome, 10.
+
+  Vaughn, Monsignor, 181.
+
+  Vatican, galleries of, 112.
+
+  Vatican palace, 196, 198.
+
+  Vedder, Anita, in Rome, 171.
+
+  Vedder, Elihu, in Rome, 10;
+    art of, 91-95;
+    appreciation of, 96;
+    works of, 96, 97;
+    country house of, 262.
+
+  Vedder, Mrs. Elihu, in Rome, 170.
+
+  Venice, first glimpses of, 389;
+    Grand Canal of, 390;
+    in June, 391;
+    color and loveliness of, 392;
+    art of, 395, 396;
+    origin of, 398;
+    first Doge of, 399;
+    Renaissance architecture in, 399;
+    Doge's Palace, 400-404;
+    art in, 404;
+    fall of Campanile in, 406;
+    Browning Palace in, 408-413;
+    centenary of Carlo Goldoni celebrated in, 413, 414;
+    art exhibition in, 415;
+    June evening in, 416;
+    as a poet's dream, 418.
+
+  Vernet, Horace, in Rome, 10.
+
+  Verona, 311.
+
+  Veronese, Paolo, 404.
+
+  Vesuvius, 229.
+
+  Via Bonella, 45.
+
+  Victor Emmanuel III, 118, 215, 432, 444.
+
+  Villa Aldobrandini, 208.
+
+  Villa Barberini, 209.
+
+  Villa Borghese, 14, 187.
+
+  Villa Doria, 211.
+
+  Villa Falconieri, 213.
+
+  Villa Jovis, 263.
+
+  Villa Medici, 4, 134.
+
+  Villa Nazionale, 238.
+
+  Villa Pamphilia Doria, 149.
+
+  Villa Torlonia, 206.
+
+  Virgil, quoted, 241;
+    grotto of, 242.
+
+  Visconti, 329, 330.
+
+  Vittorio Emanuele, 214.
+
+
+  Waldstein, Dr. Charles, quoted, 245.
+
+  Ward, Mrs. Humphry, quoted, 210, 212.
+
+  Watson, William, quoted, 9, 25, 86, 87.
+
+  Wellman, Walter, 9.
+
+  West, Benjamin, in Rome, 10.
+
+  White, Mr. and Mrs. Henry, in Rome, 165.
+
+  "Whites," 145.
+
+  Whitman, Walt, quoted, 422.
+
+  Whitney, Anne, in Rome, 10, 58.
+
+  Whittier, quoted, 339.
+
+  Wilberforce, Rev. Basil, quoted, 125, 341.
+
+  Woolson, Constance Fenimore, tomb of, 219.
+
+
+  Zuccaro, Federigo, 44.
+
+
+
+
+WORKS BY LILIAN WHITING
+
+
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+     $1.00 per vol. Decorated cloth, $1.25 per vol.
+
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+
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+
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+
+
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+
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+
+
+     THE SPIRITUAL SIGNIFICANCE; or, Death as an Event in Life. 16mo.
+     $1.00. Decorated cloth, $1.25.
+
+It suggests and hints at the ultimate significance of scientific
+investigation with relation to the totality of thought in a very fresh
+and suggestive way.--_The Outlook._
+
+
+     KATE FIELD: A RECORD. With portraits, including one by Elihu
+     Vedder. 12mo. Decorated cloth, $2.00.
+
+A wonderfully vivid portrait.--_San Francisco Chronicle._
+
+
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+     $1.25.
+
+The most virile picture of Mrs. Browning in all our literature.--_New
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+A fitting crown to "The World Beautiful."--_Philadelphia Ledger._
+
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+     THE FLORENCE OF LANDOR. Fully illustrated. 8vo. In box, $2.50 net.
+
+A striking picture of Florence, doubly interesting because so many
+eminent persons appear in it.--_Philadelphia Ledger._
+
+
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+     FROM DREAM TO VISION OF LIFE. 16mo. $1.00 net. White and gold,
+     $1.25 net. Uniform with "The World Beautiful."
+
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+vision.
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+
+A vivid presentation of the scenic marvels and resources of the
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+
+
+
+
+       *       *       *       *       *
+
+
+                         TRANSCRIBER'S NOTE
+
+
+  The original language, spelling, language and punctuation have been
+  preserved.
+  The following corrections were made to the original text:
+
+  Page xii: Vittoria Colonna, Galleria Buonarotti, Florence
+            Vittoria Colonna, Galleria Buonarroti, Florence
+
+  Page 6: artistic centre of the ninteenth century and
+          artistic centre of the nineteenth century and
+
+  Page 19: on the wall of the _casa_ in the Via delle Quattre Fontane
+           on the wall of the _casa_ in the Via delle Quattro Fontane
+
+  page 26: the Palazzo Sentoriale and the Palazzo dei Conservatore.
+           the Palazzo Senatoriale and the Palazzo dei Conservatori.
+
+  page 27: the Stanza della Incendio and the Sala di Constantino.
+           the Stanza dell'Incendio and the Sala di Constantino.
+
+  page 32: winds on the Pont San Angelo, and in the vast
+           winds on the Ponte San Angelo, and in the vast
+
+  page 32: the Music Nazionale--is the group of "Pluto
+           the Museo Nazionale--is the group of "Pluto
+
+  page 55: during hs stay in Rome are 'St. Elizabeth of
+           during his stay in Rome are 'St. Elizabeth of
+
+  page 72: The Via delle Quatre Fontane, on which the
+           The Via delle Quattro Fontane, on which the
+
+  page 138: given under the auspices of the Societa Archeologica,
+            given under the auspices of the Società Archeologica,
+
+  page 148: _gentilinomo_, who is gorgeously arrayed in knee
+            _gentiluomo_, who is gorgeously arrayed in knee
+
+  page 161: Jacomletti, and there is also a kneeling statue
+            Jacometti, and there is also a kneeling statue
+
+  page 163: and the Via dell Quattro Fontane. The
+            and the Via delle Quattro Fontane. The
+
+  page 163: for living purposes. The portere, the guards,
+            for living purposes. The portiere, the guards,
+
+  page 170: and in the Vedder villa, _Torre Quatro Venti_
+            and in the Vedder villa, _Torre Quattro Venti_
+
+  page 171: the American wife of Caviliere Cortesi, an
+            the American wife of Cavaliere Cortesi, an
+
+  page 178: Peruzzi, and Annibale Caracci. Raphael is
+            Peruzzi, and Annibale Carracci. Raphael is
+
+  page 185: that includes the "Ludovisi Mars;" Hercules,"
+            that includes the "Ludovisi Mars;" "Hercules,"
+
+  page 200: he may rest, _mens conscia recta_!
+            he may rest, _mens conscia recti_!
+
+  page 205: whose grand Roman palazzo is in the Boca di
+            whose grand Roman palazzo is in the Bocca di
+
+  page 213: The Villa Falconicri, in Frascati, which was
+            The Villa Falconieri, in Frascati, which was
+
+  page 234: Benvenuto Cellini at the Castel Sant Angelo;
+            Benvenuto Cellini at the Castel Sant'Angelo;
+
+  page 237: of the street scenes of Naples; Camprani and
+            of the street scenes of Naples; Campriani and
+
+  page 244: Forum, succeding Lanciani--believe that some
+            Forum, succeeding Lanciani--believe that some
+
+  page 244: equestrian statue of Bulbi, in the Naples Museum,
+            equestrian statue of Balbo, in the Naples Museum,
+
+  page 260: The cathedral at Revello has traces of the
+            The cathedral at Ravello has traces of the
+
+  page 260: of the Palazzo Rufelo might enchant Hafiz himself.
+            of the Palazzo Rufolo might enchant Hafiz himself.
+
+  page 272: Mignano (Ginodone Trieramosca) and also to
+            Mignano (Guidone Fieramosca) and also to
+
+  page 272: are a series of fresco paintings by Luca Gindano,
+            are a series of fresco paintings by Luca Giordano,
+
+  page 272: by Mazzarappi and Marco da Siena. Nothing
+            by Mazzaroppi and Marco da Siena. Nothing
+
+  page 274: Terre di Lavorno region:--
+            Terra di Lavoro region:--
+
+  page 276: to be a "Monumento Nazionali," and it is now
+            to be a "Monumento Nazionale," and it is now
+
+  page 286: in the "Inferno." The Colonna and the Orsino
+            in the "Inferno." The Colonna and the Orsini
+
+  page 286: look down from Castel Gondolfo on the gloomy,
+            look down from Castel Gandolfo on the gloomy,
+
+  page 287: Marino, Castel Gondolfo, and Frascati, with
+            Marino, Castel Gandolfo, and Frascati, with
+
+  page 295: for the country they left Naples for Pietzalba
+            for the country they left Naples for Pietralba
+
+  page 295: Musefico, il Givoio, and il Minturo. It was an
+            Musefico, il Giovio, and il Minturno. It was an
+
+  page 297: Per te narrar tre quante dubbie voglie,
+            Per te narrar tra quante dubbie voglie,
+
+  page 297: Fra quanti aspri martir, degliosa io vivo!_"
+            Fra quanti aspri martir, dogliosa io vivo!_"
+
+  page 304: San Mano that had formerly been its property.
+            San Magno that had formerly been its property.
+
+  page 305: world's sun; and not to add light to _mio vel solo_,
+            world's sun; and not to add light to _mio bel sole_,
+
+  page 332: "_Bene scripsisti de me, Thoma; quam ergo mercedem recipris?_"
+            "_Bene scripsisti de me, Thoma; quam ergo mercedem recipies?_"
+
+  page 380: Bonaventuri built over it, is preserved in this
+            Bonaventura built over it, is preserved in this
+
+  page 385: the Palazzo Rospigliosa in Rome.
+            the Palazzo Rospigliosi in Rome.
+
+  page 399: Anopeste, elected by the tribunal of commonalty,
+            Anafesto, elected by the tribunal of commonalty,
+
+  page 400: mural work by Battesta Franco and De Moro.
+            mural work by Battista Franco and De Moro.
+
+  page 400: One enters the Porta delta Carta, which
+            One enters the Porta della Carta, which
+
+  page 405: Peter, Maucis, and Antoninus are commending
+            Peter, Francis, and Antoninus are commending
+
+  page 426: Saricinesco, in the region of Tivoli, was made
+            Saracinesco, in the region of Tivoli, was made
+
+  page 436: too, in other leading men. Zurati, the
+            too, in other leading men. Turati, the
+
+  page 452: in Europe. That of the Annunziati, the
+            in Europe. That of the Annunziata, the
+
+  page 461: Annunziati Cathedral, Genoa, 452.
+            Annunziata Cathedral, Genoa, 452.
+
+  page 462: Camprani, 237.
+            Campriani, 237.
+
+  page 463: del Vall, Cardinal Merry, 146-149, 435.
+            del Val, Cardinal Merry, 146-149, 435.
+
+  page 466: Ossi, Professor Dall, opinion of, 244.
+            Osso, Professor Dall', opinion of, 244.
+
+  page 467: Quatre Fontane, Via delle, 72.
+            Quattro Fontane, Via delle, 72.
+
+  page 467: Revello, Cathedral at, 260.
+            Ravello, Cathedral at, 260.
+
+  page 470: Villa Falconicri, 213.
+            Villa Falconieri, 213.
+
+On page 235: "Da Scala d'Oro" should be "La Scala d'Oro" or
+"Madonna della Scala d'Oro".
+
+       *       *       *       *       *
+
+
+
+
+
+End of the Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
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+<pre>
+
+The Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Italy, the Magic Land
+
+Author: Lilian Whiting
+
+Release Date: August 10, 2009 [EBook #29658]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ITALY, THE MAGIC LAND ***
+
+
+
+
+Produced by Juliet Sutherland, Emanuela Piasentini and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<div class="figcenter" style="width: 347px;"><a name="frontis" id="frontis"></a>
+<img src="images/cover.jpg" width="347" height="400" alt="cover" title="cover" />
+</div>
+
+
+
+
+
+<div class="figcenter border" style="width: 293px;">
+<a href="images/frontisb.jpg"><img src="images/frontis.jpg" width="293" height="400" alt="Temple, Taormina" title="Temple, Taormina" /></a>
+<p class="caption"><i>Temple, Taormina</i></p>
+</div>
+
+
+
+
+
+<h1>ITALY<br />
+
+THE MAGIC LAND</h1>
+
+<p class="center">BY<br /><br />
+
+<big>LILIAN WHITING</big></p>
+
+<p class="center"><small>AUTHOR OF &ldquo;THE FLORENCE OF LANDOR,&rdquo; &ldquo;THE LAND OF<br />
+ENCHANTMENT,&rdquo; &ldquo;THE WORLD BEAUTIFUL,&rdquo; ETC.</small></p>
+
+
+<div class="poemm" style="width: 12em;"><div class="stanza">
+<span class="i0"><small>&ldquo;And, under many a yellow star,</small></span><br/>
+<span class="i0"><small>We dropped into the Magic Land!&rdquo;</small></span></div></div>
+
+
+<p class="center"><i>Illustrated from Photographs</i><br /><br /><br /><br /></p>
+
+<p class="center">BOSTON<br />
+LITTLE, BROWN, AND COMPANY<br />
+1907<br /><br /><br /><br />
+</p>
+
+
+
+<p class="center"><i>Copyright, 1907</i>,<br />
+
+<span class="smcap">By Little, Brown, and Company</span>.<br />
+
+&mdash;&mdash;<br />
+
+<i>All rights reserved</i></p>
+
+<p class="center">Published November, 1907<br /><br /><br /><br /></p>
+
+<p class="center">THE GRIFFITH-STILLINGS PRESS, BOSTON, U.S.A.<br /><br /><br /><br />
+</p>
+
+
+
+<p class="center">TO<br />
+<big>ELLA</big><br />
+(<span class="smcap">Mrs. Franklin Simmons</span>)</p>
+
+<p class="center"><small>WHOSE EARTHLY FORM REPOSES IN THE BEAUTIFUL ROMAN CEMETERY,<br />
+WHERE POETIC ASSOCIATIONS WITH KEATS AND SHELLEY HAUNT THE<br />
+AIR,&mdash;UNDER THE SCULPTURED &ldquo;ANGEL OF THE RESURRECTION,&rdquo;<br />
+WITH ITS MAJESTIC SYMBOLISM OF THE TRIUMPH OF<br />
+IMMORTALITY,&mdash;BUT WHOSE RADIANT PRESENCE <br />
+STILL TRANSFIGURES THE LIFE THAT HELD <br />
+HER IN IMMORTAL DEVOTION,&mdash;<br />
+THESE PAGES ARE INSCRIBED,</small></p>
+
+<p class="center"><small>WITH THE UNFORGETTING LOVE OF</small></p>
+
+<p class="rightm"><big>LILIAN WHITING</big>.</p>
+
+<p style="margin-left: 25%;"><small><span class="smcap">Rome, Italy</span>, May Days, 1907.</small>
+</p>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+<div class="poem" style="width:14em;"><div class="stanza">
+<span class="i0">&ldquo;<i>Nor Life is ever lord of Death,</i><br /></span>
+<span class="i0"><i>And Love can never lose its own.</i>&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></div></div>
+
+
+
+
+<h2><a name="PREFATORY_NOTE" id="PREFATORY_NOTE"></a>PREFATORY NOTE</h2>
+
+
+<p class="noi"><span class="smcap">That</span> Florence, the &ldquo;Flower City,&rdquo; receives only a passing
+allusion in this record of various impressions that
+gleam and glow through the days after several visits to
+the Magic Land, is due to the fact that in a previous
+volume by the writer&mdash;one entitled &ldquo;The Florence of
+Landor&rdquo;&mdash;the lovely Tuscan town with its art, its
+ineffable beauty, and its choice social life, formed the
+subject matter of that volume. Any attempt to portray
+Florence in the present book would savor only of the
+repetition of loves and enthusiasms already recorded in
+the previous work in which Walter Savage Landor formed
+the central figure. For that reason no mention of Florence,
+beyond some mere allusion, is attempted in these
+pages, which only aim to present certain fragmentary
+impressions of various sojourns in Italy, refracted through
+the prism of memory. Whatever inconveniences or discomfort
+attend the traveller swiftly fade, and leave to him
+only the precious heritage of resplendent sunset skies, of
+poetic association, of artistic beauty. In spirit he is
+again lingering through long afternoons in St. Peter&rsquo;s
+till the golden light through the far windows of the
+tribune is merged into the dusk of twilight in which
+the vast monumental groups gleam wraith-like. Again<span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>
+he is ascending the magnificent <i>Scala Regia</i>, and lingering
+in the Raphael Stanze, or in the wonderful sculpture
+galleries of the Vatican, or sauntering in the sunshine
+on the Palatine. In memory he is again spellbound by
+ancient and mediæval art. In the line of modern
+sculpture the work of Franklin Simmons in Rome is
+a feature of Italy that haunts the imagination. No
+lover of beauty would willingly miss his great studios
+in the Via San Nicolo da Tolentino, with their wealth of
+ideal creations that contribute new interest to the most
+divine of all the arts.</p>
+
+<div class="poem" style="width:19em;"><div class="stanza">
+<span class="i0">&ldquo;The world of art is an ideal world,&mdash;<br /></span>
+<span class="i0">The world I love, and that I fain would live in;<br /></span>
+<span class="i0">So speak to me of artists and of art,<br /></span>
+<span class="i0">Of all the painters, sculptors, and musicians<br /></span>
+<span class="i0">That now illustrate Rome.&rdquo;<br /></span>
+</div></div>
+
+<p>The mystic charm of the pilgrimage to Assisi; the
+romance that reflects itself in the violet seas and flaming
+splendors of the sky on the shores of Ischia and Capri;
+the buried treasures of Amalfi; the magnetic impressiveness
+of the Eternal City,&mdash;all these enter into life as new
+forces to build and shape the future into undreamed-of
+destinies.</p>
+
+<p class="rightm">
+L. W.<br />
+<br /></p>
+<p class="noi"><span class="smcap">The Brunswick, Boston</span>,<br />
+<span style="padding-left: 1.5em;">October Days, 1907.</span><br />
+<span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p>
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+<table summary="toc">
+<tr>
+<td class="right" colspan="3">  <small>PAGE</small></td>
+</tr>
+<tr>
+<td class="right">
+I</td><td><span class="smcap">The Period of Modern Art in Rome</span></td><td class="right">                         <a href="#Page_3">3</a></td>
+</tr>
+<tr>
+<td class="right">
+II</td><td> <span class="smcap">Social Life in the Eternal City</span></td><td class="right">  <a href="#Page_127">127</a></td>
+</tr>
+<tr>
+<td class="right">
+III</td><td> <span class="smcap">Day-Dreams in Naples, Amalfi, and Capri</span> </td><td class="right">   <a href="#Page_227">227</a></td>
+</tr>
+<tr>
+<td class="right">
+IV</td><td> <span class="smcap">A Page de Conti from Ischia</span></td><td class="right"> <a href="#Page_281">281</a></td>
+</tr>
+<tr>
+<td class="right">
+V</td><td> <span class="smcap">Voices of St. Francis of Assisi</span> </td><td class="right">  <a href="#Page_341">341</a></td>
+</tr>
+<tr>
+<td class="right">
+VI</td><td> <span class="smcap">The Glory of a Venetian June</span></td><td class="right"> <a href="#Page_389">389</a></td>
+</tr>
+<tr>
+<td class="right">
+VII</td><td> <span class="smcap">The Magic Land</span>  </td><td class="right"><a href="#Page_423">423</a></td>
+</tr>
+<tr>
+<td colspan="2">
+<span class="smcap">Index</span>   </td><td class="right"> <a href="#Page_459">459</a></td>
+</tr>
+</table>
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span></p>
+
+
+
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+<table summary="toi">
+<tr>
+<td>Temple, Taormina</td><td class="right">                  <a href="#frontis"><i>Frontispiece&nbsp;in&nbsp;Photogravure</i></a></td></tr>
+<tr>
+<td>
+Angel, Church of San Andrea delle Fratte, Rome</td><td class="right"><a href="#Page_32"><i>Page</i> 32</a></td></tr>
+<tr>
+<td>
+Detail from the Stuart Monument, St. Peter&rsquo;s, Rome</td><td class="right">   <a href="#Page_33">33</a></td></tr>
+<tr>
+<td>
+Tomb of Clement XIII, St. Peter&rsquo;s, Rome</td><td class="right">   <a href="#Page_42">42</a></td></tr>
+<tr>
+<td>
+&ldquo;The Genius of Death,&rdquo; Detail from the Tomb
+of Clement XIII, St. Peter&rsquo;s, Rome</td><td class="right">  <a href="#Page_43">43</a></td></tr>
+<tr>
+<td>
+&ldquo;La Fortuna,&rdquo; Accadémia di San Luca, Rome</td><td class="right">     <a href="#Page_47">47</a></td></tr>
+<tr>
+<td>
+Spanish Steps, Piazza Trinità dei Monti, Rome </td><td class="right">    <a href="#Page_72">72</a></td></tr>
+<tr>
+<td>
+Tomb of Pio Nono, San Lorenzo (Fuori le Mura)
+Rome              </td><td class="right">  <a href="#Page_75">75</a></td></tr>
+<tr>
+<td>
+&ldquo;The Dance of the Pleiades&rdquo;        </td><td class="right">        <a href="#Page_91">91</a></td></tr>
+<tr>
+<td>
+&ldquo;Grief and History,&rdquo; Detail from Naval Monument,
+Washington                    </td><td class="right">      <a href="#Page_105">105</a></td></tr>
+<tr>
+<td>
+&ldquo;The Genius of Progress Leading the Nations&rdquo;    </td><td class="right">      <a href="#Page_107">107</a></td></tr>
+<tr>
+<td>
+&ldquo;Mother of Moses&rdquo;           </td><td class="right">       <a href="#Page_108">108</a></td></tr>
+<tr>
+<td>
+&ldquo;Valley Forge&rdquo;          </td><td class="right">           <a href="#Page_110">110</a></td></tr>
+<tr>
+<td>
+La Pieta, St. Peter&rsquo;s, Rome       </td><td class="right">         <a href="#Page_117">117</a></td></tr>
+<tr>
+<td>
+Villa Medici, Rome                  </td><td class="right">       <a href="#Page_135">135</a></td></tr>
+<tr>
+<td>
+Entrance to Villa Pamphilia-Doria, Rome    </td><td class="right">     <a href="#Page_159">159</a></td></tr>
+<tr>
+<td>
+Statue of Christ, Ancient Church of San Martina,
+Rome                                 </td><td class="right">      <a href="#Page_192">192</a>
+</td></tr>
+<tr>
+<td>
+Castel San Angelo and St. Peter&rsquo;s, Rome    </td><td class="right">   <a href="#Page_204">204</a><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span></td></tr>
+<tr>
+<td>
+Porta San Paola, Pyramid of Caius Cestius, Rome </td><td class="right"> <a href="#Page_216">216</a></td></tr>
+<tr>
+<td>
+Castel Sant&rsquo;Elmo, Naples            </td><td class="right">        <a href="#Page_231">231</a></td></tr>
+<tr>
+<td>
+Ancient Temple, Baiæ                     </td><td class="right">    <a href="#Page_241">241</a></td></tr>
+<tr>
+<td>
+Ischia, from the Sea                        </td><td class="right">      <a href="#Page_283">283</a></td></tr>
+<tr>
+<td>
+La Rocca, Ischia                            </td><td class="right">     <a href="#Page_295">295</a></td></tr>
+<tr>
+<td>
+Castello di Alfonso, Ischia                  </td><td class="right">     <a href="#Page_306">306</a></td></tr>
+<tr>
+<td>
+Detail from &ldquo;Parnassus,&rdquo; Raphael Stanze, Palazzo
+Vaticano, Rome                                    </td><td class="right">      <a href="#Page_311">311</a></td></tr>
+<tr>
+<td>
+Vittoria Colonna, Galleria <a name="tnxii" id="tnxii"></a><ins class="correction" title="original: 'Buonarotti'">Buonarroti</ins>, Florence </td><td class="right">     <a href="#Page_312">312</a></td></tr>
+<tr>
+<td>
+San Francescan Convent-Church, Assisi        </td><td class="right">    <a href="#Page_346">346</a></td></tr>
+<tr>
+<td>
+St. Francis d&rsquo;Assisi, The Duomo, Assisi      </td><td class="right">      <a href="#Page_365">365</a></td></tr>
+<tr>
+<td>
+Santa Chiara, The Duomo, Assisi              </td><td class="right">    <a href="#Page_375">375</a></td></tr>
+<tr>
+<td>
+Baiæ and Ischia, from Camaldoli               </td><td class="right">     <a href="#Page_381">381</a></td></tr>
+<tr>
+<td>
+Ruins of the Greek Theatre, Taormina, Sicily   </td><td class="right">    <a href="#Page_429">429</a></td></tr>
+<tr>
+<td>
+Ponte Vecchio, Florence                     </td><td class="right">      <a href="#Page_430">430</a></td></tr>
+<tr>
+<td>
+Campo Santo, Genoa                        </td><td class="right">    <a href="#Page_453">453</a></td></tr>
+</table>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0">&ldquo;<i>Rest we content if whispers from the stars</i><br /></span>
+<span class="i0"><i>In wafting of the incalculable wind</i><br /></span>
+<span class="i0"><i>Come blown at midnight through our prison-bars.</i>&rdquo;<br /></span>
+</div></div>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<h2><a name="THE_MAGIC_LAND" id="THE_MAGIC_LAND"></a><span class="nob"><small>THE MAGIC LAND</small></span></h2>
+
+<div class="poem" style="width: 18.5em;"><div class="stanza">
+<span class="i0"><i>By woodland belt, by ocean bar,</i><br /></span>
+<span class="i1"><i>The full south breeze our forehead fanned;</i><br /></span>
+<span class="i0"><i>And, under many a yellow star,</i><br /></span>
+<span class="i1"><i>We dropped into the Magic Land.</i><br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0"><i>We heard, far-off, the siren&rsquo;s song;</i><br /></span>
+<span class="i1"><i>We caught the gleam of sea-maids&rsquo; hair;</i><br /></span>
+<span class="i0"><i>The glimmering isles and rocks among</i><br /></span>
+<span class="i1"><i>We moved through sparkling purple air.</i><br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Then Morning rose, and smote from far</i><br /></span>
+<span class="i1"><i>Her elfin harps o&rsquo;er land and sea;</i><br /></span>
+<span class="i0"><i>And woodland belt, and ocean bar</i><br /></span>
+<span class="i1"><i>To one sweet note sighed&mdash;&ldquo;Italy!&rdquo;</i><br /></span>
+
+
+<p class="right">
+<span class="smcap">Owen Meredith.</span><br />
+<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p></div></div>
+
+
+
+
+<h1><a name="ITALY_THE_MAGIC_LAND" id="ITALY_THE_MAGIC_LAND"></a>ITALY, THE MAGIC LAND</h1>
+
+
+
+
+<h2><a name="I" id="I"></a>I<br /><br />
+
+<span class="nob">THE PERIOD OF MODERN ART IN ROME</span></h2>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">But ah, that spring should vanish with the Rose!<br /></span>
+<span class="i0">That youth&rsquo;s sweet-scented manuscript should close?<br /></span>
+<span class="i0">The nightingale that in the branches sang,<br /></span>
+<span class="i0">Oh, where and whither flown again,&mdash;who knows?<br /></span>
+<p class="right">
+<span class="smcap">Omar Khayyam.</span><br />
+</p></div></div>
+
+
+<p class="noi"><span class="smcap">Rome</span>, as the picturesque city of the Popes in
+the middle years of the nineteenth century, was
+resplendent in local color. It was the Rome
+of sunny winters; the Rome of gay excursions
+over that haunted sea of the Campagna to
+pictorial points in the Alban and Sabine hills;
+the Rome of young artist life, which organized
+impromptu festas with Arcadian freedom, and
+utilized the shadow or the shelter of ruined
+temples or tombs in which to spread its picnic
+lunches and bring the glow of simple, friendly
+intercourse into the romantic lights of the
+poetic, historic, or tragic past. There were
+splendid Catholic processions and ceremonials
+that seemed organized as a part of the stage
+scenery that ensconced itself, also, with the<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
+nonchalance of easy possession, in the vast
+salons of historic palaces where tapestried walls
+and richly painted ceilings, arched high overhead,
+with statues dimly seen in niches here
+and there, and the bust of some crowned Antoninus,
+or radiant Juno, gleaming from a
+shadowy corner, all made up the <i>mise-en-scène</i>
+of familiar evenings. There were lingering
+hours in the gardens of the Villa Medici into
+whose shades one strolled by that beguiling
+path along the parapet on Monte Pincio,
+through the beautiful grove with its walks and
+fountains. The old ilex bosquet, with its
+tangled growth and air of complete seclusion,
+had its spell of fascination. Then, as now, the
+elevated temple, at the end of the main path,
+seemed the haunt of gods and muses. In all
+the incidental, as well as the ceremonial social
+meeting and mingling, art and religion were the
+general themes of discussion. This idyllic life&mdash;</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Comprehending, too, the soul&rsquo;s<br /></span>
+<span class="i0">And all the high necessities of art&rdquo;&mdash;<br /></span>
+</div></div>
+
+<p class="noi">has left its impress on the air as well as its
+record on many a page of the poet and the
+romancist. The names that made memorable<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
+those wonderful days touch chords of association
+that still vibrate in the life of the hour.
+For the most part the artists and their associates
+have gone their way&mdash;not into a Silent
+Land, a land of shadows and vague, wandering
+ghosts&mdash;but into that realm wherein is the
+&ldquo;life more abundant,&rdquo; of more intense energy
+and of nobler achievement; the realm in which
+every aspiration of earth enlarges its conception
+and every inspiration is exalted and endowed
+with new purpose; the realm where, as
+Browning says,&mdash;</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;Power comes in full play.&rdquo;<br /></span>
+</div></div>
+
+<p>The poet&rsquo;s vision recognizes the truth:&mdash;</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;I know there shall dawn a day,<br /></span>
+<span class="i1">&mdash;Is it here on homely earth?<br /></span>
+<span class="i0">Is it yonder, worlds away,<br /></span>
+<span class="i1">Where the strange and new have birth,<br /></span>
+<span class="i0">That Power comes in full play?&rdquo;<br /></span>
+</div></div>
+
+<p>The names of sculptor, painter, and poet
+throng back, imaged in that retrospective mirror
+which reflects a vista of the past, rich in ideal
+creation. Beautiful forms emerge from the
+marble; pictorial scenes glow from the canvas;
+song and story and happy, historic days are in<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+the very air. To Italy, land of romance and
+song, all the artists came trooping, and</p>
+
+<div class="poem" style="width: 12em;"><div class="stanza">
+<span class="i0">&ldquo;Under many a yellow Star&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">they dropped into the Magic Land. If the
+wraiths of the centuries long since dead walked
+the streets, they were quite welcome to revisit
+the glimpses of the moon and contribute their
+mystery to the general artistic effectiveness of
+the Seven-hilled City. All this group of American
+idealists, from Allston and Page to Crawford,
+Story, Randolph Rogers, Vedder, Simmons,
+and to the latest comer of all, Charles Walter
+Stetson, recognized something of the artist&rsquo;s
+native air in this Mecca of their pilgrimage.</p>
+
+<p>It was, indeed, quite natural, on account of
+the stupendous work of Michael Angelo and
+the unrivalled museums of the Vatican, that
+Rome should have become pre-eminently the
+artistic centre of the <a name="tn6" id="tn6"></a><ins class="correction" title="original: 'ninteenth'">nineteenth</ins> century and
+should have attracted students and lovers of art
+from all parts of the world. The immortal
+works of the two great periods, the Greek and
+the Renaissance,&mdash;the art that was forever
+great because it was the outgrowth of profound
+religious conviction,&mdash;were enshrined in the<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+churches and the galleries of Rome. The leading
+countries of Europe sent here their aspiring
+students and established permanent academies
+for their residence. Germany, France, and
+England were thus represented. Thorwaldsen
+came as a pensioner from the Academy of Fine
+Arts in Copenhagen; and it was during his life,
+and that of the noble Canova, that Rome began
+to be recognized as the modern world-centre of
+art. Was it not a natural sequence that the
+early painters and sculptors who came to study
+under the stimulating influences of the great
+masterpieces of the past should linger on in
+the city whose very air became to them the
+breath of inspiring suggestion? Where but in
+Rome would have come to Crawford the vision
+of his &ldquo;Orpheus&rdquo; and of his noble Beethoven?
+or to Story his &ldquo;Libyan Sibyl,&rdquo; and that exquisite
+group, &ldquo;Into the Silent Land&rdquo;? or to Vedder
+his marvellous creations of &ldquo;The Fates Gathering
+in the Stars,&rdquo; the &ldquo;Cumæan Sibyl,&rdquo; or the
+&ldquo;Dance of the Pleiades&rdquo;? to Simmons his triumphant
+&ldquo;Angel of the Resurrection,&rdquo; and
+&ldquo;The Genius of Progress Leading the Nations&rdquo;?
+or to Stetson that ineffable vision of
+&ldquo;The Child,&rdquo; and that wonderful group called<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
+&ldquo;Music&rdquo;? whose coloring Titian or Giorgione
+might well mistake for their own.</p>
+
+<p>Under the Pontifical <i>régime</i> the general character
+of Rome was mediæval and religious.
+The perpetual festas of the church made the
+streets constantly picturesque with their processions
+of monks, and friars, and priests, and
+these wonderful blendings of color and scenic
+effect stimulated the artistic sense. The expenses
+of living in Rome were then only a fraction
+of what the cost is at the present time; and
+as the city was the resort of the wealthy and
+cultured few, the artists were surrounded by the
+stimulus of critical appreciation and of patronage.
+Their work, their dreams, were the theme
+of literary discussion, and focussed the attention
+of the polite world. Their studios were among
+the important interests to every visitor in the
+Eternal City. In those days the traveller did
+not land with his touring car at Naples, make
+&ldquo;the run&rdquo; to Rome in a record that distanced
+any possibilities of railroad trains, pass two or
+three days in motoring about the city and its
+environs, seeing the exterior of everything in a
+dissolving view and the interior of nothing,&mdash;as
+within this time, at least, he must flash on<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+in his touring car to Florence. On the contrary,
+the traveller proceeded to Rome with
+serious deliberation, and with a more realizing
+sense of undertaking a journey than Walter
+Wellman experiences in attempting to fly in
+his aero-car to the North Pole and send his
+observations across the polar seas by wireless
+telegraphy. The visitor went to Rome for a
+winter, for a year, and gave himself up to
+leisurely impressions. Rome was an atmosphere,
+not a spectacle, and it was to be entered
+with the lofty and reverent appreciation of the
+poet&rsquo;s power and the artist&rsquo;s vision.</p>
+
+<p>In Rome, Thomas Cole painted some of his
+best pictures; and in Rome or Florence wrought
+a long list of painters and sculptors. Whether
+in the Eternal City or in the Flower City, their
+environment was alike Italy&mdash;the environment of
+the Magic Land. Among the more prominent
+of all these devotees of Beauty several nationalities
+were represented. Each might have said of
+his purpose, in the words of William Watson:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;I follow Beauty; of her train am I,<br /></span>
+<span class="i1">Beauty, whose voice is earth and sea and air;<br /></span>
+<span class="i0">Who serveth, and her hands for all things ply;<br /></span>
+<span class="i1">Who reigneth, and her throne is everywhere.&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></div></div>
+
+<p>Among these artists there flash upon memory
+the names of Vanderlyn, Benjamin West, Allston,
+Rauch, Ange, Veit, Tenerani, Overbeck,
+Schadow, Horace Vernet, Thorwaldsen, John
+Gibson, Hiram Powers, Crawford, Page, Clark
+Mills, Randolph Rogers, William Rinehart,
+Launt Thompson, Horatio and Richard Greenough,
+Thomas Ball, Anne Whitney, Larkin G.
+Mead, Paul Akers, William Wetmore Story,
+Harriet Hosmer, J. Rollin Tilton, and, later,
+Elihu Vedder, Moses Ezekiel, Franklin Simmons,
+Augustus St. Gaudens, and Charles
+Walter Stetson, the name of Mr. Stetson linking
+the long and interesting procession with the
+immediate life of to-day. Of these later artists
+Story, Miss Hosmer, Ezekiel, Vedder, Simmons,
+and Stetson are identified with Rome as being
+either their permanent or their prolonged residence.
+Mr. St. Gaudens was a transient student,
+returning to his own country to pursue
+his work; and of two young sculptors, Hendrick
+Christian Anderson and C. Percival Dietsch,
+time has not yet developed their powers beyond
+an experimental stage of brilliant promise.</p>
+
+<p>The Rome of the artists of clay and canvas
+was also the Rome of the poets and romancists,<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+of authors in all lines of literary achievement.
+How the names of the procession of visitors and
+sojourners in the Eternal City, from Milton,
+Goethe, and Mme. de Staël to Henry James,
+Marion Crawford, Richard Bagot, and Grace
+Ellery Channing (Mrs. Charles Walter Stetson),
+gleam from that resplendent panorama of the
+modern past of Rome! Like the words in
+electric fire that flash out of the darkness in
+city streets at night, there shine the names of
+Shelley and of Keats; of Gladstone, on whom
+in one memorable summer day, while strolling
+in Italian sunshine, there fell a vision of the
+sacredness and the significance of life and its
+infinite responsibility in the fulfilment of lofty
+purposes. What charming associations these
+guests and sojourners have left behind! Hawthorne,
+embodying in immortal romance the
+spirit of the scenic greatness of the Eternal
+City; Margaret Fuller, Marchesa d&rsquo;Ossoli, allying
+herself in marriage with the country she
+loved, and living in Rome those troubled,
+mysterious years that were to close the earthly
+chapter of her life; Robert and Elizabeth
+Browning, the wedded poets, who sang of love
+and Italy; Harriet Beecher Stowe, finding on<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
+the enchanted Italian shores the material which
+she wove with such irresistible attraction into
+the romance of &ldquo;Agnes of Sorrento;&rdquo; Longfellow,
+with his poet&rsquo;s vision, transmuting every
+vista and impression into some exquisite lyric;
+Lowell, bringing his philosophic as well as his
+poetic insight to penetrate the untold meaning
+of Rome; Thomas William Parsons, making the
+country of Dante fairly his own; Thackeray,
+with his brilliant interpretation of the <i>comédie
+humaine</i>; Emerson, who, oblivious of all the
+glories of art or the joys of nature, absorbed
+himself in writing transcendental letters to his
+eccentric, but high-souled aunt, Mary Moody
+Emerson; Ruskin, translating Italian art to
+Italy herself; Dr. Samuel Gridley Howe and
+his poet wife, Mrs. Julia Ward Howe, in the
+first flush of their bridal happiness, when Mrs.
+Howe&rsquo;s impassioned love for the Seven-hilled
+City inspired many a lyric that mirrors the
+Roman atmosphere of that day; Kate Field,
+with a young girl&rsquo;s glad enthusiasm over the
+marvellous loveliness of a Maytime in Rome,
+and her devotion to those great histrionic
+artists, Ristori and Salvini; George Stillman
+Hillard, leaving to literature the rich legacy of<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
+his &ldquo;Six Months in Italy,&rdquo;&mdash;a work that to
+this day holds precedence as a clear and comprehensive
+presentation of the scenic beauty,
+the notable monumental and architectural art,
+and the general life and resources of this land
+of painter and poet. Other names, too, throng
+upon memory&mdash;that of William Dean Howells,
+painting Italian life in his &ldquo;Venetian Days,&rdquo;
+and charming all the literary world by his
+choice art; and among later work, the interesting
+interpretations of Rome and of social life
+in Rome, by Marion Crawford, Henry James,
+and Richard Bagot,&mdash;in chronicle, in romance,
+or in biographical record. During the last
+quarter of the nineteenth century, indeed, the
+visitors to Rome&mdash;authors, artists, travellers of
+easy leisure&mdash;defy any numerical record. Mrs.
+Louise Chandler Moulton, poet, romancist, and
+delightful <i>raconteur</i> as well, has recorded some
+charming impressions of her various sojourns
+in Rome both in her &ldquo;Random Rambles&rdquo; and
+in &ldquo;Lazy Tours.&rdquo; Of the Palatine Hill we
+find her saying:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Sometimes we go to the Palace of the
+Cæsars, and look off upon the heights where<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+the snow lingers and the warm light rests,
+making them shine like the Delectable Mountains.
+Nearer at hand are the almond trees,
+in flower, or the orange trees, bright at once
+with their white, sweet blossoms and their
+golden fruit.&rdquo;</p></div>
+
+<p>Mrs. Moulton writes of the &ldquo;stately dwellers&rdquo;
+in Rome whom time cannot change; and to
+whom, whenever she returns, she makes her
+first visit; some of whom are in the mighty
+palace of the Vatican and some of whom dwell
+in state in the Capitol.</p>
+
+<div class="blockquot"><p>&ldquo;The beautiful Antoninus still wears his
+crown of lotus in Villa Albani and the Juno
+whom Goethe worshipped reigns forever at the
+Ludovisi,&rdquo; she writes; &ldquo;I can never put in
+words the pleasure I find in these immortals.&rdquo;
+Mrs. Moulton loved to wander in the Villa
+Borghese &ldquo;before the place is thronged with
+the beauty and fashion of Rome as it is in the
+late afternoon. I do not wonder that Miriam
+and Donatello could forget their fate in these
+enchanted glades,&rdquo; she wrote, &ldquo;and dance as
+the sunbeams danced with the shadows. Sometimes<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+I seem to see them where the sun sifts
+through the young green leaves, and her beauty&mdash;her
+human, deep-souled beauty&mdash;and his
+fantastic grace are the only things here that
+cannot change.</p>
+
+<p>&ldquo;The walls will crumble; the busts of kings
+and heroes and poets will lose their contours,
+the lovely Roman ladies also grow old and
+fade, and vanish from sight and from memory;
+but still these two, hopeless yet happy, will
+dance in these wild glades immortally beyond
+the reach of the effacing years.&rdquo;</p></div>
+
+<p>The visit to Rome of the Rev. Dr. Phillips
+Brooks&mdash;later the Bishop of Massachusetts&mdash;is
+immortalized in the most lifelike portrait
+bust of the great preacher ever modelled; a
+bust in which the genius of the sculptor, Franklin
+Simmons, found one of its noblest expressions,
+and has perpetuated, with masterly
+power, the energy of thought, at once profound
+and intense, in the countenance of Bishop
+Brooks. These, and many another whom the
+gods have loved and dowered with gifts, rise
+before any retrospective glance over the comparatively
+recent past of Rome. Bishop Brooks<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+passed there the Holy Week of one Lenten
+season, and of the Miserere in the Sistine
+Chapel he wrote that it was certainly the most
+wonderful music to which he had ever listened;
+and he added:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The Miserere in the Sistine, the Benediction
+from the balcony, the solemn moment of
+the elevation of the Host on Easter, and the
+illumination of St. Peter&rsquo;s, these all seem to
+reach very remarkably the great ideal of the
+central religious commemoration of Christendom.&rdquo;</p></div>
+
+<p>It was in the winter of 1828 that Mr. Longfellow
+first visited Rome, which &ldquo;is announced,&rdquo;
+he wrote, &ldquo;by Nero&rsquo;s tomb,&rdquo; and he quotes
+Dupaty&rsquo;s lines:&mdash;</p>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i0">&ldquo;Quoi! c&rsquo;est là Rome? quoi!<br /></span>
+<span class="i0">C&rsquo;est le tombeau de Neron qui l&rsquo;annonce.&rdquo;<br /></span>
+</div></div>
+
+<p>Mr. Longfellow expressed his love for the
+Eternal City, and in a personal letter<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> he
+said:&mdash;</p>
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p>
+<div class="blockquot"><p>&ldquo;I have been so delighted with Rome that I
+have extended my residence much beyond my
+original intention. There is so much in the
+city to delay the stranger; the villages in the
+environs are so beautiful, and there is such a
+quiet and stillness about everything that, were
+it in my power, I should be induced to remain
+the whole year round. You can imagine nothing
+equal to the ruins of Rome. The Forum
+and the Coliseum are beyond all I had ever
+fancied them; and the ruined temples and
+the mouldering aqueducts which are scattered
+over the Campagna; I do not believe there is a
+finer view in the world than that from the
+eastern gate of the city, embracing the Campagna,
+with its ruined aqueducts diverging in
+long broken arcades, and terminated by the
+sweep of the Albanian hills, sprinkled with their
+white villages, and celebrated in song and story!
+But the great charm of the scene springs from
+association; and though everything in Italy is
+really picturesque, yet strip the country of its
+historic recollections,&mdash;think merely of what
+it is, and not of what it has been,&mdash;and you will
+find the dream to be fading away.</p>
+
+<p>&ldquo;You would be shocked at the misery of the<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
+people, especially in the Pope&rsquo;s dominions: but
+their element seems to be in rags and misery;
+and with the ceremonials of their religion and
+the holidays of the church, which average nearly
+three a week, they are poor&mdash;and lazy and
+happy. I mean, happy in their way.&rdquo;</p></div>
+
+<p>In a later visit the poet was domiciled in an
+hotel on the Piazza Barberini, where the wonderful
+view included then the entire city &ldquo;to where
+St. Peter&rsquo;s dome darkens against the sunset.&rdquo;
+Of this visit his brother, Rev. Samuel Longfellow,
+writes:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Here Mr. Longfellow became for the season
+the centre of the group of American visitors
+and resident artists, whose well-known names
+need not be recounted. Here he made, also,
+acquaintances among the Italians,&mdash;especially
+the Duke of Sermoneta, the Dantean scholar,
+and Monsignore Nardi, of the papal court.
+The Pope himself he did not visit. An interesting
+acquaintance was that made with the
+Abbé Liszt, who was spending the winter in
+Rome, having rooms in the abandoned Convent
+of Santa Francesca, in the Forum. Calling<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
+there one evening, in company with Mr.
+Healy the artist, the inner door of the apartment
+was opened to them by Liszt himself, holding
+high in his hand a candle which illuminated his
+fine face. The picture was so striking that Mr.
+Longfellow begged his companion to put it
+upon canvas,&mdash;which he did; and the painting
+now hangs in the library of Craigie House.
+At a morning visit, Liszt delighted the party
+with a performance upon his Chickering pianoforte.</p>
+
+<p>&ldquo;To see Rome, as all travellers know, is a
+work for many months; and it was pursued with
+tolerable diligence. But Mr. Longfellow was
+never a good sight-seer. He was impatient of
+lingering in picture galleries, churches, or ruins.
+He saw quickly the essential points, and soon
+tired of any minuter examination.&rdquo;</p></div>
+
+<p>But long, indeed, before nineteenth-century
+artists and authors laid siege to the Eternal
+City, in the far-away years of 1638, Milton
+visited Rome, and there still remains the tablet,
+on the wall of the <i>casa</i> in the Via delle <a name="tn19" id="tn19"></a><ins class="correction" title="original: 'Quattre'">Quattro</ins>
+Fontane in which he stayed, a tablet bearing
+an inscription giving the date of his visit; as,<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+also, in Via Machella, there is an inscription
+marking the place where Scott lived during his
+visit to Rome. Goethe made his memorable
+tour to Italy in 1786&mdash;fourteen years before the
+dawn of the nineteenth century&mdash;and wrote:
+&ldquo;I feel the greatest longing to read Tacitus
+in Rome;&rdquo; and again (an observation with
+which every visitor to the Eternal City will
+sympathize) he noted:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It grows more and more difficult for me to
+render an account of my residence in Rome, for
+as we always find the sea deeper the further we
+go, so it is with me in observation of this
+city.&nbsp;.&nbsp;.&nbsp;. Wherever we go and wherever we
+stand, we see about us a finished picture,&mdash;forms
+of every kind and style; palaces and
+ruins; gardens and wastes; the distant and the
+near houses; triumphal arches and columns,&mdash;often
+all so close together that they might be
+sketched on a single sheet. One should have a
+thousand points of steel with which to write,
+and what can a single pen do? and then in the
+evening one is weary and exhausted with the
+day of seeing and admiring. Here one reads
+history from within outward.&rdquo;</p></div><p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p>
+
+<p>Chateaubriand, who in his earliest youth
+had visited America as the guest of Washington,
+passed the winter of 1803-4 in Rome, and
+his pictorial transcriptions of the city and its
+environs are among the most exquisite things
+in literary record. As, for instance, this description
+of a sunset from Monte Mario:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I was never weary of seeing, from the Villa
+Borghese, the sun go down behind the cypresses
+of Monte Mario, and the pines of the Villa
+Pamphili planted by Le Notre. I have stood
+upon the Ponte Molle to enjoy the sublime
+spectacle of the close of day. The summits of
+the Sabine hills appeared of lapis lazuli and
+pale gold, while their bases and sides were
+bathed in vapors of violet or purple. Sometimes
+lovely clouds, like fairy cars, borne along
+by the evening wind with inimitable grace, recall
+the mythological tales of the descent of the
+deities of Olympus. Sometimes old Rome
+seems to have spread all over the west the
+purple of her consuls and her Cæsars, beneath
+the last steps of the god of day. This rich
+decoration does not vanish so quickly as in our
+climate. When we think the hues are about<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
+to disappear they revive on some other point of
+the horizon; one twilight follows another and
+the magic of sunset is prolonged.&rdquo;</p></div>
+
+<p>It was in the same year that Mme. de Staël
+visited Rome and recorded, in her glowing
+romance, &ldquo;Corinne,&rdquo; the impressions she received.
+In the spring of 1817 Lord Byron
+found in Rome the inspiration that he transmitted
+into that wonderful line in &ldquo;Childe
+Harold&rdquo;:&mdash;</p>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i0">&ldquo;The Niobe of Nations! There she stands.&rdquo;<br /></span>
+</div></div>
+
+<p>It was two years later that Shelley passed
+the spring in the Seven-hilled City, retiring to
+Leghorn later, to write his tragedy of &ldquo;The
+Cenci.&rdquo;</p>
+
+<p>In Rome the visitor follows Michael Angelo
+and Raphael through the various churches and
+museums. The celebrated sibyls of Raphael are
+in the Santa Maria della Pace; his &ldquo;Isaiah&rdquo; is in
+San Agostino and his &ldquo;Entombment&rdquo; in the
+Casino of the Villa Borghese. While the sublime
+work of Michael Angelo in the Sistine
+Chapel is always one of the first things in Rome<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+to which the traveller goes to study that incomparable
+work portraying the Creation&mdash;the
+Prophets and the Sibyls, the Angels and the
+Genii, that record the impassioned power of
+the master&mdash;yet all footsteps turn quickly, too,
+to the church called San Pietro in Vincoli, near
+the house in which Lucrezia Borgia lived, in
+which is the colossal Moses of Michael Angelo.
+As it stands, it fails to convey the first design
+of the great sculptor. Originally intended for
+the tomb of Pope Julius II, the plan included
+a massive block of marble (some forty by twenty
+feet) surmounted by a cornice and having its
+niches, its columns, and its statues, of which
+the Moses was to have been one. It would
+then have been judged relatively to the entire
+group, while now it is seen alone, and thus out
+of the proportions that were in the mind of the
+artist. The entire conception, indeed, was to
+unite sculpture and architecture into one splendid
+combination. &ldquo;Thus the statue of Moses
+was meant to have been raised considerably
+above the eye of the spectator,&rdquo; writes Mr.
+Hillard, &ldquo;and to have been a single object in a
+colossal structure of architecture and sculpture,
+which would have had a foreground and a<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+background, and been crowned with a mass at
+once dome-like and pyramidal. Torn, as it is,
+from its proper place; divorced from its proportionate
+companionship; stuck against the
+wall of a church; and brought face to face with
+the observer,&mdash;what wonder that so many of
+those who see it turn away with no other impressions
+than those of caricature and exaggeration!&rdquo;</p>
+
+<p>Mr. Hillard adds:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;But who that can appreciate the sublime
+in art will fail to bow down before it as
+embodied in this wonderful statue? The majestic
+character of the head, the prodigious
+muscles of the chest and arms, and the beard
+that flows like a torrent to the waist, represent
+a being of more than mortal port and
+power, speaking with the authority, and frowning
+with the sanctions of incarnate law. The
+drapery of the lower part of the figure is inferior
+to the anatomy of the upper part. Remarkable
+as the execution of the statue is, the expression
+is yet more so; for notwithstanding its colossal
+proportions, its prominent characteristic is the
+embodiment of intellectual power. It is the<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
+great leader and lawgiver of his people that we
+see, whose voice was command, and whose outstretched
+arm sustained a nation&rsquo;s infant steps.
+He looks as if he might control the energies of
+nature as well as shape the mould in which the
+character of his people should be formed. That
+any one should stand before this statue in a
+scoffing mood is to me perfectly inexplicable.
+My own emotions were more nearly akin to
+absolute bodily fear. At an irreverent word, I
+should have expected the brow to contract into
+a darker frown, and the marble lips to unclose
+in rebuke.&rdquo;</p></div>
+
+<p>William Watson condenses his impressions of
+this majestic sculpture in the following quatrain.&mdash;</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;The captain&rsquo;s might, and mystery of the seer&mdash;<br /></span>
+<span class="i1">Remoteness of Jehovah&rsquo;s colloquist,<br /></span>
+<span class="i0">Nearness of man&rsquo;s heaven-advocate&mdash;are here:<br /></span>
+<span class="i1">Alone Mount Nebo&rsquo;s harsh foreshadow is miss&rsquo;d.&rdquo;<br /></span>
+</div></div>
+
+<p>The impressive group of sculptures and buildings
+on the Campidoglio&mdash;where once the
+shrine of Jupiter Capitolinus stood&mdash;owes its
+present picturesque scheme largely to Michael
+Angelo. The fascination of the long flights of<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
+steps leading from the Piazza Aracöeli to the
+Capitoline, where the ancient bronze equestrian
+statue of Marcus Aurelius forever keeps guard,
+is indescribable. The historic statues of Castor
+and Pollux mark the portals; on either hand
+there are seen the Muses of ancient sculpture,
+the Palazzo <a name="tn26" id="tn26"></a><ins class="correction" title="original: 'Sentoriale and the Palazzo dei Conservatore'">Senatoriale and the Palazzo dei
+Conservatori</ins>. There is in the entire world
+no more classic ground than is found in this
+impressive grouping of art and architecture.</p>
+
+<p>The genius of Raphael has recorded itself in
+those brilliant and imperishable works that enthrall
+the student of art in the Raphael stanze in
+the Vatican. He was imbued with the spirit
+of Greek art, and while Titian is a greater colorist,
+while Correggio, Botticelli, Perugino, and
+other artists that could be named equal or exceed
+Raphael in certain lines, yet as the interpreter
+of the profoundest thought, and for his
+philosophic grasp and his power to endow his
+conceptions with the most brilliant animation,
+he stands alone. The religious exaltation of
+&ldquo;The Transfiguration&rdquo; reveals the supreme degree
+of the divine genius of Raphael. That
+this painting was the last work of his life, that
+it was placed above his body as it lay in state,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+and was carried in his funeral procession, invests
+it with peculiar interest.</p>
+
+<p>As a draftsman Raphael was second only to
+Michael Angelo, with whom he must forever
+share the immortality of fame. The Academy
+in Venice holds some of his choicest drawings,
+and in the Venetian sketch-book in the National
+Gallery in London are many of his small
+pictures, including that of the &ldquo;Knight&rsquo;s
+Dream.&rdquo;</p>
+
+<p>It was in the autumn of 1508, when Raphael
+was in his twenty-fifth year, that he was called
+to Rome in the service of the Pope. The Pontiff
+at this time was Pope Julius II, whose successor
+was Leo X, and under their pontificates
+(from 1508 to 1520) Raphael produced these
+masterpieces which stand unrivalled in the world
+save by the creations of Michael Angelo in the
+Capella Sistina. The celebrated &ldquo;Four Sibyls&rdquo;
+of Raphael are not, however, in the stanze of
+the Vatican, but in the Church of San Maria
+della Pace. In the Palazzo Vaticano these four
+wonderful stanze entrance the visitor; the
+Stanza della Signatura, the Stanza d&rsquo;Eliodoro,
+the Stanza <a name="tn27" id="tn27"></a><ins class="correction" title="original: 'della Incendio'">dell&rsquo;Incendio</ins> and the Sala di Constantino.<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p>
+
+<p>For the decoration of these stanze several
+painters from Umbria had been summoned,&mdash;Perugino,
+Sodoma, Signorelli, and others; but
+when Raphael had produced the &ldquo;Disputa&rdquo; in
+the Sala della Signatura, Pope Julius II recognized
+the work as so transcendent that he
+ordered the other artists to cease and even had
+some of their paintings obliterated that there
+might be more space for the exercise of
+Raphael&rsquo;s genius. In the &ldquo;Disputa&rdquo; are glorified
+the highest expressions of the human intellect&mdash;the
+domain portrayed being that of Theology,
+Philosophy, Poetry, and Justice. The
+splendor of this creation transcends all attempts
+of interpretation in language. Against a background
+of gold mosaic are portrayed these typical
+figures enthroned on clouds where genii flit
+to and fro bearing tablets with inscriptions.
+Theology holds in the left hand a book, while
+the other points to the vision of angels; Poetry,
+laurel-crowned, is seen seated on a throne
+with books and lyre; Philosophy wears a diadem,
+and Justice, with her balance and her
+sword, is also crowned. The title of this marvellous
+work is misleading. Its message is
+not that of disputation but of beatitude.<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+At the altar are grouped the congregation;
+the mystic spell of heavenly enthusiasm enfolds
+the scene as an atmosphere, as above
+the heavens open and the glorified Christ,
+surrounded by the saints who have kept the
+faith, is disclosed to the devotees kneeling
+below, while a choir of listening angels bend
+over them from the distant clouds in the background.</p>
+
+<p>Under Poetry are grouped Apollo and the
+Muses, and the figures of Homer, Dante and
+Virgil, of Petrarcha, Anacreon and Sappho, of
+Pindar and of Horace are recognized. The great
+scholars seen in the Philosophy include Plato
+and Aristotle, while in the groups under Justice,
+Moses and Solon are seen.</p>
+
+<p>&ldquo;Raphael seems to have never known
+despair,&rdquo; remarked Franklin Simmons of the
+work of this divine genius. &ldquo;His paintings reveal
+no struggle, but seem to have been produced
+without effort, as if brought into existence
+by an enchanter&rsquo;s wand.&rdquo;</p>
+
+<p>No observation could more vividly interpret
+the wonderful effect produced on the student
+by Raphael, and he cannot but recall the truth
+expressed in these lines of Festus:<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>&mdash;</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i3">&ldquo;All aspiration is a toil;<br /></span>
+<span class="i0">But inspiration cometh from above<br /></span>
+<span class="i0">And is no labor.&rdquo;<br /></span>
+</div></div>
+
+<p>The inspiration of Raphael was of the noblest
+order. His genius, his kindling enthusiasm, his
+ecstasy of religious devotion, have left an imperishable
+heritage to art. By his transcendent
+gifts he represents the highest manifestation
+of the art of painting in the Renaissance. For
+the true note in art lies in spiritual perception.
+Not so brilliant a colorist as Titian, he was
+more the interpreter of the extension of human
+activity into that realm of the life more abundant,
+and with his extraordinary facility of
+execution he united exquisite refinement and
+unerring sense of beauty and the masterly
+power in composition that fairly created for the
+spectator the visions that his soul beheld. &ldquo;I
+say to you,&rdquo; said Mr. Bryce recently in a press
+interview,&mdash;&ldquo;I say to you, each oncoming tide
+of life requires and needs men of lofty thought
+who shall dream for it, sing for it, who shall
+gather up its tendencies, formulate its ideals
+and voice its spirit.&rdquo; One of those men of lofty
+thought who thus dream for the ages was
+Raphael, and his power and glory have left<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+an ineffaceable impress upon human life. He
+was the divinely appointed messenger of beauty,
+and he was never disobedient to the heavenly
+vision.</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Time hath no tide but must abide<br /></span>
+<span class="i1">The servant of Thy will;<br /></span>
+<span class="i0">Tide hath no time, for to Thy rhyme<br /></span>
+<span class="i1">The ranging stars stand still.&rdquo;<br /></span>
+</div></div>
+
+<p>The decline of art after Michael Angelo and
+Raphael was marked. The very splendor and
+power of their creations, instead of inspiring
+those who immediately followed them, produced
+almost the inertia of despair. In the
+reverence and awe and admiration with which
+these transcendent masterpieces were approached
+any power to originate seemed futile
+by contrast. Imitation rather than creation
+became the method adopted, resulting in an
+increased poverty of design and feeble execution.
+The art of the sixteenth century deteriorated
+rapidly till the baroco style was in evidence.
+One reason, too, for the decline was in
+that art was no longer so exclusively dedicated
+to the high service of religion, but aimed, instead,
+to please and to procure patrons, and<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+thus were all worthy standards lowered to pernicious
+levels.</p>
+
+<div class="figcenter border" style="width: 314px;">
+<a href="images/angelb.jpg"><img src="images/angel.jpg" width="314" height="400" alt="ANGEL, CHURCH OF SAN ANDREA DELLE FRATTE, ROME
+Giovanni Lorenzo Bernini" title="ANGEL, CHURCH OF SAN ANDREA DELLE FRATTE, ROME
+Giovanni Lorenzo Bernini" /></a>
+<p class="caption noi"><small>ANGEL, CHURCH OF SAN ANDREA DELLE FRATTE, ROME<br />
+Giovanni Lorenzo Bernini</small></p>
+</div>
+
+<p>A sculptor who left his impress upon the
+sixteenth-century art was Lorenzo Bernini, a
+Neapolitan (born in 1598) who died in Rome
+in 1685. The work of Bernini has a certain
+fascination and airy touch that, while it sometimes
+degenerates into the merely fantastic and
+even into tawdry and puerile affectations, has
+at its best a refinement and grace that lend to
+his sculptures an enduring charm, as seen in
+his &ldquo;Apollo and Daphne&rdquo; (a work executed
+in his eighteenth year) which is now in the
+Casino of the Villa Borghese. Bernini&rsquo;s name
+is perpetuated in the colossal statues on the
+colonnade of St. Peter&rsquo;s, the great bronze
+angels with their draperies streaming to the
+winds on the <a name="tn32a" id="tn32a"></a><ins class="correction" title="original: 'Pont'">Ponte</ins> San Angelo, and in the vast
+fountain in the Piazza Navona. In the court
+of the Palazzo Bernini is one of the most
+interesting of his works&mdash;a colossal figure,
+allegorical in significance, illustrating &ldquo;Truth
+Brought to Light by Time.&rdquo; One of the most
+important works of Bernini&mdash;now placed in
+the <a name="tn32b" id="tn32b"></a><ins class="correction" title="original: 'Music'">Museo</ins> Nazionale&mdash;is the group of &ldquo;Pluto
+and Proserpine.<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>&rdquo;</p>
+
+<p>The influence that was to reform and regenerate
+the art of sculpture in the sixteenth century
+came with the great and good Canova, with
+which was united that of Flaxman and of Thorwaldsen.
+The heavenly messengers are always
+sent and appear at the time they are most
+needed. Neither Truth nor Art is ever left
+without a witness.</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;God sends his teachers unto every age,<br /></span>
+<span class="i0">To every clime, and every race of men,<br /></span>
+<span class="i0">With revelations fitted to their growth<br /></span>
+<span class="i0">And shape of mind; nor gives the realm of truth<br /></span>
+<span class="i0">Into the selfish rule of one sole race.&rdquo;<br /></span>
+</div></div>
+
+<div class="figcenter border" style="width: 303px;">
+<a href="images/stuartb.jpg"><img src="images/stuart.jpg" width="303" height="400" alt="DETAIL FROM STUART MONUMENT, ST. PETER&rsquo;S, ROME Antonio Canova
+" title="
+DETAIL FROM STUART MONUMENT, ST. PETER&rsquo;S, ROME Antonio Canova
+" /></a>
+<p class="caption noi"><small>DETAIL FROM STUART MONUMENT, ST. PETER&rsquo;S, ROME<br /> Antonio Canova
+</small></p>
+</div>
+
+<p>Canova&rsquo;s genius and services were widely
+recognized. In 1719 he was made a Senator;
+he was ennobled with the title of Marchese of
+Ischia and granted a yearly allowance of three
+thousand scudi; and his noble and generous
+enthusiasms, not less than his genius, have left
+their record on life as well as on art. When he
+died (in Venice, Oct. 3, 1822) his work included
+fifty-nine statues, fourteen groups,
+twenty-two monuments, and fifty-four busts.
+The statue of Pius V and the tomb of Clement
+XIII are his greatest works, and the latter is<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+perhaps even increasingly held as a masterpiece
+of the ages.</p>
+
+<p>Canova, warned by the fatal influence of
+imitation in art in the sixteenth century, frequently
+counselled his pupils against copying
+his own style and constantly urged them to study
+from the Greeks. He advised them to visit
+frequently the studios of other artists, &ldquo;and
+especially,&rdquo; he would add, &ldquo;the studios of
+Thorwaldsen, who is a very great artist.&rdquo;</p>
+
+<p>In the early part of the nineteenth century
+contemporary sculpture in Rome was led by
+the three great artists,&mdash;Canova, Thorwaldsen,
+and Gibson. In 1829 Gibson had the honor of
+being elected a member of the Accadémia di
+San Luca in place of the sculptor Massimiliano,
+who had then just died. Cammuccini, the historical
+painter, proposed Gibson, and with the
+ardent assistance of Thorwaldsen he was
+elected resident Academician of merit. &ldquo;Like
+Canova, Thorwaldsen was most generous to
+young artists,&rdquo; says Gibson of the great Danish
+master, &ldquo;and he freely visited all who required
+his advice. I profited greatly by the knowledge
+which this splendid sculptor had of his
+art. On every occasion when I was modelling<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
+a new work he came to me, and corrected whatever
+he thought amiss. I also often went to
+his studio and contemplated his glorious works,
+always in the noblest style, full of pure and
+severe simplicity. His studio was a safe school
+for the young, and was the resort of artists and
+lovers of art from all nations. The old man&rsquo;s
+person can never be forgotten by those who
+saw him. Tall and strong,&mdash;he never lost a
+tooth in his life,&mdash;he was most venerable looking.
+His kind countenance was marked with
+hard thinking, his eyes were gray, and his
+white locks lay upon his broad shoulders. At
+great assemblies his breast was covered with
+orders.&rdquo;</p>
+
+<p>Thorwaldsen (born in Copenhagen, Nov. 19,
+1770) went to Rome in 1797&mdash;sent by the
+government of Denmark as a pensioner. It is
+said that, in his enthusiasm for Rome, Thorwaldsen
+dated his birth from the hour he entered
+the Eternal City. &ldquo;Before that day,&rdquo; he exclaimed,
+&ldquo;I existed; I did not live.&rdquo; For
+nearly fifty years&mdash;until his death in 1844&mdash;he
+lived and worked in Rome, occupying at
+one time the studio in Via Babuino that had
+formerly been that of Flaxman.<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>
+
+<p>John Gibson, who went to Rome in 1817,&mdash;twenty
+years after Thorwaldsen first arrived,&mdash;had
+the good fortune to be for five years a
+pupil of Canova, whose death in 1822 terminated
+this inestimable privilege. The elevation
+of purpose that characterized the young
+English student made his progress and development
+a matter of peculiar interest to the
+master. Gibson, also, bears his testimony to
+the stimulus of the Roman environment.
+&ldquo;Rome above all other cities,&rdquo; he says, &ldquo;has
+a peculiar influence upon and charm for the
+real student; he feels himself in the very university
+of art, where it is the one thing talked
+about and thought about. Constantly did I
+feel the presence of this influence. Every
+morning I rose with the sun, my soul gladdened
+by a new day of a happy and delightful
+pursuit; and as I walked to my breakfast at
+the Caffè Greco and watched with new pleasure
+the tops of the churches and palaces gilt
+by the morning sun, I was inspired with a
+sense of daily renovated youth, and fresh enthusiasm,
+and returned joyfully to the combat,
+to the invigorating strife with the difficulties
+of art. Nor did the worm of envy creep round<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
+my heart whenever I saw a beautiful idea skilfully
+executed by any of my young rivals, but
+constantly spurred on by the talent around me
+I returned to my studio with fresh resolution.&rdquo;</p>
+
+<p>Again to a friend Gibson writes:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I renewed my visits to the Vatican, refreshing
+my spirits in that Pantheon of the gods,
+demigods, and heroes of Hellas.&nbsp;.&nbsp;.&nbsp;. In the
+art of sculpture the Greeks were gods.&nbsp;.&nbsp;.&nbsp;.
+In the Vatican we go from statue to statue,
+from fragment to fragment, like the bee from
+flower to flower.&rdquo;</p></div>
+
+<p>These five years in which Canova, Thorwaldsen,
+and Gibson lived and wrought together&mdash;although
+the youngest of this trio was still in
+his student life&mdash;form a definite period in
+the history of modern art in Rome. The
+dreams, the enthusiasm, the devotion to ideal
+beauty which characterized their work left its
+impress and its vitality of influence&mdash;a mystic
+power ready to incarnate itself again through
+the facility of expression of the artists yet to
+come. To the young men whose steps were
+turned toward Rome in these early years of<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+the century just passed, how great was the
+privilege of coming into close range of the
+influence of such artists as these; to study their
+methods; to hear the expression of their views
+on art in familiar meeting and conversation!
+These artists were closely in touch with that
+&ldquo;lovely and faithful dream which came with
+Italian Renaissance in the works of Pisani,
+Mino di Fiesole, Donatello, Michael Angelo,
+and Giovanni da Bologna&mdash;all who caught
+the spirit of Greek art.&rdquo; Artistic truth was
+the keynote of the hour, and it is this truth
+which is the basis of the highest conception
+of life.</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;Art&rsquo;s a service,&mdash;mark:<br /></span>
+<span class="i0">A silver key is given to thy clasp<br /></span>
+<span class="i0">And thou shalt stand unwearied night and day,<br /></span>
+<span class="i0">And fix it in the hard, slow-turning wards<br /></span>
+<span class="i0">To open, so that intermediate door<br /></span>
+<span class="i0">Betwixt the different planes of sensuous form<br /></span>
+<span class="i0">And form insensuous, that inferior men<br /></span>
+<span class="i0">May learn to feel on still through these to those,<br /></span>
+<span class="i0">And bless thy ministration. The world waits for help.&rdquo;<br /></span>
+</div></div>
+
+<p>In their true relation art and ethics meet in
+their ministry to humanity, for only in their
+union can they best serve man. All the nobler<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
+culture has its responsibility in service. &ldquo;Many
+a man has a blind notion of stewardship about
+his property, but very few have it about their
+knowledge,&rdquo; said Bishop Phillips Brooks, and
+he added: &ldquo;One grows tired of seeing cultivated
+people with all their culture cursed by
+selfishness.&rdquo; To the true idealist&mdash;as distinct
+from the mere emotionalist with æsthetic tastes&mdash;selfishness
+is an impossible prison. The only
+spiritual freedom lies in the perpetual sharing
+of the fuller life. The gift shared is the gift
+doubled. Art is the spiritual glory of life; the
+supreme manifestation, the very influence of
+spiritual achievement. Mr. Stillman, discussing
+the revival of art, has questioned: &ldquo;Does
+the world want art any longer? Has it,
+in the present state of human progress, any
+place which will justify devotion to it?&rdquo;</p>
+
+<p>He questions as to whether man is still</p>
+
+<div class="poem" style="width: 12em;"><div class="stanza">
+<span class="i0">&ldquo;Apparelled in celestial light,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">or whether he has lost &ldquo;the glory and the freshness&rdquo;
+of his dreams.</p>
+
+<div class="blockquot"><p>&ldquo;No one can admit,&rdquo; continues Mr. Stillman,
+&ldquo;that the human intellect is weaker than<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
+it was five or twenty centuries ago; but it is
+certain that if we take the pains to study what
+was done five centuries ago in painting, or
+twenty centuries ago in sculpture, and compare
+it with the best work of to-day, we shall
+find the latter trivial and &rsquo;prentice work compared
+with the ordinary work of men whose
+names are lost in the lustre of a school.</p>
+
+<p>&ldquo;Then, little men inspired by the Zeitgeist,
+painted greatly; now, our great men fail to
+reach the technical achievement of the little
+men of them. There is only one living painter
+who can treat a portrait as a Venetian artist
+of 1550 A.D. would have done it, and how
+differently in the mastery of his material! If
+we go to the work of wider range, the Campo
+Santo of Pisa, the Stanze, the Sistine Chapel,
+the distance becomes an abyss; the simplest
+fragment of a Greek statue of 450 B.C. shows
+us that the best sculpture of this century, even
+the French, is only a happy child-work, not
+even to be put in sight of Donatello or Michael
+Angelo. The reason is simple, and already
+indicated. The early men grew up in a system
+in which the power of expression was taught
+from childhood; they acquired method as the<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+musician does now, and the tendency of the
+opinion of their time was to keep them in the
+good method.&rdquo;</p></div>
+
+<p>Is this not too narrow and sweeping a judgment?
+The art of portraiture certainly did not
+die with the Venetian painters of 1550, however
+great their work; and if there be but &ldquo;one
+living painter&rdquo; who can treat portrait art like
+the early Venetians, there are scores of artists
+who achieve signal success by other methods of
+treatment.</p>
+
+<p>At all events, these three men, Canova, Thorwaldsen,
+and Gibson, worked with the conviction
+that art is service. With Victor Hugo,
+Canova could have said: &ldquo;Genius is not made
+for genius; it is made for men.&nbsp;.&nbsp;.&nbsp;. Let him
+have wings for the infinite provided he has feet
+for the earth, and that, after having been seen
+flying, he is seen walking. After he has been
+seen an archangel, let him be still more a
+brother.&nbsp;.&nbsp;.&nbsp;. To be the servant of God in
+the march of progress&mdash;such is the law which
+regulates the growth of genius.&rdquo;</p>
+
+<p>They worked and taught by this creed.
+Thorwaldsen, on first arriving in Rome, wandered<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+for three years, it is said, among the
+statues of gods and heroes, like a man in a
+dream. The atmosphere of the earlier day
+when Titian was employed by the king of Portugal
+and Raphael by the Pope to create works
+of great public importance still lingered and
+exerted over Thorwaldsen, and over all artists
+susceptible to its subtle influence, a peculiar
+spell. Its power was revealed in his subsequent
+works&mdash;the &ldquo;Christ;&rdquo; the sculptured
+groups for tombs in St. Peter&rsquo;s and in other
+churches; the poetic reliefs symbolizing &ldquo;Day&rdquo;
+and &ldquo;Night;&rdquo; &ldquo;Ganymede Watering the
+Eagle;&rdquo; the &ldquo;Three Graces,&rdquo; &ldquo;Hebe,&rdquo; and
+many others.</p>
+
+<div class="figcenter border" style="width: 303px;">
+<a href="images/clementb.jpg"><img src="images/clement.jpg" width="303" height="400" alt="TOMB OF CLEMENT XIII, ST. PETER&rsquo;S, ROME Antonio Canova
+" title="TOMB OF CLEMENT XIII, ST. PETER&rsquo;S, ROME Antonio Canova
+" /></a>
+<p class="caption noi"><small>TOMB OF CLEMENT XIII, ST. PETER&rsquo;S, ROME<br /> Antonio Canova
+</small></p>
+</div>
+
+<p>Among Canova&rsquo;s works his immortal masterpiece
+is the monumental memorial group for
+the tomb of Pope Clement XIII in St. Peter&rsquo;s.
+The Pope is represented as kneeling in prayer.
+The modelling of the entire figure is instinct
+with expression. The fine and beautiful hands
+express reverence and trust. The countenance
+is pervaded with that peace only known to the
+soul that is in complete harmony with the
+divine power. The Holy Father has taken the
+tiara from his head and it lies before him on<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+the cushion on which he kneels. Although the
+entire portrayal of the figure reveals that devotion
+expressed in the solemn and searching words
+of the church service, &ldquo;And here we offer and
+present unto thee, O Lord, ourselves, our souls
+and bodies to be a reasonable, holy, and living sacrifice
+unto thee,&rdquo;&mdash;although it is the very utmost
+rendering of the soul to God, it is yet the deliberate,
+the joyful, the living acceptance of divine
+love and no mere trance of ecstasy. No more
+wonderful figure in all the range of sculpture
+has been created than the Clement XIII of
+Canova.</p>
+
+<div class="figcenter border" style="width: 313px;">
+<a href="images/deathb.jpg"><img src="images/death.jpg" width="313" height="400" alt="&ldquo;THE GENIUS OF DEATH,&rdquo; DETAIL FROM TOMB OF CLEMENT XIII,
+ST. PETER&rsquo;S, ROME Antonio Canova" title="&ldquo;THE GENIUS OF DEATH,&rdquo; DETAIL FROM TOMB OF CLEMENT XIII,
+ST. PETER&rsquo;S, ROME Antonio Canova" /></a>
+<p class="caption noi"><small>&ldquo;THE GENIUS OF DEATH,&rdquo; DETAIL FROM TOMB OF CLEMENT XIII,
+ST. PETER&rsquo;S, ROME<br /> Antonio Canova</small></p>
+</div>
+
+<p>The group is completed by two symbolic
+figures representing Religion and Death. The
+former is personified as a female figure holding
+a cross; the latter sits with his torch reversed.
+Grief, but not hopeless and despairing sorrow, is
+portrayed; it is the grief companioned by faith
+which ever sees</p>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i0">&ldquo;The stars shine through the cypress trees.&rdquo;<br /></span>
+</div></div>
+
+<p>The base of the monument represents a
+chapel guarded by lions. Pistolesi, the great
+Italian authority on the sculpture of St. Peter&rsquo;s<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+and the Vatican galleries, notes that the lions
+typify the firmness and the force and the courage,
+&ldquo;<i>la fortezza dell&rsquo;anima</i>,&rdquo; that so signally
+characterized Clement XIII. There is probably
+no sacred monument in the realm of all
+modern art which can equal this creation in its
+delicacy, its lofty beauty, and the noble message
+that it conveys.</p>
+
+<p>The oldest art school, the Accadémia di
+San Luca, founded in 1507 by Sixtus, when
+he called to Rome all the leading artists of
+Europe to assist in the decoration of the Sistine
+Chapel, is an organization that magically links
+the present with the days of Canova, Thorwaldsen,
+and Gibson, as it linked them, also, with
+the remote and historic past. The father of
+the present custodian of the Academy knew
+Thorwaldsen well. The grandfather of the
+gifted Italian sculptor, Tadolini (who has recently
+completed the tomb for Pope Leo XIII,
+placed in the Basilica of San Giovanni Laterano),
+modelled the bust of Thorwaldsen, and in
+one gallery hangs the great Danish sculptor&rsquo;s portrait,
+painted by himself. The first director of
+San Luca was Federigo Zuccaro. In the early
+years of the nineteenth century this Academy<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
+was a vital centre of art life, and it is still a
+school that draws students, although the visitor
+who does not loiter and linger in his Rome
+may fail to know of this most alluring place.
+The San Luca is in the Via Bonella, one of the
+old, dark, narrow, and gloomy streets of the
+oldest part of Rome,&mdash;a short street of hardly
+more than two blocks, running between the
+Via Alessandra and the Forum. Hawthorne
+vividly pictures all this old Rome when he
+speaks of the &ldquo;narrow, crooked, intricate
+streets, so uncomfortably paved with little
+squares of lava that to tread over them is a
+penitential pilgrimage; so indescribably ugly,
+moreover; so cold, so alley-like, into which the
+sun never falls and where a chill wind forces
+its deadly breath into our lungs; the immense
+seven-storied, yellow-washed hovels, or call
+them palaces, where all that is dreary in domestic
+life seems magnified and multiplied; those
+staircases which ascend from a ground floor of
+cook shops and cobblers&rsquo; stalls, stables and
+regiments of cavalry, to a middle region of
+princes, cardinals, and ambassadors, and an
+upper tier of artists just beneath the unattainable
+sky: .&nbsp;.&nbsp;. in which the visitor becomes<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+sick at heart of Italian trickery, which has uprooted
+whatever faith in man&rsquo;s integrity had
+till then endured;&rdquo; the city &ldquo;crushed down in
+spirit by the desolation of her ruin and the
+hopelessness of her future;&rdquo; one recalls these
+words when passing through the unspeakable
+gloom and horror and desolation and squalor
+of ancient Rome. In these surroundings one&rsquo;s
+cab stops at &ldquo;No. 44,&rdquo; and ringing the bell the
+door is open, whether by super-normal agency
+or by some invisible terrestrial manipulation
+one is unable to determine; but in the semi-darkness
+of the narrow hall he discerns before
+him a flight of steep stairs, and, as no other
+vista opens, he reasons that, by the law of
+exclusion, this must be the appointed way.
+Along the wall are seen, here and there, some
+antique casts from Trajan&rsquo;s Column, and reliefs
+from Canova and Thorwaldsen. The galleries
+above hold only a small and a comparatively
+unimportant collection of pictures. There
+are marines from Vernet and Claude Lorraine;
+a &ldquo;Venus Crowned by the Graces&rdquo; from Rubens;
+Giulio Romano&rsquo;s copy of Raphael&rsquo;s &ldquo;Galatea,&rdquo;&mdash;the
+original of which (in the Villa Farnesina)
+represents Galatea surrounded by Nymphs,<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+Cupids, and Tritons, being carried in a shell
+across the sea. There is a Cupid, and also the
+&ldquo;Fortuna&rdquo; of Guido Reni,&mdash;the latter a figure
+of ineffable grace floating in the air. One of
+Raphael&rsquo;s early works representing &ldquo;St. Luke
+Painting the Madonna&rdquo; is here. There are
+several works by Titian, but these have less than
+would be expected of the glory usually associated
+with his name; and a Vandyke representing
+the Virgin and Child, with two angels playing,
+the one on a lute, the other on the violin.</p>
+
+<div class="figcenter border" style="width: 310px;">
+<a href="images/fortunab.jpg"><img src="images/fortuna.jpg" width="310" height="400" alt="&ldquo;LA FORTUNA,&rdquo; ACCADÉMIA DI SAN LUCA, ROME Guido Reni" title="&ldquo;LA FORTUNA,&rdquo; ACCADÉMIA DI SAN LUCA, ROME Guido Reni" /></a>
+<p class="caption noi"><small>&ldquo;LA FORTUNA,&rdquo; ACCADÉMIA DI SAN LUCA, ROME<br /> Guido Reni</small></p>
+</div>
+
+<p>One salon filled with portraits of artists is
+especially interesting, and that of Thorwaldsen
+is so feminine in its costume and the parting
+of the hair, that it is almost inevitably mistaken
+for that of a woman. Guido&rsquo;s graceful
+&ldquo;Fortuna&rdquo; is represented as a female figure
+flying through the air, her long hair streaming
+in the wind, and the picture recalls to one the
+Greek legend of Opportunity, as told by Kainos.
+The legend runs:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;&lsquo;Of what town is thy sculptor?&rsquo;</p>
+
+<p>&ldquo;&lsquo;Of Lukzon.&rsquo;</p>
+
+<p>&ldquo;&lsquo;What is his name?&rsquo;</p>
+
+<p>&ldquo;&lsquo;Lysippos.<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>&rsquo;</p>
+
+<p>&ldquo;&lsquo;And thine?&rsquo;</p>
+
+<p>&ldquo;&lsquo;Opportunity, controller of all things.&rsquo;</p>
+
+<p>&ldquo;&lsquo;But why standest thou on tiptoe?&rsquo;</p>
+
+<p>&ldquo;&lsquo;I am always running.&rsquo;</p>
+
+<p>&ldquo;&lsquo;Why, then, hast thou wings on both feet?&rsquo;</p>
+
+<p>&ldquo;&lsquo;I fly like the wind.&rsquo;</p>
+
+<p>&ldquo;&lsquo;But wherefore bearest thou a razor in thy
+right hand?&rsquo;</p>
+
+<p>&ldquo;&lsquo;As a sign to men that I am sharper than
+any steel.&rsquo;</p>
+
+<p>&ldquo;&lsquo;And why wearest thou thy hair long in
+front?&rsquo;</p>
+
+<p>&ldquo;&lsquo;That I may be seized by him who approaches
+me.&rsquo;</p>
+
+<p>&ldquo;&lsquo;By Zeus! And thou art bald behind?&rsquo;</p>
+
+<p>&ldquo;&lsquo;Because once I have passed with my
+winged feet no one may seize me then.&rsquo;&rdquo;</p></div>
+
+<p>From one landing, on the steep narrow staircase
+of San Luca, opens the Biblioteca Sarti,
+an art library of some fifteen thousand volumes.
+The sculpture gallery is now closed and can
+only be entered by special permission. This
+is the more to be regretted as it contains the
+principal collections in Rome of the original
+casts of the works of Thorwaldsen and Canova.<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p>
+
+<p>The latter-day artists who have been setting
+up their Lares and Penates in Rome at various
+periods during the early and into the later
+years of the nineteenth century have found the
+Eternal City in strong contrast with its twentieth-century
+aspects, however it may have differed
+from the Rome of the Popes. The earlier American
+artists to seek the Seven-hilled City were
+painters; and Allston, Copley, and Stuart had
+already distinguished themselves in pictorial art
+before America had produced any sculptor who
+could read his title clear to fame. It is to
+Hiram Powers (born in Vermont in 1805) that
+America must look as her first sculptor,
+chronologically considered, closely followed by
+Thomas Crawford, who was but eight years his
+junior, and by Horatio Greenough, who was
+also born in the same year as Powers, and who
+preceded him in Italy, but whose work has less
+artistic value. Mr. Greenough has left a colossal
+(if not an artistic) monument to his gifts in
+stately shaft marking Bunker Hill which he
+designed. Problematic in their claim to artistic
+excellence as are his &ldquo;Washington&rdquo;&mdash;a
+seated figure in the grounds of the Capitol in
+Washington&mdash;and his group in relief called<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
+&ldquo;The Rescue&rdquo; in the portico of the Capitol,
+his name lives by his personality as a man of
+liberal culture and noble character, if not by
+his actual rank in art. First of the American
+group in Italy, he was followed by Powers, who
+sought the ineffable beauty and enchantment
+of Florence in 1837. Horatio Greenough died
+in comparatively early life, leaving perhaps the
+most interesting of his works in a relief (purchased
+by Professor George Ticknor, the distinguished
+historian of Spain) &ldquo;representing in
+touching beauty and expression a sculptor
+in an attitude of dejection and discouragement
+before his work, while a hand from above
+pours oil into his dying lamp, an allegory
+illustrative of the struggles of genius and
+the relief which timely patronage may extend
+to it.&rdquo;</p>
+
+<p>Mr. Powers passed his entire life in Florence.
+His work attracted great attention and inspired
+ardent appreciation. In portrait busts Powers
+was especially successful; and his &ldquo;Greek Slave,&rdquo;
+his &ldquo;Fisher Boy,&rdquo; &ldquo;Il Penseroso,&rdquo; and &ldquo;Proserpine&rdquo;
+impressed the art-loving public of the
+time as marked by strong artistic power and as
+entitled to permanent rank in sculpture.<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span></p>
+
+<p>Mr. Crawford died young; but his name lives
+in the majestic bronze statue of &ldquo;Beethoven&rdquo;
+which is in the beautiful white and gold interior
+of Symphony Hall, in Boston; and his
+&ldquo;Orpheus&rdquo; and some other works claim high
+appreciation. Writing of Crawford, Mr. Hillard
+said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Crawford&rsquo;s career was distinguished by
+energy, resolution, and self-reliance. While yet
+a youth, he formed the determination to make
+himself an artist; and with this view went to
+Rome&mdash;alone, unfriended, and unknown&mdash;and
+there began a life of toil and renunciation;
+resisting the approaches alike of indolence and
+despondency. His strength of character and
+force of will would have earned distinction for
+powers inferior to his. Nothing was given to
+self-indulgence; nothing to vague dreams;
+nothing to unmanly despair. He did not wait
+for the work that he would have, but labored
+cheerfully upon that which he could have.
+Success came gradually, but surely; and his
+powers as surely proved themselves to be
+more than equal to the demand made upon
+them.&rdquo;</p></div><p><span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span></p>
+
+<p>On the death of Mr. Crawford, Thomas William
+Parsons wrote a memorial poem in which
+this stanza occurs:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;O Rome! what memories awake,<br /></span>
+<span class="i1">When Crawford&rsquo;s name is said,<br /></span>
+<span class="i0">Of days and friends for whose dear sake<br /></span>
+<span class="i0">That path of Hades unto me<br /></span>
+<span class="i1">Will have no more of dread<br /></span>
+<span class="i0">Than his own Orpheus felt, seeking Eurydice!<br /></span>
+<span class="i1">O Crawford! husband, father, brother<br /></span>
+<span class="i1">Are in that name, that little word!<br /></span>
+<span class="i0">Let me no more my sorrow smother;<br /></span>
+<span class="i1">Grief stirs me, and I must be stirred.&rdquo;<br /></span>
+</div></div>
+
+<p>Thomas Ball, who went in early manhood to
+Florence, where he remained until when nearly
+at the age of fourscore he returned to his native
+land, still continues, at the age of eighty-five, to
+pursue the art he loves. He has created works,
+as his equestrian statue of &ldquo;Washington&rdquo; in the
+Public Gardens and his &ldquo;Lincoln Freeing the
+Slave&rdquo; in Park Square, both in Boston; his
+great Washington Memorial group in Methuen,
+Massachusetts; his &ldquo;Christ Blessing Little Children,&rdquo;
+and many other historic and ideal sculptures,
+that seem endowed with his beautiful
+and winning spirit as well as with his rare<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+gifts. Larkin G. Mead chose Florence rather
+than Rome for his home and work. His noble
+&ldquo;River God,&rdquo; placed at the head of the Mississippi
+near St. Paul, as well as other interesting
+creations, link his name with that of his native
+land. Randolph Rogers, a man of genius;
+Rinehart, Paul Akers, and Thompson all died
+before the full maturity of their powers; Akers
+at the early age of thirty-six, leaving, as his
+bride of a year, the poet, Elizabeth Akers Allen,
+who, under the <i>nom de plume</i> of &ldquo;Florence Percy,&rdquo;
+has endeared herself to all lovers of lyric art. In
+a monograph on Paul Akers, written after his
+death, the writer says of his studio in Rome:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Linked with this studio is Hawthorne&rsquo;s tale
+of &lsquo;The Marble Faun,&rsquo; as Kenyon&rsquo;s studio was
+none other than Paul Akers&rsquo;s. Though Hawthorne
+in his romance saw fit to lay the scene
+in the rooms once occupied by Canova, it was
+in the Via del Crecie that he wove the thread
+of his Italian romance.</p>
+
+<p>&ldquo;Paul Akers&rsquo;s growing reputation and increase
+of work ere long made it necessary for
+him to seek a more commodious studio, and he
+took rooms once occupied by the famous<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
+Canova. Here he had made under his supervision
+copies in marble of many of the famous
+works of the Vatican and the Capitol. The
+largest collection of these was a commission
+from Mr. Edward King of Newport, and among
+them were busts of Ariadne, Demosthenes, and
+Cicero, and a facsimile of the &lsquo;Dying Gladiator&rsquo;
+which Mr. King presented to the Redwood
+Library of Newport.</p>
+
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+
+<p>&ldquo;During his first winter in Rome he was
+permitted by the authorities to make a cast of
+a mutilated bust of Cicero which had long lain
+in the Vatican. A critic writing from Rome
+in 1857 says of this bust of Cicero: &lsquo;Mr. Akers
+obtained permission to take a cast from it; he
+then restored the eye, brow, and ears, and
+modelled a neck and bust for it in accordance
+with the temperament shown by the nervous
+and rather thin face. He has succeeded
+admirably. It is the very head of the Vatican,
+yet without the scars of envious time, and sits
+gracefully on human shoulders, instead of being
+rolled awkwardly back upon a shelf.&rsquo; This
+bust is unlike the portrait which so long passed
+for Cicero&rsquo;s, but has been identified by means<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
+of a medal which was struck by the Magnesians
+in honor of the great orator during his consulate,
+and is now the authorized portrait of Cicero.
+The finest of Paul Akers&rsquo;s creations executed
+during <a name="tn55" id="tn55"></a><ins class="correction" title="original: 'hs'">his</ins> stay in Rome are &lsquo;St. Elizabeth of
+Hungary,&rsquo; which represents the princess at the
+moment the roses have fallen to the ground;
+&lsquo;Una and the Lion,&rsquo; an illustration of the line in
+Spenser&rsquo;s &lsquo;Faerie Queene,&rsquo;&mdash;</p>
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0">&lsquo;Still while she slept he kept both watch and ward;&rsquo;<br /></span>
+</div></div>
+
+<p class="noi">the head of Milton and the &lsquo;Pearl Diver.&rsquo; The
+&lsquo;Pearl Diver,&rsquo; now owned by the city of Portland,
+represents a youth stretched upon a sea-worn
+rock and wrapped in eternal sleep. The
+arms are thrown above the head, and about the
+waist is a net containing pearl-bearing shells for
+which he has risked his life. There is no trace
+of suffering; all is subdued to beauty. It is
+death represented as the ancients conceived it,
+the act of the torch-reverting god. This youth,
+who has lost his life at the moment when all
+that for which he had dared was within his
+grasp, suggests Paul Akers&rsquo;s own untimely
+death on the eve of his triumph.&rdquo;</p></div><p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
+
+<p>It was from his Roman studio that Mr. Akers
+wrote to a friend:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Yesterday Browning called. He looked a
+long time at my Milton, and said it was Milton,
+the man-angel. He praised the wealth of hair
+which I had given the head, and then said that
+Mrs. Browning had a lock of Milton&rsquo;s hair, the
+only one now in existence. This was given her
+by Leigh Hunt, just before his death, who
+had the records proving it to be genuine. The
+hair was, he said, like mine. He invited me
+to visit him in Florence, where he would show
+me the first edition of Milton&rsquo;s poems, marked
+to indicate the peculiar accent which the poet
+sometimes adopted, a knowledge of which
+makes clear somewhat that otherwise seems
+discordant. Milton was so great a musician
+that there could have been no fault in sound
+in his compositions. He looked over my books;
+said my edition of Shelley was one which he
+had corrected for the press, not from a knowledge
+of the original MS., but from his internal
+evidence that so it must have been; said Poe
+was a wonderful man; spoke of Tennyson in
+the warmest terms. Took up a copy of his<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
+own poems published in the United States, and
+remarked that it was better than the English
+edition, yet had some awful blunders, and
+wished me to allow him to correct a copy for
+me. My head of the &lsquo;Drowned Girl&rsquo; caught his
+eye and interested him. I told him that I had
+thought of Hood&rsquo;s &lsquo;Bridge of Sighs.&rsquo; He then
+said that Hood wrote that on his deathbed,
+and read it to him before any one else had seen
+it. Hood was doubtful whether it was worth
+publishing. To-morrow Mrs. Browning is to
+come; she has been quite ill since she came to
+Rome, and I have seen her but once. I derive
+much comfort from the friendship of Charlotte
+Cushman. She has just gone from here. She
+has frequent breakfast parties; I have attended
+but one. Mr. and Mrs. James T. Fields, Wild,
+the painter, and myself were the guests. Fields
+I like much.&rdquo;</p></div>
+
+<p>The first works of Mr. Akers were two
+portrait busts, of Longfellow and of Samuel
+Appleton. Of his bust of Milton, Hawthorne
+in the &ldquo;Marble Faun&rdquo; has said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;In another style, there was the grand, calm
+head of Milton, not copied from any one bust<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
+or picture, yet more authentic than any of
+them, because all known representations of the
+poet had been profoundly studied and solved
+in the artist&rsquo;s mind. The bust over the tomb
+in Greyfriar&rsquo;s Church, the original miniatures
+and pictures wherever to be found, had mingled
+each its special truth in this one work&mdash;wherein
+likewise by long perusal and deep love
+of &lsquo;Paradise Lost,&rsquo; the &lsquo;Comus,&rsquo; the &lsquo;Lycidas,&rsquo;
+and &lsquo;L&rsquo;Allegro,&rsquo; the sculptor had succeeded
+even better than he knew in spiritualizing his
+marble with the poet&rsquo;s mighty genius. And
+this was a great thing to have achieved, such a
+length of time after the dry bones and dust of
+Milton were like those of any other dead man.&rdquo;</p></div>
+
+<p>Richard Greenough and the painter, Mr.
+Haseltine, were prominent figures among the
+early American group of the nineteenth-century
+artists in Rome. There came Emma Stebbins,
+who modelled a fine portrait bust of Charlotte
+Cushman; and Anne Whitney, whose statues
+of Samuel Adams and of Leif Ericson adorn
+public grounds in Boston; whose life-size statue
+of Harriet Martineau is the possession of Wellesley
+College; and whose &ldquo;Chaldean Astronomer,<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>&rdquo;
+&ldquo;Lotus-Eater,&rdquo; and &ldquo;Roma&rdquo;&mdash;a figure personifying
+the Rome of Pio Nono&mdash;reveal her
+power in ideal creation.</p>
+
+<p>The name of Harriet Hosmer stands out in
+brilliant pre-eminence among those of all women
+who have followed the plastic art. Her infinite
+charm of personality seems to impart itself to
+her work, and she has the gift to make friends
+as well as to call forms out of clay&mdash;the
+success of friendship being one even more permanently
+satisfying. In her early life as a
+girl hardly more than twenty, she sought Rome,
+living with art as her chaperon. Her versatility,
+her picturesque individuality, and her
+imaginative power all combined to win sympathetic
+recognition. Gibson, whose guidance
+was particularly well adapted to develop her
+gifts, received her into his own studio and took
+a deep interest in her work. It was during the
+period of her early efforts that Hawthorne was
+in Rome, and she is graphically depicted in his
+notebooks in her boyish cap at work in the
+clay. Gibson was an artist, <i>con amore</i>, and
+Miss Hosmer&rsquo;s joyous abandon to her art captivated
+his sympathy. &ldquo;In my art what do I
+find?&rdquo; he questioned; &ldquo;happiness; love which<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+does not depress me; difficulties which I do
+not fear; resolution which never abates; flights
+which carry me above the ground; ambition
+which tramples no one down.&rdquo; Master and
+pupil were akin in their unwearied devotion to
+art. Of Gibson, whose absence of mind regarding
+all the details of life made him almost
+helpless in travel and affairs, Miss Hosmer
+used gleefully to say that he &ldquo;was a god in
+his studio, but God help him out of it!&rdquo; This
+glancing sprite of a girl, frightening her friends
+by her daring and venturous horseback riding;
+gravitating by instinct to offer some generous,
+tender aid to the sick, the destitute, or the helpless;
+the life and light of gay dinners and of
+social evenings; working from six in the morning
+till night in her studio, &ldquo;with an absence of
+pretension,&rdquo; says Mrs. Browning, &ldquo;and simplicity
+of manners which accord rather with
+the childish dimples in her rosy cheeks than
+with her broad forehead and high aims,&rdquo; had
+the magic gift that merged her visitors and
+patrons into enthusiastic friends; and Mrs.
+Browning has chronicled the pretty scene when
+Lady Marion Alford, the daughter of the Earl
+of Northumberland, knelt before the girl artist<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
+and slipped on her finger a ring&mdash;a precious
+ruby set with diamonds&mdash;as a token of her
+devotion. Reading Miss Hosmer&rsquo;s life still
+further backward, the reader is transported, as
+if on some magic carpet, to St. Louis, in the
+United States, where a noble and lofty man,
+Hon. Wayman Crow,&mdash;a generous friend, a
+liberal patron of the arts, a man of the most
+refined tastes and culture, whose great qualities
+were always used in high service,&mdash;first aided
+Miss Hosmer to the preliminary studies in her
+art, and whose accomplished and lovely daughters
+(now Mrs. Lucien Carr of Boston, Mrs.
+Edwin Cushman of Newport and Rome, and
+Mrs. Emmons of Leamington, England) were
+as a trio of sisters to the young artist. And
+&ldquo;the flowing conditions of life&rdquo; bear on this
+lifelong friendship until a fair young girl,
+Élise (the daughter of Mrs. Emmons), catches
+up this sweet tie and as an accomplished and
+lovely young woman in Roman society, when
+these &ldquo;flowing conditions&rdquo; had come down even
+into the season of 1906-7, Miss Emmons cherished
+the fame of Harriet Hosmer and enjoyed
+the privilege of a constant correspondence with
+the distinguished artist. So the past links itself<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+again with the present; and who can tell where
+any story in life begins or ends in the constant
+evolutionary progress?</p>
+
+<p>Miss Hosmer&rsquo;s work attracted wide attention.
+Her majestic statue of &ldquo;Zenobia;&rdquo; the winsome
+&ldquo;Puck;&rdquo; the impressive statue of &ldquo;Beatrice
+Cenci,&rdquo; representing her as she lay in her cell
+in Castel San Angelo the night before her execution,&mdash;these
+and other works of hers are of
+an interesting character and will hold their
+permanent rank in sculpture.</p>
+
+<p>Were all the muses present at the christening
+of William Wetmore Story&mdash;sculptor, musician,
+poet and painter, jurist and man of
+letters, and the friend whose social relationships
+made life a thing of beauty&mdash;</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;To winds and waterfalls,<br /></span>
+<span class="i0">And autumn&rsquo;s sunlit festivals,<br /></span>
+<span class="i0">To music and to music&rsquo;s thoughts<br /></span>
+<span class="i0">Inextricably bound&rdquo;?<br /></span>
+</div></div>
+
+<p>Mr. Story made his first visit to Italy in 1847;
+not at that time with any fixed purpose of exchanging
+his profession of the law for art. He
+loved literature, and his grace and ease in
+expression had already manifested his literary<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
+talent; he had an inclination toward modelling&mdash;it
+could hardly, at this time, have been called
+by a stronger name&mdash;and curiously enough
+with him the usual conditions were reversed
+and he received a commission for a statue of
+his father, Judge Story, before he had made
+any definite turning toward the art of sculpture.
+A young man of versatile gifts and accomplished
+scholarship, sculpture was to him one
+among the many attractive forms of art rather
+than the supreme attraction; and it was the
+stimulus of the given work that determined
+him as a sculptor, rather than his determination
+to be a sculptor that determined the work.
+Among the goddesses of life Destiny must, perhaps,
+be allowed a place. At all events, after
+Mr. Story&rsquo;s initial glance at Italy, he sought
+Rome again a year later, and this time it was
+his choice for life, however unrevealed to his eye
+were the resplendent years that lay before him.
+He had fallen under the spell of the Magic
+Land. In a letter to Lowell, Mr. Story had
+questioned how he should ever endure again
+&ldquo;the restraint and bondage of Boston.&rdquo; It
+was the picturesque Rome of the Popes that he
+first knew. The years of 1848-49 were those<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
+of revolutionary activities in Italy. Pio Nono,
+one of the most saintly and beloved of the
+Popes,&mdash;whose mortal form now rests in that
+richly decorated chapel in old San Lorenzo,
+<i>fuori le mura</i>, on the site of the church that
+Constantine founded on the burial place of St.
+Lawrence,&mdash;made his flight to Gaeta and the
+Roman republic was established. It was a
+dramatic scene when Pio Nono returned (April
+12, 1850), entering Rome by the Porta San Giovanni.
+The scene from this gate was then, as
+now, one of the most impressive in the Eternal
+City.</p>
+
+<p>It was in this vast Basilica of San Giovanni
+Laterano that Pio Nono entered that April day,
+leaving his carriage and walking alone to the
+altar, where he knelt in devotion. A splendid
+procession awaited without to accompany the
+Holy Father to the Papal Palace. The superb
+state carriages conveyed princes and foreign
+ambassadors and great nobles. From the
+Piazza San Giovanni to St. Peter&rsquo;s every house
+was illuminated, and the populace cheered and
+waved until the very air vibrated with sound
+and color. These were the days when the
+methods of government were a visible spectacle,<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
+a drama, making the life in Rome a daily illuminated
+missal.</p>
+
+<p>The Storys, on their return to Italy, located
+themselves for a time in Florence, where they
+met the Brownings, and that lifelong friendship
+between the poet and the sculptor was initiated.
+In these happy Florentine days Mr. Story
+worked in his studio while his wife read to him
+the life of Keats, then just issued, written by
+Monckton Milnes, later Lord Houghton. But
+the &ldquo;flowing conditions&rdquo; soon bore them onward
+to Rome, where they settled themselves
+in the Via Porta Pinciana, and met the Crawfords,
+who were domiciled in the Villa Negroni.
+In these Roman days, too, appeared Mr. Cropsey,
+of poetic landscape fame, and here, too, was
+Margaret Fuller. Mazzini was then a leading
+figure in the Chamber of Deputies,&mdash;&ldquo;the
+prophet not only of modern Italy, but of the
+modern world.&rdquo; He found Italy &ldquo;utilitarian and
+materialistic, permeated by French ideas, and
+weakened by her reliance on French initiative.
+He was filled with hope that Italy might not only
+achieve her own unity, but might once more
+accomplish, as she had in the Rome of the
+Cæsars and the Rome of the Church, the unity<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
+of the Western world. &lsquo;On my side I believe,&rsquo;
+he says, &lsquo;that the great problem of the day was
+a religious problem, to which all other questions
+were but secondary.&rsquo;&rdquo; He was asserting
+that &ldquo;we cannot relate ourselves to the Divine,
+but through collective humanity. It is not by
+isolated duty (which indeed the conditions of
+modern life render more and more impossible),
+nor by contemplation of mere Power as displayed
+in the material world, that we can
+develop our nature. It is rather by mingling
+with the universal life, and by carrying on the
+evolution of the never-ending work.&rdquo;</p>
+
+<p>The studios of Mr. Crawford in those days
+were in the Piazza delle Terme, near the Baths
+of Diocletian. William Page, the painter, was
+domiciled on the slope of the Quirinal where
+he painted a portrait of Charlotte Cushman
+which Mrs. Browning described as &ldquo;a miracle&rdquo;;
+one of Mrs. Crawford; the head of Mrs. Story,
+which he insisted upon presenting to her husband;
+and a magnificent portrait of Browning
+which the artist presented to Mrs. Browning.
+&ldquo;Both of us,&rdquo; wrote Robert Browning of this
+gift, &ldquo;would have fain escaped being the subjects
+of such princely generosity; but there was no<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
+withstanding his delicacy and noble-mindedness.&rdquo;
+Mrs. Jameson was much in Rome in
+the early years of the 1850-60 decade, living
+in the old port by the Tiber nearly opposite
+to the new and splendid building of the law
+courts. Near the Tarpeian Rock Frederika
+Bremer had perched, in a tiny room of which
+she took all the frugal care, even to washing
+the blue cups and plates when she invited
+the Hawthornes to a tea of a simplicity that
+suggested, indeed, the utmost degree of &ldquo;light&rdquo;
+housekeeping. Thomas Buchanan Read was
+one of the hosts and guests of this social
+group, and it was at a dinner he gave that
+Hawthorne met Gibson, whose conversational
+talents were evidently (upon that occasion)
+chiefly employed in contemning the pre-Raphaelite
+school of painters and emphasizing the need
+of sculptors to discover and to follow the principles
+of the Greeks,&mdash;&ldquo;a fair doctrine, but
+one which Mr. Gibson fails to practise,&rdquo;
+observes Hawthorne. The Brownings were
+variously bestowed in Rome through succeeding
+winters,&mdash;in the <a name="tn205" id="tn205"></a><ins class="correction" title="original: 'Boca'">Bocca</ins> di Leone, in the
+Via del Tritone and elsewhere. Mrs. Browning,
+as her &ldquo;Casa Guida Windows&rdquo; and many other<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>
+poems attest, took always the deepest interest
+in Italian politics. American and English
+friends come and go, but the little group of
+residents and the more permanent sojourners,
+as the Hawthornes and the Brownings, continue
+their daily variations on life in the social
+dinners and teas, the excursions and the sight-seeing
+of the wonderful city.</p>
+
+<p>Only the magician could &ldquo;call up the vanished
+past again&rdquo; and summon into an undeniable
+materialization those charming figures to
+come forth out of the shadowy air of the rich,
+historic past, and stand before us in the full
+light of contemporary attention. Not alone this
+group of choice persons, but the environment
+of their time, the very atmosphere, are demanded
+of this necromancy. The figure of
+Adelaide Kemble (Mrs. Sartoris) is one of
+these, and the tradition still survives of a
+concert given in the splendid, spacious hall
+of the Palazzo Colonna where she was the prima
+donna of the occasion. There were also musicals
+at the house of Mrs. Sartoris, where the
+guests met her famous sister, Fanny Kemble.
+Mrs. Browning was fond of both the sisters,
+and said of them that their social brilliancy<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span>
+was their least distinction. She found them
+both &ldquo;noble and sympathetic,&rdquo; and her &ldquo;dear
+Mr. Page&rdquo; and &ldquo;Hatty&rdquo; (Miss Hosmer) &ldquo;an
+immense favorite with us both,&rdquo; she said of
+her husband and herself; these and the Storys
+made up the special circle for the Brownings in
+Rome. &ldquo;The Sartoris house has the best society
+in Rome,&rdquo; writes Mrs. Browning to Miss
+Mitford, &ldquo;and exquisite music, of course. We
+met Lockhart there and my husband sees a
+good deal of him.&nbsp;.&nbsp;.&nbsp;. A little society,&rdquo; she
+says, &ldquo;is good for soul and body, and on the
+Continent it is easy to get a handful of society
+without paying too dear for it. This is an
+advantage of Continental life.&rdquo;</p>
+
+<p>Mrs. Browning greatly admired the work of
+Mr. Page, whose portraits she found &ldquo;like
+Titian&rsquo;s.&rdquo; But the tinted statues of Gibson
+seemed to her inartistic. His famous painted
+Venus she called &ldquo;pretty,&rdquo; but only as a wax
+doll might be, not as a work of genuine art.
+Then Thackeray and his two daughters came;
+Miss Anne (now known to the world of literature
+as Anne Thackeray Ritchie) was a special
+favorite with Mrs. Browning.</p>
+
+<p>Coming to Rome at one time from Florence<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
+in midwinter, the Brownings found that the
+Storys had taken an apartment for them (in
+the Via Bocca di Leone), and they arrived to
+find lighted fires and lamps. Their journey
+had included a week&rsquo;s visit at Assisi, studying
+the rich art of Cimabue and Giotto in the
+church of the great Franciscan monastery.
+Mrs. Browning visited studios in Rome and
+found that of Mr. Crawford more interesting
+to her than Mr. Gibson&rsquo;s, but no artist is &ldquo;as
+near&rdquo; to her, as she herself says, as Mr. Page.
+The Storys left the Porta Pinciana to live at
+No. 93 in the Piazza di Spagna, and in the
+same house with the Brownings, in the Bocca
+di Leone, Mr. Page had his apartment. To
+Lowell, Mr. Story wrote of the Brownings:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The Brownings and we became great
+friends in Florence, and, of course, we could
+not become friends without liking each other.
+He, Emelyn says, is like you. He is of my
+size, but slighter, with straight black hair,
+small eyes, a smooth face, and manner nervous
+and rapid. He has great vivacity, but
+not the least humor; some sarcasm, considerable
+critical faculty, and very great frankness<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
+and friendliness of manner and mind. Mrs.
+Browning will sit buried up in a large easy-chair
+listening and talking very quietly and
+pleasantly. Very unaffected is she.&nbsp;.&nbsp;.&nbsp;. I
+have hundreds of statues in my head, but they
+are in the future tense. Powers I knew very
+well in Florence. He is a man of great mechanical
+talent and natural strength of perception,
+but with no poetry in his composition,
+and I think no creative power.&nbsp;.&nbsp;.&nbsp;. I have
+been to hear Allegri&rsquo;s &lsquo;Miserere&rsquo; in the Sistine
+Chapel, with the awful and mighty figures of
+Michael Angelo looking down from the ceiling; to
+hear Guglielmi&rsquo;s &lsquo;Miserere&rsquo; in St. Peter&rsquo;s, while
+the gloom of evening was gathering in the lofty
+aisles and shrouding the frescoed domes, was
+a deeply affecting and solemnly beautiful experience.
+Never can one forget the plaintive
+wailing of the voices that seemed to implore
+pity and pardon.&rdquo;</p></div>
+
+<p>It was in 1856 that the Storys located
+themselves in Palazzo Barberini, which Bernini
+designed and which was built &ldquo;out of the
+quarry of the Coliseum&rdquo; by Urban VIII. It
+is one of the wonderful old palaces of Rome,<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>&mdash;this
+mass of Barberini courts, gardens, terraces,
+and vast apartments, with the interminable
+winding stairs, where on one landing Thorwaldsen&rsquo;s
+lion lies before the great doors decorated
+with the arms of Popes and princes.
+Here the old Cardinal Barberini lived his
+stormy life; here are the gallery and the library,&mdash;the
+latter stored with infinite treasures of ancient
+documents, old maps whose portrayal of the
+earth bears little resemblance to the present,
+and famous manuscripts and volumes in old vellum,
+some fifty thousand in all. In the Barberini
+gallery are a few noted works,&mdash;Raphael&rsquo;s
+&ldquo;Fornarina,&rdquo; Guido&rsquo;s &ldquo;Beatrice Cenci,&rdquo; a
+&ldquo;Holy Family&rdquo; by Andrea del Sarto, and others.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/spagnab.jpg"><img src="images/spagna.jpg" width="400" height="295" alt="SPANISH STEPS, PIAZZA TRINITÀ DEI MONTI, ROME
+" title="SPANISH STEPS, PIAZZA TRINITÀ DEI MONTI, ROME
+" /></a>
+<p class="caption noi"><small>SPANISH STEPS, PIAZZA TRINITÀ DEI MONTI, ROME</small>
+</p>
+</div>
+
+<p>The Via delle <a name="tn72" id="tn72"></a><ins class="correction" title="original: 'Quatre'">Quattro</ins> Fontane, on which the
+Palazzo Barberini stands, might well be known
+as the street of the wonderful vista. One strolls
+down it to the Via Sistina and to Piazza Trinità
+de&rsquo; Monti at the head of the Spanish steps
+(the Scala di Spagna), pausing for the loveliness
+of the view. Across the city rises the
+opposite height of Monte Mario, and to the
+left the Janiculum, now crowned with the magnificent
+equestrian statue of Garibaldi, which
+is in evidence from almost every part of Rome.<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
+As far as the eye can see the Campagna stretches
+away, infinite as the sea&mdash;a very Campagna
+Mystica. The luminous air, the faint, misty
+blue of the distance, the deep purple shadows
+on the hills, make up a landscape of color. At
+the foot of the Spanish steps the flower venders
+spread out their wares,&mdash;great bunches of the
+flame-colored roses peculiar to Italy, the fragrant
+white hyacinths, golden jonquils, baskets
+of violets, and masses of lilies of the valley.</p>
+
+<p>On many a night of brilliant moonlit glory
+the artistic sojourners in Rome lingered on the
+parapet of the Pincian Hill watching the moonlight
+flood the Eternal City until churches and
+palaces seemed to swim in a sea of silver. Or
+in the morning, when the rose-red of dawn
+was aglow, there seemed to hover over the
+city that wraith of mist whose secret Claude
+Lorraine surprises in his landscapes. These
+dawn visions of mysterious, incredible beauty
+are a part of the very identity of Rome.</p>
+
+<p>There were mornings when the Hawthornes
+with Mrs. Jameson or some other friend would
+drive out to the old San Lorenzo (<i>fuori le mura</i>),
+the church founded by Constantine in 330 on
+the site where the body of St. Lawrence was<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span>
+buried. At various periods the church was
+enlarged and finally, as recently as in 1864,
+Pio Nono had great improvements made under
+the architect Vespignani. In the piazza in front
+was placed an immense column of red granite,
+some sixty feet high, with the statue of St.
+Lawrence, a standing figure, at the top. It is
+most impressive. The colonnade at the entrance
+of the church is decorated with frescoes
+and contains two immense sarcophagi, whose
+sides are beautifully sculptured with reliefs.
+The roof is supported by six Ionic columns.
+Entering the church one finds an interior of
+three aisles divided by colossal columns of
+Oriental granite. In the middle aisle, on both
+sides the galleries, are fresco paintings illustrating
+the martyrdom of St. Lawrence and of St.
+Stephen, one series on the right and the other
+on the left. One of these paintings, especially,
+of the life of St. Lawrence, is strangely haunting
+to the imagination. It represents the youthful,
+slender figure, nude, save for slight drapery,
+laid on the gridiron while the fire is being
+kindled under it and the fagots shovelled in.
+The physical shrinking of the flesh&mdash;of every
+nerve&mdash;from the torture, the spiritual strength<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+and invincible energy of the countenance, are
+wonderfully depicted. The great aisle was
+painted by order of Pius IX by Cesare Fracassini;
+in it are two pulpits of marble. A double
+staircase of marble conducts to that part of the
+Basilica of Constantine which by Honorius III
+was converted into the presbytery. It is decorated
+at the upper end by twelve columns of
+violet marble which rise from the level of the
+primitive basilica beneath. At the end is the
+ancient pontifical seat, adorned with mosaic and
+precious marbles. The papal altar is under a
+canopy in the Byzantine style. The pavement
+of this presbytery is worthy of particular attention.
+Descending to the confessional which is
+under the high altar the tomb of the martyred
+saints, Lawrence, Stephen, and Justin, is found.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/pioixb.jpg"><img src="images/pioix.jpg" width="400" height="299" alt="TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME
+" title="TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME
+" /></a>
+<p class="caption noi"><small>TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME</small>
+</p>
+</div>
+
+<p>It was the request of Pio Nono that his mortal
+body should rest here, where it is placed in a
+simple tomb, according to his own instructions;
+but the chapel is very rich in decoration which
+was paid for by money sent from all parts of
+the world.</p>
+
+<p>The chapel walls are entirely encrusted in
+mother-of-pearl, gilt bronze, and beautiful
+marbles. The mosaic paintings are formed of<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
+gold and precious stones of fabulous value.
+This interior is perhaps the richest in the
+world in its decoration. San Lorenzo is a
+patriarchal church, and one of the seven pilgrimage
+churches of Rome. Near San Lorenzo
+is the Campo Verano, a cemetery containing
+many beautiful memorial sculptures.</p>
+
+<p>In those days, half a century ago, the entrance
+most often used by visitors to Rome was through
+the Via Flaminia and the Porta del Popolo,
+opening on the Piazza del Popolo, rather the
+most picturesque and impressive place in all
+Rome. On the left is the Pincian Hill (Monte
+Pincio), with its rich terraces, balustrades,
+its beautiful porticos filled with statuary,
+its groves of cypress and ilex trees; a classic
+vision rising on the sight and enchanting the
+imagination. On the side opposite the Porta
+three roads diverge in fan shape&mdash;the Via
+Babuino, the Corso, and the Ripetta, with the
+&ldquo;twin churches&rdquo; side by side; one between the
+Babuino and the Corso, the other between
+the Corso and the Ripetta.</p>
+
+<p>The Corso (which was the ancient Flaminian
+Way) runs straight to the Piazza Venezia at the
+foot of the Capitoline Hill. This Piazza del<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
+Popolo was widened and decorated by Pius VII.
+It is formed by two semicircles, adorned with
+fountains and statues, and terminated by four
+symmetrical edifices. In the semicircles are
+colossal groups in marble, and a road opposite
+the Pincio leads to the Ponte Margherita and
+the Prati di Castello.</p>
+
+<p>The obelisk in the centre of the piazza was
+brought to Rome from Heliopolis by Cæsar
+Augustus and originally stood in the Circus
+Maximus. It was erected here by Pope Sixtus
+V, and it is nearly a hundred feet in height.
+It is formed of red granite, and while it has
+been broken in three places, the hieroglyphics
+are still legible. This obelisk was first erected
+in Egypt as a part of the Temple of the Sun
+at Heliopolis, in a period preceding that of
+Rameses II. After the battle of Actium, Augustus
+transported it to Rome, and it was first
+placed in the Circus Maximus, but during the
+reign of Valentinian it fell from its pedestal
+and lay buried in the earth, until in the sixteenth
+century Pope Sixtus V had it placed in
+the centre of the Piazza del Popolo, and consecrated
+it to the cross. The two inscriptions
+are on opposite sides. One thus reads:<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The Emperor Cæsar, son of the divine
+Cæsar Augustus, Sovereign Pontiff, twelve times
+Emperor, eleven times Consul, fourteen times
+Tribune, having conquered Egypt, consecrated
+this gift to the Sun.&rdquo;</p></div>
+
+<p>The other inscription is as follows:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Sixtus V, Sovereign Pontiff, excavated,
+transported, and restored this obelisk, sacrilegiously
+consecrated to the Sun by the great
+Augustus, in the great Circus, where it lay in
+ruins, and dedicated it to the cross triumphant
+in the fourth year of his pontificate.&rdquo;</p></div>
+
+<p>The Church of Santa Maria del Popolo is
+built into the very wall of Monte Pincio on the
+site of Nero&rsquo;s tomb. It dates back to 1099,
+and consists of three naves and several chapels.
+In the first chapel is a &ldquo;Nativity&rdquo; by Pinturicchio,
+who also painted the lunettes.
+Another chapel belongs to the Cibo family, and
+is rich in marbles and adorned with sixteen
+columns of Sicilian jasper. The &ldquo;Conception&rdquo;
+is by Maratta, the &ldquo;Martyrdom of St. Lawrence&rdquo;
+by Morandi, and the &ldquo;St. Catherine<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>&rdquo;
+by Volterra. The &ldquo;Visitation&rdquo; was sculptured
+by Bernini in 1679. The third chapel is painted
+by Pinturicchio (1513), and the fourth has an
+interesting bas-relief of the fifteenth century.
+The picture of the Virgin, on the high altar, is
+one of those attributed to St. Luke; the paintings
+on the vault of the choir are by Pinturicchio.
+The two marble monuments are, from
+their perfection of design and execution, reckoned
+among the best modern works. They are
+by Cantucci da S. Savino. In the chapel following
+is an &ldquo;Assumption&rdquo; by Annibale Carracci;
+the side pictures are by Caravaggio. The last
+chapel but one in the small nave is the Chigi
+chapel, and is one of the most celebrated in
+Rome.</p>
+
+<p>Raphael gave the designs for the dome, the
+paintings of the frieze, and the altar picture.
+This latter was begun by Del Piombo and finished
+by Salviati. The statue of Daniel is by
+Bernini. The front of the altar and the statues
+of Jonah and Elijah were done by Lorenzetto
+(1541), from designs by Raphael. Outside this
+chapel is the monument of Princess Odescalchi
+Chigi (1771), by Paolo Posi. The stained windows
+of the choir belong to the fourteenth century,<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+and in the sacristy and the vestibule are
+monuments also of the fourteenth century and
+of the fifteenth. Luther resided in the convent
+attached to this church when he was in Rome.</p>
+
+<p>There is a legend that a large walnut tree
+grew on the site of Nero&rsquo;s tomb in whose
+branches innumerable crows had their home,
+and that they devastated all that part of Rome.
+An appeal was made to the Virgin, who declared
+that the crows were demons who kept
+watch over the ashes of Nero, and ordered the
+tree to be cut down and burned, the ashes being
+scattered to the air, and that, on the spot, a
+church should be built to her honor. This was
+accomplished, and the crows no more troubled
+the Eternal City.</p>
+
+<p>The gardens of Lucullus were on the Monte
+Pincio. The view of the terraced hillside from
+the Piazza del Popolo is one of the most impressive
+in Rome.</p>
+
+<p>The Hawthornes left Rome in 1859; and the
+death of Mrs. Browning in June of 1861 left
+the little circle of the Roman winters irreparably
+broken. &ldquo;Returning to Rome,&rdquo; wrote Story
+to Charles Eliot Norton, &ldquo;I have not one single
+intimate .&nbsp;.&nbsp;. no one with whom I can walk<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
+any of the higher ranges of art and philosophy.&rdquo;
+Mr. Story had modelled the busts of both Mr.
+and Mrs. Browning during their sojourns in
+Rome; in 1853 Harriet Hosmer had made the cast
+of the &ldquo;clasped hands&rdquo; of the poets, the model
+having since been cast in bronze; Mr. Page had,
+as already noted, painted a portrait of Robert
+Browning; and Mr. Leighton (afterward Sir
+Frederick) had made a beautiful portrait sketch
+of Mrs. Browning. In later years all these
+memorials, with other paintings or plastic
+sketches of the wedded poets, were grouped in
+Mr. Barrett Browning&rsquo;s palace in Venice.</p>
+
+<p>At this time Mr. Story had completed his
+&ldquo;Cleopatra,&rdquo; which Hawthorne had embalmed
+in literary mention in &ldquo;The Marble Faun;&rdquo;
+and beside his &ldquo;Judith,&rdquo; &ldquo;Sappho,&rdquo; and other
+lesser works, he had achieved one of his finest
+successes in the &ldquo;Libyan Sibyl.&rdquo; Both the
+&ldquo;Cleopatra&rdquo; and the &ldquo;Sibyl&rdquo; became famous.
+Whether they would produce so strong an effect
+at the present stage of twentieth-century life is
+a problem, but one that need not press for
+solution. Mr. Story was singularly fortunate
+in certain conditions that grouped themselves
+about his life and combined to establish his<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
+fame. These conditions, of course, were largely
+the outer reflection of inner qualities, as our
+conditions are apt to be; still, the &ldquo;lack of
+favoring gales&rdquo; not infrequently foredooms some
+gallant bark to a disastrous course.</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;Man is his own star.&nbsp;.&nbsp;.&nbsp;.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">Our acts, our angels, are, for good or ill,<br /></span>
+<span class="i0">Our fatal shadows that walk by us still,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">it is true; yet has not Edith Thomas embodied
+something of that overruling destiny that every
+thoughtful observer must discern in life in these
+lines?&mdash;</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;You may blame the wind or no,<br /></span>
+<span class="i0">But it ever hath been so&mdash;<br /></span>
+<span class="i0">Something bravest of its kind<br /></span>
+<span class="i0">Leads a frustrate life and blind,<br /></span>
+<span class="i0">For the lack of favoring gales<br /></span>
+<span class="i0">Blowing blithe on other sails.&rdquo;<br /></span>
+</div></div>
+
+<p>Only occasionally have we</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;.&nbsp;.&nbsp;. the time, and the place,<br /></span>
+<span class="i0">And the loved one all together.&rdquo;<br /></span>
+</div></div>
+
+<p>Mr. Story&rsquo;s nature was eminently sympathetic
+with the other arts; he was himself almost as
+much a literary man as he was a sculptor; he<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
+was the friend and companion of literary men,
+and to the fact that art in the middle years of
+the nineteenth century was far more a literary
+topic than a matter of critical scrutiny, Mr.
+Story owed an incalculable degree of his fame.
+He was an extremely interesting figure with his
+social grace, his liberal culture, and his versatile
+gifts. His life was centred in choice and
+refined associations. If not dowered with lofty
+and immortal original genius, he had a singular
+combination of talent, of fastidious taste, and of
+the intellectual appreciation that enabled him
+to select interesting ideal subjects to portray in
+the plastic art. These appealed to the special
+interest of his literary friends and were widely
+discussed in the press and periodicals of the
+day. It is a <i>bonmot</i> of contemporary studio life
+that Hawthorne rather than Story created the
+&ldquo;Cleopatra,&rdquo; and one ingenious spirit suggests
+that as Mr. Story put nothing of expression or
+significance into his statues, the beholder could
+read into them anything he pleased; finding an
+empty mould, so to speak, into which to pour
+whatever image or embodiment he might conjure
+up from the infinite realm of imagination.
+One of the latest of these contemporary critics<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
+declares that &ldquo;Story declined appreciably, year
+by year, falling away from his own standard;
+haunted to the point of obsession by visions
+of mournful female figures, generally seated,
+wrapped in gloom. It seems strange,&rdquo; this
+critic continues, &ldquo;that so active a mind should
+dream of nothing but brooding, sinister souls,
+of bodies bowed in grief, or tense with rage.
+Never once, apparently, did there come to
+him a vision of buoyancy and grace; of a
+beauty that one could love; of good cheer
+and joy of very living; always these unwholesome
+creatures born of that belated Byronic
+romanticism.&rdquo;</p>
+
+<p>This criticism, while it has as little appreciation
+of Mr. Story&rsquo;s exquisite culture and of
+the taste and refinement of his art as the general
+rush of the motor car and telephonic conversational
+life of the first decade of the twentieth
+century has of the thoughtful, the poetic,
+the leisurely atmosphere of Mr. Story&rsquo;s time,
+is yet not without a keen flashlight of truth.
+Painting had its reactionary crisis from the
+pre-Raphaelite ideals and the <i>intransigeants</i>
+have had their own conflicts in which they survived,
+or disappeared, according to the degree<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span>
+of artistic vitality within. Sculpture and literature
+must also meet the series of tests to which
+the onward progress of life persists in subjecting
+them, and those who are submerged and
+perish can only encourage the survivors as did
+the Greeks, as sung by Theocritus:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;A shipwrecked sailor, buried on this coast,<br /></span>
+<span class="i2">Bids you set sail.<br /></span>
+<span class="i0">Full many a gallant ship, when we were lost,<br /></span>
+<span class="i2">Weathered the gale.&rdquo;<br /></span>
+</div></div>
+
+<p>&ldquo;As we refine, our checks grow finer,&rdquo; said
+Emerson. As life becomes more elaborate and
+ambitious, the critical tests increase. Contemporary
+fame can be created for the artist by
+favorable contemporary comment; but it rests
+with himself, after all; it rests in the abiding
+significance of his work&mdash;or the lack of it&mdash;as
+to whether this fame is perpetuated. That
+of Mr. Story does not hold within itself all the
+qualities that insure the appreciation of the
+present day. It is, as the critic of the hour
+expresses himself, &ldquo;too literary,&rdquo;&mdash;too largely
+a question of classic titles which appealed to
+the mid-nineteenth-century authors whose judgment
+of art the twentieth century finds particularly<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+amusing. Henry James has somewhere
+held up to ridicule the early Beacon Hill Boston
+for its impassioned devotion to the &ldquo;attenuated
+outlines&rdquo; of Flaxman&rsquo;s art. But the
+work of Story will survive all transient variations
+of opinion, even of the present realistic
+age; for is not true realism, after all, to be
+found in the eternal ideals of truth, grace,
+dignity, refinement, significance, and beauty?
+These qualities have a message to convey; and
+no one can study with sympathetic appreciation
+any sculpture of William Wetmore Story
+without feeling that the work has something to
+say; that it is not a mere reproduction of some
+form, but is, rather, an idea impersonated, and
+therefore it has life, it has significance. The
+criticism of the immediate hour is not necessarily
+infallible because it is contemporary.
+What does William Watson say?</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;A deft musician does the breeze become<br /></span>
+<span class="i1">Whenever an Æolian harp it finds;<br /></span>
+<span class="i0">Hornpipe and hurdy-gurdy both are dumb<br /></span>
+<span class="i1">Unto the most musicianly of winds.&rdquo;<br /></span>
+</div></div>
+
+<p>It is an irretrievable loss if, in the passion
+for the <i>vita nuova</i>, a generation, or a century,<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+shall substitute for the Æolian harp the mere
+hornpipe and hurdy-gurdy of the hour. In
+another of his keenly critical quatrains William
+Watson embodies this signal truth:&mdash;</p>
+
+<div class="poem" style="width: 24em;"><div class="stanza">
+<span class="i0">&ldquo;His rhymes the poet flings at all men&rsquo;s feet,<br /></span>
+<span class="i1">And whoso will may trample on his rhymes.<br /></span>
+<span class="i0">Should Time let die a song that&rsquo;s pure and sweet,<br /></span>
+<span class="i1">The singer&rsquo;s loss were more than matched by Time&rsquo;s.&rdquo;<br /></span>
+</div></div>
+
+<p>Art is progressive, and the present is always
+the &ldquo;heir of all the ages&rdquo; preceding; but it
+cannot be affirmed that it invariably makes the
+best use of its rich inheritance.</p>
+
+<p>There are latter-day sculptors who excel in
+certain excellences that Story lacked; still, it
+would not be his loss, but our own, if we fail
+in a due recognition of that in his art which
+may appeal to the imagination; for, whatever
+the enthusiasms of other cults may be, there are
+qualities of beauty, strength, and profound significance
+in the art of Story that must insure
+their permanent recognition. Still, it remains
+true that Mr. Story owes his fame in an incalculable
+degree to the friendly pens of Hawthorne
+and others of his immediate circle,&mdash;Lowell,
+Motley, Charles Eliot Norton, Thackeray,<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
+Browning,&mdash;friends who, according to
+the latest standards of art criticism, were not
+unqualified nor absolute judges of art, but
+who were in sympathy with ideal expression
+and recognized this as embodied in the statues
+of Story.</p>
+
+<p>Browning wrote to the London <i>Times</i> an
+article on Mr. Story&rsquo;s work, in which he conjured
+up most of the superlative phrases of
+commendation that the limits of the English
+language allow to praise his work, none of
+whose marshalled force was too poor to do him
+reverence. The versatile gifts of Story&rsquo;s personality
+drew around him friends whose influence
+was potent and, indeed, authoritative in
+their time.</p>
+
+<p>Still, any analysis of these conditions brings
+the searcher back to the primary truth that
+without the gifts and grace to attract about him
+an eminent circle of choice spirits he could not
+have enjoyed this potent aid and inspiration;
+and thus, that</p>
+
+<div class="poem" style="width: 10em;"><div class="stanza">
+<span class="i0">&ldquo;Man is his own star,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">is an assertion that life, as well as poetry, justifies.
+In the full blaze of this fundamental<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
+truth, it is, not unfrequently, the mysterious
+spiritual tragedy of life that many an one as
+fine of fibre and with lofty ideals</p>
+
+<div class="poem" style="width: 13em;"><div class="stanza">
+<span class="i0">&ldquo;Leads a frustrate life and blind,<br /></span>
+<span class="i0">For the lack of favoring gales<br /></span>
+<span class="i0">Blowing blithe on other sails.&rdquo;<br /></span>
+</div></div>
+
+<p>Mr. Story was himself of too fine an order
+not to divine this truth. With what unrivalled
+power and pathos has he expressed it in his
+poem&mdash;one far too little known&mdash;the &ldquo;Io
+Victis&rdquo;:&mdash;</p>
+
+<div class="poem" style="width: 25em;"><div class="stanza">
+<span class="i0">&ldquo;I sing the song of the Conquered, who fell in the Battle of Life,&mdash;<br /></span>
+<span class="i0">The hymn of the wounded, the beaten, who died overwhelmed in the strife;<br /></span>
+<span class="i0">Not the jubilant song of the victors, for whom the resounding acclaim<br /></span>
+<span class="i0">Of nations was lifted in chorus, whose brows wore the chaplet of fame,<br /></span>
+<span class="i0">But the hymn of the low and the humble, the weary, the broken in heart,<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">Whose youth bore no flower on its branches, whose hopes burned in ashes away,<br /></span>
+<span class="i0">From whose hands slipped the prize they had grasped at, who stood at the dying of day<br /></span>
+<span class="i0">With the wreck of their life all around them.&nbsp;.&nbsp;.&nbsp;.&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></div></div>
+
+<p>In this poem Mr. Story touched the highest
+note of his life,&mdash;as poet, sculptor, painter, or
+writer of prose; in no other form of expression
+has he equalled the sublimity of sentiment
+in these lines:&mdash;</p>
+
+<div class="poem" style="width: 25em;"><div class="stanza">
+<span class="i10">&ldquo;.&nbsp;.&nbsp;. I stand on the field of defeat,<br /></span>
+<span class="i0">In the shadow, with those who are fallen, and wounded, and dying, and there<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">Hold the hand that is helpless, and whisper, &lsquo;They only the victory win<br /></span>
+<span class="i0">Who have fought the good fight, and have vanquished the demon that tempts us within;<br /></span>
+<span class="i0">Who have held to their faith unseduced by the prize that the world holds on high;<br /></span>
+<span class="i0">Who have dared for a high cause to suffer, resist, fight,&mdash;if need be, to die.&rsquo;&rdquo;<br /></span>
+</div></div>
+
+<p>Such a poem must have its own immortality
+in lyric literature.</p>
+
+<p>For a period of forty years the home of the
+Storys in Palazzo Barberini was a noted centre
+of the most charming social life. Mr. Story&rsquo;s
+literary work&mdash;in his contributions of essays
+and poems to the <i>Atlantic Monthly</i>; in his published
+works, the &ldquo;Roba di Roma,&rdquo; &ldquo;Conversations
+in a Studio,&rdquo; his collected &ldquo;Poems,&rdquo;
+and others&mdash;gave him a not transitory rank<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
+in literature which rivals, if it does not exceed,
+his rank in art.</p>
+
+<p>Meantime other artists were to take up their
+permanent abode in the Seven-hilled City,&mdash;Elihu
+Vedder in 1866; Franklin Simmons two
+years later; Waldo and Julian Story, the two
+sons of William Wetmore Story, though claiming
+Rome as their home, are American by
+parentage and ancestry; and Mr. Waldo Story
+succeeds his father in pursuing the art of sculpture
+in the beautiful studios in the Via San
+Martino built by the elder Story. In 1902
+Charles Walter Stetson, with his gifted wife,
+known to the contemporary literary world by
+her maiden name, Grace Ellery Channing, set
+up their household gods and lighted their altar
+fires in the city by the Tiber, ready, it may be,
+to exclaim with Ovid:&mdash;</p>
+
+<div class="poem" style="width: 25em;"><div class="stanza">
+<span class="i0">&ldquo;Four times happy is he, and times without number is happy,<br /></span>
+<span class="i0">Who the city of Rome uninterdicted enjoys.&rdquo;<br /></span>
+</div></div>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/pleiadesb.jpg"><img src="images/pleiades.jpg" width="400" height="260" alt="THE DANCE OF THE PLEIADES Elihu Vedder" title="THE DANCE OF THE PLEIADES Elihu Vedder" /></a>
+<p class="caption noi"><small>THE DANCE OF THE PLEIADES<br /> Elihu Vedder</small></p>
+</div>
+
+<p>If art is a corner of the universe seen through
+a temperament, the temperament of Mr. Vedder
+must offer an enthralling study, for it seems to be
+a lens whose power of refraction defies prophecy
+because it deals with the incalculable forces.<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
+His art concerns itself little with the æsthetic,
+but is chiefly the art of the intellect and the
+imagination. All manner of symbols and analogies;
+the laws of the universe that prevail
+beyond the stars; the celestial figures; the
+undreamed significance in prophecy or in destiny;
+omens, signs, and wonders; the world
+forces, advancing stealthily in the shadows of
+a dusky twilight; the Fates, under brilliant
+skies, gathering in the stars; oracles and supernatural
+coincidences that lurk in undreamed-of
+days; the Pleiades dancing in a light that never
+was on sea or land; unknown Shapes that meet
+outside space and time and question each
+other&rsquo;s identity; the dead that come forth from
+their graves and glide, silent and spectral,
+through a crowd, unseen by any one; the
+prayer of the celestial powers poured forth in
+the utter solitude of the vast desert,&mdash;it is these
+that are the realm of Vedder&rsquo;s art, and what
+has the normal world of portrait and landscape
+to do with such art as this? Can it only be
+relegated to a class, an order, of its own, and
+considered as being&mdash;Vedderesque? It seems
+to stand alone and unparalleled. In his work
+lies the transfiguration of all mystery. Vedder<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
+never paints nature, in the sense of landscapes,
+and yet one often feels that he has the key to
+the very creation of nature; that he has supped
+with gods and surprised the secrets of the stars.
+Do the winds whisper to him?&mdash;</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;The Muse can knit<br /></span>
+<span class="i0">What is past, what is done,<br /></span>
+<span class="i0">With the web that&rsquo;s just begun.&rdquo;<br /></span>
+</div></div>
+
+<p>How can he find the design to phrase his
+thought&mdash;this painter of ideas?</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;Can blaze be done in cochineal,<br /></span>
+<span class="i0">Or noon in mazarin?&rdquo;<br /></span>
+</div></div>
+
+<p>Whatever the Roman environment may have
+done for Allston, Page, and Story, there is no
+question but that to Vedder it has been as his
+soul&rsquo;s native air. For him the sirens sing again
+on the coast; the sorceress works her spell; the
+Cumæan Sibyl again flies, wraithlike, over the
+plain, clasping her rejected leaves of destiny
+which Tarquin in his blindness has refused to
+buy. The Rome that lies buried under the
+ages rises for Vedder. His art cannot be catalogued
+under any known division of portrait,<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+landscape, marine, or genre, but it is simply&mdash;the
+art of Vedder. It stands alone and absolutely
+unrivalled. The pictorial creations of
+Vedder are as wholly without precedent or
+comparison as if they were the sole pictorial
+treasures of the world. The visitor may care
+for them, or not care, according to his own
+ability to comprehend and to recognize the
+inscrutable genius there manifested; but in
+either case he will find nowhere else, in either
+ancient or contemporary art, any parallel to
+these works.</p>
+
+<p>One could well fancy that to any interrogation
+of his conceptions the artist might reply:&mdash;</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;I am seeker of the stone,<br /></span>
+<span class="i0">Living gem of Solomon.<br /></span>
+<span class="i0">But what is land, or what is wave,<br /></span>
+<span class="i0">To me, who only jewels crave?<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">I&rsquo;m all-knowing, yet unknowing;<br /></span>
+<span class="i0">Stand not, pause not in my going.&rdquo;<br /></span>
+</div></div>
+
+<p>In the rich, weird realm of Omar Khayyam&rsquo;s
+Persian poem, the Rubaiyat, Mr. Vedder found
+the opportunity of his life for translating its
+thought into strange, mystic symbolism. Never<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
+were artist and poet so blended in one as
+in Vedder&rsquo;s wonderful illustrations for this
+poem. It has nothing in common with what
+we ordinarily call an illustrated work. It is a
+great treasure of art for all the ages. It is
+a very fount of inspiration for painter and
+poet. An exquisite sonnet suggested by &ldquo;The
+Angel of the Darker Cup&rdquo; is the following by
+Louise Chandler Moulton:&mdash;</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;She bends her lovely head to taste thy draught,<br /></span>
+<span class="i0">O thou stern Angel of the Darker Cup!<br /></span>
+<span class="i0">With thee to-night in the dim shades to sup,<br /></span>
+<span class="i0">Where all they be who from that cup have quaffed.<br /></span>
+<span class="i0">She had been glad in her own loveliness, and laughed<br /></span>
+<span class="i0">At Life&rsquo;s strong enemies who lie in wait;<br /></span>
+<span class="i0">Had kept with golden youth her queenly state,<br /></span>
+<span class="i0">All unafraid of Sorrow&rsquo;s threat&rsquo;ning shaft.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;Then human Grief found out her human heart,<br /></span>
+<span class="i0">And she was fain to go where pain is dumb;<br /></span>
+<span class="i0">So Thou wert welcome, Angel dread to see,<br /></span>
+<span class="i0">And she fares onward with thee, willingly,<br /></span>
+<span class="i0">To dwell where no man loves, no lovers part,&mdash;<br /></span>
+<span class="i0">Thus Grief that is, makes welcome Death to come.&rdquo;<br /></span>
+</div></div>
+
+<p>The sonnet, the stanza, and the pictorial
+interpretation all form one beautiful trio in
+poetic and graphic art.<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p>
+
+<p>Writing of Mr. Vedder, Mr. W. C. Brownell
+speaks of the personal force in a picture and
+says that with Vedder this personal force is imagination,&mdash;&ldquo;the
+imagination of a man whose
+natural expression is pictorial, but who is a man
+as well as a painter; who has lived as well as
+painted, who has speculated, pondered, and felt
+much.&nbsp;.&nbsp;.&nbsp;. It is this,&rdquo; he continues, &ldquo;that
+places Vedder in the front rank of the imaginative
+painters of the day.&rdquo; Of Mr. Vedder&rsquo;s
+painting called &ldquo;The Enemy Sowing Tares,&rdquo;
+Mr. Brownell writes:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;.&nbsp;.&nbsp;. Here you note a dozen phases of significance.
+The theme is unconventional; the
+man has become the archenemy; the night is
+weird and awe-inspiring; the tares represent
+the foe of the church&mdash;money; they are sown
+at the foot of the cross&mdash;the symbol of the
+church.&nbsp;.&nbsp;.&nbsp;. Mr. Vedder has not passed his
+life in Rome for nothing. His attitude is in
+harmony with the spirit of the Sistine and the
+Stanze.&rdquo;</p></div>
+
+<p>One of the interesting and mystical works of
+Vedder is &ldquo;The Soul between Doubt and<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
+Faith,&rdquo;&mdash;three heads, that of the Soul hooded
+and draped, looking before her with eyes that
+seem to discern things not seen by mortals;
+the sinister face of Doubt at the left, the serene,
+inspiring countenance of Faith at the right. It
+is a magical picture to have before one with its
+profoundly significant message. The works of
+Mr. Vedder will grow more priceless as the
+years pass by. They are pictures for the ages.</p>
+
+<p>In Mr. Ezekiel, another American artist
+whose almost lifelong home has been in Rome,
+is a sculptor whose touch and technique have
+won recognition. In a recumbent figure of
+Christ is seen one of the best examples of his
+art. It is pervaded by the classic influences in
+which he has lived. The studios of Mr. Ezekiel,
+in the ruins of the old Baths of Caracalla,
+are very picturesque and his salon, with its
+music, its wealth of books including many rare
+and beautiful copies, and its old pictures and
+bric-a-brac, is one of the fascinating interiors of
+the Eternal City.</p>
+
+<p>The visitor who is privileged to see the Story
+studios in the Via San Martino finds Mr. Waldo
+Story occupying these spacious rooms where the
+flash of a fountain in the court, a view of the<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
+garden, green-walled by vines, with flowers and
+shrubs and broken statues, make the place
+alluring to dreamer and poet. In these rooms
+may be seen many of the elder Story&rsquo;s finest
+statues in cast or marble, the &ldquo;Libyan Sibyl,&rdquo;
+&ldquo;Nemesis,&rdquo; &ldquo;Sappho,&rdquo; the &ldquo;Christ,&rdquo; &ldquo;Into the
+Silent Land,&rdquo; and others, with many portrait
+busts, among which are those of Browning,
+Shelley, Keats, Theodore Parker, Mrs. Browning,
+Marchesa Peruzzi de Medici (Edith Story),
+John Lothrop Motley, one of Story&rsquo;s nearer
+friends, and Lord Houghton.</p>
+
+<p>In the work of Mr. Waldo Story one admirable
+portrait bust is of Cecil Rhodes. A decorative
+work, a fountain for the Rothschild
+country estate in England, is charmingly designed
+as a Galatea (in bronze), standing in a
+marble shell that is drawn by Nereids and
+attended by Cupids. The happy blending of
+marble and bronze gives to this work a pleasing
+variety of color. Another decorative design
+is that of &ldquo;Nymphs Drinking at the Fountain
+of Love.&rdquo; These studios are among the most
+interesting in Rome.</p>
+
+<p>It was in 1868 that Franklin Simmons, then
+a young artist from Maine, turned to Rome as<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+his artistic Mecca. Since then the Eternal City
+has always been his home, but his frequent and
+prolonged sojourns in America have kept him
+closely in touch with its national life. Mr.
+Simmons is the idealist who translates his
+vision into the actuality of the hour and who
+also exalts this actuality of the hour to the
+universality of the vision. In the creation of
+portrait busts and of the statues and monumental
+memorials of great men he infuses into
+them the indefinable quality of extended relation
+which relegates his work to the realm of
+the universal and, therefore, to the immortality
+of art, rather than restricting it to the temporal
+locality. Louis Gorse observes that it is not
+the absence of faults that constitutes a masterpiece,
+but that it is flame, it is life, it is emotion,
+it is sincerity. Under the touch of Mr. Simmons
+the personal accent speaks; to his creative
+power flame and life respond, and to no sculptor
+is the truth so admirably stated by M.
+Gorse more applicable.</p>
+
+<p>Mr. Simmons has been singularly fortunate
+in a wide American recognition, having received
+a liberal share of the more important commissions
+for great public works of sculpture. The<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+splendid statue, <i>al fresco</i>, of the poet Longfellow
+for his native city, Portland, was appropriately
+the work of Mr. Simmons as a native of
+the same state; the portrait statues of General
+Grant, Gov. William King, Roger Williams, and
+Francis H. Pierrepont, all in Statuary Hall in
+the Capitol in Washington; the portrait busts of
+Grant, Sheridan, Porter, Hooker, Thomas, and
+other heroes of the Civil War; the colossal
+group of the Naval Monument at the head of
+Pennsylvania Avenue in Washington,&mdash;are all
+among the works of Mr. Simmons.</p>
+
+<p>Like all artists who, like the poet, are
+born and not made, Mr. Simmons gave evidence
+of his artistic bent in his early childhood.
+After graduating from Bates College he modelled
+a bust of its president, and a little
+later, going to Washington (in the winter of
+1865-66), many of the noted men of the time
+gave him sittings, and in a series of portrait
+busts his genius impressed itself by its dignity
+of conception and an unusual power of sympathetic
+interpretation. He modelled the bust of
+Grant while he was the General&rsquo;s guest in
+camp, taking advantage of whatever spare
+minutes General Grant could give for sittings<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
+in the midst of his pressing responsibilities; and
+it is perhaps due to this unusually intimate
+intercourse with the great hero, and the <i>rapport</i>,
+not difficult of establishment, between two men
+whose natures were akin in a certain noble sincerity
+and lofty devotion to the purest ideals,
+that Mr. Simmons owes the power with which
+he has absolutely interpreted the essential characteristics
+of General Grant in that immortal
+portrait statue in the Capitol.</p>
+
+<p>Washington is, indeed, the place to especially
+study the earlier work of Franklin Simmons.
+An important one is the Logan memorial,&mdash;an
+equestrian statue which is considered the finest
+work in sculpture in the capital, and which is
+the only statue in the United States in which
+both the group and the pedestal are of bronze.
+The visitor in Washington who should be ignorant
+of the relative rank of the great men commemorated
+by the equestrian memorial monuments
+of the city might be justified in believing
+that General Logan was the most important
+man of his time, if he judged from the relative
+greatness of his statue. When Congress decided
+upon this group, Mr. Simmons was
+requested to prepare a model. This proving<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
+eminently acceptable, Mr. Simmons found himself,
+quite to his own surprise, fairly launched
+on this arduous work, involving years of intense
+concentration and labor. For this monumental
+work was to be not merely that of the brave
+and gallant military leader,&mdash;a single idea
+embodied, as in those of Generals Scott, Sheridan,
+Thomas, and others,&mdash;but it was to be a permanent
+interpretation of the soldier-statesman,
+mounted on his battle-horse; it was to be, in
+the comprehensive grasp of Mr. Simmons, the
+vital representation of the complex life and
+individuality of General Logan and, even more,
+it must reflect and suggest the complex spirit
+of his age. In this martial figure was thus embodied
+a manifold and mysterious relation, as
+one of the potent leaders and directive powers
+in an age of tumultuous activities; an age of
+strife and carnage, whose goal was peace; of
+adverse conditions and reactions, whose manifest
+outcome was yet prosperity and national
+greatness and splendid moral triumph. All
+these must be suggested in the atmosphere, so
+to speak, of the artist&rsquo;s work; and no sculptor
+who was not also an American&mdash;not merely
+by ancestry and activity, but one in mind and<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
+heart only; one who was an intense patriot and
+identified with national ideas&mdash;could ever have
+produced such a work as that of the Logan
+monument. So unrivalled does it stand, unique
+among all the equestrian art of this country,
+that it enchants the art student and lover with
+its indefinable spell. When this colossal work
+was cast in bronze, in Rome, the event was
+considered important. The king and the
+Royal family visited the studio of Mr. Simmons
+to see the great group, and so powerfully did
+its excellence appeal to King Umberto that he
+knighted Mr. Simmons, making him Cavaliere
+of the Crown of Italy. Nor was Mr. Simmons
+the prophet who was not without honor save in
+his own country, for his <i>alma mater</i> gave him
+the degree of M.A. in 1867; Colby College
+honored him with the Master&rsquo;s degree in 1885,
+and in 1888 Bowdoin bestowed upon this eminent
+Maine artist the same degree. In 1892
+Mr. Simmons married the Baroness von Jeinsen,
+a brilliant and beautiful woman who,
+though a lady of foreign title, was an American
+by birth. An accomplished musician, a critical
+lover of art, and the most delightful of hostesses
+and friends, Mrs. Simmons drew around her a<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
+remarkable circle of charming people and made
+their home in the Palazzo Tamagno a notable
+centre of social life. No woman in the American
+colony of the Seven-hilled City was ever
+more beloved; and it was frequently noted by
+guests at her weekly receptions that Mrs. Simmons
+was as solicitous for the enjoyment of
+the most unknown stranger as for those of
+rank and title who frequented her house. Her
+grace and loveliness were fully equalled by her
+graciousness and that charm of personality
+peculiarly her own. Her death in Rome, on
+Christmas of 1905, left a vacant place, indeed,
+in many a home which had been gladdened by
+her radiant presence. One of the most beautiful
+works of Mr. Simmons is a portrait of his
+wife in bas-relief, representing her standing just
+at the opening of parted curtains, as if she
+were about to step behind and vanish. It is
+a very poetic conception. A bust of Mrs. Simmons,
+also, in his studio, is fairly a speaking
+likeness of this beautiful and distinguished
+woman. It is over her grave in the Protestant
+cemetery that Mr. Simmons has placed one of
+his noblest ideal statues, &ldquo;The Angel of the
+Resurrection,&rdquo;&mdash;a memorial monument that is<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+one of the art features of Rome to the visitor
+in the Eternal City.</p>
+
+<div class="figcenter border" style="width: 232px;">
+<a href="images/griefb.jpg"><img src="images/grief.jpg" width="232" height="400" alt="&ldquo;GRIEF AND HISTORY,&rdquo; DETAIL FROM NAVAL MONUMENT, WASHINGTON Franklin Simmons" title="&ldquo;GRIEF AND HISTORY,&rdquo; DETAIL FROM NAVAL MONUMENT, WASHINGTON Franklin Simmons" /></a>
+<p class="caption noi"><small>&ldquo;GRIEF AND HISTORY,&rdquo;<br /> DETAIL FROM NAVAL MONUMENT, WASHINGTON<br />
+Franklin Simmons</small></p>
+</div>
+
+<p>The brilliant and impressive Naval Monument,
+or Monument of Peace, as it is known in
+Washington, placed at the foot of Capitol Hill
+on Pennsylvania Avenue, is eloquent with the
+power of heroic suggestion that Mr. Simmons
+has imparted to it. The work breathes that
+exaltation of final triumph that follows temporary
+defeat. Those who died that the nation
+might live, are seen in the perpetual illumination
+of immortality. Not only has Mr. Simmons
+here perpetuated the suffering, the
+sacrifices of the Civil War, but that sublime
+and eternal truth of victory after defeat, of
+peace and serene exaltation after conflict, and
+the triumph of life after death, are all immortally
+embodied in this group crowned with those
+impressive and haunting figures, &ldquo;Grief&rdquo; and
+&ldquo;History,&rdquo; which are considered as among the
+most classically beautiful and significant in the
+range of modern sculpture.</p>
+
+<p>In the early winter of 1907 Mr. Simmons
+was invited by the American Ambassador to
+the Court of St. James, Hon. Whitelaw Reid,
+to send for Dorchester House, London, three<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+busts of distinguished Americans,&mdash;those of
+Alexander Hamilton, Chief Justice Chase, and
+Hon. James G. Blaine, which Mr. Reid, in visiting
+the Roman studios of Mr. Simmons, had seen
+and greatly admired. The Ambassador observed
+that he &ldquo;would like a few Americans, as well
+as so many Roman Emperors,&rdquo; about him.</p>
+
+<p>These portrait busts all reveal an amazing
+force and mastery of work. The fine sculptural
+effect of the Hamilton and the wonderful
+blending of subtle delicacy of touch and vigor
+of treatment with which the nobility of character
+is expressed, mark this bust as something
+exceptional in portrait art. It has a matchless
+dignity and serene poise. The bust of Chief
+Justice Chase is a faithful and speaking reproduction
+of the very presence of its subject,
+instinct with vitality; and the fire and force
+and brilliancy of the bust of Hon. James G.
+Blaine fairly sweeps the visitor off his feet.
+The modelling is done with an apparent instantaneousness
+of power that is the highest realization
+of creative art. It is the magnetic Blaine,
+the impassioned and eloquent statesman, that
+rises before the gazer.</p>
+
+<p>Mr. Simmons has long been a commanding<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>
+figure in plastic art. No American sculptor
+abroad has, perhaps, received so many important
+public commissions as have been given to him.
+He has created nearly a score of memorial
+groups; he has modelled over one hundred portrait
+busts and statues. His industry has kept
+step with his genius. The latest success of Mr.
+Simmons in the line of monumental art is the
+statue (in bronze) of Alexander Hamilton,
+which was unveiled at Paterson, N. J., in May
+of 1907. The splendidly poised figure, the dignity,
+the serene strength and yet the intense
+energy of the expression and of the entire pose
+are a revelation in the art of the portrait statue.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/geniusb.jpg"><img src="images/genius.jpg" width="400" height="214" alt="&ldquo;THE GENIUS OF PROGRESS LEADING THE NATIONS&rdquo; Franklin Simmons" title="&ldquo;THE GENIUS OF PROGRESS LEADING THE NATIONS&rdquo; Franklin Simmons" /></a>
+<p class="caption noi"><small>&ldquo;THE GENIUS OF PROGRESS LEADING THE NATIONS&rdquo;<br /> Franklin Simmons</small></p>
+</div>
+
+<p>It is not, however, true that Mr. Simmons
+has ever resigned himself to the necessity of
+producing portrait and memorial sculpture exclusively.
+In the realm of the purely ideal Mr.
+Simmons finds his most felicitous field for creative
+work. A bas-relief entitled &ldquo;The Genius
+of Progress Leading the Nations,&rdquo; with all its
+splendid fire and action, the <i>motif</i> being that of
+the spirits Life and Light beating down and
+driving out the spirits of darkness and evil;
+&ldquo;The Angel of the Resurrection,&rdquo; with its glad,
+triumphant assertion of the power of the immortal<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
+life; the poetry and sacredness of maternity
+as typified in the &ldquo;Mother of Moses;&rdquo; the
+statues of the &ldquo;Galatea&rdquo; and the &ldquo;Medusa,&rdquo;
+and other ideal creations, indicate &ldquo;the vision
+and the faculty divine&rdquo; of Mr. Simmons. To a
+very great degree his art is that which the
+French describe as the grand manner, and to
+this is added a spiritual quality, a power of
+radiating the intellectual purpose, the profounder
+thought and the aspiration of the subject
+represented.</p>
+
+<div class="figcenter border" style="width: 282px;">
+<a href="images/mosesb.jpg"><img src="images/moses.jpg" width="282" height="400" alt="&ldquo;MOTHER OF MOSES&rdquo; Franklin Simmons" title="&ldquo;MOTHER OF MOSES&rdquo; Franklin Simmons" /></a>
+<p class="caption noi"><small>&ldquo;MOTHER OF MOSES&rdquo;<br /> Franklin Simmons</small></p>
+</div>
+
+<p>One of the most charming of these ideal
+works is a statue of &ldquo;Penelope,&rdquo; represented
+seated in the chair, her rich robe falling in
+graceful folds, and the little Greek fillet binding
+her hair. The face bears a meditative expression,
+into which has entered a hint of pathos
+and wistfulness in the dawning wonder as to
+whether, after all, Ulysses will return. The
+classic beauty of the pose; the exquisite modelling
+of the bust and arms and hands, every
+curve and contour so ideally lovely; the distinction
+of the figure in its noble and refined patrician
+elegance, are combined to render this work
+one that well deserves immortality in art, and
+to rank as a masterpiece in modern sculpture.<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p>
+
+<p>Another of his ideal figures, &ldquo;The Promised
+Land,&rdquo; is a work of great spiritual exaltation
+and beauty. An Israelite woman has just arrived
+at the point when before her vision gleams
+the &ldquo;Promised Land&rdquo;; the face tells its own
+story of all she has passed through,&mdash;the trials,
+the sadness, the obstacles to be overcome; but
+now she sees the fulfilment of her hopes and
+dreams. It is a most interesting creation, and
+one in which is portrayed the artist&rsquo;s spiritual
+insight and susceptibility to poetic exaltation.
+To one visitor to Mr. Simmons&rsquo;s studio this
+statue suggested the following lines:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">Fair on her sight it gleams,&mdash;the Promised Land!<br /></span>
+<span class="i0">The rose of dawn sifts through the azure air,<br /></span>
+<span class="i0">And all her weariness and toil and care<br /></span>
+<span class="i0">Vanish, as if from her some tender hand<br /></span>
+<span class="i0">Lifted the burden, and transformed the hour<br /></span>
+<span class="i0">To this undreamed-of sense of joy and power!<br /></span>
+<span class="i0">The rapture and the ecstasy divine<br /></span>
+<span class="i0">Are deep realities that only wait<br /></span>
+<span class="i0">Their hour to dawn, nor ever rise too late<br /></span>
+<span class="i0">To draw the soul to its immortal shrine.<br /></span>
+</div><div class="stanza">
+<span class="i0">O Sculptor! thy great gift has shaped this clay,<br /></span>
+<span class="i0">To image the profoundest truth, and stand<br /></span>
+<span class="i0">As witness of the spirit power that may<br /></span>
+<span class="i0">Achieve the vision of the Promised Land!<br /></span>
+<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></div></div>
+
+<div class="figcenter border" style="width: 286px;">
+<a href="images/forgeb.jpg"><img src="images/forge.jpg" width="286" height="400" alt="&ldquo;VALLEY FORGE&rdquo; Franklin Simmons" title="&ldquo;VALLEY FORGE&rdquo; Franklin Simmons" /></a>
+<p class="caption noi"><small>&ldquo;VALLEY FORGE&rdquo;<br /> Franklin Simmons</small></p>
+</div>
+
+<p>In a statuette in bronze called &ldquo;Valley
+Forge,&rdquo; Mr. Simmons has fairly incarnated the
+entire spirit of the Revolutionary period in that
+mysterious way recognized only in its result;
+all that unparalleled epoch of tragic intensity
+and sublime triumph lives again in this work.
+The fidelity to a lofty ideal which essentially
+characterizes Mr. Simmons is as unswerving as
+that of Merlin, who followed &ldquo;The Gleam.&rdquo;</p>
+
+<div class="poem" style="width: 9em;"><div class="stanza">
+<span class="i0">&ldquo;Great the Master<br /></span>
+<span class="i0">And sweet the Magic<br /></span>
+<span class="i0">When over the valley<br /></span>
+<span class="i0">In early summers,<br /></span>
+<span class="i0">Over the mountain,<br /></span>
+<span class="i0">On human faces,<br /></span>
+<span class="i0">And all around me<br /></span>
+<span class="i0">Moving to melody,<br /></span>
+<span class="i0">Floated the Gleam.&rdquo;<br /></span>
+</div></div>
+
+<p>This American sculptor who, in his early
+youth, sought the artistic atmosphere of Rome
+as the environment most stimulating to his
+dawning power, who accepted with unfailing
+courage the incidental privations of art life in
+a foreign land more renowned for beauty than
+for comfort, who</p>
+
+<div class="poem" style="width: 23em;"><div class="stanza">
+<span class="i0">&ldquo;.&nbsp;.&nbsp;. never turned his back, but marched breast forward,<br /></span>
+<span class="i0">Never doubted clouds would break,&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></div></div>
+
+<p class="noi">has expressed his message in many purely ideal
+works,&mdash;the message that the true artist must
+always give to the world and that leads humanity
+to the crowning truth of life, that of the
+ceaseless progress of the soul in its immortality.</p>
+
+<p>For the brief and significant assertion of
+the apostle condenses the most profound truth
+of life when he says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;To be carnally minded is death; but to be spiritually
+minded is life and peace.&rdquo;</p></div>
+
+<p>In these words are imaged the supreme purpose
+of all the experiences of the life on earth;
+and to the artist whose works bear this lofty
+message of the triumph of spirituality, his reward
+shall appear, not in the praise of men,
+but in the effect on character that his efforts
+have aided to exalt; in the train of nobler influences
+that his work shall perpetually inspire
+and create.</p>
+
+<p>Mr. Simmons has always found Rome potent
+in fascination. One may not want to go to
+St. Peter&rsquo;s every day, but one knows it is there,
+and there is some inexplicable satisfaction in
+being where it is possible to easily enter this
+impressive interior. One may not go near the<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
+Forum for a month, or even a season, but the
+knowledge that one may find it and the wonderful
+Palatine Hill any hour of any day is a perpetual
+delight. The Vatican galleries, with
+their great masterpieces; the Sistine Chapel, the
+stately, splendid impressiveness of San Giovanni
+Laterano; the wanderings in Villa Borghese, and
+the picturesque climbing of the Spanish steps,
+even all the inconveniences and deprivations,
+become a part of the story of Rome which the
+artist absorbs and loves.</p>
+
+<p>The studios of Mr. Simmons in the Via San
+Nicolo da Tolentino are a centre of artistic
+resort, and his personal life is one of distinction
+amid the picturesque beauty and enchantment
+of the Eternal City.</p>
+
+<p>For many years (until the death of Mrs.
+Simmons in 1905) the sculptor and his wife had
+their home in the beautiful Palazzo Tamagno
+in the Via Agostino Depretis, where one of
+those spacious apartments of twenty to thirty
+rooms, only to be found in a Roman palace, was
+made by them a brilliant centre of social life.
+Mrs. Simmons was herself a musical artist, with
+impassioned devotion to music; and her rare personal
+charm and distinction of presence drew<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+around her a most interesting circle. Her receptions
+were for many years a noted feature of
+Roman society. The social life in Rome is
+very brilliant, interesting, and fascinating. The
+sight-seeing is a kind of attendant atmosphere,&mdash;the
+perpetual environment offering, but not
+intruding itself. People come to Rome for reasons
+quite disconnected with the Golden House
+of Nero or the latest archæological discoveries
+in the Forum. The present, rather than the
+past, calls to them, and the present, too, is
+resplendent and alluring.</p>
+
+<p>Of the foreign painters in Rome, Charles
+Walter Stetson, whose work recalls the glory
+of the old Italian masters, is especially distinguished
+for his genius as a colorist. No visitor
+in Rome can afford to miss the studio of one of
+the most imaginative of modern artists. A
+wonderful picture still in process is a genre
+work with several figures, called &ldquo;Music.&rdquo; An
+idyllic scene of a festa amid the ilex trees&mdash;with
+the Italian sky and the golden sunshine
+pervading a luminous atmosphere, while the joyous
+abandon of the dancers appeals to all who
+love Italy&mdash;is one of the many beautiful pictorial
+scenes of Mr. Stetson which enchant the<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>
+eye and haunt the imagination. Another picture
+is called &ldquo;Beggars,&rdquo;&mdash;a name that illy
+suggests its splendor. There is the façade of
+a church to which a long flight of steps leads
+up, a procession of cardinals and friars in their
+rich robes, while at one side the groups of
+beggars shrink into the darkness. It is an
+impressive commentary upon life.</p>
+
+<p>For a long period, through the early and
+middle years of the nineteenth century, Rome
+held her place as the world centre of modern
+artistic activity. Great works of poetic and
+ideal sculpture elevated the general public taste
+to a high degree of appreciation. The standards
+were not ingeniously adjusted to mere
+spectacular methods whose sole appeal was to
+the crude fancy of possible patrons. Art held
+her absolute and inviolate ideals, and the spirit
+of her votaries might well have been interpreted
+in Mrs. Browning&rsquo;s words:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i8">&ldquo;I, who love my art,<br /></span>
+<span class="i0">Would never wish it lower to suit my stature.&rdquo;<br /></span>
+</div></div>
+
+<p>The tone of public appreciation is raised to
+a high quality only when the artist refuses to
+sell his soul for a mess of pottage. He may,<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+to be sure, need the pottage, but the price is
+too great. Rather will he find his attitude expressed
+in these wonderful lines:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i12">&ldquo;I can live<br /></span>
+<span class="i0">At least my soul&rsquo;s life without alms from men.<br /></span>
+<span class="i0">And if it be in heaven instead of earth,<br /></span>
+<span class="i0">Let heaven look to it&mdash;I am not afraid.&rdquo;<br /></span>
+</div></div>
+
+<p>All art that has within itself true vitality must
+ever be the leader and the creator of the popular
+taste; only when it falls into decadence does
+it become the servile follower.</p>
+
+<p>It is a serious question as to the degree in
+which the art of to-day keeps faith with the
+eternal ideals. The great expositions of the
+past quarter of a century, while they have contributed
+immeasurably to the popularization of
+art and to the familiarization of the public with
+the work of individual painters and sculptors,
+have yet, in many ways, been a demoralizing
+influence in their insidious temptation to produce
+pictures or plastic art calculated to arrest
+immediate attention, thus putting a premium
+on the spectacular, the sensational, on that
+which makes the most immediate and direct
+appeal to the senses. The work becomes fairly<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
+a personal document wrought with perhaps an
+almost amazing finesse, but utterly failing in
+power to inspire joyous sensibility to beauty
+or to impart to the gazer that glow of radiant
+energy which lofty art invariably communicates
+to all who respond to its infinite exaltation.</p>
+
+<p>All great art is inspired by religious ideals.
+Painting and sculpture give to these a presence.
+Under their creative power are these ideals
+manifested. To embody them in living form
+becomes the absolute responsibility of the artist.
+In Greece all the fortunate conditions to produce
+great art were curiously combined and pre-eminently
+supported by the conjunction of events
+and by the prevailing sentiment of the time.
+The artist drew his inspiration from the most
+exalted conception of life embodied in gods
+rather than in men. Art, too, was an affair
+of the state. It was the supreme interest and
+held national importance. The temple was
+erected to form an inclosure for the statue,
+rather than that the statue was created as an
+adornment for the temple. The greatest gifts
+were consecrated to the service of art, and under
+these stimulating influences it is little wonder
+that artistic creation achieved that vital potency<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
+which has thrilled all succeeding centuries and
+has communicated to them something of the
+divine air of that remote period. With the
+Renaissance in Italy art culminated in the immortal
+work of Raphael and Michael Angelo.
+In the Sistine Chapel, where that sublime
+grouping of prophets and sibyls speaks of the
+very miracle of art in their impassioned fire and
+glow; where the figures, the pose, the draperies
+are so grandly noble and infused with dignity
+and presence,&mdash;the very atmosphere is vocal
+with the language of the spirit and the expressions
+of religious reverence. These marvellous
+shapes of grandeur and sublime intimations
+carry the soul into a conscious communion with
+the divine. In these stupendous works Michael
+Angelo has given to all the ages the message of
+the highest exaltation of art. In the technique,
+in the marvellous dignity of the sentiment, in
+the depth of the feeling involved, in the grace
+and power of the composition, these works
+embody the artistic possibilities of painting.</p>
+
+<div class="figcenter border" style="width: 300px;">
+<a href="images/pietab.jpg"><img src="images/pieta.jpg" width="300" height="400" alt="&ldquo;LA PIETA,&rdquo; ST. PETER&rsquo;S, ROME Michael Angelo" title="&ldquo;LA PIETA,&rdquo; ST. PETER&rsquo;S, ROME Michael Angelo" /></a>
+<p class="caption noi"><small>&ldquo;LA PIETA,&rdquo; ST. PETER&rsquo;S, ROME<br /> Michael Angelo</small></p>
+</div>
+
+<p>Are such works as those of Canova and
+Thorwaldsen no longer created?</p>
+
+<p>Can it be that art is no longer of national
+importance? In our own country vast appropriations<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+are made for internal improvements
+of all kinds, while art that kindles and re-enforces
+life is almost ignored. Our government&mdash;the
+government of the richest country in the
+world&mdash;appropriated $200,000 for a memorial
+monument to General Grant to be placed in
+Washington, while Italy&mdash;whose resources are so
+slender in comparison&mdash;appropriates seven million
+dollars&mdash;thirty-five times the amount&mdash;for
+her great monument to Victor Emmanuel which
+is now being erected in Rome to stand near the
+Capitol and the Palace of the Quirinale. Great
+art has always been closely associated with
+great devotion to religious ideals. The artist
+was the servant of the Lord, and it was his
+supreme purpose to embody the aspirations of
+the age and render his works a full and complete
+symbol of those true realities of life which
+have their being in the spiritual universe rather
+than in the changing temporal world of the outer
+universe. The so-called realism of the day is
+based on a false interpretation. &ldquo;The things
+that are seen are temporal, while the things that
+are not seen are eternal.&rdquo; True realism is in
+spiritual qualities, not in physical attributes.
+True realism is found in such works as Canova&rsquo;s<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span>
+sublime group, where the figures of Religion
+and of Death forever impress all who stand
+before this magnificent monument; it is found
+in Thorwaldsen&rsquo;s &ldquo;Christ;&rdquo; in Franklin Simmons&rsquo;s
+&ldquo;Angel of the Resurrection,&rdquo;&mdash;in such
+works as those that have a language for the
+soul, rather than in a &ldquo;Saturnalia.&rdquo;</p>
+
+<p>Again, another fatal rock on which art must
+inevitably make shipwreck is the theory that it
+is good to perpetuate ugliness, in either painting
+or in sculpture. The permanent reality of
+life is beauty. So far as any person or object
+departs from this enduring reality, so far it is
+the result of distortion and deformity, and these,
+being the temporary, the accidental, the deficient,
+should not be perpetuated in ideal creation.
+It is an Apollo who embodies the permanent
+ideal of manhood&mdash;not a cripple or a hunchback.
+Still further: art should not only refuse
+to embody the defective, which is a mere negative;
+it should not only give form to the utmost
+perfection it beholds in nature or in humanity,
+but beyond this the responsibility is upon the
+artist to penetrate into loftier realms, to catch
+the vision not revealed to mortals. The artist
+is, by virtue of his high calling, a co-worker<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
+with God. An English wit has declared that
+life copies art rather than that art copies life.
+In this he expresses a truth rather than a merely
+clever epigram. It is the artist&rsquo;s business to
+lead, not to follow. Only as he leads does he
+fulfil his divinely appointed destiny. &ldquo;I maintain
+that life is not a form of energy,&rdquo; writes
+Sir Oliver Lodge; &ldquo;that it is not included in
+our present physical categories; that its explanation
+is still to be sought. And it appears to me
+to belong to a separate order of existence,
+which interacts with this material frame of
+things, and while here exerts guidance and control
+on the energy which already here exists;
+for although they alter the quantity of energy
+no whit, and though they merely utilize available
+energy like any other machine, live things
+are able to direct inorganic terrestrial energy
+along new and special paths, so as to achieve
+results without which such living agency could
+not have occurred.&rdquo; Does it for an instant seem
+that a great scientist&rsquo;s theoretical speculations of
+the laws of the universe and of organic life have
+no connection with the province of art? On
+the contrary. Truly does Balzac exclaim: &ldquo;Is
+not God the whole of science, the all of love,<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
+the source of poetry?&rdquo; The artist is he who
+enters into the divine realm; who discerns the
+divine creations as the true ideals of humanity,
+and who interprets to the world the sublime
+significance of the divine thought. Shall such
+an artist degrade his power by portraying ugliness&mdash;the
+mere defects of negations and distortions?
+Shall he degrade life by calling these
+the realities?</p>
+
+<p>The painter or sculptor who holds that it is
+as truly art to represent distortion and repulsiveness
+as it is to represent beauty is as false
+to his high calling as would be the poet who
+should insist that doggerel and mere commonplace
+truisms expressed in rhyme are poetry.
+Compare, for example, two statues, Cecioni&rsquo;s
+&ldquo;<i>La Madre</i>,&rdquo; in which a woman&rsquo;s utter lack of
+personal attraction is so complete as to make
+her fairly repulsive to the gazer, and the
+&ldquo;Mother of Moses,&rdquo; by Franklin Simmons, in
+which the mystic beauty, the very ideal of maternity,
+is embodied. Which of these statues is
+calculated to uplift and to exalt all who come
+near? This marvellously beautiful creation of
+Mr. Simmons shows a woman of exquisite delicacy
+and loveliness sitting, slightly bending forward,<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
+holding her baby to her breast. The
+modelling of the draped figure with the bare
+arms and neck revealing the tender curves, the
+yielding delicacy of the flesh and that inscrutable
+light upon the beautiful countenance, whose
+expression suggests that she is looking far into
+the future of the infant whom she holds in
+her arms, are a wonderful portrayal of the
+mystery and the sacredness of motherhood.
+The one statue degrades maternity; the other
+ennobles and exalts. The one embodies a pernicious
+and a false ideal; the other embodies
+the ideal that must appeal to all that is noble
+and divine in human life, and it thus ministers
+to moral progress by its contribution to the
+elevation of the social tone. For indeed, life
+follows art. It is art that exerts this powerful
+influence upon life which it may lead to loftier
+heights or drag down to the moral abyss. The
+artist is not merely the portrayer of existing
+types; he is the inspirer of those ideal types
+which human life should recognize as its pattern,
+its model to be followed and ultimately achieved.
+The world needs ideal and poetic art to minister
+to the attainment of the true social life and to the
+full and complete expression of man himself.<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+<p>Do not the visions of Fra Angelico and Botticelli
+still inspire the artist of to-day with the
+absolute realization of all the deep significance
+of the past?</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;Is there never a retroscope mirror,<br /></span>
+<span class="i1">In the realms and corners of space,<br /></span>
+<span class="i0">That can give us a glimpse of the battle,<br /></span>
+<span class="i1">And the soldiers face to face?&rdquo;<br /></span>
+</div></div>
+
+<p>Religion and art are inseparably united. In
+its true significance religion takes precedence
+of all else in that its influence is felt in
+every department and in every direction
+and expression of man&rsquo;s activity. It is the
+inexhaustible fountain of that lofty energy
+which communicates itself to every channel
+that carries inspiration to life and to art.
+Religion is the influence that redeems the
+mere shallow, surface presentation,&mdash;the petty
+trick to capture popularity, and holds art
+true to its real purpose. The glory of the
+mediæval art of Italy owed its greatness to
+religion. Cimabue and Giotto were directly
+inspired by that spring of a diviner life
+given to Italy and later to the world of
+that &ldquo;sweet saint,&rdquo; Francis of Assisi. In an
+age of cruelty and terror he brought the<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+new message that man is dear to God; that
+the soul is ceaselessly joyful; that man, created
+in the divine image, is a part of the
+divine life, and that only when he lives in
+this response and recognition does he truly
+live at all. In this restatement of the truth
+that Jesus came to proclaim, St. Francis
+opened the way for a revival of art, and
+opened the gates of that infinite and divine
+energy which has immortally recorded itself for
+all ages in the &ldquo;Divina Comedia&rdquo; of Dante.
+The irresistible wave of power which resulted
+from that liberating of thought, feeling, and
+emotion by the work of St. Francis expressed
+itself in the sublimest poem of all the ages, and
+in that glorious triumph of art that is still the
+treasure and the source of artistic inspiration.</p>
+
+<p>It is only when the world is lifted out of the
+limitations of the material by a period of great
+art that humanity is brought into close and
+inspiring relation with the living Christ.<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span></p>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0"><i>Men and women make the world,</i><br /></span>
+<span class="i0"><i>As head and heart make human life.</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Mrs. Browning.</span><br />
+</p>
+</div>
+
+<hr />
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0"><i>Alas, our memories may retrace</i><br /></span>
+<span class="i0"><i>Each circumstance of time and place;</i><br /></span>
+<span class="i0"><i>Season and scene come back again,</i><br /></span>
+<span class="i0"><i>And outward things unchanged remain;</i><br /></span>
+<span class="i0"><i>The rest we cannot reinstate,</i><br /></span>
+<span class="i0"><i>Ourselves we cannot re-create,</i><br /></span>
+<span class="i0"><i>Nor set our souls to the same key</i><br /></span>
+<span class="i0"><i>Of the remembered harmony.</i><br /></span>
+</div>
+
+
+<p class="right"><span class="smcap">Longfellow.</span></p><br /></div>
+<p><span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span></p>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="blockquot2"><p><i>And as, after the lapse of a thousand years, you stand upon
+that hallowed spot, the yellow Tiber flowing sluggishly beneath
+you, the ruins of the Eternal City all around you speaking of
+fallen greatness, the mighty Basilica of St. Peter rising before
+you like some modern tower of Babel that would monopolize the
+road to heaven, the eye rests upon the figure of the Archangel
+sheathing his glittering sword upon the summit of the Castle of
+St. Angelo, and the heart asks, Why should that be a legend?
+Why should that be a projection of a morbid and devout imagination?
+Why should it not have been the clairvoyance of supernatural
+ecstasy opening the world of spirits? It was no unreality
+when the angel of God, with his sword drawn in his hand, withstood
+the prophet Balaam. It was no morbid imagination when
+the angel of God smote with the edge of the sword the first-born
+of the land of Egypt. It was no imposture when the shining
+hosts of the army of the Almighty smote the Assyrians. It was
+no deception when Gabriel, the King&rsquo;s messenger from the court
+of heaven, was sent to comfort Daniel by the river Hiddekel;
+or when he announced to the maiden, whom all generations have
+called blessed, that she was to be the mother of the Divine Redeemer.&nbsp;.&nbsp;.&nbsp;.
+The written Word from first to last is full of the
+holy angels. It begins with angels, it ends with angels.</i></p>
+
+<p class="right">
+<span class="smcap">The Venerable Archdeacon Wilberforce</span>,
+<br />
+Westminster Abbey.<br /></p></div>
+<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p>
+
+
+
+
+<h2><a name="II" id="II"></a>II<br /><br />
+
+<span class="nob">SOCIAL LIFE IN THE ETERNAL CITY</span></h2>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i0">And others came,&mdash;Desires and Adorations,<br /></span>
+<span class="i0">Winged Persuasions and Veiled Destinies!<br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Shelley.</span><br />
+</p></div>
+
+<div class="poem" style="width: 11em;"><div class="stanza">
+<span class="i0">In what ethereal dances!<br /></span>
+<span class="i0">By what eternal streams!<br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Poe.</span><br />
+</p></div>
+
+
+<p class="noi"><span class="smcap">Social</span> life in Rome is no misnomer. From the
+most stately and beautiful ceremonials of balls
+at the court of the Quirinale, in ducal palaces,
+or at the embassies; of dinners whose every
+detail suggests stage pictures in their magnificence,
+to the simple afternoon tea, where conversation
+and music enchant the hours; the
+morning call <i>en tête-à-tête</i>, and the morning
+stroll, or the late afternoon drive,&mdash;a season in
+Rome prefigures itself, by the necromancy of
+retrospective vision, as a resplendent panorama
+of pictorial scenes. There rise before one those
+mornings, all gold and azure, of loitering over
+the stone parapet on Monte Pincio, gazing down<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
+on the city in her most alluring mood. The
+new bridge that is to connect the Pincio with
+the Villa Borghese is a picturesque feature in
+its unfinished state; but the vision traverses the
+deep ravine and revels in the scene of the
+Borghese grounds carpeted with flowers. Its
+picturesque slopes under the great trees, with
+a view of Michael Angelo&rsquo;s dome in the near
+distance, are the resort of morning strollers,
+who find that lovely picture of Charles Walter
+Stetson&rsquo;s&mdash;a stretch of landscape under the
+ilex trees, the scarlet gowns of the divinity
+students giving vivid accents of color here and
+there&mdash;fairly reproduced in nature before their
+vision. One should never be in haste as the
+bewildering beauty of the Roman spring weaves
+its emerald fantasies on grass and trees, and
+touches into magical bloom the scarlet poppies
+that flame over all the meadows, and caress
+roses and hyacinths and lilies of the valley into
+delicate bloom and floating fragrance until the
+Eternal City is no more Rome, but Arcady,
+instead&mdash;one should never be in haste to toss
+his penny into the <i>Fontane de Trevi</i>. Yet in
+another way it may work for him an immediate
+spell that defies all other necromancy. Judiciously<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
+thrown in, on the very eve of departure,
+it is the conjurer that insures his return; but at
+any time prior to this it may even weave the
+irresistible enchantment that falls upon him and
+may prevent his leaving at all. Nor can he
+summon up the moral courage to regret even
+the missing of all other engagements, and the
+failure to keep faith with his plans. For in
+the May days Rome falls upon him anew, like
+a revelation, and he is ready to confess that he
+has never seen her who sees her not in her
+springtime loveliness. The Italian winter by no
+means lives up to its reputation. It is not the
+chill of any one special day that discourages
+one from any further effort to continue in this
+vale of tears, but the cold that has, apparently,
+the chill and dampness and cold of all those
+two thousand and two hundred and sixty winters
+that have gone before which concentrate
+themselves in the atmosphere. One could presumably
+endure with some degree of courage, if
+not equanimity, the chill in the air of any <i>one</i>
+winter; but when all the chill and cold that has
+ever existed in more than the two thousand
+winters of the past concentrates itself in the
+winter, say, of 1906-7, why, patience ceases<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span>
+to be a virtue although one that the sojourner
+in Rome is particularly called upon to practise
+if he fares forth to visit churches and galleries
+in the winter.</p>
+
+<p>Torrents of rain pour down, rivalling the
+cloud-bursts of Arizona. Virgil&rsquo;s cave of the
+winds apparently lets loose its sharpest blasts.
+Tramontana and sirocco alternate, and each is
+more unendurable than the other.</p>
+
+<p>The encircling mountains are white with
+snow. The streets are a sea of mud, for they
+are paved with small stones, and except in the
+new Villa Ludovisi quarter and along the Via
+Nazionale and a few other of the newer thoroughfares
+there are no sidewalks, the foot passengers
+(in all old Rome) pressing close to the
+wall to avoid the dangerously near proximity
+of carts and cabs. This rough pavement makes
+all driving hard and walking difficult. The
+Roman lady, indeed, does not walk; and the
+visitors who cannot forego the joy of daily
+promenades enter into the feelings of that
+nation which is said to take its pleasures sadly.
+But spring works a transformation scene. The
+air is filled with the most transparent shining
+haze; the sky lacks little of that intense, melting<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
+blue that characterizes the ineffable beauty of
+the skies in Arizona; and ruins and fragments
+and strange relics&mdash;ghosts of the historic
+past&mdash;are all enshrined in trailing green and riotous
+blossoms. To drive on the terraced roads of
+Monte Mario with all Rome and the emerald-green
+Campagna before one; through the
+romantic &ldquo;Lovers&rsquo; Lane,&rdquo; walled in by roses
+and myrtle; to enjoy the local life, full of gayety
+and brilliancy, is to know Rome in her most
+gracious aspects. One goes for strolls in the
+old Colonna Gardens, where still remain the
+ruins of the Temple of the Sun and of the
+Baths of Constantine. The terraces offer lovely
+views over the city. The old palace is occupied
+by the present Prince Colonna, and it is
+not unfrequently the scene of most elaborate
+and gorgeous receptions where the traditional
+Roman splendor is to be found. A series of
+arched bridges over the narrow street of the
+Via della Pilotta connect the Gardens with the
+Colonna Palace in the Piazza San Apostoli.
+Very fine old sarcophagi are half buried in
+trailing vines on the slope of the hill, dark with
+magnificent cypress trees. The Colonna Gardens
+are a very dream of the past, in their ruins<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
+of old temples, their shattered statues, their
+strange old tablets and inscriptions, and their
+grand view of the Capitol.</p>
+
+<p>In one&rsquo;s retrospective vision of a Roman
+season all the inconveniences and discomforts
+of the winter disappear, leaving only the beauty
+and the enjoyment to be &ldquo;developed,&rdquo; as the
+photographer would say, on the sensitive plate
+of memory.</p>
+
+<p>No one really knows Rome until he has
+watched the transcendent loveliness of spring
+investing every nook and corner of the Eternal
+City. The picturesque Spanish steps are a very
+garden of fragrance, the lower steps of the terraced
+flight being taken possession of by the
+flower venders who display their wares,&mdash;masses
+of white lilac, flame-colored roses, rose
+and purple hyacinths and baskets of violets and
+carnations. Did all this fragrance and beauty
+send up its incense to Keats as he lay in the
+house adjoining, with the musical plash of Bernini&rsquo;s
+fountain under his window? It is pleasant
+to know that by the appreciation of
+American and English authors, the movement
+effectively directed by Robert Underwood Johnson,
+this house consecrated to a poet&rsquo;s memory<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+has been purchased to be a permanent memorial
+to Keats and to Shelley. A library of their
+works will be arranged in it; and portraits, busts,
+and all mementos that can be collected of
+these poets will render this memorial one of the
+beautiful features of Rome.</p>
+
+<p>From the flower venders and the circulating
+libraries in the Piazza di Spagna that allure one
+in the morning, from the fascinating glitter of
+the little Via Condotti which is, in its way, the
+rue de la Paix of Rome, one leisurely climbs
+the steps to where the great obelisk looms up
+in front of the Convent Church of the Trinità
+di Monti and on, across the Piazza di Trinità,
+toward the Pincian, one wanders along the
+brow of the hill surmounted by the low stone
+parapet. The view is a dream of beauty. Over
+the valley lies Monte Mario, crowned with the
+Villa Madama, silhouetted against the blue
+Roman sky; and the commanding dome of St.
+Peter&rsquo;s, the splendid new white marble buildings
+of the Law Courts, the domes of other
+churches, all make up a picturesque panorama,
+while on the Janiculum the great equestrian
+statue of Garibaldi can be descried. Strolling
+on, one turns into the gardens of the Villa<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
+Medici, the French Academy of Art, in which
+the present director, the great Carolus Duran,
+is domiciled and in which twenty-four students&mdash;of
+painting, sculpture, music, and architecture&mdash;are
+maintained at the expense of the
+French government for several years, the twenty
+four being chosen from those who have given
+signal proof of their ability. The Villa Medici
+has, perhaps, a more beautiful site than any
+other building in Rome. Facing the west, with
+the Janiculum and Monte Mario forever before
+it, while below lies the Piazza di Spagna and
+the Piazza del Popolo, and all the changing
+splendors of the sunset sky as a perpetual picture
+gallery, the situation is, indeed, magnificent.
+It is still conceivable, however, that Monsieur
+Carolus Duran must have many quarters
+of an hour when he longs for the brilliancy and
+the movement and the stimulus of his Paris.
+The gardens of the Villa Medici are large, but
+they are laid out with narrow paths bordered
+with box, forming a wall as impervious as if
+of stone, and dark and damp by the shade
+of foliage. These walks are paved with gravel,
+and are always damp. These formal rectangles
+and alleys are utterly shut in, so that in any one<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+part one can see only the two dense green walls
+of box that inclose him and the glimpse of sky
+overhead,&mdash;not precisely a cheering promenade.
+This is the Italian idea of a garden. Much
+broken sculpture, weather-stained and defective,
+is placed all along the way, and the
+perpetual Roman fountain is always gushing
+somewhere.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/medicib.jpg"><img src="images/medici.jpg" width="400" height="293" alt="VILLA MEDICI, ROME" title="VILLA MEDICI, ROME" /></a>
+<p class="caption noi"><small>VILLA MEDICI, ROME</small></p>
+</div>
+
+<p>Another phase of the Roman season may rise
+before one in the stately beauty of any old historic
+palace, where the hostess, all grace and
+sweetness, receives her guests in the apartment
+in which Galileo had been confined when imprisoned
+in Rome. The approach to this <i>piano
+nobile</i> was up a flight of easily graded marble
+stairs, where in frequent niches stood old
+statues. The large windows in the corridor on
+the landing were curtained with pale yellow,
+thus creating a golden light to fall on the old
+sculptured marbles. One salon was decorated
+with Flaxman&rsquo;s drawings on the wall, in their
+classical outlines. From a steep, dark stone
+stairway, down which one descended (at the
+imminent risk of a broken neck in the darkness
+and from the irregular stairs rudely carved
+in the stone), one emerged on a landing, where a<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
+little door opened into the balcony of the chapel,
+a curious, gloomy place, with tombs and altar
+and shrine, and some very poor old paintings.
+One&rsquo;s progress to it recalled the lines from
+Poe&rsquo;s &ldquo;Ulalume&rdquo;:&mdash;</p>
+
+<div class="poem" style="width: 13em;"><div class="stanza">
+<span class="i0">&ldquo;By a route, obscure and lonely,<br /></span>
+<span class="i0">Haunted by ill angels only.&rdquo;<br /></span>
+</div></div>
+
+<p>Then, sitting in one of the richly decorated
+salons at afternoon tea in this same old palace
+one day, while an accomplished harpist was
+discoursing delicate music from its vibrating
+chords, flights of birds kept passing a window,
+making a scene like that of a Wagner opera.
+The groups present, largely of the Roman
+nobility, the titled aristocracy, resembling so
+closely some of the old portraits in the palazzo
+that it was easy to recognize that they were all
+one people, descendants of the same race.</p>
+
+<p>Many of the guests looked, indeed, as if they
+had stepped from out the sumptuously carved
+frames on the wall. At these pretty festas one
+meets much of the resident Roman world. The
+guests assembled seem to be speaking in all the
+romance languages. There are Russian and
+Spanish as well as Italian, French, German,<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+and English at these alluring teas. All the
+salons of the spacious apartments are thrown
+open, and the men in their picturesque court
+dress or military costume, and the women and
+girls in dainty gowns, make up an alluring scene.
+The salons are richly furnished and abound in
+works of art, old pictures, inlaid cabinets, carvings,
+rich vases, busts, and statuettes. The
+library, with its wealth of books; the music
+room; the salon for dancing; the supper room,
+and the quiet rooms where groups gather before
+the blazing open fires, grateful in these lofty
+rooms whose temperature suggests the frozen
+circles of Dante,&mdash;all make up a delightful
+picture. One meets the most varying individualities.
+A Russian lady of title may confide
+her conviction that her country is ruined,
+and that she never desires to return to it. Italy
+is the country that attracts not only political
+refugees from other European countries, but
+many who are out of sympathy with conditions
+elsewhere and who find the cosmopolitan society
+and the varied interests of this land of sunshine
+their most enjoyable environment.</p>
+
+<p>One pleasant feature of a Roman winter is
+that of the usual course of lectures given by<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
+Professor Lanciani. The celebrated archæologist
+is a man of special personal charm, and his
+conversation, as well as his public lectures, is
+full of interest and value. The lectures are
+given under the auspices of the <a name="tn138" id="tn138"></a><ins class="correction" title="original: 'Societa'">Società</ins> Archeologica,
+and a special subject recently discussed
+was the celebration to be held in 1911 in Rome.
+One project for this celebration includes the
+plan to lay out a carriage road around the
+Forum and the Palatine, and also around
+the Baths of Titus and of Caracalla, extending
+the drive to all those places included between
+the Appian and the Latin Way, the Villa
+Celimontana and the Circus Maximus.</p>
+
+<p>Professor Lanciani discussed the artistic history
+of Rome and the different appearances the
+city took on in different periods; the regulation
+plan drawn up by Julius Cæsar and accepted
+and carried out by Augustus, by which one-fifth
+of the total area of the city was reserved
+for public parks. In the third century of the
+empire the city was inclosed by parks and
+crossed from end to end by delightful portico
+gardens, where valuable works of art were collected.
+During the period of the Renaissance
+there were the famous villas and the Cesarini<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
+Park on the slopes of the Esquiline, and after
+regretting the many unnecessary acts of vandalism
+committed since 1870 in Rome, Professor
+Lanciani suggested that a complete
+reconstruction of the Baths of Caracalla should
+be made, to serve in 1911 as the Exhibition
+Building. He believed no artistic difficulties
+would present themselves, as in the fifteenth
+century different architects took plaster casts
+of the decorations of the statues and of every
+detail of the Baths. The archæological exhibition
+would be arranged in the two large halls,
+another hall would be for concerts, another for
+lectures, the others for different congresses to
+be held.</p>
+
+<p>In this way Rome would inaugurate for 1911
+the Mediæval Museum in Castel Sant&rsquo;Angelo,
+the mediæval collections in the Torre degli
+Anguillara, and the grand archæological exhibition
+in the reconstructed Baths of Caracalla.</p>
+
+<p>Italian women are by no means behind the
+age in their organizations to aid in social progress.
+The most important one in Italy is that
+of the leading women of the nobility and aristocracy,
+called &ldquo;The Society for Women&rsquo;s<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
+Work,&rdquo; which holds annual meetings, over
+which Lady Aberdeen, the president of the
+International Council, and the Contessa Spalletti,
+the president of the National Council of
+Italy, preside. Many of the prominent women
+of the Italian nobility are taking active part in
+the larger outlook for women; and in this movement
+Margherita, <i>la Regina Madre</i>, leads the
+way, supported by a large following of the
+titled nobility.</p>
+
+<p>&ldquo;Margherita holds the hearts of the people,&rdquo;
+remarked Cora, Contessa di Brazzá Savorgnan,
+at a brilliant little dinner one night, and no
+expression could more admirably represent the
+feeling of the nation toward the Queen Mother.</p>
+
+<p>Queen Elena as the reigning sovereign has,
+of course, her exclusive royal prerogatives, and
+she has youth and initiative and precedence;
+but Margherita is a most attractive woman,
+with learning and accomplishments galore, and
+she has an art of conversation that allures and
+fascinates visiting foreigners of learning and
+wit, as well as of rank. Roman society is not
+large numerically, and the same people are constantly
+meeting and consolidating their many
+points of contact and interest. Social life in<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
+these Italian cities is the supreme occupation of
+the residents, and one must concede that in
+proportion as one meets the same people constantly
+does society gain in dramatic interest.
+With each person who is in any sense an individual
+the play of life begins. It gains in
+dramatic sequence as it proceeds. The Eternal
+City is a wonderful scenic setting for the human
+drama.</p>
+
+<p>Local gossip suggests perceptible rivalry between
+the stately palace of the King and the
+pink palace on the hill, in which Margherita
+holds her state with not less ceremony than
+that observed at the Court of the Quirinale. It
+is a beautiful thing for a country to have in it a
+woman of high position, of leisure and of culture,
+who is so admirably fitted to be the friend
+of the people as is Margherita. She is a connoisseur
+in art; she has a most intelligent interest
+in science; she is a critical lover of literature;
+she is a wise and judicious and deeply sympathetic
+leader in all philanthropic work and purposes.
+One can hardly visit painter or poet or
+artist in any line, or school, institute, or association,
+but that he hears of the personal
+sympathy and encouragement bestowed by this<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
+noble and beautiful Italian Queen,&mdash;the <i>Regina
+Madre</i>.</p>
+
+<p>Practically there are, indeed, two courts in
+Rome; that of the Palazzo Margherita seeming
+to quite rival that held at the Palazzo Quirinale.
+The palace of the Queen Mother is an imposing
+three-story structure of pink-hued marble, with
+beautiful gardens and terraces, and adjoining
+it, in the palace grounds, is a marble villa,
+used for the entertainment of royal guests.
+This palace has been the residence of Margherita
+when in Rome since the tragic death of
+King Umberto, in 1900. It is in the Ludovisi
+quarter, and stands on the very site of the Gardens
+of Sallust. The Queen Mother receives
+noted visitors constantly, and entertains visiting
+royalties and members of the aristocracy.
+No great man of science, literature, and art
+visits Rome without seeking a presentation to
+the liberal-minded and accomplished <i>Regina
+Madre</i>, who is one of the most winning and
+attractive of all the royal women of Europe.</p>
+
+<p>It has become quite a feature in introducing
+young girls to present them first in private audience
+to Margherita, and then later to Queen
+Elena at the Court of the Quirinale. Surely no<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
+girl could be given a lovelier idea of womanhood
+than that embodied in the Dowager Queen.
+When the poet Carducci died in the early
+months of 1907, Margherita sent beautiful messages
+of consolation to his family, and, later,
+to his home city of Bologna she sent the following
+letter:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I announce that I make a free gift to the
+city of Bologna of the house where Giosuè Carducci
+passed the last years of his life, and the
+library he collected there.</p>
+
+<p>&ldquo;Bologna, that showed such affectionate hospitality
+for Giosuè Carducci for so many years,
+and surrounded him with so much devotion,
+will know, I feel sure, how to carefully preserve
+this remembrance of the greatest poet of modern
+Italy.</p>
+
+<p class="right">
+<span class="smcap">Margherita.</span>&rdquo;<br />
+</p>
+</div>
+
+<p>The Syndic replied in a letter hardly less fine
+in its expression of Bologna&rsquo;s appreciation, and
+with assurances that the name of the first Queen
+of Italy will in future be forever associated with
+Italy&rsquo;s greatest modern poet.</p>
+
+<p>The Regio Palazzo del Quirinale is near the
+Capitol, in the older part of the city, and only<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+a small part of this is shown to visitors when
+the King and Queen are in residence. The
+Sala Regia may be seen, the chapel in which
+are preserved a large number of the wreaths
+and the addresses sent from all parts of the
+civilized world on the occasion of the death of
+Victor Emmanuel II, and a suite of reception
+rooms, the throne room with many historic portraits,
+the Sala des Ambassadeurs, and the
+audience chamber, containing Thorwaldsen&rsquo;s
+&ldquo;Triumphal Procession of Alexander the
+Great,&rdquo; a gift from Napoleon I. In the small
+chapel of the Annunciation is an altar piece by
+Guido Reni.</p>
+
+<p>To artists the Queen Mother is most generously
+kind. One of the younger Italian sculptors,
+Turillo Sindoni, Cavaliere of the Crown
+of Italy, whose latest creation is a very beautiful
+statue of St. Agnes, has his studios in the
+Via del Babuino, and to especially favored
+visitors he sometimes exhibits a beautiful letter
+that he received from Margherita, who purchased
+two of his statues. With the letter expressing
+her warm appreciation of his art was
+an exquisite gift of jewelled sleeve-links.</p>
+
+<p>Notwithstanding the fascinating lectures of<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+Professor Lanciani and the valuable and interesting
+work in the Forum that is being accomplished
+under the efficient directorship of
+Commendatore Boni, yet all the roads that traditionally
+lead to Rome do not converge to the
+palace on the Palatine. Modern Rome is only
+mildly archæological, and while it takes occasional
+recognition of the ancient monuments,
+and drives to the crypt of old St. Agnes, to
+the tomb of Cecilia Metella, and may manage
+a descent into the catacomb of St. Calixtus, it
+is far more actively interested in its dancing
+and dining and driving. As a scenic background
+for festivities Rome is a success, and as
+one comes into social touch with the titled
+nobility, and the resident life, by birth or adoption,
+one finds a city of infinite human interest
+and picturesque possibilities.</p>
+
+<p>Between the &ldquo;Whites&rdquo; (the loyal followers of
+the Palazzo Quirinale and the King) and the
+&ldquo;Blacks&rdquo; (the devoted followers of the Palazzo
+Vaticano and the Pope) a great gulf is fixed
+over which no one may cross.</p>
+
+<p>Pope Pius X is wonderfully accessible, considering
+the great responsibilities and duties he
+has on him, and his generous goodness, his<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+gracious tact and the beauty of his spirit endear
+him to all, Catholic or Protestant alike, for
+every one recognizes in him the Christian
+gentleman, whose ideals of gentleness and inspiring
+helpfulness impress themselves on all
+who are so fortunate as to meet him.</p>
+
+<p>The most impressive ceremonial receptions
+of the &ldquo;Blacks&rdquo; are those given at the Spanish
+Embassy in the Piazza di Spagna. At the Embassy
+or in the private palace of any Roman
+noble which a Cardinal honors by accepting an
+invitation, he is received according to a most
+picturesque old Roman custom. At the foot of
+the stairs two servants bearing lighted torches
+meet his Eminence, and, making a profound
+obeisance, escort him to the portals of the grand
+reception salon and await, in the corridor, his
+return. On his departure they escort him in
+the same way down the staircase.</p>
+
+<p>In the College of Cardinals and among the
+many interesting individualities of the Vatican,
+the most marked figure is that of the Cardinal
+Secretary of State, Merry del Val. He occupies
+the Borgia apartments, which are hung
+with tapestry and ornamented with the most
+unique and valuable articles <i>de vertu</i>,&mdash;wonderful<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+vases, inlaid cabinets, old tapestries,
+paintings, statues, busts, and ivories. These
+Borgia apartments are one of the most interesting
+features of the Palazzo Vaticano, and
+may be seen now and then by special permission
+when the Cardinal secretary is out, or when he
+may be pleased to retire into his more private
+salons in the apartment while the others are
+shown. Cardinal Rafael Merry del Val is
+an impressive personality, whose life seems
+strangely determined by destiny. His father
+was an <i>attaché</i> of the Spanish embassy to the
+Court of St. James when the future Cardinal
+was born in 1865. In 1904, at the early age of
+thirty-nine, he was advanced from the soutane
+violet of the bishop to the mantelletta scarlet
+of the cardinal, and after the accession of the
+present Pope, Pius X, he was appointed to the
+highest office in the Vatican, that of Secretary
+of State, the Pope paying him the high tribute
+because of his &ldquo;devotion to work, his capability
+and absolute self-negation.&rdquo;</p>
+
+<p>Cardinal Merry del Val has had a wonderful
+training of experience and circumstances. At
+the early age of twenty-two he was a member
+of the papal embassy commissioned to the<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
+jubilee of Queen Victoria in 1887. He was also
+appointed a member of the embassy from the
+Vatican to attend the funeral of Emperor William
+I; and at the jubilee of Francis Joseph,
+Emperor of Austria, Cardinal (then Bishop)
+Merry del Val was the sole and accredited representative
+of the Holy See, as he was also at
+the coronation of King Edward. The Spanish
+Cardinal is the special trusted counsellor of the
+royal family of Spain.</p>
+
+<p>In Rome, Cardinal Merry del Val is an impressive
+figure. He is always attended by his
+<i><a name="tn148" id="tn148"></a><ins class="correction" title="original: 'gentilinomo'">gentiluomo</ins></i>, who is gorgeously arrayed in knee
+breeches, military hat and sword. This gentleman
+in waiting walks behind him on a promenade,
+sits in his carriage and stands near him
+in all religious ceremonies. His equipage is
+well known in the Eternal City,&mdash;a stately
+black carriage drawn by two massive black
+horses with luxurious flowing manes.</p>
+
+<p>It is freely prophesied in Rome that the Cardinal
+secretary is destined to yet exchange the
+mantelletta scarlet for the zucchetta white, when
+Pius X shall have gone the way of all his predecessors
+in the papal chair. He is the Cardinal
+especially favored by Austria and Spain.<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
+Although the conflict with France was at first
+ascribed to Cardinal Merry del Val, he has of
+late been completely exonerated from blame,
+even by the French prelates and clergy.</p>
+
+<p>Cardinal Merry del Val represents the most
+advanced and progressive thought of the day.
+He is an enthusiastic admirer of Marconi and
+the marvels of wireless telegraphy; he is an
+advocate of telephonic service, electric motors,
+electric lights, and of phonographs and typewriters
+for the Vatican service. He is a great
+linguist, speaking English, French, and German
+as well as Spanish, which is his native tongue,
+and Italian, which has become second nature.
+He is a good Greek scholar and a profound
+Latin scholar, and he speaks the ancient Latin
+with the fluency and the force of the modern
+languages. He is, indeed, a remarkable twentieth-century
+personality and one who has
+apparently a very interesting life yet to come in
+his future.</p>
+
+<p>At the Villa Pamphilia Doria, built by a
+former Prince Doria, the largest villa in the
+Roman environs and the finest now remaining,
+the Cardinal enjoys his game of golf, of which
+he is very fond. The Doria family rendered<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
+the villa magnificent in every respect. Besides
+the spacious avenues, woods, fountains, a lake,
+and cascades, are various edifices, among which
+is one in the form of a triumphal arch, decorated
+with ancient statues; the casino of the villa in
+which are preserved some ancient marbles and
+several pictures; the beautiful circular chapel,
+adorned with eight columns of marble and
+other stately ornaments. There is a monument
+erected by the present Prince Doria to the
+memory of the French soldiers who were killed
+there during the siege of 1849. From the
+terrace of the palace there is a magnificent
+view of the environs of Rome, as far as the sea.
+In consequence of excavations, some columbaria,
+sepulchres, inscriptions, and other relics
+have been found, which have attracted much
+attention from archæologists.</p>
+
+<p>It is near these grounds that the &ldquo;Arcadians&rdquo;
+still hold their <i>al fresco</i> meetings. The
+society dates back to 1690, and the first <i>custos</i>
+(whose duty was to open and close the meetings)
+was Crescimbeni. The &ldquo;Arcadians&rdquo;
+organized themselves to protest against the degeneracy
+of Italian poetry that marked the
+seventeenth century. To keep their meetings a<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+secret from the populace the &ldquo;Arcadians&rdquo; held
+their meetings in an open garden on the slope
+below San Pietro in Montorio,&mdash;a terrace still
+known as &ldquo;Bosco Parrasio degli Arcadi.&rdquo;</p>
+
+<p>One of the enchanting views in Rome is
+from the Piazza San Giovanni. One looks far
+away past the Coliseum in its ruined grandeur
+and the <i>casa</i> where Lucrezia Borgia lived, and
+in the near distance is the colossal pile of San
+Giovanni di Laterano, its beautiful and impressive
+façade crowned with the statues of the
+apostles silhouetted against the western sky. In
+the piazza formed by the church, the museums,
+and the Baptistery of San Giovanni and the
+Scala Santa is one of the most remarkable
+obelisks in Rome, ninety-nine feet in height,
+formed of red granite and carved with hieroglyphics.
+This shaft is placed on a pedestal
+which makes it in all some 115 feet in height.
+It was placed in 1568 by Sixtus V. The
+museums of the San Giovanni are the &ldquo;Museo
+Sacro&rdquo; and the &ldquo;Museo Profano,&rdquo;&mdash;the latter
+founded by Pope Gregory XVI, and very rich
+in sculptures and mosaics. The &ldquo;Museo Sacro&rdquo;
+was founded by Pio Nono, and is rich
+in the antiquities of the Christian era. Within<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
+San Giovanni the visitor finds himself in a vast
+interior divided by columns of verd-antique
+into three aisles, each of which is as wide as,
+and far longer than, the interior of an ordinary
+church. Statues fill the niches, and the chapels
+and confessionals are all beautifully decorated.
+The Corsini Chapel is the richest and was executed
+by order of Clement XII, in honor of
+St. Andrew Corsini, who is represented in a
+rich mosaic painting copied from Guido. Two
+sculptured figures, &ldquo;Innocence&rdquo; and &ldquo;Penitence,&rdquo;
+stand before the altar, and above is a
+relief depicting St. Andrew protecting the Florentine
+army at the battle of Anghiari.</p>
+
+<p>The tomb of Pope Clement XII (who himself
+belonged to the Corsini family and who was an
+uncle of Cardinal Corsini) is in a niche between
+two columns of porphyry, and there is a bronze
+statue of the Pope. On the opposite side is a
+statue of Cardinal Corsini, and in the crypt
+below are tombs of the Corsini family. On the
+altar&mdash;always lighted&mdash;is a &ldquo;Pieta&rdquo; by Bernini,
+of which the face of the Christ is very
+beautiful.</p>
+
+<p>Near the centre of the Basilica is a rich tabernacle
+of precious stones, defined by four col<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>umns
+of <i>verde antico</i>, and it is said that the
+heads of St. Peter and St. Paul are preserved
+here. The table upon which Christ
+celebrated the Last Supper is placed here,
+above the altar of the Holy Sacrament, a
+sacred relic that thrills the visitors. In one
+chapel is a curious and grotesque group of
+sculpture,&mdash;a skeleton holding up a medallion
+portrait, while an angel with outstretched
+wings hovers over it.</p>
+
+<p>San Giovanni has the reputation of being
+absolutely the coldest church in all Rome,
+which&mdash;it is needless to remark&mdash;means a
+great deal, for they all in winter have the temperature
+of the arctic regions. In all these
+great churches there is never any heat; no
+apparatus for heating has ever been introduced,
+and the twentieth century finds them just as
+cold as they were in the centuries of a thousand
+years ago. This colossal Basilica is
+considered the most important church in the
+world, as it is the cathedral of the Pontiff. It
+was founded in the third century by Constantine,
+destroyed by fire in 1308, and rebuilt by
+Pope Clement V, and every succeeding Pope
+has added to it. The façade is of travertine,<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+with four gigantic columns and six pilasters,
+and the cornice is decorated with colossal figures
+of Jesus and a number of the saints. There are
+five balconies, the middle one being always used
+for papal benedictions. In the portico is the
+colossal statue of Constantine the Great.
+Within the columns are of <i>verde antico</i>; the
+ceiling was designed by Michael Angelo; the
+interior is very rich in sculpture, and there are
+some fine paintings and the chapels are most
+beautiful, one of them containing a tabernacle
+comprised wholly of precious stones. Above
+the altar of the Holy Sacrament the table upon
+which Christ celebrated the Last Supper with
+the disciples is preserved. It is wonderful to
+look upon this most sacred and significant
+relic.</p>
+
+<p>It is in this church that the tomb of Leo
+XIII has been constructed by the eminent
+Italian sculptor, Tadolini, opposite the tomb of
+Innocent III. The work was completed in the
+spring of 1907, the design being a life-size portrait
+statue of the Pope with two figures, one on
+either side, representing the church and the
+workman-pilgrim, forming part of the group.
+This is one of the most memorable monu<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>ments
+of all Rome, and the tomb of the great
+Leo XIII will form a new shrine for Christian
+pilgrimage.</p>
+
+<p>Included in the group of structures that form
+the great Basilica of San Giovanni is the Scala
+Santa, which offers a strange picture whenever
+one approaches it. These twenty-eight marble
+steps that belonged to Pilate&rsquo;s house in Jerusalem
+are said to have been once trodden by
+Jesus and may be ascended only on one&rsquo;s knees.
+At no hour of the day can one visit the Scala
+Santa without finding the most motley and
+incongruous throng thus ascending, pausing on
+each step for meditation and prayer. These
+stairs were transported from Jerusalem to
+Rome under the auspices of St. Helena, the
+Empress, about 326 A.D., and in 1589 they were
+placed by Pope Sixtus V in this portico built
+for them with a chapel at the top of the stairs
+called the &ldquo;Sancta Sanctorum,&rdquo; formerly the
+private chapel of the Popes. In this sanctuary
+is preserved a wonderful portrait of the Saviour,
+painted on wood, which is said to have been
+partly the work of St. Luke but finished by
+unseen hands. The legend runs that St. Luke
+prepared to undertake the work by three days<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>&rsquo;
+fasting and prayer, and that, having drawn it
+in outline, the painting was done by angelic
+ministry, the colors being filled in by invisible
+hands. In ancient times&mdash;the custom being
+abolished by Pius V in 1566&mdash;this picture was
+borne through Rome on the Feast of the Assumption
+and the bearer halted with it in the
+Forum, when the &ldquo;Kyrie Eleison&rdquo; would be
+chanted by hundreds of voices.</p>
+
+<p>Myth and legend invest every turn and footfall
+of the Eternal City, and there are few that
+are not founded on what the church has always
+called supernatural manifestations, but which
+the new age is learning to recognize as occurrences
+under natural law.</p>
+
+<p>The story of Luther&rsquo;s ascent of the Scala
+Santa is thus told:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Brother Martin Luther went to accomplish
+the ascent of the Scala Santa&mdash;the Holy Staircase&mdash;which
+once, they say, formed part of
+Pilate&rsquo;s house. He slowly mounted step after
+step of the hard stone, worn into hollows by
+the knees of penitents and pilgrims. Patiently
+he crept halfway up the staircase, when he
+suddenly stood erect, lifted his face heavenward,<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
+and in another moment turned and walked
+slowly down again.</p>
+
+<p>&ldquo;He said that as he was toiling up a voice as
+if from heaven spoke to him and said, &lsquo;The
+just shall live by faith.&rsquo; He awoke as if from
+a nightmare, restored to himself. He dared not
+creep up another step; but rising from his knees
+he stood upright like a man suddenly loosed
+from bonds and fetters, and with the firm step
+of a free man he descended the staircase and
+walked from the place.&rdquo;</p></div>
+
+<p>The entire legendary as well as sacred history
+is almost made up of instances of the interpenetration
+of the two worlds; the response of
+those in the spiritual world to the needs of those
+in the natural world. Pope Paschal recorded
+that he fell asleep in his chair at St. Peter&rsquo;s
+(somewhere about 8.20 <span class="smcap">A.M.</span>) with a prayer on
+his lips that he might find the burial place of
+St. Cecilia, and in his dream she appeared to
+him and showed him the spot where her body
+lay, in the catacombs of Calixtus. The next
+day he went to the spot and found all as had
+been revealed to him. The miraculous preservation
+of St. Agnes is familiar to all students of<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
+legendary art. Throughout all Rome, shrine
+and niche and sculpture, picture, monument,
+arch and column, speak perpetually of some
+interposition of unseen forces with events and
+circumstances in this part of life. The Eternal
+City in its rich and poetic symbolism is one
+great object lesson of the interblending of the
+two worlds, the natural and the spiritual.
+The first stage regarding all this marvellous
+panorama was entire and unquestioning acceptance;
+the succeeding stage was doubt, disbelief;
+the third, into which we are now entering,
+is that of an enlightened understanding and a
+growing knowledge and grasp of the laws under
+which these special interpositions and interventions
+occur.</p>
+
+<p>For that &ldquo;according to thy faith be it unto
+thee,&rdquo; is as true now in the twentieth century
+as it was in the first. The one central truth
+that is the very foundation of all religious
+philosophy is the continuity of life and the persistence
+of intercourse and communion, spirit
+to spirit, across the gulf we call death. The
+evidences of this truth have been always in the
+world. The earliest records of the Bible are
+replete with them. The gospels of the New<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
+Testament record an unbroken succession of
+occurrences and of testimony to this interpenetration
+of life in the Unseen with that in the
+Seen. Secular history is full of its narrations
+of instances of clairvoyance, clairaudience, and
+of communications in a variety of ways; and the
+sacred and legendary art of Rome, largely
+founded on story and myth and legend, when
+seen in the light of latter-day science is judged
+anew, and the literal truth of much that has
+before been considered purely legendary is revealed
+and realized. One reads new meanings
+into Rome when testing it by this consciousness.
+It is a city of spiritual symbolism. It is a great
+object lesson extending over all the centuries.
+Making due allowance for the distortion and
+exaggeration of ages of testimony, there yet
+remains a residuum indisputable. The Past
+and the Present both teem with record and
+incident and experience proving that life is
+twofold, even now and here; that all the motives
+and acts of the life which we see are variously
+incited, modified, strengthened, or annulled by
+those in the realm of the Unseen.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/doriab.jpg"><img src="images/doria.jpg" width="400" height="294" alt="ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME" title="ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME" /></a>
+<p class="caption noi"><small>ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME</small></p>
+</div>
+
+<p>The intelligent recognition of this truth
+changes the entire conduct of life. It entirely<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span>
+alters the point of view. It extends the horizon
+line infinitely. Instead of conceiving of life as
+a whole, as comprised between the cradle and
+the grave, it will be regarded in its larger and
+truer scope as a series of experiences and
+achievements, infinite in length and in their possibilities
+and unbroken by the change we call
+death. This will impart to humanity a new
+motor spring in that greater hope which puts
+man in a working mood, which makes him believe
+in the value of that which he undertakes,
+which encourages him to press on amid all
+difficulties and against all obstacles. Increasing
+hope, all activity is proportionately increased.
+It was an event of incalculable importance to
+the progress of humanity when the swift communication
+by cable was established between
+America and Europe. It is one of infinitely
+greater importance to establish the truth and
+enlarge the possibility of direct communication
+with the world of higher forces and larger attainment
+and scope than our own. This communication
+exists and has always existed, but
+it has been regarded as myth and legend and
+phenomenon rather than as a fact of nature
+whose laws were to be ascertained and understood.<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+It must be made clear as an absolute
+scientific demonstration that the change of form
+by the process we call death does not put an
+end to intelligent and rational intercourse, but
+that, indeed, instead of setting up a barrier, it
+removes barriers and renders mutual comprehension
+far clearer and more direct than before.
+This realization alters the entire perspective of
+life, and is the new Glad Tidings of great joy.</p>
+
+<p>It is something of all this that the Eternal
+City suggests to one as he makes his pilgrimages
+to shrine and cloister and chapel and Basilica.
+The mighty Past is eloquent with a thousand
+voices, and they blend into a choral harmony
+of promise and prophecy for the nobler future
+of humanity.</p>
+
+<p>At the foot of the Scala Santa, on either
+side, are statues of Christ and Judas, and of
+Christ and Pilate, very interesting groups by
+<a name="tn161" id="tn161"></a><ins class="correction" title="original: 'Jacomletti'">Jacometti</ins>, and there is also a kneeling statue
+of Pio Nono.</p>
+
+<p>The statue of Judas is considered one of the
+most notable of the late modern Italian sculpture.</p>
+
+<p>The Rome of to-day is in strange contrast
+even to the city that Page and Hawthorne<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+knew, in the comparatively recent past; and
+the Rome of the ancients is traced only in the
+churches and the ruins. It is a <i>mot</i> that one
+hears every language spoken in Rome, except
+the Italian! So largely has the Seven-hilled
+City become the pleasure ground of foreign
+residents. The contrast between the ordinary
+breakfast-table talk in Rome and in&mdash;Boston,
+for instance, or Washington, is amusing. In
+the Puritan capital it usually includes the topic
+of weather predictions and the news in the
+morning paper, with whatever other of local or
+personal matters of interest. In Washington,
+where the very actors and the events that make
+the nation&rsquo;s history are fairly before one&rsquo;s
+eyes, the breakfast-table conversation is apt to
+turn on matters that have not yet got into the
+papers,&mdash;the evening session of the previous
+night, perhaps, when too long prolonged under
+the vast dome to admit of its having been noted
+in the morning press. But in Rome the breakfast-table
+talk is apt to be of the new excavations
+just taken from the bed of the Tiber;
+the question as to whether the head of St. Paul
+could have touched (at the tragic scene of his
+execution) at three places so far apart as the<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
+tri-fontanes; or a discussion of the marvellous
+freshness of the mosaics in the interior of the
+Palace of the Cæsars; or, again, of the last
+night&rsquo;s balls or dinners, and matters most
+frankly <i>mondaine</i>, and of contemporary life.</p>
+
+<p>The American Embassy, whose location depends
+on the individual choice of the Ambassador
+of the time, is now in the old Palazzo
+del Drago on the corner of the Via Venti Settembre
+and the Via <a name="tn163a" id="tn163a"></a><ins class="correction" title="original: 'dell'">delle</ins> Quattro Fontane. The
+street floor, like all the old palaces, is not used
+for living purposes. The <a name="tn163b" id="tn163b"></a><ins class="correction" title="original: 'portere'">portiere</ins>, the guards,
+the corridors, and approaches to the staircases
+monopolize this space. The piano nobile is
+the residence of the beautiful and lovely Principessa
+d&rsquo;Antuni, the youthful widow of the
+Principe who was himself a grandson of Marie
+Christine, the Queen of Spain. The young
+Princess who was married to him at the age of
+seventeen, ten years ago, is left with three little
+children, of whom the only daughter bears the
+name of her great-grandmother, the Spanish
+Queen. Perfectly at home in all the romance
+languages, an accomplished musician, a thinker,
+a scholar, a student, a lovely figure in life, a
+beautiful and sympathetic friend is the Princess<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
+d&rsquo;Antuni. She is &ldquo;of a simplicity,&rdquo; as they
+say in Italy, investing the dignity of her rank
+with indescribable grace and sweetness. The
+two long flights of stairs that lead up to the
+secundo piano in the Palazzo del Drago&mdash;the
+floor occupied by the American Embassy&mdash;have
+at least a hundred steps to each staircase,
+yet so broad and easy of ascent as hardly to
+fatigue one. These flights are carpeted in
+glowing red, while along the wall are niches in
+each of which stands an old statue, making the
+ascent of the guest seem a classic progress.</p>
+
+<p>The Palazzo del Drago has an elevator, but
+elevator service in Rome is a thing apart,
+something considered quite too good for human
+nature&rsquo;s daily food, and the slight power is
+far too little to permit any number of people
+to be accommodated, so on any ceremonial
+occasion the elevator is closed and the guests
+walk up the two long flights. The total lack
+of any mastery of mechanical conditions in
+Italy is very curious.</p>
+
+<p>The grand ball given at the American Embassy
+just before Ash Wednesday in the winter
+of 1907 was a very pretty affair. Up the rose-red
+carpeted stairs the guests walked, the<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
+statues looking silently on, but apparently there
+was no Galatea to step down from her niche
+and join the happy throng. In the antechamber
+each guest was asked to write his name in the
+large autograph books kept for that purpose,
+and then, passing on, was received by the
+Ambassador and Ambassadress in the first of
+the splendid series of salons thrown open for
+the occasion. At this time it was Mr. and
+Mrs. Henry White who represented the United
+States, and won the hearts of all Rome as well,
+and assisted by their charming daughter, Miss
+Muriel White, they made this ball an affair to
+leave its lovely pictures in memory. The scenic
+setting of an old Roman palace captivates the
+stranger. It may not impress him as especially
+comfortable, but it is certainly picturesque, and
+who would not prefer&mdash;at least for the &ldquo;one
+night only&rdquo; of the traditional <i>prima donna</i>
+announcements&mdash;the pictorially picturesque
+and magnificent to the merely comfortable?
+The lofty ceilings, painted by artists who have
+long since vanished from mortal sight, make
+it impossible to attain the temperature that the
+American regards as essential to his terrestrial
+well-being, and as the only sources of heat were<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+the open fireplaces the guests hovered around
+these and their radii of comfortable warmth
+were limited. In one salon there was one
+especially beautiful effect of a great jar of white
+lilacs placed before a vast mirror at sufficient
+distance to give the mirror reflection an individuality
+as a thing apart, and the effect was that
+of a very garden of paradise. The music was
+fascinating, the decorations all in good taste,
+and the occasion was most brilliant,&mdash;<i>très
+charmante</i> indeed. The American ambassadress
+was ablaze with her famous diamonds,
+her corsage being literally covered with them,
+and her coiffure adorned with a coronet, but the
+temperature soon forced the ambassadress to
+partially eclipse her splendor with the little ermine
+shoulder cape that is an indispensable article
+for evening dress in Rome. The temperature
+does not admit the possibility of <i>décolleté</i> gowns
+without some protection, when these resplendent
+glittering robes that seem woven of the stars
+are worn. Among the more distinguished
+guests, aside from the <i>corps diplomatique</i> and
+the titled nobility of Rome and visiting foreigners,
+were M. Carolus Duran, the celebrated
+portrait artist of Paris, and among other<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
+interesting people were Miss Elise Emmons of
+Leamington, England, a grand-niece of Charlotte
+Cushman. M. Carolus Duran was very magnificent,
+his breast covered with jewelled orders
+and decorations from the various societies,
+academies, and governments that have honored
+him. He is a short man and has grown quite
+stout, but he carries himself with inimitable
+grace and dignity, and in his luminous eyes one
+still surprises that far-away look which Sargent
+so wonderfully caught in his portrait of the
+great French artist, painted in his earlier life.</p>
+
+<p>The number of spacious salons with their
+easy-chairs and sofas enabled all guests who
+desired to ensconce themselves luxuriously to
+do so, and watch the glittering scene. The
+supper room and the salon for dancing were
+not more alluring than the salons wherein one
+could study this brilliant throng of diplomates,
+titled nobility, distinguished artists, social celebrities,
+and those who were, in various ways,
+each <i>persona grata</i> in Rome. Among those at
+this particular festivity were the American novelist,
+Frank Hamilton Spearman, with Mrs. Spearman.
+In late American fiction Mr. Spearman
+has made for himself a distinctive place as the<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
+novelist whose artistic eye has discerned the
+romance in the new phases of life created by
+the extensive systems of mountain railroading,
+and the great irrigation schemes of the far West,
+which have not only opened up new territory,
+but have called into evidence new combinations
+of the qualities most potent in human life,&mdash;love,
+sacrifice, heroism, devotion to duty, and
+tragedy and comedy as well. In his novels,
+&ldquo;The Daughter of a Magnate&rdquo; and &ldquo;Whispering
+Smith,&rdquo; in such vivid and delightful short
+stories as &ldquo;The Ghost at Point of Rocks,&rdquo;
+which appeared in <i>Scribner&rsquo;s Magazine</i> for
+August of 1907, Mr. Spearman has dramatized
+the pathos, the wit, the vast and marvellous
+spirit of enterprise, the desolation of isolated
+regions, the all-pervading potency and one may
+almost say intimacy of modern life made possible
+by the Arabian Nights&rsquo; dream of wireless
+telegraphy, &ldquo;soaring&rdquo; cars, long-distance telephoning,
+and lightning express train service
+in cars that climb the mountains beyond the
+clouds, or dash through tunnels with ten thousand
+feet of mountains above them. Mr. Spearman
+is the novelist <i>par excellence</i> of this intense
+<i>vie modernité</i>.<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+<p>On Washington&rsquo;s Birthday, again, the stately
+salons of the American Embassy in the old
+Palazzo del Drago were well filled from four to
+six with an assemblage which expressed its
+patriotism and devotion to Washington by appearing
+in its most faultless raiment and in an
+apparent appreciation of the refreshment tables,
+from which cake and ices, tea and various other
+delicacies, were served.</p>
+
+<p>The informal weekly receptions at the Embassy
+are always delightful, and the dinners
+and ceremonial entertainments are given with
+that faultless grace which characterizes the
+American ambassadress.</p>
+
+<p>The American consulate is always a charming
+centre in Rome, and in the present residence
+of Consul-General and Mrs. De Castro, who
+have domiciled themselves on a lofty floor of a
+palace in the Via Venti Settembre, commanding
+beautiful views that make a picture of every
+window, the consulate is one of the favorite
+social centres for Americans and other nationalities
+as well, who enjoy the charming welcome
+of Mrs. De Castro.</p>
+
+<p>Professor and Mrs. Jesse Benedict Carter, in
+their lovely home in the Via Gregoriana, add<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
+another to the pleasant American centres in the
+Eternal City, Professor Carter having succeeded
+Professor Norton as the principal of the American
+Classical School.</p>
+
+<p>Mrs. Elihu Vedder, assisted by her accomplished
+daughter, Miss Anita Vedder, has a
+pretty fashion of receiving weekly in Mr.
+Vedder&rsquo;s studio in the Via Flaminia, and these
+Saturday receptions at the Vedders&rsquo; are a feature
+of social life in Rome which are greatly
+sought. The distinguished artist reserves these
+afternoons for leisurely conversation, and pictures
+and sketches are enjoyed the more that
+they may be enjoyed in the presence of their
+creator. Miss Vedder has called to life again
+the almost lost art of tapestry, and her productions
+of wonderful beauty are considered as
+among the most desirable in modern decorative
+art. Among these tapestries are &ldquo;The
+Lover&rsquo;s Song,&rdquo; &ldquo;Salome Dancing before
+Herod,&rdquo; &ldquo;The Annunciation,&rdquo; &ldquo;The Legend of
+the Unicorn,&rdquo; &ldquo;The Lovers&rsquo; Picnic,&rdquo; and &ldquo;The
+Lovers.&rdquo; The tapestries were painted in Rome
+and in the Vedder villa, <i>Torre <a name="tn170" id="tn170"></a><ins class="correction" title="original: 'Quatro'">Quattro</ins> Venti</i>
+on Capri, where the artist and his wife and
+daughter pass their summers. The established<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
+English Church has two chapels in Rome, one
+the Holy Trinity, of which Rev. Dr. Baldwin
+is the rector, and the other English chapel in
+Via del Babuino has for its chaplain Rev. Dr.
+Nutcombe Oxenham, whose ministry is one of
+the most helpful factors in Rome. Dr. and
+Mrs. Oxenham occupy a charming apartment
+in the Piazza del Popolo, the most picturesque
+piazza in Rome, with the terraced Pincion hillside
+crowned by the Villa di Medici on one
+side, and the &ldquo;twin churches&rdquo; on another; and
+the beautiful salon of Mrs. Oxenham, with its
+wealth of books and classic engravings and gems
+of pictures, is one of the homelike interiors in
+Rome. Mr. and Mrs. Oxenham receive on
+Wednesdays, and an hour with them and their
+guests is always a privileged one.</p>
+
+<p>The work of this church, largely through the
+active co-operation of Mrs. Oxenham, extends
+into wide charities which are without discrimination
+as to sect or race,&mdash;the only consideration
+being the human need to be met in the
+name of Him whose care and love are for each
+and all.</p>
+
+<p>Among the delightful hostesses of Rome is
+the American wife of <a name="tn171" id="tn171"></a><ins class="correction" title="original: 'Caviliere'">Cavaliere</ins> Cortesi, an<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
+Italian man of letters, and in their apartment,
+in one of the notable palaces in the Corso, some
+of the most brilliant musicals and receptions
+are given, the &ldquo;All&rsquo;Illustrissima Signora&rdquo; being
+assisted in the informal serving of tea by the
+two little fairy daughters, Annunziata and
+Elizabetta, whose childish loveliness lingers
+with the <i>habitués</i> of this pleasant home.</p>
+
+<p>In the Palazzo Senni, in the old part of Rome,
+looking out on Castel San Angelo and the
+Ponte d&rsquo;Angelo, across to the dome of St.
+Peter&rsquo;s, the Listers had their home; and though
+Mrs. Lister, one of the most distinguished
+English ladies of Rome, has gone on into the
+fairer world beyond, her daughter, Miss Roma
+Lister, sustains the charming hospitalities for
+which her mother was famous. Her salons on
+the piano nobile of the palace are rich in souvenirs
+and rare objects of art. Mrs. Lister,
+who was of a noted English house, was evidently
+a favorite with Queen Victoria and the royal
+family; and her marriage gifts included two
+drawings by the Queen, both autographed, and
+a crayon portrait of the Empress Frederick
+with autographic inscription to Mrs. Lister.
+Another personal gift was a portrait of Cardinal<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
+Newman, with his autograph. A bust of Lady
+Paget of Florence, the widow of Sir Augustus
+Paget, formerly the English Ambassador to
+Italy, is another of the interesting treasures
+which include, indeed, gifts and offerings from
+a large number of those eminent in state, in
+art, in literature, or in the church. The gracious
+hospitality of Miss Lister is dispensed to groups
+of cosmopolitan guests, and her dinners and
+other entertainments are among the most brilliant
+in Rome.</p>
+
+<p>The Eternal City is not as hospitable to
+various phases of modern thought as is Florence,
+in which Theosophy, Christian Science, and
+psychic investigation flourish with rapidly increasing
+ardor; but Rome has a Theosophical
+Society, among whose leaders is the Baroness
+Rosenkrans, the mother of the distinguished
+young Danish novelist, and the aunt of Miss
+Roma Lister. The society has its rooms in the
+very heart of old Rome, and holds weekly meetings,
+often with an English lecturer as the speaker
+of the hour. A Theosophical library, in both
+English and Italian, is easily accessible, and the
+meetings are conducted in either language as
+it chances at the time. The accession of Annie<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
+Besant to the presidency of the Theosophical
+Society, succeeding Colonel Olcott, whose death
+occurred early in 1907, was most satisfactory
+to the Roman members. Mrs. Besant is one
+of the most remarkable women of the day. She
+is in no sense allied with any fads or freaks;
+she is essentially a woman of scholarship and
+poise, of genuine grasp of significant thought
+and of brilliant eloquence. Theosophy, rightly
+interpreted, is in no sense antagonistic, but,
+rather, supplemental to Christianity. It offers
+the intellectual explanation&mdash;the details, so
+to speak&mdash;of the great spiritual truths of the
+Bible.</p>
+
+<p>Rome seems fairly on its way to become an
+English-speaking city, so numerous are the
+Americans and English who throng to Rome
+in the winter.</p>
+
+<p>There are now at least a dozen large new
+hotels on the scale of the best modern hotels in
+New York and Paris, beside the multitude of
+the older ones which are comfortable and retain
+all their popularity; yet this increase in accommodation
+does not equal the increase in demand.
+In February the tide of travel sets in toward
+Rome, and from that date until after Easter<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+every nook and niche are filled to overflowing.
+The demand for apartments in Rome is
+greater than the supply, although the city is
+being constantly extended and new buildings
+are rapidly being erected. It would seem as if,
+with the present increasingly large number of
+Americans and English, it might be an admirable
+financial enterprise for capitalists to come and
+build comfortable modern apartment hotels.
+There seems to be no adequate reason why, in
+this age, people should be compelled to live in
+these gloomy, dreary, cold, old stone palaces,
+without elevator service and with no adequate
+heating, lighting, and running-water facilities.
+There would seem to be no conceivable reason
+why these conveniences should not be at hand
+in Rome as well as in New York. As for the
+climate, with warm houses to live in, it would
+be charmingly comfortable, for the deadly cold
+is not in the temperature out of doors, but only
+in the interiors. One is warm in the sunshine
+in the streets, when he is fairly frozen in the
+house. Mentioning this, however, with wonder
+that some enterprising American did not begin
+such building operations, a friend who has lived
+for sixteen years in Rome replied that the<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
+Italians would never permit it; that no foreigner
+is allowed to come in here and initiate business
+operations. And the Italians continue building
+after the old and clumsy fashion of five hundred
+years ago.</p>
+
+<p>Italy has a curiously pervasive and general
+suspicion of any latter-day comfort. The new
+apartment houses of from four to seven stories
+are largely without any elevator; if there is one
+it usually only ascends about halfway, and it is
+so clumsy and slow in its methods, so poorly
+supported by power, that half the time it does
+not run at all. The streets of Rome are paved
+with rough stones; the sidewalks are very narrow;
+the lighting is inadequate. Bathrooms are
+rare and insufficient in number, and all interior
+lighting and heating arrangements lack much
+that is desirable according to American ideas
+of comfort.</p>
+
+<p>Still the Eternal City is so impressive in and
+of itself that sunshine or storm, comfort or the
+reverse, can hardly affect one&rsquo;s intensity of joy
+and wonder and mysterious, unanalyzable rapture
+in it. The twentieth-century Rome is a
+very different affair from the Rome on which
+Hawthorne entered one dark, cold, stormy<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
+winter night more than half a century ago. In
+the best modern hotels one may be as comfortable
+as he likes, with all the fascinations of
+life added besides. No wonder that Rome is
+one of the great winter centres, with some of the
+most interesting people in the world always to
+be found under the spell of its enchantment.</p>
+
+<p>The Rome of to-day is a curious mixture of
+ruins and of modern buildings which are neither
+modern nor mediæval in their structure, but
+many of which combine the most picturesque
+features of the latter with the latest beauty of
+French and American architectural art. The
+classic buildings are now largely in unpleasant
+surroundings; as, for instance, the Pantheon,
+which is surrounded by a fish market, with unspeakable
+odors and other repulsive features.
+&ldquo;But the portico, with its sixteen Corinthian
+columns, is forever majestic; the interior, a vast
+circular cell surmounted by a dome through
+which alone it is lighted, there being no windows
+in the walls, is massive and grim, but the
+magical illumination, the eye constantly revealing
+the sky above, gives it wonderful beauty.
+Over the outer portals is the inscription of its
+erection by Agrippa twenty-seven years before<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
+Christ, so it has stood for nearly two thousand
+years. Colossal statues of Augustus and Agrippa
+fill niches. In diameter the interior of the
+Pantheon is one hundred and thirty-two feet,
+and it is the same in height, which insures the
+singularly harmonious proportions. The tribune
+of the High-Altar is cut in the thickness of the
+wall in the form of a semicircle, and is ornamented,
+like the door, with four pilasters and
+two columns of violet marble. The six chapels
+are also cut in the wall and ornamented by two
+columns and two pilasters. The columns and
+the pilasters support the beautiful cornice of
+white marble; the frieze is of porphyry, and
+goes round the whole temple. Above this order
+there is a species of attic with fourteen niches,
+and the great cornice from which rises the
+majestic dome. Eight other niches are between
+the chapels, and these are also with a pediment
+supported by two Corinthian columns. They
+are now converted into altars. In this temple
+are buried several artists, among whom are
+Raphael, Giovanni da Udine, Baldassare
+Peruzzi, and Annibale <a name="tn178" id="tn178"></a><ins class="correction" title="original: 'Caracci'">Carracci</ins>. Raphael is
+buried beneath the base of the statue called
+la Madonna del Sasso, sculptured by Lorenzetti.<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
+This church is, however, without paintings or
+sculptures of much interest. Victor Emmanuel
+was entombed here on the 20th of January,
+1878, and King Umberto on the 9th of August,
+1900.&rdquo; One of the imposing ceremonies of
+Rome is that always celebrated in the Pantheon
+on March 14, in memory of King Umberto
+Primo.</p>
+
+<p>A grand catafalque, surmounted by the royal
+crown, and surrounded by tall candelabra with
+wax candles, is erected in the centre of the
+temple, draped with black velvet and gold lace,
+and lighted with electric lamps. The mass is
+for a chorus of voices only. All the civil and
+military authorities, the state dignitaries, and
+the <i>corps diplomatique</i> to the court of Italy are
+present. The troops, in full dress uniform, file
+in the Piazza of the Collegio Romano, Via Piè
+di Marmo, and the Piazza della Minerva, enclosing
+thus a large square in the Piazza del
+Pantheon. The spectacle is one of the most
+imposing of all Roman ceremonies.</p>
+
+<p>The King, and Queen Elena, and the Dowager
+Queen Margherita, accompanied by their respective
+civil and military households, assist at
+the requiem mass celebrated in the Pantheon,<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
+and at a commemoration service, on the same
+day, in the Royal Chapel of the Sudario, where
+also assemble the ladies and gentlemen of the
+Order of the Annunziata.</p>
+
+<p>On the same morning the feast of St. Gregory,
+Pope and Doctor of the church, is celebrated
+at his church on the Cælian Hill. He was born
+of a noble family, and was Prefect of Rome in
+573. Pope Pelagius II made him regionary
+deacon of Rome, and sent him as legate to
+Constantinople in 578, where he remained till
+the death of Pelagius, when he was elected
+Pope (590). He introduced the Gregorian chant.
+His first great act was to send St. Augustine to
+convert the Saxons of England to the Christian
+faith. An inscription in the Church of San
+Gregorio Magno states that St. Augustine was
+educated in the abbey which was erected on the
+site of the present church by Gregory, and that
+many early archbishops of York and Canterbury
+were also educated there. It was on the
+steps of this church that Augustine and his
+forty monks took leave of Gregory, when setting
+out for England. He died in 604, after a pontificate
+of thirteen years and six months. He was
+buried in the portico of the Vatican Basilica,<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
+and his body lies under the altar dedicated to
+him in this same church. His church, on the
+Cælian Hill, was built on the site of the monastery
+founded by him. In the chapel of the
+triclinium, near the church, the table on which
+he served the poor is shown. Near the church
+also is seen his cell, where his marble chair and
+one of his arms are exhibited.</p>
+
+<p>During the Lenten season of 1907 one of the
+privileges of Rome was to hear the sermons of
+Monsignor Vaughn, in the English Catholic
+Church of San Silvestre. Monsignor Vaughn
+is the private chaplain of the Pope. His discourses
+attracted increasing throngs of both
+Catholic and Protestant hearers. This celebrated
+prelate is a brother of the late English
+Cardinal. He is a man of great distinction of
+presence, of beautiful voice and fascination of
+manner. One discourse had for its theme the
+joys of the life that is to come. The spiritual
+body, he said, has many qualities not pertaining
+to the physical body. It is immured from all
+disease and accidents; it is subtle and can pass
+through any substance which is (apparently)
+solid to us, as, for instance, when Jesus appeared
+in the midst of his disciples, &ldquo;the doors being<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span>
+shut.&rdquo; It is not a clog on the soul, continued
+Monsignor Vaughn; the spiritual body is the
+vehicle of the soul and can waft its way through
+the air; it can walk the air as the physical body
+walks the earth. It is not&mdash;as is the physical
+body&mdash;the prison of the soul, but the companion
+of the soul. This is all a very enlightened
+presentation of spiritual truth, and it is little
+wonder that such preaching attracts large congregations.
+Holy Week in Rome bears little
+resemblance now to that of the past. The
+Pope is not visible in any of the ceremonials
+in any of the churches; and the impressiveness
+of former Catholic ceremonials is greatly lessened.
+Indeed, with the passing of the temporal
+power of the Pope, the picturesqueness of Rome
+largely vanished.</p>
+
+<p>Not, assuredly, from any lack of reverence
+for the colossal cathedral of St. Peter&rsquo;s is that
+Basilica a resort for Sunday afternoons; it
+suggests a social reunion, where every one
+goes, listens as he will to the music of the
+Papal choir in the Chapel of the Sacrament,
+and strolls about the vast interior where the
+promenade of the multitude does not yet disturb
+in the least the vesper service in the chapel.<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
+Here one meets everybody; the general news of
+the day is exchanged; greeting and salutation
+and pleasant little conversational interludes
+mark the afternoon, while the sun sinks behind
+the splendid pile of the Palazzo Vaticano, and
+the golden light through the window of the
+tribune fades into dusk. Can one ever lose out
+of memory the indescribable charm of this
+leisurely sauntering, in social enjoyment, in
+the wonderful interior of St. Peter&rsquo;s?</p>
+
+<p>In the way of the regulation sight-seeing the
+visitor to Rome compasses most of his duty in
+this respect on his initial sojourn and goes the
+rounds that no one ever need dream of repeating.
+Once for all the visitor to Rome goes
+down into the Catacombs; makes his appallingly
+hard journey over Castel San Angelo, into its
+cells and dungeons, and to the colossal salon
+in which is Hadrian&rsquo;s tomb; once for a lifetime
+he climbs St. Peter&rsquo;s dome; drives out to old
+St. Agnes and descends into the crypt; visits
+the Church of the Capucines and beholds the
+ghastly spectacle of the monks&rsquo; skulls; drives
+in the Appian Way; visits the Palace of the
+Cæsars, the Baths of Caracalla&mdash;a mass of
+ruins; the Forum; the Temples of Vesta and<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>
+Isis; the Coliseum, and the classic old Pantheon.
+These form a kind of skeleton for the regulation
+sight-seeing of the Eternal City; things which,
+once done, are checked off with the feeling that
+the entire duty of the tourist has been fulfilled,
+and that, henceforth in Rome, there is laid up
+for him the crown of enjoyment, if not rejoicing;
+that he may go again and again to
+study the marvellous treasures of the Vatican
+galleries, the masterpieces of art in the Raphael
+stanze in the Vatican, the interesting pictures
+and sculpture in the many rich churches and
+galleries. The deadly chill of most of these
+galleries and churches in the winter is beyond
+words to describe. It is as if the gloom and
+chill and darkness of a thousand centuries were
+there concentrated.</p>
+
+<p>One of the regulation places for the devout
+sight-seer, who feels responsible to his conscience
+for improving his privileges, is the Museo
+Nazionale, or the Tiberine Museum, a large
+proportion of whose treasures have been excavated
+in making the new embankments of
+the Tiber. It is located on the site of the Baths
+of Diocletian, the great ruins of which surround
+it in the most uncanny way. Built around a<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
+large court, the salons of the museum are
+entered from the inner cloisters. In the centre
+of the court is a fountain, and around it are
+antique fragments of statues, columns, and
+statuettes found in many places. The famous
+Ludovisi collection of antique statuary is now
+permanently placed in this museum,&mdash;a collection
+that includes the &ldquo;Ludovisi Mars;&rdquo; <a name="tn185" id="tn185"></a><ins class="correction" title="original: opening quote missing">&ldquo;Hercules,&rdquo;</ins>
+with a cornucopia; the &ldquo;Hermes of
+Theseus,&rdquo; the &ldquo;Discobolus Hermes;&rdquo; the
+&ldquo;Venus of Gnidus&rdquo; as copied by Praxiteles;
+the &ldquo;Dying Medusa;&rdquo; the &ldquo;Ludovisi Juno,&rdquo;
+which Winckelmann declares to be the finest
+head of Juno extant, a Greek work of the
+fourth century; a &ldquo;Cupid and Psyche;&rdquo; the
+two &ldquo;Muses of Astronomy&rdquo; and of &ldquo;Epic
+Poetry,&rdquo; &ldquo;Urania and Calliope;&rdquo; &ldquo;an Antoninus;&rdquo;
+the largest sarcophagus known; a
+&ldquo;Tragic Mask&rdquo; (colossal) in rosso antico; a
+bust of &ldquo;Marcus Aurelius&rdquo; in bronze, and
+many other priceless works.</p>
+
+<p>The splendor of scenic setting for art in the
+magnificent salons of the Casino Borghese has
+never been surpassed. They are, perhaps, the
+most impressive of any Roman interior, with
+lofty, splendidly decorated ceilings and walls,<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>
+where recess and niche hold priceless sculptures.
+The splendor of these salons, indeed, quite
+exceeds description. In the principal one is
+a group on one wall&mdash;a colossal relief&mdash;representing
+Marcus Curtius plunging into the gulf
+in the Forum. There are busts of the twelve
+Cæsars; there are busts of all the Roman Emperors,
+with alabaster draperies, placed on
+pedestals of red granite. There are Bernini&rsquo;s
+&ldquo;Apollo and Daphne;&rdquo; Canova&rsquo;s celebrated
+statue of Princess Pauline Borghese (the sister
+of Napoleon I); Bernini&rsquo;s &ldquo;David&rdquo; and &ldquo;Æneas
+and Anchises;&rdquo; Thorwaldsen&rsquo;s &ldquo;Faun;&rdquo; &ldquo;Diana,&rdquo;
+&ldquo;Isis,&rdquo; &ldquo;Juno,&rdquo; and many other celebrated
+classic statues. All the great paintings
+which were formerly in the Palazzo Borghese&mdash;over
+six hundred in all&mdash;are now in
+this casino. The great work in this collection
+is Raphael&rsquo;s &ldquo;Entombment of Christ,&rdquo; painted
+in his twenty-fourth year. Titian&rsquo;s &ldquo;Divine
+and Human Love;&rdquo; Raphael&rsquo;s portrait of
+&ldquo;Cæsar Borgia;&rdquo; Correggio&rsquo;s &ldquo;Danaë;&rdquo; Domenichino&rsquo;s
+&ldquo;Cumæan Sibyl&rdquo; and &ldquo;Diana;&rdquo;
+Peruzzi&rsquo;s &ldquo;Venus Leaving the Bath;&rdquo; Van
+Dyck&rsquo;s &ldquo;Crucifixion;&rdquo; Titian&rsquo;s &ldquo;Venus and
+Cupid;&rdquo; and &ldquo;Annunciation,&rdquo; by Paul Veronese;<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span>
+Vasari&rsquo;s &ldquo;Lucrezia Borgia;&rdquo; Botticelli&rsquo;s &ldquo;Holy
+Family and Angels;&rdquo; Van Dyck&rsquo;s &ldquo;Entombment;&rdquo;
+Carlo Dolce&rsquo;s &ldquo;Mater Dolorosa,&rdquo; and
+Sassoferrato&rsquo;s &ldquo;Three Ages of Man&rdquo; are among
+the great masterpieces in this museum.</p>
+
+<p>The Villa Borghese (by which is meant the
+park) is some three miles in extent, and was
+laid out some two hundred years ago by Cardinal
+Borghese. As recently as 1902 it was purchased
+by the government for three million francs, and
+its official name is now &ldquo;Villa Comunale Umberto
+Primo.&rdquo; These grounds contain fountains,
+antique statues, tablets, small temples
+and many inscriptions, with statues of Æsculapius
+and Apollo, and an Egyptian gateway.
+They are open all day to every one freely and
+are one of the great attractions of Rome.</p>
+
+<p>The great palaces of Rome are of later date
+than those of Florence. There are some eighty
+principal ones, of which the Palazzos Veneziano,
+Farnese, Doria, Barberini, Colonna,
+and the Rospigliosi (containing Guido&rsquo;s famous
+&ldquo;Aurora&rdquo;) are the most important.
+The Farnesina Palace contains some of the
+most interesting pictures in Rome, and the
+traditions of the residence of Agostino Chigi,<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span>
+during the pontificate of Leo X, are still found
+in Rome,&mdash;traditions of the lavish magnificence
+of the entertainments given here to the
+Pope and the Cardinals.</p>
+
+<p>The Monte Pincio is the famous drive of
+Roman society, and the promenade around the
+brow of the hill offers one of the most enchanting
+views of the world. Near the Trinità di
+Monti stands the historic Villa Medici, the
+French Academy of which the great Carolus
+Duran is now the director. The view across
+the valley in which lies the Piazza di Spagna, the
+river to St. Peter&rsquo;s, from the Villa Medici, is
+one of the finest in Rome.</p>
+
+<p>The architecture of the garden façade is
+attributed to Michael Angelo. These gardens
+have a circuit of more than a mile, laid out in
+the formal rectangles and densely bordered walks
+of the Italian custom. All manner of old fragments
+of sculpture are scattered through them,&mdash;a
+torso, a broken bust, a ruined statue, an
+old and partly broken fountain,&mdash;and entablatures
+and reliefs are seen in the walls on every
+hand. No sound of the city ever penetrates
+into this dense foliage which secludes the
+gardens of the famous Villa Medici.<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p>
+
+<p>One of the features of Roman life is the
+fashionable drive on Monte Pincio in the late
+afternoons. An hour or two before sunset
+the terrace of the Piazza Trinità di Monti
+begins to be thronged with pedestrians, who
+lean over the marble balustrade, gazing at the
+incomparable pictured panorama where the
+vast dome of St. Peter&rsquo;s, the dense pines of the
+Villa Pamphilia-Doria on the Janiculum, and
+the dark cypress groves on Monte Mario loom
+up against the golden western sky.</p>
+
+<p>Compared with the extensive parks of modern
+cities the Monte Pincio would prefigure
+itself as a drive for fairies alone. It comprises
+a few acres only, thickly decorated with trees
+and shrubbery, with a casino for the orchestra
+that plays every afternoon, and a circular carriage
+drive so limited in extent that the same
+carriage comes in view every few minutes.</p>
+
+<p>The Eternal City has had so many birthdays
+that one would fancy them to have become
+negligible; but it was announced on April 21
+of 1907 that the date was a special anniversary,
+and she took on aspects of festivity. The municipal
+palaces and museums were hung with
+tapestries, flags were flying from the Capitol,<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
+the municipal guards were all in full dress uniform
+and the municipal orchestra played in the
+Piazza Colonna. The historic bell began ringing
+at eight in the morning in peals that were
+well calculated to call the Cæsars from their
+tombs and which might, indeed, have been mistaken
+for the final trumpet calls of Gabriel.
+But the Romans take their pleasures rather
+sadly and sternly,&mdash;not like the light-hearted
+Florentines in song and laughter, or with the
+joyous abandon of the Neapolitans,&mdash;so there
+was no special manifestation on the part of the
+populace, and the day, cold, gloomy, and cheerless,
+did not inspire gayety.</p>
+
+<p>When the Republic of Rome was established
+(on Feb. 9, 1849) a provisional government was
+appointed. In March of that year Mazzini
+proposed that the assembly should appoint a
+Committee of War, and it was decided to send
+troops to Piedmont. Later a triumvirate, consisting
+of Mazzini, Saffi, and Armellini, was
+formed, but disaster was near. In April the
+French troops landed at Cività Vecchia, and the
+Italians prepared to defend their country from
+the control of Louis Napoleon. Mazzini is
+said to have been &ldquo;the life and the soul&rdquo; of<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
+this defence. But the Republic was doomed,
+and when it had fallen the Pope returned, only
+under the protection of the French. But the
+French Empire, too, was doomed to fall; and
+when Garibaldi transferred his successes to
+Victor Emmanuel, the monarchy was consolidated
+by the union of Rome with Italy, and the
+present &ldquo;Via Venti Settembre&rdquo; in Rome&mdash;the
+street named to commemorate that 20th of
+September, 1870, on which the Italian troops
+entered the city and the Papal reign ended&mdash;perpetuates
+the story of those eventful days.
+&ldquo;Victor Emmanuel, Cavour, and Garibaldi have
+been designated, along with Mazzini, as the
+founders of the modern Italy,&rdquo; said Dr. William
+Clarke, &ldquo;but a broad line divides Mazzini from
+the others.&rdquo; Dr. Clarke sees between Cavour
+and Mazzini &ldquo;the everlasting conflict between
+the idealist and the man of the world. The
+former,&rdquo; he continues, &ldquo;stands by the intellect
+and the conscience; the latter by the limitations
+of actual fact and the practical difficulties of
+the case,&rdquo; and Dr. Clarke notes further:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It was pre-eminently Mazzini who gave to
+Italy the breath of a new life, who taught her<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
+people constancy in devotion to an ideal good.
+Prophets are rarely successful in their own day,
+and so it has been with the prophet of modern
+Italy. The making of Italy has not proceeded
+in the way he hoped it would; for the Italians,
+who are an eminently subtle and diplomatic
+people, have apparently thought it best to bend
+to the hard facts by which they have been surrounded.
+But if, as Emerson teaches, facts are
+fluid to thought, we may believe that the ideas
+of Mazzini will yet prevail in the nation of his
+birth, and that he may yet be regarded as the
+spiritual father of the future Italian commonwealth.
+For of him, if of any modern man, we
+may say that he</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&lsquo;Saw distant gates of Eden gleam,<br /></span>
+<span class="i0">And did not dream it was a dream.&rsquo;&rdquo;<br /></span>
+</div></div></div>
+
+
+<div class="figcenter border" style="width: 304px;">
+<a href="images/christb.jpg"><img src="images/christ.jpg" width="304" height="400" alt="STATUE OF CHRIST, ANCIENT CHURCH OF SAN MARTINA, ROME
+From the Artist&rsquo;s Original Cast
+Albert Bertel Thorwaldsen" title="STATUE OF CHRIST, ANCIENT CHURCH OF SAN MARTINA, ROME
+From the Artist&rsquo;s Original Cast
+Albert Bertel Thorwaldsen" /></a>
+<p class="caption noi"><small>STATUE OF CHRIST, ANCIENT CHURCH OF SAN MARTINA, ROME<br />
+From the Artist&rsquo;s Original Cast<br />
+Albert Bertel Thorwaldsen</small></p>
+</div>
+
+<p>Between the period of the establishment of
+the Roman Republic in 1849 and the consummation
+of United Italy in 1870 the years were
+rich to the artist, whatever they may have been
+to philosopher and patriot. The way for the
+painter and the sculptor seems to have been a
+flowery and a pictorial one,&mdash;a very <i>via buona<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
+fortuna</i>, through a golden, artistic atmosphere.
+The perpetual excursions may lead the serious
+spectator to wonder where working hours come
+in, but, at all events, those days are rich in
+color. Friends grouped together by the unerring
+law of elective affinities loitered in galleries
+and churches. San Martina, near the
+Mamertine prisons, was a point of interest
+because of Thorwaldsen&rsquo;s bequest to it of the
+original cast of his beautiful statue of &ldquo;Christ&rdquo;
+which is in Copenhagen. This is, perhaps,
+the finest work ever conceived by the Danish
+sculptor, and is one that no visitor of to-day
+can behold unmoved. Both Canova and Bernini
+are also represented in this church,&mdash;the
+former by a statue of &ldquo;Religion&rdquo; and the latter
+by a bust of Pietro da Cortona. Beneath the
+present Church of San Martina is the ancient
+one containing the shrine of the martyr, under
+a superb bronze altar. Of this church, Mrs.
+Jameson says in her &ldquo;Sacred and Legendary
+Art&rdquo;:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;At the foot of the Capitoline Hill, on the
+left hand as we descend from the Ara C&oelig;li
+into the Forum, there stood in very ancient<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
+times a small chapel, dedicated to St. Martina,
+a Roman virgin. The veneration paid to her
+was of very early date, and the Roman people
+were accustomed to assemble there on the first
+day of the year. This observance was, however,
+confined to the people, and was not very
+general till 1634, an era which connects her in
+rather an interesting manner with the history of
+art. In this year, as they were about to repair
+her chapel, they discovered, walled into the
+foundations, a sarcophagus of terra cotta, in
+which was the body of a young female, whose
+severed head reposed in a separate casket.
+These remains were very naturally supposed to
+be those of the saint who had been so long
+venerated on that spot. The discovery was
+hailed with the utmost exultation, not by the
+people only, but by those who led the minds
+and consciences of the people. The Pope himself,
+Urban VIII, composed hymns in her
+praise; and Cardinal Francesco Barberini undertook
+to rebuild her church.&rdquo;</p></div>
+
+<p>The painter, Pietro da Cortona, entered into
+this feeling and at his own expense built the
+chapel and painted for its altar piece the picture<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
+representing the saint in triumph, while
+the temple in which she has gone to sacrifice
+falls in ruins from a raging tempest.</p>
+
+<p>In any stray ramble in Rome the sojourner
+might chance, at any moment, upon obelisk, a
+pedestal or inscription linked with the great
+names of the historic past. Hawthorne has recorded
+how, by mere chance, he turned from
+the Via delle Quattro Fontane into the Via Quirinale
+and was thus lured on to an obelisk and
+a fountain on the pedestal of which on one side
+was the inscription, &ldquo;Opus Phidias,&rdquo; and on
+the other, &ldquo;Opus Praxiteles,&rdquo; and he exclaims:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;What a city is this, when one may stumble, by
+mere chance&mdash;at a street corner as it were&mdash;on
+the works of two such sculptors! I do not know
+the authority,&rdquo; he continues, &ldquo;on which these
+statues (Castor and Pollux I presume) are attributed
+to Phidias and Praxiteles; but they impressed
+me as noble and godlike, and I feel inclined
+to take them for what they purport to be.&rdquo;</p></div>
+
+<p>While the Papal ceremonies are neither so
+frequent nor so magnificent as in former days,
+still any hotel guest in Rome is liable, any<span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span>
+morning, on coming down to the <i>salle-à-manger</i>
+for coffee, to find every woman (who is taking
+her Rome seriously) arrayed in a black robe
+with a black lace veil on her head. One would
+fancy they were all a procession of nuns, about
+to retire from the world into the strict seclusion
+of the cloister. But it is nothing so momentous.
+It is only that every lady, with the
+devotion to spectacles which every visitor in
+Rome feels, as a matter of course, has secured
+the pink ticket entitling her to admission to
+the Vatican Palace to see the &ldquo;passage&rdquo; of the
+Pope, as he makes his way, attended by the
+Cardinals of the Sacred College, to the Sistine
+Chapel where his Holiness &ldquo;creates&rdquo; new
+Cardinals. Although rumored that the spectacle
+will be a gorgeous one, that the Pope
+will be carried aloft preceded by the silver
+trumpeters and attended by the Cardinals and
+the ambassadors and other dignitaries in the
+full dress of their ceremonial costumes and their
+orders, the reality is less impressive. Some
+feminine enthusiasts fare forth at the heroic
+hour of eight, although the procession is not
+announced to pass until a quarter after ten
+(which in Italy should be translated as a quarter<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
+after eleven, at the earliest, if not after twelve,
+which would be the more probable), in order
+to secure good standing room. For everybody
+is to stand&mdash;of course, comfort being a thing
+conspicuous only by its absence in Italy! Those
+of us too well aware by the experiences of previous
+visits to Italy that no Italian function
+was ever on time, from the starting of a
+railway train to the crowning of a king, only
+betake ourselves to the glories of the Palazzo
+Vaticano at the hour named, and we have
+then&mdash;as one&rsquo;s prophetic soul or his commonplace
+memory warned him&mdash;to wait more
+than an hour wedged into a dense crowd of
+all nationalities, none of whom seem at this
+particular juncture, at least, to be at all overburdened
+with good manners. And what went
+they out for to seek? Instead of an impressive
+spectacle&mdash;a thing to remember for a lifetime&mdash;one
+merely sees Pius X walking, surrounded
+by his Cardinals in a group,&mdash;not a procession,&mdash;he
+alone in the centre with his mitre on his
+head,&mdash;the whole scene hardly lasting over a
+minute, and as his Holiness is not as tall as
+most of his Cardinals, he is almost hidden from
+view. It had been rumored that the Pope<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>
+was to be borne aloft in the Papal chair, preceded
+by the traditional white fan and the
+silver trumpets; but the present Pope is temperamentally
+inclined to minimize all the ceremonials
+investing his sacred office.</p>
+
+<p>Yet there is always a thrill in entering the
+Vatican. To ascend that splendid <i>Scala Regia</i>
+designed by Bernini, with one of the most ingeniously
+treated perspective effects to be found,
+it may be, in the entire world; to cross
+this <i>Scala</i> with its interesting frescoes by
+Salviati and others; to see at near range the
+picturesque Swiss Guard,&mdash;surely any pretext
+to enjoy such a morning is easily accepted of
+whatever occurrence one may grasp in order
+to obtain the hour.</p>
+
+<p>One curious feature of the past is to-day
+equally in evidence in Rome. Strolling at
+any time into the Church of San Agostino one
+beholds a curious spectacle. It is in this church
+that is placed the beautiful bronze statue of
+the Virgin and Child by Sansovino. It is approached
+by a platform on which is placed a
+stool that enables one to mount and thus reach
+the foot of the statue, which is kissed and the
+wish of the devotee is offered. This Madonna<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>
+is believed to have the power to grant each wish
+and prayer; to heal the sick; restore the blind,
+the deaf, and the lame; to grant immunity
+from loss or illness; to grant success and prosperity.
+The poor Madonna must have her
+hands full with these avalanches of petitions,
+but she sits calmly in state and, if the striking
+testimony of votive offerings can be credited,
+she is most amiable in granting the prayers of
+her devotees. For she is hung with priceless
+jewels; necklaces, brooches, bracelets, diamond
+and ruby and sapphire rings on her
+fingers, she is a blaze of splendor. Around
+this statue there is a perpetual crowd, whatever
+hour of day one chances to wander in, and
+from prince to beggar the bronze foot is kissed,
+as each waits his turn to mount the stool and
+prefer his secret wish. The walls of the church
+are covered with the votive offerings to the
+Madonna for her aid,&mdash;rich jewels, orders,
+tablets,&mdash;offerings of all kinds. In this church
+is entombed the body of Santa Monica, the
+mother of St. Augustine, placed in an urn of
+verd-antique, in a special chapel beautifully
+decorated. After preferring one&rsquo;s secret wish
+to the Virgin one must wander on to the Fontane<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
+de Trevi and throw his penny into the
+water to insure his return to Rome, and then
+he may rest, <i>mens conscia <a name="tn200" id="tn200"></a><ins class="correction" title="original: 'recta'">recti</ins></i>!</p>
+
+<p>Although Holy Week in Rome has less ceremonial
+observance in these latter days than those
+of the impressive scenes so vividly portrayed
+by Mme. de Staël in &ldquo;Corinne,&rdquo; it still attracts
+a multitude of visitors and offers much to touch
+and thrill the life of the spirit, quite irrespective
+as to whether the visitor be of the Catholic
+or Protestant faith. In the great essentials of
+Christianity, all followers of Christ unite. The
+Pope does not now take part in public services
+on Easter, and that scene of the Pontifical
+blessing from the balcony of St. Peter&rsquo;s given
+to the multitude below who throng the piazza
+remains only in memory and in record. But
+the stately and solemn services of Good Friday
+in the vast and grand interior of St. Peter&rsquo;s are
+an experience to linger forever in memory.
+The three hours&rsquo; service&mdash;the chanting of the
+Miserere&mdash;was a scene to impress the imagination.
+This service is held in the late afternoon
+of Good Friday, in the tribune of St. Peter&rsquo;s,
+the extreme end of the church where the vast
+window of yellow glass gives a perpetually<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>
+golden light. The chair believed to have been
+that of St. Peter&rsquo;s is here placed, enclosed in
+ivory and supported by statues of four Fathers
+of the church, St. Augustine, St. Ambrose, St.
+Chrysostom, and St. Athanasius, from a design
+of Bernini.</p>
+
+<p>In the tribune is the tomb of Urban VIII
+(who was Matteo Barberini), of which the
+redundant decoration tells the story that it is
+also Bernini&rsquo;s work. Opposite this tomb is
+that of Paul III, by della Porta, under the
+supervision of Michael Angelo, it is said, and
+the beauty and dignity of the bronze figure of
+the aged Pope, in the act of giving the benediction,
+quite confirm this tradition. On a
+tablet in the wall of the tribune are engraved
+the names of all the bishops and prelates who,
+in 1854, accepted the belief of the Immaculate
+Conception,&mdash;this tablet being placed by the
+order of Pio Nono.</p>
+
+<p>In this tribune on the late afternoon of the
+Good Friday of 1907 the seats were filled with
+worshippers to listen to the three hours&rsquo; chant
+of the Miserere. Princes and peasants sat side
+by side, and an immense throng who could not
+find seats stood, often wandering away in the<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
+dim distances of the cathedral and ever and
+again returning. The high altar, where Canova&rsquo;s
+beautiful figure of the kneeling Pope
+always enchains the visitor, was, as usual, surrounded.
+The lights burned&mdash;these perpetual
+lamps&mdash;and the moving throng went and
+came. The scene grew mystic, dream-like,
+as the solemn music floated on the air.</p>
+
+<p>The Chapel of the Holy Sacrament, on the
+left of the cathedral, was made into the sepulchre
+that day, and anything more beautiful
+than the myriad altar lights and the flowers could
+not be imagined. At the altar black-robed nuns
+were kneeling, and all over the chapel, kneeling
+on the floor, were people of all grades and ranks
+of life, from the duchess and princess to the
+beggar woman with a ragged shawl on her
+shoulders and her baby in her arms. St. Peter&rsquo;s
+was nearly filled all that day with people, not
+crowded, but apparently thronged in almost
+every part.</p>
+
+<p>The altar in the Chapel of the Holy Sacrament
+was one mass of deep red roses. The
+chapel was completely darkened, but the blaze
+of myriads of tall candles illuminated the roses
+and the black-robed nuns and the black-robed<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
+devotees. It was a scene never to be
+forgotten.</p>
+
+<p>Even in the latter-day Rome, historic names
+are not wanting. One of these, the Princess
+Christina Bonaparte, <i>née</i> Ruspoli, died in 1907
+in her Roman villa in Via Venti Settembre. She
+was the widow of Prince Napoleon Charles
+Bonaparte and a cousin of the Empress Eugénie.
+With her husband in Paris until 1870, she fled
+(whilst her husband was fighting at Metz) as
+soon as the Commune was proclaimed. The
+princess was considered a beautiful woman and
+her portrait had been painted by Ernest Hébert,
+but it was lost when the Palace of the Tuileries
+was destroyed in 1870.</p>
+
+<p>With this princess dies the name of the Bonaparte
+family. Her daughters, Donna Maria
+Gotti-Bonaparte and Princess Maria della
+Moskowa, were often with her in Rome.</p>
+
+<p>The Palazzo Bonaparte is very near Porta
+Pia. Although called a palace, it is simply a
+plain house of some five stories, with narrow
+halls and stone staircases, no elevator, no electric
+lights. The princess occupied the first
+floor, while the apartments above were let to
+various families.<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p>
+
+<p>With the exception of the royal palaces there
+are few in which suites are not obtainable for
+residence by any one who desires them.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/peterb.jpg"><img src="images/peter.jpg" width="400" height="257" alt="CASTEL SAN ANGELO AND ST. PETER&rsquo;S, ROME" title="CASTEL SAN ANGELO AND ST. PETER&rsquo;S, ROME" /></a>
+<p class="caption noi"><small>CASTEL SAN ANGELO AND ST. PETER&rsquo;S, ROME</small></p>
+</div>
+
+<p>It was at a pleasant <i>déjeûner</i> one spring day
+in Rome that the project was launched, that
+we should go motoring that afternoon to Frascati,
+Albano, Castel Gandolfo, Lago di Nemi,
+and all that wonderful region. We were lunching
+with a friend who had a charming apartment
+in one of the sumptuous old palaces of Rome,
+where, in a niche on the marble staircase, the
+statue of Cæsar Augustus stood,&mdash;a copy of
+the famous statue in the Capitoline,&mdash;where
+lofty, decorated ceilings, old paintings and
+sculptures adorned the rooms, and where from
+the windows we looked out on the tragedy-haunted
+Castel San Angelo, with the dome of
+San Pietro in the background. Our friend
+who invited us to fly in his motor had brought
+his touring car over from America. The one
+note of new luxury now is for travellers to
+journey with their touring cars. In a year or
+two more it will be airships or soaring machines.
+On this wonderful May afternoon,
+all azure and gold, we started off in the great,
+luxurious touring car which was arranged even<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
+to carry two trunks, with a safe in it for the
+deposit of valuables, a hamper for refreshments,
+and, indeed, almost every conceivable convenience.
+On we flew through Rome, past
+the great Basilica of San Maria Maggiore;
+past the wonderful pile of San Giovanni Laterano,
+with the colossal statues of the apostles
+surmounting the façade; through the Porta
+San Giovanni into the narrow, walled lane
+leading out on the Campagna; on, on, to the
+Alban hills. We flew past olive orchards and
+vineyards, and the vast green pasture lands of
+the Campagna whose vivid green was ablaze with
+scarlet poppies. Far away to the west there
+was a white shining line&mdash;the line of the sea.</p>
+
+<p>At Frascati we stopped at the Villa Torlonia,
+the country place of the ducal family,
+whose grand Roman palazzo is in the Bocca di
+Leone in the old part of Rome. The Torlonia
+have an only daughter, Donna Teresa, whose
+<i>débutante</i> ball a year ago is said to have been
+the most magnificent entertainment in Rome
+for fifty years. A writer, in a recent article
+on the nobility of Rome, said of this family:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span></p><div class="blockquot"><p>&ldquo;The Torlonia figure repeatedly in the novels
+of Thackeray, who was never tired of portraying
+them. They have been most useful citizens,
+and since the days of the old army contractor,
+who founded the house, have augmented the
+family wealth by judicious investments, especially
+in connection with the draining and reclaiming
+of the marsh lands that abound in
+the former Papal States. They have contracted
+matrimonial alliances with the Colonna, with
+the Borghese, the Belmonte, the Doria, and
+the Sforza.&rdquo;</p></div>
+
+<p>The Villa Torlonia at Frascati is a very
+large estate with extensive gardens, terraces,
+and a cascade of three falls on the hillside,
+which is turned on (the water) at pleasure.
+The house, however, is a shabby-looking affair,
+a two or three story, rambling, yellow structure,
+which, at Newport, would not be considered
+too good for the gardener.</p>
+
+<p>After the usual fashion of the Italians who
+seldom travel, the Torlonia, wealthy as they
+are, simply remove from their palace in Rome
+to their villa at Frascati instead of travelling
+to Switzerland, Germany, or elsewhere in the
+summer.<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p>
+
+<p>The Duke and Duchess of Cumberland
+were the guests of the Torlonia that day, the
+entire party enjoying themselves <i>al fresco</i>, and
+the beautiful cascade pouring down within the
+near distance.</p>
+
+<p>These outlying towns, Frascati, Albano, Castel
+Gandolfo, and Lago di Nemi, the picturesque
+group in the Alban Mountains, are some
+sixteen to eighteen miles from Rome. These
+Alban hills rise like an island from the vast
+plain of the Campagna, the highest point being
+some three thousand feet above sea level. They
+are covered with villages and castles and villas,
+and have in all a population of some fifty thousand.
+The region is volcanic, and the beautiful
+Lago di Nemi and Lago di Albano were the
+craters of extinct volcanoes. All this region
+was the haunt of Cicero, Virgil, and Livy. At
+Tusculum, near Frascati, are the remains of
+Cicero&rsquo;s villa, and also of an ancient theatre
+hewn out of solid rock. The view to the west
+toward Rome is most beautiful. The dome of
+St. Peter&rsquo;s crowns the Eternal City; and the
+Campagna&mdash;a sea of green&mdash;is as infinite
+in sight as is the Mediterranean. There are
+splendid villas and estates in these Alban hills<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
+that belong to the Roman nobility, and here
+the Pope has his summer palace. &ldquo;The Alban
+Mount is also full of historical and legendary
+interest,&rdquo; says a writer on the country around
+Rome. &ldquo;The Latin tribe, one of the constituent
+elements of the Roman people, had here
+its seat. Upon the highest peak of the range
+was the temple of Jupiter Latiaris, where all
+the tribes of Latin blood, the Romans included,
+met every year to worship; and where the victorious
+generals of the Republic repaired to
+offer praises and acknowledgments. In these
+mountain glens undoubtedly most of that
+ballad literature of Rome, the loss of which
+Macaulay so eloquently laments and so successfully
+restores, had its origin. Nor need the
+scholar be reminded that this is the scene of
+the most original and vigorous portions of the
+Æneid of Virgil; nor how the genius of the
+poet, which rather languidly recounts the traditions
+borrowed from Greece, wakes to new life,
+when he feels his feet upon his own soil and
+deals with Latin names and Latin legends.&rdquo;</p>
+
+<p>The Villa Aldobrandini at Frascati is celebrated
+for its fantastic waterworks in elaborate
+fountains and cascades. In the gardens a<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>
+statue of Pan with a pipe of reeds and one of a
+satyr with a trumpet are made to play (both
+the pipe and the trumpet) by water. The
+hydraulic engineer must have found in Frascati
+his earthly paradise, for he commanded the
+water to leap into foam and spray in the air,
+to rush down marble terraces, and to form
+itself into obelisks of liquid silver.</p>
+
+<p>At Grotto Ferrata is a vast monastery of
+monks of the Order of Basilio (Greek), a
+monastery so colossal as to be mistaken for a
+fortress. The chapel has frescoes by Domenichino.
+At Castel Gandolfo is the summer
+Papal palace, that has not been occupied by a
+Pope since the overthrowing of the temporal
+power in 1870. It has a beautiful and commanding
+view toward Rome. It was built by
+Urban VIII.</p>
+
+<p>All the magic of Italy is in this picturesque
+excursion. In the vast grounds of the Villa
+Barberini are the ruins of the ancient palace
+and gardens of Domitian. On one hillside is
+a broken wall; a long avenue of ilex trees
+reveals here and there fragments of mosaic
+pavement. Crumbling niches hold fragments
+of statues. The hill itself is still pierced with<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>
+the long tunnels driven through it by Domitian
+that he might pass unseen,&mdash;presumably safe
+from his enemies,&mdash;from the palace to the
+gardens. From the parapet, Rome is seen
+across the shining Campagna and the dome of
+Michael Angelo gleams against the blue Italian
+sky.</p>
+
+<p>&ldquo;The wreck is beautiful,&rdquo; writes Mrs. Humphry
+Ward, in &ldquo;Eleanor,&rdquo; of this romantic
+spot; &ldquo;for it is masked in the gloom of the
+overhanging trees; or hidden behind dropping
+veils of ivy; or lit up by straggling patches of
+broom and cytisus that thrust themselves through
+the gaps in the Roman brickwork and shine
+golden in the dark. At the foot of the wall,
+along its whole length, runs a low marble conduit
+that held the sweetest, liveliest water.
+Lilies of the valley grow beside it, breathing
+scent into the shadowed air; while on the outer
+or garden side of the path the grass is purple
+with long-stalked violets, or pink with the
+sharp heads of the cyclamen. And a little
+farther, from the same grass, there shoots up,
+in happy neglect, tall camellia trees, ragged
+and laden, strewing the ground red and white
+beneath them. And above the camellias again<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>
+the famous stone-pines of the villa climb into
+the high air, overlooking the plain and the sea,
+peering at Rome and Soracte.&rdquo;</p>
+
+<p>One could wander all day in the strange
+ruins of the old Barberini grounds, and in
+the vast spaces of the gardens and through
+the Villa Doria.</p>
+
+<p>The beauty of the avenue of ilex trees through
+which we flew from Castel Gandolfo to Lago
+di Nemi surpasses description. This lake, some
+four miles in circumference, lies in a crater
+hollow, with precipitous hills surrounding it,
+the water so clear that the ancients called it
+the &ldquo;Mirror of Diana.&rdquo; In it was constructed
+an artificial island in the design of
+a Roman state barge.</p>
+
+<p>Over the long viaduct at Ariccia we flew;
+everywhere in the little town people, donkeys&mdash;an
+almost indistinguishable mass&mdash;filled the
+narrow streets; and thus on to Genzano and
+the Lago di Nemi, with its fabled fleet at the
+bottom.</p>
+
+<p>The Chigi woods, that fill the deep ravine
+under the great viaduct at Ariccia, were in the
+most brilliant emerald green. Past these forests
+lay the vast stretch of the Pontine Marshes; and<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
+turning toward Rome again, the splendor of
+the sunset flamed in the sky. One could but
+recall Mrs. Humphry Ward&rsquo;s vivid picture of
+a storm seen over this part of the Campagna:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The sunset was rushing to its height through
+every possible phase of violence and splendor.
+From the Mediterranean, storm clouds were
+rising fast to the assault and conquest of the
+upper sky, which still above the hills shone
+blue and tranquil. But the northwest wind and
+the sea were leagued against it. They sent out
+threatening fingers and long spinning veils of
+cloud across it&mdash;skirmishers that foretold the
+black and serried lines, the torn and monstrous
+masses behind. Below these wild tempest
+shapes again&mdash;in long spaces resting on the
+sea&mdash;the heaven was at peace, shining in delicate
+greens and yellows, infinitely translucent
+and serene, above the dazzling lines of water.
+Over Rome itself there was a strange massing
+and curving of the clouds. Between their blackness
+and the deep purple of the Campagna rose
+the city&mdash;pale phantom&mdash;upholding one great
+dome, and one only, to view of night and the<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
+world. Round and above and behind, beneath
+the long flat arch of the storm, glowed a furnace
+of scarlet light. The buildings of the city were
+faint specks within its fierce intensity, dimly
+visible through a sea of fire. St. Peter&rsquo;s alone,
+without visible foundation or support, had consistence,
+form, identity; and between the city
+and the hills, waves of blue and purple shade,
+forerunners of the night, stole over the Campagna
+towards the higher ground. But the
+hills themselves were still shining, still clad in
+rose and amethyst, caught in gentler repetition
+from the wildness of the west. Pale rose even
+the olive gardens; rose the rich brown fallows,
+the emerging farms; while drawn across the
+Campagna from north to south, as though some
+mighty brush had just laid it there for sheer
+lust of color, sheer joy in the mating it with the
+rose,&mdash;one long strip of sharpest, purest green.&rdquo;</p></div>
+
+<p>The Villa <a name="tn213" id="tn213"></a><ins class="correction" title="original: 'Falconicri'">Falconieri</ins>, in Frascati, which was
+built by Cardinal Ruffini, with the old ilex tree
+preserved in the portals, has recently been purchased
+by the Emperor of Germany, who proposes
+to transform it into an Academy for the
+accommodation of German students in Rome.<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
+These national academies draw their corresponding
+numbers of students from the nations
+thus represented, and contribute to the cosmopolitan
+aspects of Rome. The American
+Academy in Rome is now being transferred
+from the Ludovisi quarter to a large and convenient
+building outside Porta Pia.</p>
+
+<p>Perhaps the eminently social quality of
+Roman life may be indirectly due to the lack of
+library privileges which is a conspicuous defect
+in Rome. The Biblioteca Vittorio Emanuele,
+under the courteous administration of Commendatore
+Conte Guili, has, it is true, a collection
+of over half a million volumes and thousands
+of very rare and valuable manuscripts.
+It has a large public reading room, and books
+are loaned on the signature of any embassy or
+consulate; yet this library, while offering peculiar
+advantages to theological and other special
+students and readers, does not afford any extended
+privileges to the general reader of modern
+English and American publications. It is located
+in a grim and forbidding old stone palace,
+approached by an obscure lane from the Corso,
+where, as there is no sidewalk, the pedestrian
+shares the narrow, dark, cold, stone-paved<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
+little street with carts, donkeys, peasants, and
+beggars.</p>
+
+<p>The great monument to King Victor Emmanuel,
+of mingled architecture and sculpture, a colossal
+structure of white marble with arches and
+pillars forming beautiful colonnades, the capital
+of each column heavily carved, and the sculpture,
+which is being done by a number of artists,
+will be of the most artistic and beautiful order.
+This memorial will occupy an entire block, and
+it is located very near the Capitol. All the old
+buildings in the vicinity will be torn down to
+give a fine vista for this transcendently noble
+and sumptuous memorial.</p>
+
+<p>The directors of this work aim to have it
+completed and ready to be unveiled in 1911, the
+jubilee year of Italy&rsquo;s resurrection as a united
+country.</p>
+
+<p>Encircled by the old Aurelian wall and near
+the great pyramid that marks the tomb of
+Caius Cestius, who died 12 B.C., lies the Protestant
+cemetery of Rome, full of bloom and
+fragrance and beauty, under the dark, solemn
+cypress trees that stand like ever-watchful
+sentinels. When Keats was buried here (in
+1820), Shelley wrote of &ldquo;the romantic and<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
+lovely cemetery .&nbsp;.&nbsp;. under the pyramid of
+Caius Cestius, and the mossy walls and towers
+now mouldering and desolate which formed
+the circuit of ancient Rome. The cemetery
+is an open space among the ruins, covered
+even in winter with violets and daisies. It
+might make one in love with death,&rdquo; he added,
+&ldquo;to think of being buried in so sweet a
+place.&rdquo;</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/paolap.jpg"><img src="images/paola.jpg" width="400" height="297" alt="PORTA SAN PAOLA, PYRAMID OF CAIUS CESTIUS, ROME" title="PORTA SAN PAOLA, PYRAMID OF CAIUS CESTIUS, ROME" /></a>
+<p class="caption noi"><small>PORTA SAN PAOLA, PYRAMID OF CAIUS CESTIUS, ROME</small></p>
+</div>
+
+<p>In the old cemetery (immediately adjoining
+the pyramid and separated from the new one
+by a wall) is the grave of Keats (who died in
+1821) with its unique inscription, &ldquo;Here lies
+one whose name was writ in water.&rdquo; Beside it is
+that of his friend, Joseph Severn, who died in
+1829, and near these the grave of John Bell,
+the famous writer on surgery and anatomy. In
+the new or more modern cemetery the visitor
+lingers by the graves of Shelley and his friend,
+Trelawney; August Goethe (the son of the
+poet); of William and Mary Howitt, who
+died in 1879 and 1888. Not merely, however,
+do the names of Keats and Shelley allure the
+visitor to poetic meditations; but here lie the
+earthly forms of many a poet, painter, and
+sculptor of our own country, with their wives<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span>
+and children, who have sought in the Eternal
+City the atmosphere for art and who, enamoured
+by the loveliness of Rome, continued there for
+all their remaining years. These graves, these
+sculptured memorials, are eloquent with the
+joys, the sorrows, the achievements and the
+failures, the success and the defeat, of the
+artistic life in a foreign land. Many of these
+memorial sculptures are the work of the husband
+or the father, into which is inseparably
+joined the personal tenderness to the artist&rsquo;s
+skill. Especially noticeable are the graves of
+the wives of three American sculptors,&mdash;William
+Wetmore Story, Richard S. Greenough, and
+Franklin Simmons. Each of these is marked
+by a memorial sculpture created by the husband,
+and the three different conceptions of
+these sculptors are interesting to contrast. That
+of Mr. Story is of an angel with outspread
+wings, kneeling, her head bowed in the utter
+despair and desolation of hopeless sorrow.
+The figure has the greatest delicacy of beauty
+and refinement and tenderness; but it is the
+grief that has no support of faith, the grief that
+has no vision of divine consolation. On the
+memorial monument is simply the name, Emelyn<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
+Story, born in Boston, 1820, died in Rome
+in 1898, and the note that it is the last work of
+W. W. Story, in memory of his beloved wife.
+Here, also, is Mr. Story buried, his name and
+dates of birth and death (1819-1901) alone
+being inscribed.</p>
+
+<p>At the tomb of Sarah B. Greenough, the wife
+of Richard S. Greenough, the monument is
+designed to represent Psyche escaping from the
+bondage of mortality. This Psyche is emerging
+from her garments and she holds in her
+hand a lamp. On this is the inscription: &ldquo;Her
+loss was that as of a keystone to an arch.&rdquo;</p>
+
+<p>Mrs. Greenough was a very accomplished
+musician, and she had the unique honor of
+having been made a member of the &ldquo;Arcadians.&rdquo;</p>
+
+<p>The memorial sculpture over the grave of
+Mrs. Franklin Simmons is, as elsewhere noted,
+the work of her husband, a figure called &ldquo;The
+Angel of the Resurrection.&rdquo; The angel is represented
+as a male figure (Gabriel) holding in
+the left hand a golden trumpet while the right
+is outstretched. His wings are spread, his face
+partly turned to the right. The form is partially
+draped and in every detail is instinct<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
+with a complete harmony; every fold of the
+drapery, every curve of the body, and the lofty
+and triumphant expression of the face in its
+ineffable glory of achievement proclaim the
+triumph of immortality. It stands on a pedestal
+that gives it, from the base of the pedestal
+to the tip of the outstretched wings, a height of
+some twenty-one feet. This monument, seen
+against a background of dark cypress trees,
+speaks the word of positive and complete faith
+in the divine promise of eternal life.</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;Then life is&mdash;to wake, not sleep,<br /></span>
+<span class="i1">Rise and not rest, but press<br /></span>
+<span class="i0">From earth&rsquo;s level where blindly creep<br /></span>
+<span class="i1">Things perfected, more or less,<br /></span>
+<span class="i0">In the heaven&rsquo;s height&mdash;far and steep.&rdquo;<br /></span>
+</div></div>
+
+<p>The visitor lingers over the grave of that
+interesting painter, J. Rollin Tilton, whose landscapes
+from Egypt and Italian scenes were so
+vivid and picturesque.</p>
+
+<p>Richard Henry Dana, the elder, born in Boston
+in 1815, came to Rome to die in 1882.</p>
+
+<p>Very near the tomb of William Wetmore and
+Emelyn Story is that of Constance Fenimore
+Woolson. Over the graves of William and<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
+Mary Howitt is the inscription: &ldquo;Let not your
+heart be troubled; believe in God, believe also
+in me.&rdquo;</p>
+
+<p>On the wall just back of the new tomb erected
+over the ashes of Shelley by Onslow Ford
+in 1891 is a memorial tablet placed to Frederick
+W. H. Myers, bearing this inscription:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;This tablet is placed to the memory of
+Frederick William Henry Myers, born at Keswick,
+Cumberland, Feb. 6, 1843; died in Rome,
+Jan. 17, 1901. &lsquo;He asked life of Thee, and
+Thou gavest him long life ever and forever.&rsquo;&rdquo;</p></div>
+
+<p>Over the grave of John Addington Symonds,
+whose best monument is in his admirable History
+of the Renaissance in Italy, is a Latin
+inscription written by Professor Jowett of Oxford,
+and a stanza from the Greek of Cleanthes,
+translated by Mr. Symonds as follows:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;Lead thou, our God, law, reason, motion, life;<br /></span>
+<span class="i0">All names for Thee alike are vain and hollow;<br /></span>
+<span class="i0">Lead me, for I will follow without strife,<br /></span>
+<span class="i0">Or, if I strive, still more I blindly follow.&rdquo;<br /></span>
+</div></div>
+
+<p>John Addington Symonds, who certainly
+ranks as the most gifted interpreter of Italy,<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>
+in her art, her legends and associations, and
+her landscape loveliness, died in the Rome he
+so loved in 1893. His wife was ill in Venice,
+but his daughter, Margaret,&mdash;his inseparable
+companion and his helper in his work,&mdash;was
+with him. It is Miss Symonds who prefaced
+a memorial volume to her father with
+the exquisite lines:&mdash;</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;O Love; we two shall go no longer<br /></span>
+<span class="i0">To lands of summer beyond the sea.&rdquo;<br /></span>
+</div></div>
+
+<p>Near the graves of Keats and of his friend,
+Joseph Severn, are those of Augustus William
+Hare and John Gibson, the sculptor, who died
+in 1868. Some ten years before Hawthorne,
+meeting Gibson at a dinner given by T. Buchanan
+Read, wrote of him that it was whispered
+about the table that he had been in Rome
+for forty-two years and that he had a quiet,
+self-contained aspect as of one who had spent
+a calm life among his clay and marble.</p>
+
+<p>Dwight Benton, an American painter and
+writer, who was for some time in the diplomatic
+service and whose home had been in
+Rome for more than a quarter of a century,<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
+lies buried here. For many years he was the
+editor of <i>The Roman World</i>, which still sustains
+the interesting character that marked it
+during his editorship. Of his work in art a
+friend wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;In painting, as in literature, Dwight Benton
+took his inspiration from nature. His paintings
+of Italian scenery are true and faithful representations
+of its character and atmospheric
+effects. His tramps on the Roman Campagna
+were long and often tiring, but he worked with
+all an artist&rsquo;s enthusiasm, unmindful of cold,
+rain, and even hunger. He would delight, as
+all true artists, in an old convent, a tree, a tower,
+a cross, which he would reproduce with a
+peculiar and striking perfection of tone and
+color. In his paintings of Keats&rsquo;s and Shelley&rsquo;s
+tombs, not only are the slabs and marble there,
+but there, also, in all their naturalness, are the
+stately pines and cypresses above, with the sunshine
+and shadows alternating between them,
+and in the background the turreted top of
+St. Paul&rsquo;s Gateway, the Pyramid of Caius
+Cestius, all lending effect and picturesqueness
+to the whole.&rdquo;</p></div><p><span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span></p>
+
+<p>The present King of Italy purchased one of
+Mr. Benton&rsquo;s paintings, called &ldquo;Giornata di
+tristezza.&rdquo;</p>
+
+<p>While art abounds in Rome, less can be said
+for literature. There is a large and admirable
+selected Italian library in connection with the
+Collegio Romano; but while these books circulate,
+under certain conditions, to visitors, and
+the courtesy of the librarian and his staff is
+generously kind, the location and the Italian
+methods render it a matter of some difficulty
+to avail one&rsquo;s self of its resources. In the
+Piazza di Spagna there are two circulating
+libraries, but although one of these claims
+twenty-five thousand volumes, the majority are
+of mediocre fiction and almost none, if any, of
+the important modern works are to be found here.
+The visitor who is a subscriber to this library
+passes into a small, dark room, where one
+window looking on the street hardly does more
+than make the darkness visible, and he must
+take the catalogue to the window and stand in
+order to decipher the list, which is hardly,
+indeed, worth the trouble, as there are very
+few volumes of any pretension to importance in
+the collection, and of late years no additions,<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>
+apparently, have ever been made. The other
+circulating library, while far preferable, is still
+in crowded rooms and the assortment is limited.
+The visitor in Rome who cares for reading
+matter looks forward with delight to Florence,
+with its noble circulating library, to which
+access is so easy and whose conduct in all ways
+is so convenient and grateful to the guest.</p>
+
+<p>In Rome, however, one finds his romance
+embodied in life and his history written in the
+streets and in the marvellous structures. His
+poetry is in her art, her ruins, her magical
+loveliness of hillside vistas, her infinite views
+over the Campagna, her sapphire skies, and her
+luminous, golden atmosphere.<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span></p>
+
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;<i>Here Ischia smiles</i><br /></span>
+<span class="i0"><i>O&rsquo;er liquid miles,</i><br /></span>
+<span class="i1"><i>And yonder, bluest of the isles,</i><br /></span>
+<span class="i0"><i>Calm Capri waits</i><br /></span>
+<span class="i0"><i>Her sapphire gates,</i><br /></span>
+<span class="i1"><i>Beguiling to her bright estates.</i>&rdquo;<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;<i>Oh, Signor! thine the amber hand,</i><br /></span>
+<span class="i1"><i>And mine the distant sea</i><br /></span>
+<span class="i0"><i>Obedient to the least command</i><br /></span>
+<span class="i1"><i>Thine eyes impose on me.</i><span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span><span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>&rdquo;<br /></span>
+</div></div>
+
+
+
+
+<h2><a name="III" id="III"></a>III<br /><br />
+
+<span class="nob">DAY-DREAMS IN NAPLES, AMALFI, AND CAPRI</span></h2>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;With dreamful eyes<br /></span>
+<span class="i0">My spirit lies<br /></span>
+<span class="i0">Where summer sings but never dies.&rdquo;<br /></span>
+</div></div>
+
+
+<p class="noi"><span class="smcap">Naples</span> is the paradise of excursions. It is set
+in the heart of incomparable loveliness. Over
+its sapphire sea one sails away&mdash;to the Fortunate
+Isles, or some others equally alluring.
+Its heights and adjacent mountains offer views
+that one might well cross the ocean to enjoy.
+Its atmosphere is full of classic interest; of song,
+and story, and legend, and romance; of history,
+too, which in its tragic and exciting episodes is
+not less vivid in color and in strange studies
+of human life than is any romance. Naples
+is the city of fascination. Rome is stately and
+impressive; Florence is all beauty and enchantment;
+Genoa is picturesque; Venice is a
+dream city; but Naples is simply&mdash;fascinating.
+There is the common life of the streets and the<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
+populace continually <i>en scène</i>; the people who
+are at home on the sunny side in winter, or the
+shady side in summer; there is the social life
+of the nobility, which is brilliant and vivacious.
+The excursions, of which Naples is the centre,
+are the chief interest to travellers, and these,
+while possible in winter, are far more enjoyable
+in the early spring. Still even in midwinter
+the days are sunny, and while the air is crisp
+and cool, it is not cold. The grass is as green
+as in June; but the foliage and flowers are more
+or less withered. Naples has the high and the
+lower town, the former the more desirable, and
+the fine hotels perched on the terraces, with
+the view all over the Bay of Naples, Capri,
+Sorrento, and Vesuvius, offer a vista hardly to be
+duplicated in the entire world. The lower town
+has its fine hotels on the water&rsquo;s edge, with a
+beautiful view over the bay, less enchanting
+than when seen from above. The Bay of Naples
+is enclosed in two semicircular arms that
+extend far out at sea, the southern reaching
+nearly to Capri, while near the termination of the
+northern,</p>
+
+<div class="poem" style="width: 8em;"><div class="stanza">
+<span class="i0">&ldquo;Fair Ischia smiles<br /></span>
+<span class="i0">O&rsquo;er liquid miles.&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></div></div>
+
+<p class="noi">Far out at sea the sun shines dazzlingly on
+the blue Mediterranean. The landscape is full
+of those curious formations that are always
+inherent in volcanic regions. The region surrounding
+Naples is abrupt, picturesque, with the
+same irregular outline of hills that characterizes
+the elevations in the Tonto basin in Arizona.
+The vegetation is of the tropical type. The
+cactus is common, although it grows to no such
+monstrous heights as in Arizona. Orange and
+lemon groves prevail as far as the eye can see.
+On every height towns and villages crown the
+crests and sweep in winding terraces around the
+hillsides. Olive orchards abound. Castles and
+ruins gleam white in the sunshine on the ledge
+of rocky precipices. The curved shores shine
+like broken lines of silver, with deep indentations
+at Naples and at Castellammare. Between
+these two points rises Vesuvius, the thin blue
+smoke constantly curling from the summit that,
+since the eruption of 1906, has lost much of its
+elevation. In many places there is hardly the
+width of a roadway between the low mountains
+and the coast, but the cliffs are tropically luxurious
+in vegetation. Everywhere the habitations
+of the people crowd the space. From the monasteries<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span>
+and the castles that crown the heights,
+both distant and near to the clustered villages
+of the plain and those clinging to the
+hillsides, the scene is one unending panorama
+of human life. For Naples is only the focussing
+point of these densely populated regions of
+Southern Italy. The city stretches along the
+coast on both sides her semicircular bay; but
+the terraced hills, the stretches of land beyond,
+and every peak and valley are thickly sown
+with human habitations. Its commanding
+heights, two of which rise in the middle of the
+town, and its beautiful mirrored expanse of
+water give to it the most unparalleled variety
+and beauty of landscape loveliness.</p>
+
+<p>&ldquo;What words can analyze,&rdquo; says George S.
+Hillard, &ldquo;the parts and details of this matchless
+panorama, or unravel that magic web of
+beauty into which palaces, villas, forests, gardens,
+vineyards, the mountains, and the sea are
+woven? What pen can paint the soft curves,
+the gentle undulations, the flowing outlines, the
+craggy steeps, and the far-seen heights, which,
+in their combination, are so full of grace and,
+at the same time, expression? Words here are
+imperfect instruments, and must yield their<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>
+place to the pencil and the graver. But no
+canvas can reproduce the light and color which
+play round this enchanting region. No skill
+can catch the changing hues of the distant
+mountains, the star-points of the playing waves,
+the films of purple and green which spread
+themselves over the calm waters, the sunsets of
+gold and orange, and the aerial veils of rose and
+amethyst which drop upon the hills from the
+skies of morning and evening. The author of
+the book of Ecclesiasticus seems to have described
+Naples, when he speaks of &lsquo;the pride
+of the height, the clear firmament, the beauty
+of heaven, with his glorious show.&rsquo; &lsquo;See Naples
+and then die,&rsquo; is a well-known Italian saying;
+but it should read, &lsquo;See Naples and then live.&rsquo;
+One glance at such a scene stamps upon the
+memory an image which, forever after, gives a
+new value to life.&rdquo;</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/elmob.jpg"><img src="images/elmo.jpg" width="400" height="297" alt="CASTEL SANT&rsquo;ELMO, NAPLES" title="CASTEL SANT&rsquo;ELMO, NAPLES" /></a>
+<p class="caption noi"><small>CASTEL SANT&rsquo;ELMO, NAPLES</small></p>
+</div>
+
+<p>Naples gives to the visitor the impression of
+being a city without a past. If she has a history,
+it is not written in her streets. She is
+poetic and picturesque, not historic. The
+heights of Capodimonte and Sant&rsquo;Elmo divide
+her into unequal parts, and there is the old
+Naples which only the antiquarian or the political<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span>
+economist would wish to see, and the new
+and modern city which is such a miracle of
+beauty that one longs to stay forever, and fails
+to wonder that the siren sought these shores.
+Naples has either been very much misrepresented
+as to its prevailing manners and customs,
+or else it has changed within the past decade,
+for, as a rule, the gentle courtesy and kindness
+of the people are especially appealing. Augustus
+often sojourned in Naples, and it was an
+especially poetic haunt of Virgil, whose tomb is
+here. Although the poverty and the primitive
+life of the great masses of the people have been
+widely discussed, it is yet true that Naples has
+a very charming social life, and that the University
+is a centre of learning and culture.
+One of the oldest universities in Europe, it has
+a faculty of over one hundred and twenty professors
+and more than five thousand students.
+A large and valuable library, and a mineralogical
+collection which specialists from all over
+the world come to study, are among the treasures
+of this University, which was founded in
+the early part of the thirteenth century by
+Emperor Frederick William II. There is now in
+process of erection a new group of buildings<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span>
+which will embody the latest laboratory and
+library and other privileges. Archæology is,
+naturally, a special feature of the University of
+Naples, and the proximity to Pompeii, Herculaneum,
+and to the wonderful Pompeian collection
+in the Museum of Naples affords peculiar
+and unrivalled advantages to students. A bust
+of Thomas Aquinas, during his life a lecturer
+at this University, is one of the interesting treasures.
+The Archives of the Kingdom of Naples
+attract many a scholar and savant to this city.
+There are in this collection (which is kept in
+the monastery adjoining the Church of San
+Severino) over forty thousand Greek manuscripts,
+some of which date back to the year
+700. The Naples Museum is the great repository
+of all Pompeian art, and it is rich in sculpture;
+but it is badly arranged and the vast series
+of galleries and the long flights of stairs make
+any study of its work so fatiguing that a visit
+to it might rank as one of the seven labors of
+Hercules.</p>
+
+<p>In the royal museum of the Palazzo di
+Capodimonte, which is located on the beautiful
+height bearing that name, there are some pictures
+that are well worth visiting, not because<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
+they are particularly good art, but because of
+the interest attaching to the subjects. This
+gallery is largely the work of modern Neapolitan
+artists. Here is the celebrated picture of
+Michael Angelo bending over the dead body of
+Vittoria Colonna, kissing only her hand, and
+haunted by the after-regret that he did not kiss
+her forehead. Virginia Lebrun has here portraits
+of Maria Theresa and of the Duchess of
+Parma; there is one canvas (by Celentano) showing
+Benvenuto Cellini at the Castel <a name="tn234" id="tn234"></a><ins class="correction" title="original: 'Sant Angelo'">Sant&rsquo;Angelo</ins>;
+a scene depicting the death of Cæsar and a few
+others of some degree of interest.</p>
+
+<p>Curiously, Naples has never produced great
+art. Salvator Rosa was, to be sure, a Neapolitan,
+but his is almost the only name that has
+made itself immortal in the art of this city.
+Domenico Morelli, who has recently died,
+made himself felt as an original painter with
+certain claims that arrested attention. He is
+not a draughtsman, but he is a colorist of passionate
+intensity; he has original power and, more
+than all, he has a curious endowment of what
+may be called artistic clairvoyance. Transporting
+himself by the magic of thought to places
+on which his eye never rested, he yet sees as<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
+in vision their special characteristics. In one
+of his most important works, the motive of
+which is the temptation of Jesus in the wilderness,
+he has painted the desert with a startling
+reality. Here is a great plain, the stony,
+parched Judean plain, with the very feeling of
+its desolation pervading the atmosphere. The
+Royal Chapel in Naples was decorated by
+Morelli, the ceiling painted with an &ldquo;Assumption
+of the Virgin,&rdquo; which stands alone in all
+the interpretations of this theme; not by virtue
+of superior artistic excellence,&mdash;on the contrary
+its art does not make a strong appeal,&mdash;but
+by its originality of treatment. The
+&ldquo;Salve Regina&rdquo; and the &ldquo;Da Scala d&rsquo;Oro&rdquo;
+are among the more interesting works of this
+artist, whose recent death has removed a figure
+of exceptional character in modern art, one
+who had, pre-eminently, the courage of his
+convictions. Some few years ago Morelli&rsquo;s
+&ldquo;Temptation of St. Anthony&rdquo; was exhibited
+in both Paris and Florence, and was generally
+condemned, perhaps because not wholly understood.
+The form of the temptation was supposed
+to be the shapes taken by a morbid and
+diseased imagination; but while as a psychological<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>
+conception it was not without value,
+it was yet far from attractive as a work of art.
+The finest conception, perhaps, ever depicted
+of the temptation of St. Anthony&mdash;a subject
+that has haunted many an artist&mdash;is that
+painted by the late Carl Guthers of Washington,
+a lofty and gifted spirit whose too brief stay
+on earth ended in the early months of 1907.
+In this picture the temptation of the saint
+appears as a vision of all that is purest and
+sweetest in life,&mdash;wife, children, home; it was
+from all this peace and loveliness that St. Anthony
+turned, sacrificing personal happiness to
+the duty of consecrated service to his Master,
+in the exquisite conception of Mr. Guthers.
+Edoardo Dalbano is the typical leader of the
+Neapolitan school of painting of the present
+day, and his fascinating picture, called the
+&ldquo;Isle of Sirens,&rdquo; representing the sirens singing
+in the sunlit Bay of Naples, might well be
+held as the keynote to all this enchanting
+region. Surely, if the sirens sing not in those
+blue waters, it were useless to search elsewhere
+for them. Buono is an artist of the Neapolitan
+shores, who paints its fisher-folk; Brancaccio
+catches the very spirit and animated atmosphere<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
+of the street scenes of Naples; <a name="tn237" id="tn237"></a><ins class="correction" title="original: 'Camprani'">Campriani</ins> and
+Pratello are landscapists of note; Esposito, too,
+despite his Spanish name, is a Neapolitan
+marine painter whose work is often most arresting
+in its power to catch the flickering sunshine
+over blue water that bathes the rocks
+rising out of the sea,&mdash;these isles of the
+sirens from which float the melodies that enchanted
+Odysseus.</p>
+
+<p>The traveller may be surprised to find that
+in size Naples ranks fourth on the European
+Continent,&mdash;Paris, Berlin, and St. Petersburg,
+only, exceeding it. Naples should be, not
+only a port, a pleasure haunt, and a paradise
+for excursions, but one of the great cities
+of the world in commercial and in social importance.
+It has one of the finest natural
+harbors of the world; it has a beautiful and
+attractive adjoining country in which to extend,
+indefinitely, its residence and trade districts;
+it has the most enchanting fairyland of views
+that ever were seen this side the ethereal world;
+it has an atmosphere of song and story and a
+climate that is far from being objectionable.
+Naples is seldom the possessor of a higher
+temperature in summer than is New York or<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span>
+Boston; the winters are mild, and they offer
+weeks of sunny loveliness when Rome is swept
+by the icy tramontana from the snow-clad
+Alban hills. Naples offers, too, exceedingly
+good facilities for living; the groups of excellent
+hotels, both on the terraces and on the water&rsquo;s
+edge in the lower town and along the Villa
+Nazionale, offer every comfort, and the politeness
+and courtesy of the Neapolitans, as a rule,
+are among the alluring features of this enchanting
+city.</p>
+
+<p>What shall be said of one hotel, especially,
+perched on the cliffs, to which one ascends
+by an elevator, finding it the most luxurious
+fairyland that imagination can conjure? Leaving
+the street one walks through a marble tunnel
+lighted with electricity, wondering if he is, indeed,
+in the grotto of the Muses. Entering a
+&ldquo;lift&rdquo; truly American in its comfort and speed,
+he is wafted up the heights and steps out in&mdash;is
+it paradise? Here is a large salon entirely
+of glass with an incomparable view all over
+the gleaming bay, with Capri and Sorrento shining
+fair on the opposite sides and Vesuvius, a
+purple peak, in the near distance. The great
+city of Naples lies spread out below, with its<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>
+interior heights of Capodimonte and others. It
+is a view for which alone one might well sail
+the four thousand miles of sea from the American
+shores. Through open French windows one
+may step out on the terrace. If it is cold he
+may still enjoy this sublimely wonderful view
+behind the glass walls that reveal all its beauty
+and protect him from wind or chill. Elsewhere
+adjoining salons stretch away, where sunshine,
+music, reading matter, and dainty writing-desks
+allure the guest and create for him, indeed, an
+earthly paradise.</p>
+
+<p>Of the drive on the Strada Nuova di Posilipo,
+skirting the coast while following the winding
+rise of the hill, with the sumptuous villas and
+gardens on one side and the blue sea on the
+other,&mdash;what words can suggest its charm?
+On a jutting promontory on the ruins of the
+Palazzo di Donna Ana are seen the palace
+whose convenient location made it possible for
+the royal hosts to throw their guests into the
+sea whenever they became tiresome, an accommodation
+that the modern hostess might, at
+times, appreciate. On this road, winding up
+the Posilipo, is the villa where Garibaldi passed
+the last winter of his life and which is marked<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
+by a tablet. And everywhere and at every turn
+are the beautiful views, commanding Bagnoli,
+Camaldoli, Ischia, Baia and Procida, Capri,
+Nisida and the Neapolitan waters. The hill
+slopes are overgrown with myrtles and orange
+trees and roses. Here and there a defile is
+filled with a vineyard under careful culture.</p>
+
+<p>In the presence of all this marvel of nature&rsquo;s
+loveliness the visitor hardly remembers the historic
+interest; yet it was on the little island of
+Nisida that Brutus and Cassius concocted the
+conspiracy against Cæsar. The vast Phlegræan
+Plain before the eye is invested with Hellenic
+traditions and is the region of many scenes in
+the poems of Virgil and Homer. In the years
+of the first and second centuries this plain was
+dotted with the rich villas of the Roman aristocracy.
+Here, too, lay the celebrated Lacus
+Avernus, a volcanic lake which the ancients
+regarded as the entrance to Avernus itself.
+Truly it required little imagination to see here
+the approach to the infernal regions. The air
+was so poisonous that no bird could fly over the
+lake and live. Virgil&rsquo;s scene of the descent of
+Æneas, guided by the sibyl, into the infernal
+depths is laid here; and near this lake are<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>
+resorts of the latter-day tourist, known as the
+&ldquo;Sibyl&rsquo;s Grotto,&rdquo; the &ldquo;Grotto della Pace,&rdquo;
+the &ldquo;Bagni di Sibyl,&rdquo; and the &ldquo;Inferno.&rdquo;</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/baiaeb.jpg"><img src="images/baiae.jpg" width="400" height="301" alt="ANCIENT TEMPLE, BAIÆ" title="ANCIENT TEMPLE, BAIÆ" /></a>
+<p class="caption noi"><small>ANCIENT TEMPLE, BAIÆ</small></p>
+</div>
+
+<p>Baia, on the coast, was the Newport of Rome
+in the days of Augustus, Hadrian, Cicero, and
+Nero. It was then the most magnificent
+summer watering-place known to the world.
+The glory of the Roman Empire was reflected
+in the glory of Baia. In one of the Epistles of
+Horace a Roman noble is made to say:
+&ldquo;Nothing in the world can be compared with
+the lovely bay of Baia.&rdquo; Some five hundred
+years ago this region became so malarial that
+no one could dwell in it. Fragments and ruins
+still remain of the imposing baths and villas
+of the Roman occupancy. An old crater called
+the Capo Miseno is described by Virgil as the
+burial place of Misenus:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;<i>At pius Æneas ingenti mole sepulcrum</i><br /></span>
+<span class="i0"><i>Inponit, suaque arma viro remumque tubamque</i><br /></span>
+<span class="i0"><i>Monte sub aereo, qui nunc Misenus ab illo</i><br /></span>
+<span class="i0"><i>Dicitur aeternumque tenet per saecula nomen.</i>&rdquo;<br /></span>
+</div></div>
+
+<p>Cumæ was the most ancient Greek colony of
+Italy on the coast, and the last survivors of the
+Tarquinii died here. This is the most classic<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
+of all these legendary coast towns near Naples,
+as it was here that the Cumæan Sibyl dwelt
+with the mysterious sibylline leaves,&mdash;the books
+that were carried to Rome. A colossal Acropolis
+was once here, fragments of whose walls
+are now standing; and the rocky foundation is
+honeycombed with secret passages and openings.
+It is here that Virgil&rsquo;s &ldquo;Grotto of the
+Sibyl&rdquo; is supposed to have stood,&mdash;the grotto
+&ldquo;whence resound as many voices, the oracles
+of the prophetess.&rdquo;</p>
+
+<p>The journey from Naples to Herculaneum is
+easily made by electric train cars within an hour,
+and while there is not much to see it is still an
+excursion well worth making. Dr. de Petra,
+of the chair of Archæology in the University
+of Naples, and formerly the Director of the
+National Museum, is warmly in favor of the
+proposed excavation of this buried city, as is
+Professor Spinazzola of the San Martino museum,
+who believes that Italy may well become
+one vast museum of antiquities. &ldquo;As the
+theatre of Herculaneum is actually at present
+a subterranean excavation,&rdquo; he observed, &ldquo;why
+not excavate in a similar way the entire city
+underneath modern Resina? In this way a<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
+perfectly unique underground museum would
+be formed, which would have the merit of
+leaving magnificent Roman art treasures exactly
+in their proper places in the villas. Such a
+work ought to be perfectly practicable, with
+the resources of modern engineering, and would
+certainly be unique in the world.</p>
+
+<p>&ldquo;There would be no need to build a special
+museum for the objects discovered. Not only
+would this money be saved, but I feel convinced
+that so many visitors would be attracted as to
+more than pay for the maintenance. A subterraneous
+Herculaneum&mdash;surely a perfectly
+unique place of pilgrimage, just as it was nearly
+two thousand years ago&mdash;might be lighted by
+electric arc lights. I feel certain it would attract
+sight-seers from the ends of the world. At the
+same time work might go on in the open parts
+of the city.</p>
+
+<p>&ldquo;Pompeii was more of an industrial town,
+while Herculaneum was a favorite resort of the
+Roman patricians, who did not bring their treasures
+with them from their northern homes, but
+had them executed by Greek artists in the south.&rdquo;</p>
+
+<p>Under the mighty floods of <i>lava d&rsquo;acqua</i> that
+buried Herculaneum doubtless lie temples, a<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span>
+splendid forum, magnificent villas, and most
+valuable art and literary treasures. In the
+eighteenth century excavations brought to light
+rare bronzes, mosaics, and papyri. The famous
+equestrian statue of <a name="tn244a" id="tn244a"></a><ins class="correction" title="original: 'Bulbi'">Balbo</ins>, in the Naples Museum,
+was excavated from Herculaneum. Professor
+Lanciani and Commendatore Boni of
+Rome&mdash;the latter the present director of the
+Forum, <a name="tn244b" id="tn244b"></a><ins class="correction" title="original: 'succeding'">succeeding</ins> Lanciani&mdash;believe that some
+of the richest art of ancient times may be found
+in Herculaneum; as does Professor Dall&rsquo;Osso,
+inspector of excavations at Pompeii.</p>
+
+<p>Herculaneum is held to have been founded
+by Hercules when he landed at Campania,
+returning from Iberia, some three hundred years
+B.C., and it was in 63 A.D. that it was destroyed.
+Of this cataclysm Pliny, the Younger,
+wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The sea seemed to roll back on itself by the
+convulsions of the earth. On the other side
+hung a black and dreadful cloud, bursting with
+fiery and serpentine vapors. Naught was heard
+in the darkness but the shrieks of women, the
+screams of children, and the frenzied cries of
+men calling for children, for wives, for parents,<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>&mdash;all
+lifting hands to the gods, praying and
+wishing for death.&rdquo;</p></div>
+
+<p>Dr. Charles Waldstein of Cambridge University,
+the eminent archæologist, whose efforts
+toward initiating the excavation of Herculaneum
+were a notable event of 1906, thus
+writes of this buried city:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It is important to bear in mind that naturally
+all the best works in the Museum of Naples,
+especially the bronzes, came from Herculaneum
+and not from Pompeii.</p>
+
+<p>&ldquo;What is most striking is the marvellous
+preservation of these works. This fact of itself
+ought to counteract the strange but widespread
+misapprehension that, while Pompeii was covered
+with cinders and ashes, Herculaneum was
+covered with lava, and that the hardness of
+that material made excavation difficult, if not
+impossible. All geologists and archæologists are
+agreed that no lava issued from the eruption of
+79 A.D. Herculaneum was covered by a torrent
+of mud consisting of ashes and cinders mixed
+with water. The mass which covers it, so far
+from being less favorable to the preservation<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
+of objects, is much more favorable than that
+which covers Pompeii. Pompeii was partially
+covered with hot ashes and pumice stones,
+which burnt or damaged the works of art. As
+it was not wholly covered, moreover, the inhabitants
+returned and dug up some of their
+greatest treasures. Herculaneum, on the other
+hand, had its actual life, arrested at the highest
+point, securely preserved from depredation, to
+a depth of eighty feet, by a material which preserved
+intact the most delicate specimens which
+have come down to us in a state so perfect as
+to be really remarkable.</p>
+
+<p>&ldquo;The most important of these delicate objects
+are manuscripts, of which that one villa produced
+1750. The state of preservation is illustrated
+by one specimen, giving two pages from
+the works of the philosopher Philademus. Unfortunately,
+the possessor of the villa was a
+specialist, a student of Epicurean philosophy.
+While his taste in art was fortunately so catholic,
+his taste in literature was narrowed down
+by his special bent. Piso was the friend and
+protector of the philosopher Philo. Already
+sixty-five copies of that author&rsquo;s works have
+been found among the papyri.</p>
+<p><span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
+&ldquo;Yet the city of Herculaneum contained many
+such villas, and herein it differed from Pompeii.
+Pompeii was a commonplace provincial town
+devoted exclusively to commerce; it was not the
+resort of wealthy and cultured Romans. It was
+essentially illiterate. No manuscript can be
+proved to have been found there. It is true a
+wax tablet with writing has been found; yet this
+contains&mdash;receipts of auctions. Herculaneum,
+on the other hand, was the favorite resort of
+wealthy Romans, who built beautiful villas there
+as in our times people from modern Rome
+settle for the summer at Sorrento and Castellammare.&rdquo;</p></div>
+
+<p>The present descent into the theatre of Herculaneum
+is made by a flight of more than a
+hundred steps, slippery and cold, in total
+darkness save for the candle that is carried by
+the guide, and the visitor sees only the stone
+seats of the amphitheatre and the stage with
+the two vacant niches, the statues that filled
+each being now placed in the Museum in
+Naples.</p>
+
+<p>The journey of thirteen miles from Naples
+to Pompeii is through a succession of densely<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>
+populated villages that seem to be an integral
+part of Naples itself, for there is no line of
+demarcation. Portici, Torre del Greco, Torre
+dell&rsquo;Annunziata, and others all blend with each
+other and with Naples. However familiar one
+has become with the literature of Pompeii, with
+both archæological descriptions and imaginative
+interpretations in romance, and however familiar
+with its aspects he may have become from replicas
+in art museums, and from pictures, one can
+yet hardly approach this silent, phantom city
+without being thrilled by its deep significance.
+At a distance of a few miles over the gently
+undulating plain rises Vesuvius; one gazes on
+the paths where the rivers of molten fire must
+have rolled down. George S. Hillard, visiting
+Pompeii in 1853, thus described a house which
+the visitors of to-day study and admire:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The finest house we saw within the walls
+is one which had been discovered and laid bare
+about four months previous to the date of our
+visit, called the house of the Suonatrice, from a
+painting of a female playing on a pipe, at the
+entrance. This house was deemed of such
+peculiar interest that it was under the charge<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span>
+of a special custode, and was only to be seen on
+payment of an extra fee. It was not of large
+size, but had evidently been occupied by a person
+of ample fortune and exquisite taste. The
+paintings on the walls were numerous, and in
+the most perfect preservation. In the rear was
+a minute garden not more than twenty or thirty
+feet square, with a fairy fountain in the centre;
+around which were several small statues of children
+and animals, of white marble, wrought
+with considerable skill. The whole thing had
+a very curious effect, like the tasteful baby-house
+of a grown-up child. Everything in this
+house was in the most wonderful preservation.
+The metal pipes which distributed the water,
+and the cocks by which it was let off, looked perfectly
+suited for use. Nothing at Pompeii seemed
+so real as this house, and nowhere else were the
+embellishments so numerous and so costly.</p>
+
+<p>&ldquo;Pompeii, though a Roman city in its political
+relations, was everywhere strongly marked
+with the impress of the Greek mind. It stood
+on the northern edge of that part of Italy which,
+from the number of Grecian colonies it contained,
+was called Magna Græcia,&mdash;a region of
+enchanting beauty, in which the genius of<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span>
+Greece attained its most luxurious development.
+It has been conjectured that Pompeii had an
+unusually large proportion of men of property,
+who had been drawn there by the charms of its
+situation and climate, and that it thus extended
+a liberal patronage to Greek architects, painters,
+and sculptors. At any rate, the spirit of Greece
+still lives and breathes in its ashes. Its temples,
+as restored by modern architects, are Greek.
+Its works in marble and bronze claim a place
+in that cyclus of art of which the metopes of
+the Parthenon are the highest point of excellence.
+The pictures that embellish the walls,
+the unzoned nymphs, the bounding Bacchantes,
+the grotesque Fauns, the playful arabesques,
+all are informed with the airy and creative spirit
+of Greek art.</p>
+
+<p>&ldquo;The ruins of Pompeii are not merely an
+open-air museum of curiosities, but they have
+great value in the illustration they offer to Roman
+history and Roman literature. The antiquarian
+of our times studies the great realm of
+the past with incomparable advantage, by the
+help of the torch here lighted.&rdquo;</p></div>
+
+<p>From Pompeii to Castellammare, the beautiful<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
+seaside summer resort of the Neapolitans,
+&ldquo;a lover of nature could hardly find a spot of
+more varied attractions. Before him spreads
+the unrivalled bay,&mdash;dotted with sails and unfolding
+a broad canvas, on which the most
+glowing colors and the most vivid lights are
+dashed,&mdash;a mirror in which the crimson and
+gold of morning, the blue of noon, and the
+orange and yellow-green of sunset behold a
+livelier image of themselves,&mdash;a gentle and
+tideless sea, whose waves break upon the
+shore like caresses, and never like angry blows.
+Should he ever become weary of waves and
+languish for woods, he has only to turn his
+back upon the sea and climb the hills for an
+hour or two, and he will find himself in the
+depth of sylvan and mountain solitudes,&mdash;in
+a region of vines, running streams, deep-shadowed
+valleys, and broad-armed oaks,&mdash;where
+he will hear the ringdove coo, and see the sensitive
+hare dart across the forest aisles. A
+great city is within an hour&rsquo;s reach; and the
+shadow of Vesuvius hangs over the landscape,
+keeping the imagination awake by touches of
+mystery and terror.&rdquo;</p>
+
+<p>The road to Sorrento, on a cliff a hundred<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span>
+feet or more above the sea, with mountains on
+the other side, towering up hundreds of feet
+high; a road cut in many places out of the
+solid rock, supported by galleries and viaducts
+from below,&mdash;a road that crosses deep gorges
+and chasms, always with the iridescent colors
+of the sea below,&mdash;and from Sorrento to
+Amalfi again, only, if possible, even more wonderful,&mdash;is
+there in the world any drive that
+can rival this picturesque and sublime route?
+Of it George Eliot wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It is an unspeakably grand drive round the
+mighty rocks with the sea below; and Amalfi
+itself surpasses all imagination of a romantic
+site for a city that once made itself famous
+in the world.&rdquo;</p></div>
+
+<p>Sorrento, with its memories and associations
+of Tasso, seems a place in which one cares
+only to sit on the balcony of the hotel overhanging
+the sea and watch the magic spectacle
+of a panorama unrivalled in all the beauty of the
+world. Flowers grow in riotous profusion; the
+fairy sail of a flitting boat is caught in the deepening
+dusk; the dark outline of Vesuvius is seen<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span>
+against the horizon; and orange orchards gleam
+against gray walls. Here Tasso was born, in
+1544, fit haunt for a poet, with tangles of gay
+blossoms and the aerial line of mountain peaks.
+A low parapet borders the precipice, and over it
+one leans in the air heavy with perfume of
+locust blossoms. Has the lovely town anything
+beside sunsets and stars and poets&rsquo; dreams?
+Who could ask for more?</p>
+
+<p>To La Cava,&mdash;to Amalfi,&mdash;still all a dream
+world!</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;O summer day, beside the joyous sea!<br /></span>
+<span class="i0">O summer day so wonderful and white,<br /></span>
+<span class="i0">So full of gladness and so full of pain!&rdquo;<br /></span>
+</div></div>
+
+<p>How Amalfi sets itself to song and music!
+Who can enter it without hearing in the air
+Longfellow&rsquo;s beautiful lines?&mdash;</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;Sweet the memory is to me<br /></span>
+<span class="i0">Of a land beyond the sea,<br /></span>
+<span class="i0">Where the waves and mountains meet,<br /></span>
+<span class="i0">Where, amid her mulberry-trees,<br /></span>
+<span class="i0">Sits Amalfi in the heat,<br /></span>
+<span class="i0">Bathing ever her white feet<br /></span>
+<span class="i0">In the tideless summer seas.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&rsquo;Tis a stairway, not a street,<br /></span>
+<span class="i0">That ascends the deep ravine,<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span><br /></span>
+<span class="i0">Where the torrent leaps between<br /></span>
+<span class="i0">Rocky walls that almost meet.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">This is an enchanted land!<br /></span>
+<span class="i0">Round the headlands, far away,<br /></span>
+<span class="i0">Sweeps the blue Salernian bay<br /></span>
+<span class="i0">With its sickle of white sand;<br /></span>
+<span class="i0">Further still and furthermost<br /></span>
+<span class="i0">On the dim discovered coast,<br /></span>
+<span class="i0">Pæstum with its ruins lies,<br /></span>
+<span class="i0">And its roses all in bloom.&rdquo;<br /></span>
+</div></div>
+
+<p>If ever a region was dropped out of paradise
+designed, solely, for a poet&rsquo;s day-dreams,
+it is Amalfi, and the even more beautiful Ravello
+just above. One fancies that it must have been
+in the mystic loveliness of this eyrie that the
+poet lost himself in a day-dream while Jupiter
+was dividing all the goods of the world. When
+he reproached the god for not saving a portion
+for him, Jupiter replied that all the goods were
+gone, it was true, but that his heaven was always
+open to the poet.</p>
+
+<p>The ancient Amalfi, the city of activities and
+merchandise, is gone.</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;Where are now the freighted barks<br /></span>
+<span class="i0">From the marts of east and west?<br /></span>
+<span class="i0">Where the knights in iron sarks<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span><br /></span>
+<span class="i0">Journeying to the Holy Land,<br /></span>
+<span class="i0">Glove of steel upon the hand,<br /></span>
+<span class="i0">Cross of crimson on the breast?<br /></span>
+<span class="i0">Where the pomp of camp and court?<br /></span>
+<span class="i0">Where the pilgrims with their prayers?<br /></span>
+<span class="i0">Where the merchants with their wares?<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">Vanished like a fleet of cloud,<br /></span>
+<span class="i0">Like a passing trumpet-blast,<br /></span>
+<span class="i0">Are those splendors of the past,<br /></span>
+<span class="i0">And the commerce and the crowd!<br /></span>
+<span class="i0">Fathoms deep beneath the seas<br /></span>
+<span class="i0">Lie the ancient warves and quays,<br /></span>
+<span class="i0">Swallowed by the engulfing waves.&rdquo;<br /></span>
+</div></div>
+
+<p>It is impossible to realize that Amalfi was
+once a flourishing city of Oriental trade. One
+looks in vain for any trace of ruin or shrine that
+still suggests the ancient splendors of activity.
+The strata of the past, so visible in other mediæval
+cities, are not apparent here. The great
+cathedral is a most interesting study in the art
+of architecture,&mdash;its exquisite arcades, its delicate,
+lofty campanile glittering in the sun. The
+green-roofed cupola is a distinctive feature,
+and up the many flights of stairs the old Capuccini
+convent lies,&mdash;the unique, romantic hotel
+where the cells of the monks are now the rooms
+of the perpetual procession of guests. Does<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span>
+the wraith of Cardinal Capuano, who founded
+this convent, still wander in midnight hours
+through the dim cloisters? Does he still keep
+watch by the body of St. Andrew, the apostle,
+which he is said to have found and brought to
+the cathedral where the saint lies, as a saint
+should lie, gloriously entombed. St. Andrew
+was the patron saint of Amalfi, but at his death
+his body was carried from Patras to the Bosphorus,
+where it was placed in a church in
+Constantinople. The legend runs that Cardinal
+Capuano, being in Constantinople, entered
+the Church of the Holy Apostles to pray, and
+knowing that the body of the saint was in that
+city, he besought the heavenly powers to guide
+him to it. Rising from his devotions he was
+approached by an aged priest, who announced
+to the Cardinal that the object of his search was
+in that very church in which he was praying
+for guidance; and, aided by unseen powers, he
+was able to recover it and convey it to Amalfi.
+All Italian towns that respect themselves offer
+the allurement of an entombed saint and if,
+occasionally, the same identical saint does duty
+for more than one city, who is to decide the
+local genuineness of the claim? Nothing in<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>
+all Italy is so curious as is this town of staircases
+instead of streets; of houses perched on
+the angles of impossible eyries suggesting that,
+as the Venetians go about in gondolas, so the
+Amalfians must have airships, or the wings of
+Icarus, with which to circle in air from their
+dwellings to the beach.</p>
+
+<p>The precipitous gorges and dark ravines have
+on their crests low parapets of stone walls over
+which the visitor lingers and leans watching the
+bluest of seas lying fair under the bluest of skies.
+The main road,&mdash;there is only one,&mdash;descending
+from the hill to the water&rsquo;s edge, makes its
+progress through a tunnel.</p>
+
+<p>The old Amalfi, with its palaces, its arches
+and colonnades, lies under the sea. Just as the
+Pensione Caterina with its rose walks and terraces
+slipped into the sea in December of 1899,
+when two guests and several fishermen lost
+their lives, so the ancient Amalfi fell, its cliffs
+swallowed up in the waters below.</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Hidden from all mortal eyes,<br /></span>
+<span class="i0">Deep the sunken city lies;<br /></span>
+<span class="i0">Silent streets and vacant halls,<br /></span>
+<span class="i0">Ruined roofs and towers and walls;<br /></span>
+<span class="i0">Even cities have their graves!&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></div></div>
+
+<p>When, on a May evening, the white moonlight
+falls in cascades of silver sheen over terraces
+and sea, with Amalfi all alabaster and
+pearl like a dream city in the ethereal air;
+when the stars hang low in the skies and the
+fairy lights of the fishermen&rsquo;s boats twinkle far
+out at sea; when the summer silence is suddenly
+thrilled by the melody of Neapolitan
+songs on the air, as if it were a veritable <i>chant
+d&rsquo;amour</i> of sirens,&mdash;then does one believe in
+the buried city. These rich baritone voices are
+surely those of some singers of the buried ages.
+They are floating across the centuries since
+Amalfi had its pride and place among the great
+centres of activity. Atrani, Amalfi&rsquo;s twin city,
+lies in the adjoining defile of the mountains
+which arch above them. The strange old
+houses are all dazzlingly white, transfigured
+under the moon to an unearthly loveliness.</p>
+
+<p>The tragedy of the ruin of Amalfi is related by
+Petrarca, who was then living in Naples. It was
+in 1343 that a terrible cataclysm&mdash;an earthquake
+accompanied by a tempest&mdash;caused the destruction
+and the submergence of the city in the sea.</p>
+
+<p>The believers in astrology will find their
+faith re-enforced by the fact that a bishop, who<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>
+was also an astrologist, had read in the stars
+that in December of 1343 a terrible disaster
+would occur on the Naples coast. It arrived
+on schedule time. Petrarca, writing of it to
+Giovanni Colonna, states that in consequence
+of the prediction of the bishop, the people were
+in a condition of wild terror, endeavoring to
+repent of their sins and aspiring to a purer
+moral life. In this tide of religious emotion,
+ordinary occupations were neglected. On the
+very day of the calamity people were crowding
+the churches and kneeling in prayer. At night,
+after the people were in bed, the shock came.
+The sunset had been fair, the evening quiet,
+and the people were reassured. But they were
+awakened from sleep by the violence of falling
+walls and the terror of the tempest. Petrarcha
+was lodging in a convent, and he heard the
+monks calling to one another as they rushed
+from cell to cell. They hastily gathered crosses
+and sacred relics in their hands, and, preceded
+by the prior, sought the chapel, where they passed
+the night in prayer while the tempest raged
+outside. The sea broke against the rocks with
+a fury that seemed to tear the very foundations
+of the earth. The thunder pealed, and mingled<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>
+with it were the shrieks of the frightened populace.
+The rain fell in torrents, deluging the city
+as if the sea itself were pouring on it. When
+the morning came the darkness still continued.
+In the harbor broken ships crashed helplessly together.
+The sands were strewn with mutilated
+dead bodies. Between Capri and the shore the
+sea ran mountains high. Amalfi was completely
+destroyed, and has never regained her prestige.</p>
+
+<p>The cathedral at <a name="tn260a" id="tn260a"></a><ins class="correction" title="original: 'Revello'">Ravello</ins> has traces of the
+rich art it once enshrined, and the rose gardens
+of the Palazzo <a name="tn260b" id="tn260b"></a><ins class="correction" title="original: 'Rufelo'">Rufolo</ins> might enchant Hafiz himself.
+The terrace on the very crest of the mountain
+commands one of the wonderful views of the
+world. The cloistered colonnades of this old
+Saracenic palace reveal views even to the plains
+of Pæstum. There are rare mosaics and fragments
+of bronzes and marbles yet remaining.</p>
+
+<p>The noble Greek ruins at Pæstum&mdash;the three
+temples&mdash;stand in all the majesty of utter desolation.
+They are overgrown with flowers, however,
+and they stand &ldquo;dewy in the light of the
+rising dawn-star.&rdquo;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;The shrine is ruined now, and far away<br /></span>
+<span class="i0">To east and west stretch olive groves, whose shade,<br /></span>
+<span class="i0">Even at the height of summer noon, is gray.<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span><br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&ldquo;Yet this was once a hero&rsquo;s temple, crowned<br /></span>
+<span class="i0">With myrtle boughs by lovers, and with palm<br /></span>
+<span class="i0">By wrestlers, resonant with sweetest sound<br /></span>
+<span class="i0">Of flute and fife in summer evening&rsquo;s calm,<br /></span>
+<span class="i0">And odorous with incense all the year,<br /></span>
+<span class="i0">With nard and spice and galbanum and balm.&rdquo;<br /></span>
+</div></div>
+
+<p>The detour to Pæstum is full of significance.
+The massive columns of the temples stand like
+giants of the ages. &ldquo;It is difficult,&rdquo; writes John
+Addington Symonds, &ldquo;not to return again and
+again to the beauty of coloring at Pæstum.
+Lying basking in the sun on a flat slab of stone,
+and gazing eastward, we overlook a foreground
+of dappled light and shadow; then come two
+stationary columns built, it seems, of solid gold,
+where the sunbeams strike along their russet
+surface. Between them lies the landscape, a
+medley first of brakefern and asphodel and
+feathering acanthus and blue spikes; while
+beyond and above is a glimpse of mountains,
+purple almost to indigo with cloud shadows,
+and flecked with snow.&rdquo;</p>
+
+<p>The sail from Amalfi to Pæstum is one incomparable
+in loveliness. The sunshine is all
+lurid gold. The faint, transparent blue haze
+fills all the defiles of the mountains; the cliffs<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
+disclose yawning caverns where vast clusters of
+stalactites hang; and as the boat floats toward
+Capri from the Sorrento promontory its rocky
+headlands rise and flame into purple and rose
+against the glowing sky. Across the Bay of
+Naples rises the great city. It stands in some
+subtle way reminding one of the scene where one</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;.&nbsp;.&nbsp;. rowing hard against the stream,<br /></span>
+<span class="i0">Saw distant gates of Eden gleam.&rdquo;<br /></span>
+</div></div>
+
+<p>Capri is the idyllic island of prismatic light
+and shade, of gay and joyous life. Here Tiberius
+had his summer palace, and it was from these
+shores that he sent the historic letter which
+revolutionized the life of Sejanus. The letter&mdash;<i>verbosa
+et grandis epistola</i>&mdash;is still vivid in
+the historic associations of Rome. Capri is one
+of the favorite resorts both for winter and
+summer. Its former modest prices are now
+greatly increased, like all the latter-day expenses
+of Italy; but its beauty is perennial,
+and the artist and poet can still command
+there a seclusion almost impossible to secure
+elsewhere in Italy. The distinguished artist,
+Elihu Vedder of Rome, has a country house on
+Capri, and another well-known artist, Charles<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
+Caryl Coleman, makes this island his home.
+There are days&mdash;sometimes several days in
+succession&mdash;that the sea is high and the boats
+cannot run between Naples, Sorrento, and Capri;
+and the enforced seclusion is still the seclusion
+of the poet&rsquo;s dream. For he shares it with
+Mithras, the &ldquo;unconquered god of the sun,&rdquo;
+whose cult influenced all the monarchs of
+Europe and who holds his court in the Grotto
+de Matrimonia. Into this grotto one descends
+by a flight of nearly two hundred feet; he strolls
+among the ruins of the villa of Tiberius, where
+the very air is still vital and vocal with those
+strange and tragic chapters of Roman life.
+The Emperor Augustus first founded here palaces
+and aqueducts. Tiberius, who retired
+to Capri in the year 27 A.D., had his architects
+build twelve villas, in honor of the gods, the
+largest of these being for Jupiter and known as
+the Villa Jovis. In 31 A.D. occurred that
+dramatic episode in Roman history, the fall of
+Sejanus, and six years later Tiberius died. The
+vast white marble baths he had built for him
+are now submerged on the coast, and boats glide
+over the spot where they stood. The Villa
+Jovis stood on a cliff seven hundred feet above<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span>
+the sea, and the traditions of the barbarities and
+atrocities that took place there still haunt the
+island. The natives apparently regard them as
+a certain title to fame, but the wise tourists
+persistently ignore horrors; life is made for joy,
+sweetness, and charm; it is far wiser to think
+on these things.</p>
+
+<p>And there is charm and joy to spare on
+lovely Capri. &ldquo;Sea-mists are frequent in the
+early summer mornings, swathing the cliffs of
+Capri and brooding on the smooth water till the
+day wind rises,&rdquo; says John Addington Symonds.
+&ldquo;Then they disappear like magic, rolling in
+smoke-wreaths from the surface of the sea,
+condensing into clouds and climbing the hills
+like Oceanides in quest of Prometheus, or
+taking their station on the watch towers of the
+world as in the chorus of the Nephelai. Such
+a morning may be chosen for the <i>giro</i> of the
+island. The Blue Grotto loses nothing of its
+beauty, but rather gains by contrast, when
+passing from dense fog you find yourself transported
+to a world of wavering subaqueous
+sheen. It is only through the very topmost
+arch that a boat can glide into this cavern;
+the arch itself spreads downward through the<span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span>
+water so that all the light is transmitted from
+beneath and colored by the sea. Outside the
+magic world of pantomime there is nothing to
+equal these effects of blue and silver.&nbsp;.&nbsp;.&nbsp;.
+Numberless are the caves at Capri. The so-called
+Green Grotto has the beauty of moss
+agate in its liquid floor; the Red Grotto shows
+a warmer chord of color; and where there is
+no other charm to notice, endless beauty may
+be found in the play of sunlight upon roofs
+of limestone, tinted with yellow, orange, and
+pale pink, mossed over, hung with fern, and
+catching tones of blue or green from the still
+deeps beneath.&nbsp;.&nbsp;.&nbsp;. After a day upon the
+water it is pleasant to rest at sunset in the
+loggia above the sea. The Bay of Naples
+stretches far and wide in front, beautiful by
+reason of the long fine line descending from
+Vesuvius, dipping almost to a level, and then
+gliding up to join the highlands of the north.
+Now sun and moon begin to mingle: waning
+and waxing splendors. The cliffs above our
+heads are still blushing like the heart of some
+tea-rose; when lo, the touch of the huntress
+is laid upon those eastern pinnacles, and the
+horizon glimmers with her rising. Was it on<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span>
+such a night that Ferdinand of Aragon fled
+from his capital before the French, with eyes
+turned ever to the land he loved, chanting,
+as he leaned from his galley&rsquo;s stern, that melancholy
+psalm, &lsquo;Except the Lord keep the city,
+the watchman waketh but in vain,&rsquo; and seeing
+Naples dwindle to a white blot on the purple
+shore?&rdquo;</p>
+
+<p>The roses of Capri would form a chapter
+alone. What walks there are where the air
+is all fragrance of acacia and rose and orange
+blossoms! Cascades of roses in riotous luxuriance
+festoon the old gray stone walls; the pale
+pink of the early dawn or of a shell by the seashore,
+the amber of the Banskeia rose, the
+great golden masses of the Maréchal Niel,
+their faint yellow gleaming against the deep
+green leaves of myrtle and frond. The intense
+glowing scarlet of the gladiolus flames from
+rocks and roadside, and rosemary and the purple
+stars of hyacinths garland the ways, until
+one feels like journeying only in his singing
+robes. The deep, solemn green of stone pines
+forms canopies under the sapphire skies, and
+through their trunks one gazes on the sapphire
+sea. Is Capri the isle of Epipsychidion?<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p>
+
+<div class="poem" style="width: 26em;"><div class="stanza">
+<span class="i11">&ldquo;Is there now any one that knows<br /></span>
+<span class="i0">What a world of mystery lies deep down in the heart of a rose?&rdquo;<br /></span>
+</div></div>
+
+<p>One walks among these rose-lined lanes,
+hearing in the very air that exquisite lyric by
+Louise Chandler Moulton:&mdash;</p>
+
+<div class="poem" style="width: 13em;"><div class="stanza">
+<span class="i0">&ldquo;Roses that briefly live,<br /></span>
+<span class="i1">Joy is your dower;<br /></span>
+<span class="i0">Blest be the Fates that give<br /></span>
+<span class="i1">One perfect hour.<br /></span>
+<span class="i0">And, though too soon you die,<br /></span>
+<span class="i1">In your dust glows<br /></span>
+<span class="i0">Something the passer-by<br /></span>
+<span class="i1">Knows was a Rose.&rdquo;<br /></span>
+</div></div>
+
+<p>Monte Cassino is one of the most interesting
+inland points in Southern Italy,&mdash;the monastery
+lying on the crest of a hill nearly two
+thousand feet above the sea. Dante alludes
+to this in his Paradiso (XXII, XXXVII), and
+in the prose translation made by that eminent
+Dantean scholar, Professor Charles Eliot
+Norton, this assurance of Beatrice to Dante is
+thus rendered:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;That mountain on whose slope Cassino is,
+was of old frequented on its summit by the
+deluded and ill-disposed people, and I am he<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span>
+who first carried up thither the name of Him
+who brought to earth the truth which so high
+exalts us; and such grace shone upon me that
+I drew away the surrounding villages from the
+impious worship which seduced the world.
+Those other fires were all contemplative men,
+kindled by that heat which brings to birth holy
+flowers and fruits. Here is Macarius, here is
+Romuald, here are my brothers, who within the
+cloisters fixed their feet, and held a steadfast
+heart. And I to him, &lsquo;The affection which
+thou displayest in speaking with me, and the
+good semblance which I see and note in all
+your ardors, have so expanded my confidence
+as the sun does the rose, when she becomes
+open so much as she has power to be. Therefore
+I pray thee, and do thou, father, assure me
+if I have power to receive so much grace,
+that I may see thee with uncovered shape.&rsquo;
+Whereon he, &lsquo;Brother, thy high desire shall be
+fulfilled in the last sphere, where are fulfilled
+all others and my own. There perfect, mature,
+and whole is every desire; in that alone is every
+part there where it always was: for it is not in
+space, and hath not poles; and our stairway
+reaches up to it, wherefore thus from thy sight<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
+it conceals itself. Far up as there the patriarch
+Jacob saw it stretch its topmost part when
+it appeared to him so laden with Angels. But
+now no one lifts his feet from earth to ascend it;
+and my rule is remaining as waste of paper.
+The walls, which used to be an abbey, have
+become caves; and the cowls are sacks full of
+bad meal. But heavy usury is not gathered in
+so greatly against the pleasure of God, as that
+fruit which makes the heart of monks so foolish.
+For whatsoever the Church guards is all for the
+folk that ask it in God&rsquo;s name, not for one&rsquo;s
+kindred, or for another more vile. The flesh
+of mortals is so soft that a good beginning
+suffices not below from the springing of the oak
+to the forming of the acorn. Peter began without
+gold and without silver, and I with prayers
+and with fasting, and Francis in humility his
+convent; and if thou lookest at the source of
+each, and then lookest again whither it has run,
+thou wilt see dark made of the white. Truly,
+Jordan turned back, and the sea fleeing when
+God willed, were more marvellous to behold
+than succor here.&rdquo;</p></div>
+
+<p>Dante adds that the company &ldquo;like a whirlwind<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span>
+gathered itself upward,&rdquo; and that &ldquo;the
+sweet lady urged me behind them, with only
+a sign, up over that stairway; so did her virtue
+overcome my nature. But never here below,
+where one mounts and descends naturally,
+was there motion so rapid that it could be
+compared unto my wing.&rdquo;</p>
+
+<p>The time was when Dante and Beatrice met,
+and he &ldquo;was standing as one who within himself
+represses the point of his desire, and attempts
+not to ask, he so fears the too-much.&rdquo; And
+then he heard: &ldquo;If thou couldst see, as I do,
+the charity which burns among us thy thoughts
+would be expressed. But that thou through
+waiting mayst not delay thy high end, I will
+make answer to thee, even to the thought concerning
+which thou art so regardful.&rdquo;</p>
+
+<p>The vast monastery of Monte Cassino, lying
+on the crest of a hill nearly two thousand feet
+above the sea, has one of the most magnificent
+locations in all Italy. This monastery was
+founded (in 529 A.D.) by St. Benedict, on the
+site of an ancient temple to Apollo. Dante alludes
+to this also in the Paradiso (Canto XX, 11).
+As seen from below this monastery has the
+appearance of a vast castle, or fortress. Its<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span>
+location is one of the most magnificent in all
+Italy. The old entrance was a curious passage
+cut through solid rock and it is still used for
+princes and cardinals&mdash;no lesser dignitaries being
+allowed to pass through it&mdash;and within
+the past thirty years a new entrance has been
+constructed. In the passageway of the mediæval
+entrance St. Benedict is said to have had his
+cell, and of recent years the German Benedictines,
+believing they had located the original cell,
+had it located, restored, and decorated with
+Egyptian frescoes. Several of the courts of this
+convent are connected by beautiful arcades with
+lofty arches, and adorned with statues, among
+which are those of St. Benedict and his sister,
+St. Scholastica. Still farther up the hill, upon
+the monastery, stands the church which is built
+on the site of the ancient one that was erected
+by St. Benedict himself&mdash;this present edifice
+dating back to 1637. Above the portals there
+is a long inscription in Latin relating the history
+of the monastery and the church. These portals
+are solid bronze, beautifully carved, with
+inlaid tablets of silver on which are inscribed a
+list of all the treasures of the abbey in the year
+1006. The church is very rich in interior decoration<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span>
+of mosaics, rare marbles, and wonderful
+monumental memorials. Either side of the
+high altar are monuments to the Prince of
+Mignano <a name="tn272a" id="tn272a"></a><ins class="correction" title="original: 'Ginodone Trieramosca'">(Guidone Fieramosca)</ins> and also to
+Piero de Medico. Both St. Benedict and his
+sister, St. Scholastica, are entombed under the
+high altar, which is one of the most elaborately
+sculptured in all the churches of Italy.</p>
+
+<p>Among the pictorial decorations of this church
+are a series of fresco paintings by Luca <a name="tn272b" id="tn272b"></a><ins class="correction" title="original: 'Gindano'">Giordano</ins>,
+painted in the seventeenth century, representing
+the miracles wrought by St. Benedict. In the
+refectory is the &ldquo;Miracle of the Loaves,&rdquo; by
+Bassano; and in the chapel below are paintings
+by <a name="tn272c" id="tn272c"></a><ins class="correction" title="original: 'Mazzarappi'">Mazzaroppi</ins> and Marco da Siena. Nothing
+can exceed the richness and beauty of the carvings
+of the choir stalls. These were executed
+in the seventeenth century by Coliccio.</p>
+
+<p>The library of this monastery is renowned
+all over Europe&mdash;indeed, it is famous all over
+the world&mdash;for its preservation of ancient
+manuscripts done by the monks. These are
+carefully treasured in the archives. Among
+them is the record of a vision that came to the
+monk Alferic, in the twelfth century, on which
+it is believed that Dante founded his immortal<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
+&ldquo;Divina Commedia;&rdquo; there is also a fourteenth-century
+edition of Dante with margined notes;
+and the Commentary of Origen (on the Epistle
+to the Romans), dating back to the sixteenth
+century; there is the complete series of Papal
+bulls that were sent to the monastery of Monte
+Cassino from the eleventh century to the
+present time, many of them being richly illuminated
+and decorated with curiously elaborate
+seals. There is an autograph letter of the Sultan
+Mohammed II to Pope Nicholas IV, with
+the Pope&rsquo;s reply,&mdash;the theme of the correspondence
+being the Pope&rsquo;s threat of war. The
+imperial Mohammed seems to have been in
+terror of this, and in his epistle he expresses
+his willingness, and, indeed, his intention, to
+be converted as soon as he shall visit Rome!
+Apparently the Holy Father of that day laid
+little stress on the sincerity of this offer on the
+part of the Sultan. Here, too, is a wonderful
+correspondence between Don Erasmo Gattola,
+the historian of the abbey, and a great number
+of the celebrated men of his time; and there
+are hundreds of other letters, manuscripts, and
+documents relating to kings, nobles, emperors,
+and many of the nobility of the age.<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span></p>
+
+<p>In this monastery there is a most interesting
+collection of relics, in bronze, silver, gold, and
+<i>rosso antico</i>. The library proper contains some
+eleven thousand volumes, dating back to the
+very dawn of the discovery of the art of printing.</p>
+
+<p>Mr. Longfellow, whose poet&rsquo;s pen has pictured
+so many of the Italian landscapes and
+ancient monuments, thus set Monte Cassino
+to music, picturing the entire landscape of the
+<a name="tn274" id="tn274"></a><ins class="correction" title="original: 'Terre di Lavorno'">Terra di Lavoro</ins> region:&mdash;</p>
+
+<div class="poem" style="width: 23em;"><div class="stanza">
+<span class="i0">&ldquo;The Land of Labor and the Land of Rest,<br /></span>
+<span class="i1">Where mediæval towns are white on all<br /></span>
+<span class="i0">The hillsides, and where every mountain&rsquo;s crest<br /></span>
+<span class="i1">Is an Etrurian or a Roman wall.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&ldquo;There is Aquinum, the old Volscian town,<br /></span>
+<span class="i1">Where Juvenal was born, whose lurid light<br /></span>
+<span class="i0">Still hovers o&rsquo;er his birthplace like the crown<br /></span>
+<span class="i1">Of splendor seen o&rsquo;er cities in the night.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;Doubled the splendor is, that in its streets<br /></span>
+<span class="i1">The Angelic Doctor as a school-boy played,<br /></span>
+<span class="i0">And dreamed perhaps the dreams that he repeats<br /></span>
+<span class="i1">In ponderous folios for scholastics made.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;And there, uplifted, like a passing cloud<br /></span>
+<span class="i1">That pauses on a mountain summit high,<br /></span>
+<span class="i0">Monte Cassino&rsquo;s convent rears its proud<br /></span>
+<span class="i1">And venerable walls against the sky.<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span><br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;Well I remember how on foot I climbed<br /></span>
+<span class="i1">The stony pathway leading to its gate;<br /></span>
+<span class="i0">Above, the convent bells for vespers chimed,<br /></span>
+<span class="i1">Below, the darkening town grew desolate.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&ldquo;The silence of the place was like a sleep,<br /></span>
+<span class="i1">So full of rest it seemed; each passing tread<br /></span>
+<span class="i0">Was a reverberation from the deep<br /></span>
+<span class="i1">Recesses of the ages that are dead.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;For, more than thirteen centuries ago,<br /></span>
+<span class="i1">Benedict fleeing from the gates of Rome,<br /></span>
+<span class="i0">A youth disgusted with its vice and woe,<br /></span>
+<span class="i1">Sought in these mountain solitudes a home.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;He founded here his Convent and his Rule<br /></span>
+<span class="i1">Of prayer and work, and counted work as prayer;<br /></span>
+<span class="i0">The pen became a clarion, and his school<br /></span>
+<span class="i1">Flamed like a beacon in the midnight air.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&ldquo;From the high window, I beheld the scene<br /></span>
+<span class="i1">On which Saint Benedict so oft had gazed,&mdash;<br /></span>
+<span class="i0">The mountains and the valley in the sheen<br /></span>
+<span class="i1">Of the bright sun,&mdash;and stood as one amazed.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">&ldquo;The conflict of the Present and the Past,<br /></span>
+<span class="i1">The ideal and the actual in our life,<br /></span>
+<span class="i0">As on a field of battle held me fast,<br /></span>
+<span class="i1">Where this world and the next world were at strife.&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></div></div>
+
+<p>The monastery of Monte Cassino entertains,
+as its guests, for dinner or for a night, all
+gentlemen who visit it; but there is an alms
+box on the ancient gate into which the guest
+is supposed to place whatever contribution he
+pleases for the poor of the place. The Italian
+government, in 1866, declared this monastery
+to be a &ldquo;Monumento <a name="tn276" id="tn276"></a><ins class="correction" title="original: 'Nazionali'">Nazionale</ins>,&rdquo; and it is now
+a famous ecclesiastical school with some two
+hundred students and a resplendent faculty of
+fifty learned monks under the direction of the
+Abbot. Some of the most celebrated prelates
+in Europe have been educated at Monte Cassino.</p>
+
+<p>Quite near Monte Cassino, as Longfellow
+depicts in his lines, is Monte Aquino, a picturesque
+hillside where the &ldquo;Doctor Angelicus,&rdquo;
+Thomas Aquinas, was born (in 1224), the
+son of Count Landulf, in the Castel Roccasecca.
+He was educated in the monastery, and
+one finds himself recalling here these lines of
+Thomas William Parsons, entitled &ldquo;Turning
+from Darwin to Thomas Aquinas:&rdquo;&mdash;</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;Unless in thought with thee I often live,<br /></span>
+<span class="i0">Angelic doctor! life seems poor to me.<br /></span>
+<span class="i0">What are these bounties, if they only be<br /></span>
+<span class="i0">Such boon as farmers to their servants give?<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span><br /></span>
+<span class="i0">That I am fed, and that mine oxen thrive,<br /></span>
+<span class="i0">That my lambs fatten, that mine hours are free&mdash;<br /></span>
+<span class="i0">These ask my nightly thanks on bended knee;<br /></span>
+<span class="i0">And I do thank Him who hath blest my hive,<br /></span>
+<span class="i0">And made content my herd, my flock, my bee.<br /></span>
+<span class="i0">But, Father! nobler things I ask from Thee.<br /></span>
+<span class="i0">Fishes have sunshine, worms have everything!<br /></span>
+<span class="i0">Are we but apes? Oh! give me, God, to know<br /></span>
+<span class="i0">I am death&rsquo;s master; not a scaffolding,<br /></span>
+<span class="i0">But a true temple where Christ&rsquo;s word could grow.&rdquo;<br /></span>
+</div></div>
+
+<p>It was at Aquinum, too, at the foot of Monte
+Aquino, Juvenal was born. Near the peaks of
+Monte Cassino and Monte Aquino is that of
+Monte Cairo, five thousand five hundred feet
+high, from whose summit one of the finest
+views of all southern Europe is attained. The
+Gulf of Gaeta, the valley of San Germano, the
+wild and romantic mountain region of the
+Abruzzi and a view, too, of the blue sea are in
+the panorama, bathed in the opalescent, gleaming
+lights that often invest the Italian landscape
+with jewelled splendor.</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;I ask myself, Is this a dream?<br /></span>
+<span class="i1">Will it all vanish into air?<br /></span>
+<span class="i0">Is there a land of such supreme<br /></span>
+<span class="i1">And perfect beauty, anywhere?&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></div></div>
+
+<p>It might have been in this pictured dream-region
+that Hercules came to rest.</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;When Heracles, the twelve great labors done,<br /></span>
+<span class="i1">To Calpe came, and there his journey stayed,<br /></span>
+<span class="i0">He raised two pillars toward the evening sun,<br /></span>
+<span class="i1">And carved them by a goddess&rsquo; subtle aid.<br /></span>
+<span class="i0">Upon their shafts were sacred legends traced,<br /></span>
+<span class="i1">And round the twain a serpent cincture placed:<br /></span>
+<span class="i0">&rsquo;T was at this bound the primal world stood still,<br /></span>
+<span class="i1">And of Atlantis dreamed, with baffled will.&rdquo;<br /></span>
+</div></div>
+
+<p>But still in unmeasured space, still beyond
+and afar and unattained, still lost in the unpenetrated
+realms of the poet&rsquo;s fancy,&mdash;</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Atlantis lies beyond the pillars yet!&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span></div></div>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 8em;"><div class="stanza">
+<span class="i0"><i>&ldquo;Here Ischia smiles</i><br /></span>
+<span class="i0"><i>O&rsquo;er liquid miles.&rdquo;</i><br /></span>
+</div></div>
+<hr />
+<div class="poem" style="width: 18em;">
+<div class="stanza">
+<span class="i0"><i>High o&rsquo;er the sea-surge and the sands,</i><br /></span>
+<span class="i1"><i>Like a great galleon wrecked and cast</i><br /></span>
+<span class="i0"><i>Ashore by storms, thy Castle stands</i><br /></span>
+<span class="i1"><i>A mouldering landmark of the Past.</i><br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Upon its terrace-walk, I see</i><br /></span>
+<span class="i1"><i>A phantom gliding to and fro;</i><br /></span>
+<span class="i0"><i>It is Colonna,&mdash;it is she</i><br /></span>
+<span class="i1"><i>Who lived and loved so long ago.</i><br /></span>
+</div>
+
+
+<p class="right"><span class="smcap">Longfellow.</span><br /></p></div>
+<p><span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span></p>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0"><i>We are the only two that, face to face,</i><br /></span>
+<span class="i0"><i>Do know each other, as God doth know us both.</i><br /></span>
+<span class="i0"><i>&mdash;O fearless friendship, that held nothing back!</i><br /></span>
+<span class="i0"><i>O absolute trust, that yielded every key,</i><br /></span>
+<span class="i0"><i>And flung each curtain up, and drew me on</i><br /></span>
+<span class="i0"><i>To enter the white temple of thy soul,</i><br /></span>
+<span class="i0"><i>So vast, so cold, so waste!&mdash;and give thee sense</i><br /></span>
+<span class="i0"><i>Of living warmth, of throbbing tenderness,</i><br /></span>
+<span class="i0"><i>Of soft dependencies! O faith that made</i><br /></span>
+<span class="i0"><i>Thee free to seek the spot where my dead hopes</i><br /></span>
+<span class="i0"><i>Have sepulture, and read above the crypt</i><br /></span>
+<span class="i0"><i>Deep graven, the tearful legend of my life!</i><br /></span>
+<span class="i0"><i>There, gloomed with the memorials of my past,</i><br /></span>
+<span class="i0"><i>Thou once for all didst learn what man accepts</i><br /></span>
+<span class="i0"><i>Lothly&mdash;(how should he else?)&mdash;that never woman,</i><br /></span>
+<span class="i0"><i>Fashioned a woman,&mdash;heart, brain, body, soul,&mdash;</i><br /></span>
+<span class="i0"><i>Ever twice loved.</i><br /></span>
+</div><div class="stanza">
+<span class="i2">&ldquo;<i>Vittoria Colonna to Michael Angelo.</i>&rdquo;<br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Margaret J. Preston.</span><br />
+<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span></p></div>
+
+
+
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+
+<span class="nob">A PAGE DE CONTI FROM ISCHIA</span></h2>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Unto my buried lord I give myself.&rdquo;<br /></span>
+</div></div>
+
+<hr />
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i8">Michael Angelo!<br /></span>
+<span class="i0">A man that all men honor, and the model<br /></span>
+<span class="i0">That all should follow; one who works and prays,<br /></span>
+<span class="i0">For work is prayer, and consecrates his life<br /></span>
+<span class="i0">To the sublime ideal of his art<br /></span>
+<span class="i0">Till art and life are one.<br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Longfellow</span>, from &ldquo;<i>Michael Angelo; A Fragment</i>.&rdquo;<br />
+</p></div>
+
+
+<p class="noi"><span class="smcap">In</span> that poetic sail along the Italian coast
+between Naples and Genoa the voyager feels
+that it is</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;On no earthly sea with transient roar&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">that his bark is floating; that</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;Unto no earthly airs he trims his sail,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">as he flits along this coast when violet waves
+dash against a brilliant background of sky.
+Ischia reveals herself through the blue, transparent<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
+air, gleaming with opalescent lights,
+quivering, fading and flaming again as the afterglow
+in the east rivals in its coloring the sunset
+splendors of the west. Is there in the air a
+faint, lingering echo of the <i>chant d&rsquo;amour</i> of
+sirens on the rocky shores? Is Parthenope still
+to be descried? Gazing upon Ischia there is
+a rush of romantic impressions as if one were
+transported into ideal regions of song, before
+this impression begins to resolve itself into definite
+remembrance of fact and incident. Surely
+some exquisite associations in the past had enchanted
+this island in memory and invested it
+with the magic light that never was on sea or
+land. Traditions of beauty; of the lives of
+scholar and savant and princes of the church;
+of a court of nobility enriched and adorned by
+prelate and by poet; traditions, too, of a woman&rsquo;s
+consecration to an immortal love and the solace
+of grief by poetic genius and exalted friendships,&mdash;all
+these seem to cling about Ischia in a
+vague, atmospheric way till memory, still groping
+backward in the twilight of the richly historic
+past, suddenly crystallized into recognition
+that it was Ischia which was the home of Vittoria
+Colonna, the greatest woman poet of the Italian<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span>
+Renaissance. Lines, long since read, arose like
+an incantation; and like bars of music, each
+note of which vibrated in the air, came this
+fragment of one of her songs:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;If in these rude and artless songs of mine<br /></span>
+<span class="i0">I never take the file in hand, nor try<br /></span>
+<span class="i0">With curious care and nice, fastidious eye<br /></span>
+<span class="i0">To deck and polish each uncultured line,<br /></span>
+<span class="i0">&rsquo;T is that it makes small merit of my name<br /></span>
+<span class="i0">To merit praise.&nbsp;.&nbsp;.&nbsp;.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i0">But it must be that heaven&rsquo;s own gracious gift<br /></span>
+<span class="i0">Which, with its breath, divine, inspires my soul,<br /></span>
+<span class="i0">Strikes forth these sparks unbidden by my will.&rdquo;<br /></span>
+</div></div>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/ischiab.jpg"><img src="images/ischia.jpg" width="400" height="239" alt="ISCHIA, FROM THE SEA" title="ISCHIA, FROM THE SEA" /></a>
+<p class="caption noi"><small>ISCHIA, FROM THE SEA</small></p>
+</div>
+
+<p>Vittoria Colonna was called the most beautiful
+and gifted woman of her time in all Italy. Her
+life of nearly sixty years (1490-1547) lay entirely
+in that period when the apathy of ten centuries
+was broken, when the darkness fled before
+the dawning of a glorious day. New methods
+of thought, revised taste in poetry, new discoveries
+of science, a nobler progress in criticism,
+great discoveries, and a lofty and unprecedented
+freedom of conviction marked the century
+between 1450 and 1550, stamping it as the<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
+marvellous time which we know as the Renaissance,
+&ldquo;that solemn fifteenth century which
+can hardly be studied too much, not merely for
+its positive results in the things of the intellect
+and the imagination, its concrete works of art,
+its special and prominent personalities, with their
+profound æsthetic charm, but for its general
+spirit and character, for the ethical qualities of
+which it is a consummate type.&rdquo;</p>
+
+<p>It was peculiarly fitting that Italy should take
+the initiative in inaugurating this <i>vita nuova</i>.
+Italy had a language and literature and art.
+Dante had delivered his solemn message and
+Petrarca his impassioned song. Boccaccio had
+taught the gospel of gladness. Who shall
+analyze the secret springs of their inspiration
+and reveal to what degree Ovid and Horace and
+Virgil influenced the later literature? A new
+solar system was established by Copernicus.
+America was discovered. Science entered on
+her definite and ceaseless progress, and religion
+and art became significant forces in human life.
+Printing had been invented and the compass
+discovered.</p>
+
+<p>Into this time of new forces, when everything
+was throbbing and pulsating with life, was<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>
+Vittoria Colonna born into social prestige and
+splendor. Her father, Fabrizio Colonna, and
+her mother, Agnesina di Montefeltro, a daughter
+of the Duke of Urbino, were then domiciled in
+the castle of Marino, on the Lago d&rsquo;Albano,
+a magnificent palace some twelve miles from
+Rome, in which the Duke d&rsquo;Amalfi (the father
+of Fabrizio Colonna) lived, and which is still
+standing, filled with memorials and relics of
+historic interest. Urbino, the seat of the Montefeltro,
+is renowned as having been the birthplace
+of Raphael, who</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;Only drank the precious wine of youth,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">but who</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;.&nbsp;.&nbsp;. lives immortal in the hearts of men,<br /></span>
+<span class="i0">.&nbsp;.&nbsp;. and the world is fairer<br /></span>
+<span class="i0">That he lived in it.&rdquo;<br /></span>
+</div></div>
+
+<p>The Colonna date back to the eleventh
+century, and they gave many princes and cardinals
+to the country. At the close of the thirteenth
+century they were arrayed against Boniface
+VIII, the Pope, who accused them of crime,
+while they disputed the validity of his election
+to the holy office. In retaliation, the Pope<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
+excommunicated the entire family, anathematized
+them as heretics and declared their estates
+forfeited to the church. The Colonna, far
+from being intimidated, commanded three hundred
+armed horsemen, attacked the papal
+palace, which they plundered, and made him a
+prisoner,&mdash;an incident referred to by Dante
+in the &ldquo;Inferno.&rdquo; The Colonna and the <a name="tn286a" id="tn286a"></a><ins class="correction" title="original: 'Orsino'">Orsini</ins>
+were also at warfare, and when a member of
+the former family was elevated to the papacy
+under the name of Martin V, they despoiled
+property of the Orsini.</p>
+
+<p>Gay excursionists to-day, who fly over the
+Campagna in their twentieth-century touring
+cars to the lovely towns of the Alban hills, may
+look down from Castel <a name="tn286b" id="tn286b"></a><ins class="correction" title="original: 'Gondolfo'">Gandolfo</ins> on the gloomy,
+mediæval little town of Marino, part way up
+a steep hillside, whose summit is crowned by
+the castle once belonging to the Colonna and
+in which Vittoria passed her early childhood.
+&ldquo;Nothing,&rdquo; in his &ldquo;Roba di Roma,&rdquo; says Story,
+&ldquo;can be more rich and varied than this magnificent
+amphitheatre of the Campagna of Rome,
+.&nbsp;.&nbsp;. sometimes drear, mysterious, and melancholy
+in desolate stretches; sometimes rolling
+like an inland sea whose waves have suddenly<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span>
+become green with grass, golden with grain, and
+gracious with myriads of wild flowers, where
+scarlet poppies blaze and pink daisies cover
+vast meadows and vines shroud the picturesque
+ruins of antique villas, aqueducts, and tombs,
+or drop from mediæval towers and fortresses.&rdquo;</p>
+
+<p>Flying in the swift motor-car of the time
+toward the Alban hills, Marino may be easily
+reached in less than an hour from the Porta
+San Giovanni, and in the near distance Monte
+Albani, rising into the cone of Monte Cavi,
+is a picture before the eye, while on the lower
+slopes gleam the white villages of Albani,
+Marino, Castel <a name="tn287" id="tn287"></a><ins class="correction" title="original: 'Gondolfo'">Gandolfo</ins>, and Frascati, with
+the campanile of a cathedral, a fortress-like
+ruin, or gardens and olive orchards clambering
+up the heights. The Papal town of Rocca di
+Papa crowns one summit where once Tarquin&rsquo;s
+temple to Jupiter stood and on whose ruins
+now gleam afar in the Italian sunshine the
+white walls of the Passionist convent of Monte
+Cavi, built by Cardinal York. From this height
+Juno gazed upon the great conflict of contending
+armies, if Virgil&rsquo;s topography be entitled
+to authority. And here, through a defile in
+the hills, one may look toward Naples, &ldquo;and<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span>
+then rising abruptly with sheer limestone cliffs
+and crevasses, where transparent purple shadows
+sleep all day long, towers the grand range of the
+Sabine mountains, whose lofty peaks surround
+the Campagna to the east and north like a
+curved amphitheatre.&nbsp;.&nbsp;.&nbsp;. Again, skirting the
+Pontine Marshes on the east, are the Volscian
+mountains, closing up the Campagna at Terracina,
+where they overhang the road and
+affront the sea with their great barrier. Following
+along the Sabine hills, you will see at
+intervals the towns of Palestrina and Tivoli,
+where the Anio tumbles in foam, and other little
+mountain towns nestled here and there among
+the soft airy hollows, or perched on the cliffs.&rdquo;</p>
+
+<p>In this landscape there are three ruined
+villages&mdash;Colonna, Gallicano, and Zagarda&mdash;perched
+on their respective hills. The castle
+of the Colonna family is now restored and
+modernized to a degree that leaves little trace
+of that former stately grandeur which is transmuted
+into modern convenience and comfort.</p>
+
+<p>In this scene of romantic beauty, with the
+vista of beauty almost incomparable in any
+inland view in Italy, Vittoria passed her infancy,
+until, at the age of four, her childhood was<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
+transplanted to fairy Ischia. In all this chain
+of Alban towns, including Marino, Viterbo, Ariccia,
+and Rocca di Papa, the great family of the
+Colonna owned extensive estates, each crowning
+some height, while the defiles between were
+filled, then as now, with the foam and blossom
+of riotous greenery. Then, as now, across the
+mystic Campagna, the dome of St. Peter&rsquo;s silhouetted
+itself against a golden background of
+western sky.</p>
+
+<p>One needs not to have had privileged access
+to the sibylline leaves of the Cumæan soothsayer
+to recognize that Vittoria Colonna was
+born under the star of destiny. Her horoscope
+seemed to be inextricably entwined with that of
+Italy; and the events which created and determined
+the conditions of her life and its panoramic
+series of circumstances were the events
+of Italy and of Europe as well&mdash;in political
+aspects and in the influence on general progress,
+brought to bear by strong and prominent individualities
+whose gifts, genius, or force dominated
+the movements of the day.</p>
+
+<p>To her father&rsquo;s change of political allegiance,
+from the French to the Spanish side, in the
+war raging between those countries in 1494,<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
+Vittoria owed all her life in Ischia; and her
+marriage, and all that resulted from her becoming
+a member of the d&rsquo;Avalos family, was due
+to this espousal of a new political faith on the
+part of Fabrizio Colonna. To the fact that in
+1425 the war with France again broke out was
+due the loss of her husband and the conditions
+that consecrated her life to poetry, to learning,
+and that made possible the beautiful and sympathetic
+friendship between herself and Michael
+Angelo. Her life presents the most forcible
+illustration of the overruling power on human
+life and destiny.</p>
+
+<p>It was the political change of faith on the
+part of Fabrizio Colonna that initiated an unforeseen
+and undreamed-of drama of life for his
+infant daughter, the first act of which included
+the command of the King of Naples that the
+little Vittoria should be betrothed to Francesco
+d&rsquo;Avalos, the son of Alphonso, Marchese di
+Pescara, of Ischia, one of the nobles who stood
+nearest to the king in those troubled days.
+Francesco was born in the castle on Ischia in
+1489, and was one year older than Vittoria.
+Fabrizio exchanged his castle at Marino for
+one in Naples, which city made him the Grand<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
+Constable. The d&rsquo;Avalos castle in Ischia had
+at this time for its chatelaine the Duchessa di
+Francavilla, who is said by some authorities
+to have been the elder sister and by others to
+have been the aunt of Francesco. Donna Constanza
+d&rsquo;Avalos, later the Duchessa di Francavilla,
+had been made the Castellana of the
+island for her courage in refusing to capitulate
+to the French troops when, after the death of
+her father, she was left in sole charge of the
+d&rsquo;Avalos estates, and Emperor Charles V elevated
+her rank to that of Principessa. The
+Duchessa was one of the most remarkable
+women of the day. She was a classical scholar,
+and herself a writer, the author of a book entitled
+&ldquo;<i>Degli Infortuni e Travagli del Mondo</i>.&rdquo;
+To the care of this learned and brilliant woman,
+a great lady in the social life of the time, the
+care of the little Vittoria was committed, and
+she studied and played and grew up with
+Francesco, her future husband. The d&rsquo;Avalos
+family ranked among the highest nobility of
+the Court of Naples, and the Principessa reigned
+as a queen of letters and society in her island
+kingdom. It was under her care that the two
+children, Francesco and Vittoria, pursued their<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>
+studies together and acquired every grace of
+scholarship and accomplishment of society. The
+circles which the Duchessa drew around her
+included many gentlewomen from Sicily and
+from Naples; and &ldquo;the life at Castel d&rsquo;Ischia
+was synonymous with everything glorious and
+elegant,&rdquo; recorded Visconti, &ldquo;and its fame has
+been immortalized.&rdquo; Although Francesco (the
+future Marchese di Pescara) was born in Italian
+dominions, yet the d&rsquo;Avalos family were of
+Spanish ancestry and traditions. The musical
+Castilian was the language of the household.
+The race ideals of Spain&mdash;the poetic, the impassioned,
+the joy in color and movement&mdash;pervaded
+the very atmosphere of Castel d&rsquo;Ischia.
+Vittoria&rsquo;s earliest girlhood revealed her exceptional
+beauty and charm, and gave evidence
+that the gods loved her and had dowered her
+with their immortal gifts and genius, which
+flowered, under the sympathetic guidance and
+stimulus of such a woman as the Principessa
+(the Duchessa di Francavilla) and the society
+she drew around her, as the orange and the
+myrtle flower under the southern sunshine.</p>
+
+<p>The literature of biography presents no chapter
+that can rival this in the idyllic beauty of<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
+the lives of those two children on the lovely
+island in the violet sea. The perpetual conflicts
+that were waged in both Rome and Naples
+awakened no echoes in this romantic and
+isolated spot, whose atmosphere was that of
+the peace of scholarly pursuits and lofty thought
+that is found where the arts and the muses
+hold their sway.</p>
+
+<p>But in 1496 came the tragedy of the death
+of the young king and queen of Naples; four
+years later Rome celebrated a jubilee in which
+Naples took part, sending a splendid procession
+as escort to the famous Madonna that was
+carried from Naples to Rome and back, working
+miracles, it is said, on both journeys, as a
+Madonna should. A year later Frederick of
+Naples and the queen, and two of the king&rsquo;s
+sisters,&mdash;ladies of high nobility,&mdash;came as
+guests to the castle in Ischia,&mdash;royal exiles
+seeking shelter. Five years later the new king
+and queen were welcomed with gorgeous parade
+and acclamation. A pier was thrown out over
+one hundred feet into the sea; on this a tent of
+gold was erected, and all the nobility of Naples,
+in the richest costumes of velvet and jewels,
+thronged to meet the royal guests. Over the<span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span>
+sunlit Bay of Naples resounded the thunder of
+the guns in military salute and the cheers of
+the people. Among the distinguished nobility
+present, Costanza, Duchessa and Principessa
+di Francavilla, was a marked figure with her
+young charge, Vittoria Colonna, at her side.
+She made a deep reverence and kissed the hand
+of the king as he passed, as did many of the
+ladies of highest rank, and at the fête of that
+evening Vittoria&rsquo;s beauty charmed all eyes.
+Although it was well understood that she had
+been betrothed since childhood to Francesco
+d&rsquo;Avalos, yet many princes and nobles sued
+for her hand and were refused by her father,
+who was at this time established magnificently
+in Naples. Pope Julius II refused the pleadings
+of two dukes, both of whom wished to seek
+Vittoria in marriage, as he considered the love
+of the young girl for her betrothed a matter to
+be held sacred. Three years later, when Vittoria
+was nineteen and Francesco twenty, their
+marriage was celebrated in Castel d&rsquo;Ischia with
+the richest state and beauty of ceremonial
+observance. A few months previous to this
+time she had returned to her father&rsquo;s country
+home in the family castle at Marino, whither<span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span>
+both Fabrizio and Agnese Colonna accompanied
+their daughter. When the time appointed for
+her bridal came, Vittoria was escorted to Ischia
+by princes, and dukes, and ladies of honor, and
+the marriage gifts to the bride included a chain
+of rubies, diamonds, and emeralds, linked with
+gold; a writing desk of solid gold; wonderful
+bracelets; costumes of velvets, and brocades and
+rich embroideries, and a portion of fourteen
+thousand ducats.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/roccab.jpg"><img src="images/rocca.jpg" width="400" height="262" alt="LA ROCCA, ISCHIA" title="LA ROCCA, ISCHIA" /></a>
+<p class="caption noi"><small>LA ROCCA, ISCHIA</small></p>
+</div>
+
+<p>&ldquo;The noted pair had not their equals in Italy
+at this time,&rdquo; writes a contemporary historian.
+&ldquo;Their life in Naples was all magnificence and
+festivity, and when they desired to exchange it
+for the country they left Naples for <a name="tn295a" id="tn295a"></a><ins class="correction" title="original: 'Pietzalba'">Pietralba</ins>
+on Monte Emo, where they assembled pleasant
+parties of ladies and gentlemen. Much time
+was passed in their beloved Ischia, where the
+Duchessa, as Castellana, was obliged to receive
+much company. And here were found the
+flower of chivalry and the men most noted in
+letters.&nbsp;.&nbsp;.&nbsp;. They listened to the poets Sanazzaro,
+il Rota, and Bernardo Tasso; or they
+heard the admirable discourses on letters of
+Musefico, il <a name="tn295b" id="tn295b"></a><ins class="correction" title="original: 'Givoio, and il Minturo'">Giovio, and il Minturno</ins>. It was an
+agreeable school for the youthful minds of Vittoria<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span>
+and Pescara. Thus passed in great happiness
+the first three years of their married life.&rdquo;</p>
+
+<p>It is not strange that to the young Marchesa
+di Pescara, Ischia had become an enchanted
+island. The scene of her happy childhood, of
+her studies, of her first efforts in lyric art, of
+her stately and resplendent bridal; the home,
+too, of her early married life,&mdash;it is little
+wonder that in after years she translated into
+song its scenic loveliness and the thoughts and
+visions it had inspired.</p>
+
+<p>Again, the ever-recurring war came on, and
+in the spring of 1512 the King of Naples conferred
+the doubtful privilege on the Marchesa
+di Pescara of serving as the royal representative.
+It is said that Vittoria personally superintended
+her young husband&rsquo;s outfit,&mdash;in horses, attendants,
+armor, and other details belonging to
+a gentleman of rank. Her father and her uncle,
+Prospero Colonna, were also among the military
+who led Italian troops. In the terrible battle
+of Ravenna (which was fought on the Easter
+Sunday, April 11, of 1512), Pescara was wounded,
+taken prisoner, and carried to the fortress of
+Porta Gobbia. A messenger was sent to Ischia,
+where Vittoria lived between her books and the<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span>
+orange groves; and the twentieth-century cynic
+of 1907 will smile at the form in which she
+expressed her sorrow,&mdash;that of a poem of
+some forty stanzas, which began:&mdash;</p>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i0">&ldquo;<i>Eccelso Mio Signor! Questa ti scrivo</i><br /></span>
+<span class="i0"><i>Per te narrar <a name="tn297a" id="tn297a"></a><ins class="correction" title="original: 'tre'">tra</ins> quante dubbie voglie,</i><br /></span>
+<span class="i0"><i>Fra quanti aspri martir, <a name="tn297b" id="tn297b"></a><ins class="correction" title="original: 'degliosa'">dogliosa</ins> io vivo!</i>&rdquo;<br /></span>
+</div></div>
+
+<p>A translation of this lyric epistle, made in
+prose, gives it more fully as follows:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Eccelso Mio Signor: I write this to thee to
+tell thee amid what bitter anxieties I live.&nbsp;.&nbsp;.&nbsp;.
+I believed that so many prayers and tears, and
+love without measure, would not have been
+displeasing to God.&nbsp;.&nbsp;.&nbsp;. Thy great valor has
+shone as in a Hector or an Achilles.&rdquo;</p></div>
+
+<p>In this letter Vittoria tells him that when
+the messenger reached her, she was lying on
+a point of the island (&ldquo;<i>I</i>, in the <i>body</i>, my <i>mind</i>
+always with <i>thee</i>,&rdquo; she says), and that the whole
+atmosphere had been to her that day &ldquo;like a
+cavern of black fog,&rdquo; and that &ldquo;the marine
+gods seemed to say to Ischia, &lsquo;To-day, Vittoria,
+thou shalt hear of disgrace from the confines:<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span>
+thou now in health and honor, thou shalt be
+turned to grief; but thy father and husband are
+saved, though taken prisoners.&rsquo;&rdquo;</p>
+
+<p>This presentiment she related to her husband&rsquo;s
+aunt, the Duchessa Francavilla, the
+Castellana of Ischia, who begged her not to
+think of it and said, &ldquo;It would be strange for
+such a force to be conquered.&rdquo;</p>
+
+<p>Just after this conversation between the
+youthful Marchesa and the Duchessa, the
+messenger arrived. The psychic science of
+to-day would see in this occurrence a striking
+instance of telepathy. In her poetic epistle
+to her husband, Vittoria also says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;A wife ought to follow her husband at home
+and abroad; if he suffers trouble, she suffers;
+if he is happy, she is; if he dies, she dies. What
+happens to one happens to both; equals in
+life, they are equals in death. His fate is her
+fate.&rdquo;</p></div>
+
+<p>These letters&mdash;in keeping with the times&mdash;were,
+on both sides, expressed in literary rather
+than in personal form. Pescara, from his captivity,
+wrote to her a &ldquo;Dialogue on Love,&rdquo;<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>&mdash;a
+manuscript for which Visconti notes that he
+has searched in vain.</p>
+
+<p>The Marchesa di Pescara went from Ischia
+to Naples, after learning of the misfortunes
+that had overtaken her husband, in order that
+she might be able constantly to receive direct
+communication regarding his fate. A few
+months later the Marchese returned, making
+the day &ldquo;brilliant with joy&rdquo; to Vittoria, but after
+a year of happiness he was again called to service,
+and the Marchesa returned to her beloved
+Ischia. She gave herself to the study of the
+ancient classics; she wrote poems, and &ldquo;considered
+no time of value but so spent,&rdquo; says
+Rota. The age was one of a general revival
+of learning. Royalty, the Pope, the princes
+and nobility were all giving themselves with
+ardor to this higher culture. Under Dante the
+Italian language assumed new perfection. This
+period was to Vittoria one of intense stimulus,
+and it must have had a formative influence on
+her gifts and her mental power. Having no
+children, she adopted a young cousin of her
+husband, the Marchese del Vasto, to educate
+and to be the heir of their estates. In 1515,
+Pescara again returned and the entire island<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
+of Ischia was &ldquo;aflame with bonfires, and the
+borders of the beautiful shore bright and warm
+with lights,&rdquo; in honor of the event. Of this
+event, Vittoria wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;.&nbsp;.&nbsp;. My beloved returns to us .&nbsp;.&nbsp;. his
+countenance radiant with piety to God, with
+deeds born of inward faith.&rdquo;</p></div>
+
+<p>At a magnificent wedding festival in the
+d&rsquo;Avalos family about this time, it is recorded
+that the Marchesa di Pescara &ldquo;wore a robe of
+brocaded crimson velvet, with large branches of
+beaten gold wrought on it, with a headdress of
+wrought gold and a girdle of beaten gold around
+her waist.&rdquo;</p>
+
+<p>When the coronation of Charles V was to be
+celebrated at Aix-la-Chapelle the Marchese di
+Pescara was appointed ambassador to represent
+the House of Aragon on this brilliant occasion,
+when the new emperor was to be invested with
+the crown and the sceptre of Charlemagne.
+Charles had decided to journey by sea and to
+visit Henry VIII on the way, an arrangement
+of which Cardinal Wolsey was aware, although
+he had kept Henry in ignorance of it, according<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span>
+to those curious mental processes of his mind
+where his young monarch was concerned.
+Shakespeare, in the play of &ldquo;King Henry VIII,&rdquo;
+describes the meeting of the two kings, which
+occurred at Canterbury, &ldquo;at a grand jubilee in
+honor of the shrine of Thomas à Becket.&rdquo;
+One historian thus describes this scene:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The two handsome young sovereigns rode
+into Canterbury under the same canopy, the
+great Cardinal riding directly in front of them,
+and on the right and left were the proud nobles
+of Spain and England, among whom was Pescara.
+The kings alighted from their horses at
+the west door of the cathedral and together
+paid their devotions before that rich shrine
+blazing with jewels. They humbly knelt on
+the steps worn by the knees of tens of thousands
+of pilgrims.&rdquo;</p></div>
+
+<p>On the return to Naples of the Marchese di
+Pescara he told the story of his regal journey
+to an assemblage of nobles in the Church of
+Santa Maria di Monte Oliveto, and he then
+joined the Marchesa in Rome, where she had
+gone to visit her family and to pay her devotions<span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span>
+to Leo X, who had just created Pompeo
+Colonna a cardinal.</p>
+
+<p>Pope Leo aspired to draw around him a
+court distinguished for its culture and brilliancy
+in both art and literature. In this court
+the Marchesa di Pescara shone resplendent.
+&ldquo;She was at the height of her beauty, and her
+charms were sung by the poets of the day,&rdquo;
+says a contemporary.</p>
+
+<p>A year later Leo X died, succeeded by Adrian
+(who had been tutor to Charles V), to the
+intense and bitter disappointment of Cardinal
+Wolsey, who had made the widest&mdash;and wiliest&mdash;efforts
+to gratify his own ambition of reigning
+in the Papal chair. Again the war between
+France and Italy, that which seemed to be a
+perpetually smouldering feud, and the Marchese
+di Pescara, again summoned to battle,
+was wounded at Pavia. For some time he lay
+between life and death at Milan, and a messenger
+was sent to beg Vittoria to come to him.
+She set out on this journey, leaving Naples in
+great haste; but on reaching Viterbo another
+messenger met her with the tidings of the death
+of the Marchese, which had occurred on Nov. 25,
+1525. Overcome with grief, Vittoria was carried<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span>
+back to Rome and for the solace of entire
+seclusion she sought the cloistered silence of
+the convent of San Silvestre, which lay at the
+foot of the Monte Cavallo in Rome, almost
+adjoining the gardens of the Colonna palace.
+To the Marchese di Pescara, who had the military
+rank of general, was given a funeral of great
+pomp and splendor in Milan, and his body was
+brought to the famous Naples church of Santa
+Domenica Maggiore, where it was entombed
+with the princes and nobles of his house.</p>
+
+<p>Before the death of the Marchese there had
+been a political plot to join the Papal, Venetian,
+and Milanese forces and rescue Italy from the
+Emperor&rsquo;s rule, and the Pope himself had sent
+a messenger to Pescara asking him to unite
+with the league. The Marchese, Spanish by
+ancestry and by sympathies, used this knowledge
+to frustrate the Italian designs and to
+warn Spain. The Italian historians have execrated
+him for this act, which they regard as
+that of a traitor. Vittoria, however, did not
+take this view apparently, as in a letter to her
+husband she wrote:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span></p><div class="blockquot"><p>&ldquo;Titles and kingdoms do not add to true
+honor.&nbsp;.&nbsp;.&nbsp;. I do not desire to be the wife of
+a king, but I glory in being the wife of that
+great general who shows his bravery in war
+and, still more, by magnanimity in peace, surpasses
+the greatest kings.&rdquo;</p></div>
+
+<p>The inducement of the throne of Naples had
+been held out to Marchese di Pescara. He
+evidently regarded this in the nature of a dishonorable
+bribe, and it is this view which the
+Marchesa plainly shared.</p>
+
+<p>After his death her first impulse was to take
+the vows of a cloistered nun. The Pope himself
+intervened to dissuade her, and she consented
+to enter, only temporarily, the convent
+of San Silvestre on the Monte Cavallo.</p>
+
+<p>In the will of the Marchese di Pescara there
+was a clause directing that anything in his
+estate unlawfully acquired should be restored
+to the owner; and under this, Vittoria gave back
+to the monastery of Monte Cassino the Monte
+San <a name="tn304" id="tn304"></a><ins class="correction" title="original: 'Mano'">Magno</ins> that had formerly been its property.</p>
+
+<p>From the cloistered shades of the convent
+Vittoria removed to the family castle of the
+Colonna at Marino, where, on the shore of this
+beautiful lake (which was the scenery of Virgil&rsquo;s<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span>
+Æneid), she passed some months, engaged
+in writing sonnets. Of one of these a translation
+runs in part:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I write solely to assuage my inward grief,
+which destroys in my heart the light of this
+world&rsquo;s sun; and not to add light to <i>mio <a name="tn305" id="tn305"></a><ins class="correction" title="original: 'vel solo'">bel
+sole</ins></i>, to his glorified spirit. It is fit that other
+tongues should preserve his great name from
+oblivion.&rdquo;</p></div>
+
+<p>In another, perhaps her most perfect sonnet,
+she beseeches the winds to convey to her beloved
+the message she sends:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;<i>Ch&rsquo;io di lui sempre pensi; o pianga, o parli</i>,&rdquo;&mdash;That
+I always think of him, or weep for him,
+or speak of him.</p></div>
+
+<p>Again, a year later, Vittoria returned to
+lovely Ischia, which, as one writer has described,
+&ldquo;rises out of the blue billows of the Mediterranean
+like giant towers. The immense blocks
+of stone are heaped one upon another, in such
+a supernatural manner as to give a coloring to
+the legend, that beneath them, in those vast<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span>
+volcanic caverns, dwells the giant Tifeo.&rdquo; The
+castle where the Duchessa Francavilla and the
+Marchesa Pescara lived is built on a towering
+mass of rock joined to the island by a causeway.
+The castle includes the palace, a church,
+and other buildings for the family and their
+guests and dependants.</p>
+
+<p>For some three years the Marchesa did not
+again leave Ischia. In the mean time volumes
+of her poems were published. She received the
+acclamation of all the writers of her time. The
+crown of immortelles, often laid but on a tomb,
+was continually pressed upon her brow. She
+was the most famous woman of her time. Her
+beauty, her genius, her noble majesty of character
+impressed the contemporary world. Her
+days were filled with correspondence with the
+most distinguished men of the day. Ariosto,
+Castiglione, Ludovico Dolce, Cardinal Bembo,
+Cardinal Contarini, and Paolo Giovio were
+among her nearer circle of friends.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/alfonsob.jpg"><img src="images/alfonso.jpg" width="400" height="267" alt="CASTELLO DI ALFONSO, ISCHIA" title="CASTELLO DI ALFONSO, ISCHIA" /></a>
+<p class="caption noi"><small>CASTELLO DI ALFONSO, ISCHIA</small></p>
+</div>
+
+<p>Stormy times fell upon Italy, in all of which
+the Colonna family bore prominent part, and
+all of which affected the life of Vittoria Colonna
+in many ways. Her biography, if written with
+fulness and accuracy, would be largely a history<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span>
+of the Italy of that time, for her life seemed
+always inseparably united with great events.</p>
+
+<p>In the year 1530 (Clement VII being the
+Pope) a full Papal pardon had been extended
+to all the Colonna, and their castles and estates
+had also been restored to them. For years past
+Rome had been in a state of conflict. Benvenuto
+Cellini, who had watched the terrible
+scenes from Castel San Angelo where he was
+immured, has described the terrors. The Eternal
+City, whose population under Leo X had
+been 90,000, was now&mdash;in 1530&mdash;reduced to
+half that number. Palaces and temples had
+been the scenes of riot and destruction, yet to
+this very lawlessness of the time the Roman
+galleries of the present owe their ancient statues,
+which were uncovered by these assaults. The
+Coliseum was left in the ruined state in which
+it is now seen, and by the sale of the stones
+taken from it the Palazzo Barberini was
+erected.</p>
+
+<p>Vittoria, coming again to Rome and revisiting
+its classic greatness, exclaimed that happy
+were they who lived in times so full of grandeur;
+to which the poet Molza gallantly replied that
+they were less happy, as they had not known<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span>
+her! Everywhere was she received with the
+highest honors. She made a tour, visiting
+Bagni di Lucca, Bologna, and Ferrara, where
+she was the guest of the Duca and Duchessa
+Ercole in the ducal palace. The Duchessa was
+the Princesse Renée, the daughter of Louis XII
+of France, and an ardent friend of Calvin, who
+visited her in Ferrara. It was to this visit that
+Longfellow refers in his poem entitled &ldquo;Michael
+Angelo,&rdquo; when he pictures Vittoria as sitting
+for her portrait to the artist and conversing with
+her friend Giulia, the Duchess of Trajetto,
+Michael Angelo begs them to resume the conversation
+interrupted by his entrance, and
+Vittoria says:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;Well, first, then, of Duke Ercole, a man<br /></span>
+<span class="i0">Cold in his manners, and reserved and silent,<br /></span>
+<span class="i0">And yet magnificent in all his ways.&rdquo;<br /></span>
+</div></div>
+
+<p>To which the Duchessa replies:&mdash;</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;How could the daughter of a king of France<br /></span>
+<span class="i0">Wed such a duke?&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO.<br /></p>
+</div><div class="stanza">
+<span class="i8">&ldquo;The men that women marry,<br /></span>
+<span class="i0">And why they marry them, will always be<br /></span>
+<span class="i0">A marvel and a mystery to the world.<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span>&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;And then the Duchess,&mdash;how shall I describe her,<br /></span>
+<span class="i0">Or tell the merits of that happy nature<br /></span>
+<span class="i0">Which pleases most when least it thinks of pleasing?<br /></span>
+<span class="i0">Not beautiful, perhaps, in form and feature,<br /></span>
+<span class="i0">Yet with an inward beauty, that shines through<br /></span>
+<span class="i0">Each look and attitude and word and gesture;<br /></span>
+<span class="i0">A kindly grace of manner and behavior,<br /></span>
+<span class="i0">A something in her presence and her ways<br /></span>
+<span class="i0">That makes her beautiful beyond the reach<br /></span>
+<span class="i0">Of mere external beauty; and in heart<br /></span>
+<span class="i0">So noble and devoted to the truth,<br /></span>
+<span class="i0">And so in sympathy with all who strive<br /></span>
+<span class="i0">After the higher life.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">JULIA.<br /></p>
+</div><div class="stanza">
+<span class="i10">&ldquo;She draws me to her<br /></span>
+<span class="i0">As much as her Duke Ercole repels me.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;Then the devout and honorable women<br /></span>
+<span class="i0">That grace her court, and make it good to be there;<br /></span>
+<span class="i0">Francesca Bucyronia, the true-hearted,<br /></span>
+<span class="i0">Lavinia della Rovere and the Orsini,<br /></span>
+<span class="i0">The Magdalena and the Cherubina,<br /></span>
+<span class="i0">And Anne de Parthenai, who sings so sweetly;<br /></span>
+<span class="i0">All lovely women, full of noble thoughts<br /></span>
+<span class="i0">And aspirations after noble things.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i10">With these ladies<br /></span>
+<span class="i0">Was a young girl, Olympia Morata,<br /></span>
+<span class="i0">Daughter of Fulvio, the learned scholar,<br /></span>
+<span class="i0">Famous in all the universities:<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span><br /></span>
+<span class="i0">A marvellous child, who at the spinning-wheel,<br /></span>
+<span class="i0">And in the daily round of household cares,<br /></span>
+<span class="i0">Hath learned both Greek and Latin; and is now<br /></span>
+<span class="i0">A favorite of the Duchess and companion<br /></span>
+<span class="i0">Of Princess Anne. This beautiful young Sappho<br /></span>
+<span class="i0">Sometimes recited to us Grecian odes<br /></span>
+<span class="i0">That she had written, with a voice whose sadness<br /></span>
+<span class="i0">Thrilled and o&rsquo;ermastered me, and made me look<br /></span>
+<span class="i0">Into the future time, and ask myself<br /></span>
+<span class="i0">What destiny will be hers.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">JULIA.<br /></p>
+</div><div class="stanza">
+<span class="i12">&ldquo;And what poets<br /></span>
+<span class="i0">Were there to sing you madrigals, and praise<br /></span>
+<span class="i0">Olympia&rsquo;s eyes?&rdquo; .&nbsp;.&nbsp;.<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;None; for great Ariosto is no more.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<p class="char">JULIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;He spake of you.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i6">&ldquo;And of yourself, no less,<br /></span>
+<span class="i0">And of our master, Michael Angelo.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;Of me?&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i4">&ldquo;Have you forgotten that he calls you<br /></span>
+<span class="i0">Michael, less man than angel, and divine?<br /></span>
+<span class="i0">You are ungrateful.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO.<br /></p>
+</div><div class="stanza">
+<span class="i9">&ldquo;A mere play on words.<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>&rdquo;<br /></span>
+</div></div>
+
+<p>The Duca and Duchessa of Ferrara invited
+the most distinguished persons in Venice and
+Bologna and Lombardy to meet their honored
+guest. Bishop Ghiberto of Verona besought
+her to visit that city. Vittoria accepted and
+was for some time the Bishop&rsquo;s guest in his
+palace, and she took great interest in the historic
+city. With the Bishop she visited the ancient
+Duomo, which in 1160 had been restored by Pope
+Urban II, and reconsecrated. It was a strong
+desire of the Marchesa at this time to make a
+pilgrimage to Jerusalem; but the journey was
+then so perilous and so long&mdash;none too easy,
+indeed, at the present time&mdash;that she was dissuaded
+from the attempt.</p>
+
+<p>Verona, to do her honor, had a medal struck
+bearing her portrait. The group of great artists&mdash;Titian,
+Tintoretto, and Giorgione in Venice;
+Fra Angelico, Bartolommeo, and others of that
+day&mdash;were creating their wonderful works which
+Vittoria must have seen and enjoyed during
+this tour. Raphael, whose death had occurred
+in 1520, Vittoria had, doubtless, known; but
+whether it was she who was the original of the
+Muse in his great picture of &ldquo;Parnassus,&rdquo; as
+is alleged, is not fully established.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/parnassusb.jpg"><img src="images/parnassus.jpg" width="400" height="307" alt="DETAIL FROM &ldquo;PARNASSUS,&rdquo; RAPHAEL STANZE, PALAZZO VATICANO, ROME Raphael Sanzio" title="DETAIL FROM &ldquo;PARNASSUS,&rdquo; RAPHAEL STANZE, PALAZZO VATICANO, ROME Raphael Sanzio" /></a>
+<p class="caption noi"><small>DETAIL FROM &ldquo;PARNASSUS,&rdquo;<br /> RAPHAEL STANZE, PALAZZO VATICANO, ROME<br /> Raphael Sanzio</small></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span></p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Unto my buried lord I give myself,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">wrote Vittoria Colonna in one of the sonnets
+to her husband&rsquo;s memory, and this line is the
+keynote to her entire life, both as woman and
+poet. It was no translation of her life into
+another key, no reckoning by stars that flashed
+from different skies, when there fell upon her
+the baptism and crown of that immortal friendship
+with Michael Angelo.</p>
+
+<p>The Marchesa di Pescara returned to Rome,
+from this notable tour in Northern Italy, in
+1538. She was received with the honors that
+her fame inspired. Michael Angelo was then
+deeply absorbed in painting his &ldquo;Last Judgment,&rdquo;
+in the Capella Sistina.</p>
+
+<p>&ldquo;Every one in Rome took an interest in the
+progress of this magnificent fresco, from the
+Pope (who continually visited the artist) down
+to the humblest of the people. We may imagine
+Vittoria standing by the great painter to
+view his sublime work; but Michael Angelo
+did not require the patronage, even of a Colonna,
+and it is possible that Vittoria herself first
+sought out his friendship.&rdquo;</p>
+
+<div class="figcenter border" style="width: 270px;">
+<a href="images/vittoriab.jpg"><img src="images/vittoria.jpg" width="270" height="400" alt="VITTORIA COLONNA, GALLERIA BUONARROTI, FLORENCE" title="VITTORIA COLONNA, GALLERIA BUONARROTI, FLORENCE" /></a>
+<p class="caption noi"><small>VITTORIA COLONNA,<br /> GALLERIA BUONARROTI, FLORENCE</small></p>
+</div>
+
+<p>In the Casa Buonarroti, in Florence, hangs<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
+that exquisite picture painted of Italy&rsquo;s greatest
+woman poet, in her early youth; and in its rare
+and precious collection of manuscripts are the
+letters of Vittoria to the poet and sculptor. Her
+influence is said to have produced a great change
+in his religious views, influencing his mind to a
+more lofty and more spiritual comprehension of
+the divine laws that govern the universe.</p>
+
+<p>Condivi, in referring to this chapter in their
+lives, has said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;In particular he was most deeply attached
+to the Marchesa di Pescara, of whose divine
+spirit he was enamoured, and he was beloved
+by her in return with much affection.&rdquo;</p></div>
+
+<p>It was about 1535 when Michael Angelo left
+Florence for Rome, appointed by the Pope,
+Paul III, as the chief architect, sculptor, and
+painter of the Vatican. He was enrolled in
+the Pontifical household, and he at once began
+his work in the Sistine Chapel. Mr. Symonds
+believes that he must have been engaged upon
+the &ldquo;Last Judgment&rdquo; through 1536, 1537. The
+great artist was not without a keen wit of his
+own as well; for on receipt of a letter from Pietro<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span>
+Aretino, from Venice, in September of 1537,
+with praises of his work that Michael Angelo
+deemed extravagant, he replied that while he
+rejoiced in Aretino&rsquo;s commendation, he also
+grieved; &ldquo;as having finished a large part of the
+fresco,&rdquo; he said, &ldquo;I cannot realize your conception
+which is so complete that if the Day of
+Judgment had come and you had been present
+and seen it with your eyes, your words could
+not have described it better.&rdquo;</p>
+
+<p>Vittoria Colonna now passed some years
+between Rome and Orvieto, that picturesque
+town with its magnificent cathedral rich in
+mediæval art, where she lived in the convent of
+St. Paolo d&rsquo;Orvieto. She varied this residence
+by remaining at times in the convent of San
+Caterina di Viterbo, in that city. In Rome she
+had lived both at the convent of Santa Anna
+and also at the Palazzo Cesarini, which was the
+home of members of the Colonna family. A
+sonnet of Michael Angelo&rsquo;s written to Vittoria
+reflects the feeling that she inspired in him:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;Da che concetto ha l&rsquo;arte intera e diva<br /></span>
+<span class="i1">La forma e gli atti d&rsquo;alcun, poi di quello<br /></span>
+<span class="i1">D&rsquo;umil materia un semplice modello<br /></span>
+<span class="i0">È &rsquo;l primo parto che da quel deriva.<span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span><br /></span>
+<span class="i0">Ma nel secondo poi di pietra viva<br /></span>
+<span class="i1">S&rsquo;adempion le promesse del martello;<br /></span>
+<span class="i1">E sì rinasce tal concetto e bello,<br /></span>
+<span class="i0">Che ma&rsquo; non è chi suo eterno prescriva.<br /></span>
+<span class="i0">Simil, di me model, nacqu&rsquo;io da prima;<br /></span>
+<span class="i1">Di me model, per cosa più perfetta<br /></span>
+<span class="i1">Da voi rinascer poi, donna alta e degna.<br /></span>
+<span class="i0">Se &rsquo;l poco accresce, &rsquo;l mio superchio lima<br /></span>
+<span class="i1">Vostra pietà; qual penitenzia aspetta<br /></span>
+<span class="i1">Mio fiero ardor, se mi gastiga e insegna?&rdquo;<br /></span>
+</div></div>
+
+<p>Of this sonnet the following beautiful translation
+is made by John Addington Symonds:&mdash;</p>
+
+<div class="poem" style="width: 22em;"><div class="stanza">
+<span class="i0">&ldquo;When divine Art conceives a form and face,<br /></span>
+<span class="i1">She bids the craftsman for his first essay<br /></span>
+<span class="i1">To shape a simple model in mere clay:<br /></span>
+<span class="i0">This is the earliest birth of Art&rsquo;s embrace.<br /></span>
+<span class="i0">From the live marble in the second place<br /></span>
+<span class="i1">His mallet brings into the light of day<br /></span>
+<span class="i1">A thing so beautiful that who can say<br /></span>
+<span class="i0">When time shall conquer that immortal grace?<br /></span>
+<span class="i0">Thus my own model I was born to be&mdash;<br /></span>
+<span class="i1">The model of that nobler self, whereto<br /></span>
+<span class="i1">Schooled by your pity, lady, I shall grow.<br /></span>
+<span class="i0">Each overplus and each deficiency<br /></span>
+<span class="i1">You will make good. What penance then is due<br /></span>
+<span class="i1">For my fierce heat, chastened and taught by you?&rdquo;<br /></span>
+</div></div>
+
+<p>The correspondence between Vittoria and
+Michael Angelo was undated, and all that now
+remains is fragmentary.<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p>
+
+<p>The great artist, writing to his nephew,
+Sionardo, in 1554, says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Messer Giovan Francisco Fattucci asked
+me about a month ago if I possessed any writings
+of the marchioness. I have a little book
+bound in parchment which she gave me some
+ten years ago. It has one hundred and three
+sonnets, not counting another forty she afterward
+sent on paper from Viterbo. I had these
+bound into the same book, and at that time I
+used to lend them about to many persons so
+that they are all of them now in print. In
+addition to these poems I have many letters
+which she wrote from Orvieto and Viterbo.
+These, then, are the writings I possess of the
+marchioness.&rdquo;</p></div>
+
+<p>In Rome, 1545, Michael Angelo thus writes
+to Vittoria:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I desired, lady, before I accepted the things
+which your ladyship has often expressed the
+will to give me&mdash;I desired to produce something
+for you with my own hand in order to be as
+little as possible unworthy of this kindness. I<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span>
+have now come to recognize that the grace of
+God is not to be bought, and that to keep it
+waiting is a grievous sin. Therefore I acknowledge
+my error and willingly accept your
+favors. When I possess them&mdash;not, indeed,
+because I shall have them in my house, but for
+that I myself shall dwell in them&mdash;the place will
+seem to encircle me with paradise. For which
+felicity I shall remain ever more obliged to your
+ladyship than I am already, if that is possible.</p>
+
+<p>&ldquo;The bearer of this letter will be Urbino, who
+lives in my service. Your ladyship may inform
+him when you would like me to come and see
+the head you promised to show me.&rdquo;</p></div>
+
+<p>With this letter Michael Angelo sent to
+Vittoria a sonnet which, in the translation
+made by John Addington Symonds, is as
+follows:&mdash;</p>
+
+<div class="poem" style="width: 23em;"><div class="stanza">
+<span class="i0">&ldquo;Seeking at least to be not all unfit<br /></span>
+<span class="i0">For thy sublime and boundless courtesy,<br /></span>
+<span class="i0">My lowly thoughts at first were fain to try<br /></span>
+<span class="i0">What they could yield for grace so infinite.<br /></span>
+<span class="i0">But now I know my unassisted wit<br /></span>
+<span class="i0">Is all too weak to make me soar so high,<br /></span>
+<span class="i0">For pardon, lady, for this fault I cry,<br /></span>
+<span class="i0">And wiser still I grow remembering it.<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span><br /></span>
+<span class="i0">Yea, will I see what folly &rsquo;t were to think<br /></span>
+<span class="i0">That largess dropped from thee like dews from heaven,<br /></span>
+<span class="i0">Could e&rsquo;er be paid by work so frail as mine!<br /></span>
+<span class="i0">To nothingness my art and talent sink;<br /></span>
+<span class="i0">He fails who from his mental stores hath given<br /></span>
+<span class="i0">A thousandfold to match one gift divine.&rdquo;<br /></span>
+</div></div>
+
+<p>As a gift to Vittoria Colonna, Michael Angelo
+designed an episode from the Passion of our
+Lord, which Condivi describes as &ldquo;a naked
+Christ at the moment when, taken from the
+cross, our Lord would have fallen at the feet
+of His most holy mother if two angels did not
+support Him in their arms. She sits below the
+cross with a face full of tears and sorrow, lifting
+both her widespread arms to heaven while on
+the stem of the tree above is written this legend:
+&lsquo;<i>Non vi si pensa quanto sangue costa.</i>&rsquo; The
+cross is of the same kind as that which was carried
+by the White Friars at the time of the
+plague of 1348, and afterward deposited in the
+Church of Santa Croce at Florence.&rdquo;</p>
+
+<p>In presenting this cross to her he wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Lady Marchioness, being myself in Rome, I
+thought it hardly fitting to give the Crucified
+Christ to Messer Tommaso, and to make him an<span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span>
+intermediary between your ladyship and me,
+especially because it has been my earnest wish
+to perform more for you than for any one I
+ever knew upon the world. But absorbing occupations,
+which still engage me, have prevented
+my informing your ladyship of this. Moreover,
+knowing that you know love needs no taskmaster,
+and that he who loves doth not sleep,
+I thought the less of using go-betweens. And
+though I seemed to have forgotten, I was doing
+what I did not talk about, in order to effect a
+thing that was not looked for, my purpose has
+been spoiled. He sins who faith like this so
+soon forgets.&rdquo;</p></div>
+
+<p>In reply Vittoria Colonna wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Unique Master Angelo and my most singular
+friend: I have received your letter and examined
+the crucifix which truly hath crucified
+in my memory every other picture I ever saw.
+Nowhere could one find another figure of our
+Lord so well executed, so living, and so exquisitely
+finished. I cannot express in words
+how subtly and marvellously it is designed.
+Wherefore I am resolved to take the work as<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span>
+coming from no other hand but yours.&nbsp;.&nbsp;.&nbsp;. I
+have examined it minutely in full light and by
+the lens and mirror, and never saw anything
+more perfect.&rdquo;</p></div>
+
+<p>She added:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;.&nbsp;.&nbsp;. Your works forcibly stimulate the
+judgment of all who would look at them. My
+study of them made me speak of adding goodness
+to things perfect in themselves, and I
+have seen now that &lsquo;all is possible to him who
+believes.&rsquo; I had the greatest faith in God that
+He would bestow upon you supernatural grace
+for the making of this Christ. When I came
+to examine it I found it so marvellous that it
+surpasses all my expectations. Wherefore, emboldened
+by your miracles I conceived a great
+desire for that which I now see marvellously
+accomplished: I mean that the design is in all
+parts perfect and consummate. I tell you that I
+am pleased that the angel on the right hand is
+by far the fairer, since Michael will place you,
+with all angels, upon the right hand of the Lord
+some day. Meanwhile I do not know how
+else to serve you, than by making orisons to this<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span>
+sweet Christ, whom you have drawn so well
+and exquisitely, and praying you to hold me
+yours to command as yours in all and for all.&rdquo;</p></div>
+
+<p>Again Vittoria wrote to him:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I beg you to let me have the crucifix a short
+while in my keeping, even though it be unfinished.
+I want to show it to some gentlemen
+who have come from the most reverend,
+the Cardinal of Mantua. If you are not working
+will you not come at your leisure to-day
+and talk with me?&rdquo;</p></div>
+
+<p>It is an interesting fact to the visitor in the
+Rome of to-day that the convent of San Silvestre
+where Vittoria Colonna lived was attached to
+the church of San Silvestre in Capite, now used
+as the English-speaking Catholic church in the
+Eternal City. The wing which was formerly
+the convent (founded in 1318) is now converted
+into the central post office.</p>
+
+<p>It was in the sacristy of San Silvestre, decorated
+with frescoes by Domenichino, that a
+memorable meeting and conversation took place,
+one Sunday afternoon in those far-away days of<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
+nearly five hundred years ago, between Michael
+Angelo and Francesco d&rsquo;Ollanda, a Spanish
+miniature artist,&mdash;the meeting brought about
+by Vittoria Colonna. The Spanish artist was
+a worshipper of Michael Angelo, who &ldquo;awakened
+such a feeling of love,&rdquo; that if d&rsquo;Ollanda
+met him in the street &ldquo;the stars would come out
+in the sky,&rdquo; he says, &ldquo;before I would let him go
+again.&rdquo; This fervent worship was hardly enjoyed
+by its object, who avoided the Spanish
+enthusiast. One Sunday, however, d&rsquo;Ollanda
+had gone to San Silvestre finding there Tolomei,
+to whom he was also devoted, and Vittoria
+Colonna, both of whom had gone to hear the
+celebrated Fra Ambrosia of Siena expound the
+Epistles of St. Paul. The Marchesa di Pescara
+observed that she felt sure their Spanish friend
+would far rather hear Michael Angelo discuss
+painting than to hear Fra Ambrosia on the
+wisdom of St. Paul. Summoning an attendant
+she directed him to find Michael Angelo and tell
+him how cool and delightful was the church
+that morning and to beg him to join Messer
+Tolomei and herself; but to make no mention
+of the presence of d&rsquo;Ollanda. Her woman&rsquo;s
+tact and her faultless courtesy were successful<span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span>
+in procuring this inestimable privilege for the
+Spanish painter. Michael Angelo came, and
+began the conversation&mdash;which was a monologue,
+rather, as all three of the friends wished
+only to listen to the master&mdash;by defending
+artists from the charge of eccentric and difficult
+methods. With somewhat startling candor
+Michael Angelo proceeded:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;I dare affirm that any artist who tries to
+satisfy the better vulgar rather than men of
+his own craft will never become a superior
+talent. For my part, I am bound to confess
+that even his Holiness wearies and annoys
+me by begging for too much of my company.
+I am most anxious to serve him, .&nbsp;.&nbsp;. but I
+think I can do so better by studying at home
+than by dancing attendance on my legs in his
+reception room.&rdquo;</p></div>
+
+<p>Another meeting of this little group was appointed
+for the next Sunday in the Colonna
+gardens behind the convent, under the shadow
+of the laurel trees in the air fragrant with roses
+and orange blossoms, where they sat with Rome
+spread out like a picture at their feet. That<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span>
+beautiful terrace of the Colonna gardens, to
+which the visitor in Rome to-day always makes
+his pilgrimage, with the ruined statues and the
+broken marble flights of steps, is the scene of
+this meeting of Vittoria Colonna, Michael
+Angelo, and Francesco d&rsquo;Ollanda. On this second
+occasion the sculptor asserted his belief
+that while all things are worthy the artist&rsquo;s
+attention, the real test of his art is in the representation
+of the human form. He extolled the
+art of design. He emphasized the essential
+nature of nobleness in the artist, and added:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;In order to represent in some degree the
+adored image of our Lord, it is not enough that
+a master should be great and able. I maintain
+that he must also be a man of good conduct
+and morals, if possible a saint, in order that the
+Holy Ghost may rain down inspiration on his
+understanding.&rdquo;</p></div>
+
+<p>Of the relative degree of swiftness in work
+Michael Angelo said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;We must regard it as a special gift from
+God to be able to do that in a few hours which<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
+other men can only perform in many days of
+labor. But should this rapidity cause a man
+to fail in his best realization it would be better
+to proceed slowly. No artist should allow his
+eagerness to hinder him from the supreme end
+of art&mdash;perfection.&rdquo;</p></div>
+
+<p>Mr. Longfellow, in his unfinished dramatic
+poem, &ldquo;Michael Angelo&rdquo; (to which reference
+has already been made), has one scene laid in
+the convent chapel of San Silvestre, in which
+these passages occur:&mdash;</p>
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;Here let us rest awhile, until the crowd<br /></span>
+<span class="i0">Has left the church. I have already sent<br /></span>
+<span class="i0">For Michael Angelo to join us here.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MESSER CLAUDIO.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;After Fra Bernardino&rsquo;s wise discourse<br /></span>
+<span class="i0">On the Pauline Epistles, certainly<br /></span>
+<span class="i0">Some words of Michael Angelo on Art<br /></span>
+<span class="i0">Were not amiss, to bring us back to earth.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO, <i>at the door</i>.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;How like a Saint or Goddess she appears!<br /></span>
+<span class="i0">Diana or Madonna, which I know not,<br /></span>
+<span class="i0">In attitude and aspect formed to be<br /></span>
+<span class="i0">At once the artist&rsquo;s worship and despair!<span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span>&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;Welcome, Maestro. We were waiting for you.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;I met your messenger upon the way.<br /></span>
+<span class="i0">And hastened hither.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">VITTORIA.<br /></p>
+</div><div class="stanza">
+<span class="i9">&ldquo;It is kind of you<br /></span>
+<span class="i0">To come to us, who linger here like gossips<br /></span>
+<span class="i0">Wasting the afternoon in idle talk.<br /></span>
+<span class="i0">These are all friends of mine and friends of yours.&rdquo;<br /></span>
+</div><div class="stanza">
+<p class="char">MICHAEL ANGELO.<br /></p>
+</div><div class="stanza">
+<span class="i0">&ldquo;If friends of yours, then are they friends of mine.<br /></span>
+<span class="i0">Pardon me, gentlemen. But when I entered<br /></span>
+<span class="i0">I saw but the Marchesa.&rdquo;<br /></span>
+</div></div>
+
+<p>Vittoria tells the master that the Pope has
+granted her permission to build a convent, and
+Michael Angelo replies:&mdash;</p>
+
+<div class="poem" style="width: 18em;"><div class="stanza">
+<span class="i7">&ldquo;Ah, to build, to build!<br /></span>
+<span class="i0">That is the noblest art of all the arts.<br /></span>
+<span class="i0">Painting and sculpture are but images,<br /></span>
+<span class="i0">Are merely shadows cast by outward things<br /></span>
+<span class="i0">On stone or canvas, having in themselves<br /></span>
+<span class="i0">No separate existence. Architecture,<br /></span>
+<span class="i0">Existing in itself, and not in seeming<br /></span>
+<span class="i0">A something it is not, surpasses them<br /></span>
+<span class="i0">As substance shadow.&nbsp;.&nbsp;.&nbsp;.<span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span><br /></span>
+</div><div class="stanza">
+<span class="i7">.&nbsp;.&nbsp;. Yet he beholds<br /></span>
+<span class="i0">Far nobler works who looks upon the ruins<br /></span>
+<span class="i0">Of temples in the Forum here in Rome.<br /></span>
+<span class="i0">If God should give me power in my old age<br /></span>
+<span class="i0">To build for Him a temple half as grand<br /></span>
+<span class="i0">As those were in their glory, I should count<br /></span>
+<span class="i0">My age more excellent than youth itself,<br /></span>
+<span class="i0">And all that I have hitherto accomplished<br /></span>
+<span class="i0">As only vanity.&rdquo;<br /></span>
+</div></div>
+
+<p>To which Vittoria responds:&mdash;</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i7">&ldquo;I understand you.<br /></span>
+<span class="i0">Art is the gift of God, and must be used<br /></span>
+<span class="i0">Unto His glory. That in art is highest<br /></span>
+<span class="i0">Which aims at this.&rdquo;<br /></span>
+</div></div>
+
+<p>The poet, with his characteristically delicate
+divination, has entered into the inner spirit of
+these two immortal friends.</p>
+
+<p>Walter Pater, writing of Michael Angelo,
+truly says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Michael Angelo is always pressing forward
+from the outward beauty&mdash;<i>il bel del fuor che
+agli occhi piace</i>&mdash;to apprehend the unseen
+beauty; <i>trascenda nella forma universale</i>&mdash;that
+abstract form of beauty about which the Platonists
+reason. And this gives the impression
+in him of something flitting and unfixed, of the<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
+houseless and complaining spirit, almost clairvoyant
+through the frail and yielding flesh.&rdquo;</p></div>
+
+<p>Again we find Pater saying:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Though it is quite possible that Michael
+Angelo had seen Vittoria, that somewhat shadowy
+figure, as early as 1537, yet their closer
+intimacy did not begin till about the year 1542,
+when Michael Angelo was nearly seventy years
+old. Vittoria herself, an ardent Neo-Catholic,
+vowed to perpetual widowhood since the news
+had reached her, seventeen years before, that
+her husband, the youthful and princely Marquess
+of Pescara, lay dead of the wounds he
+had received in the battle of Pavia, was then
+no longer an object of great passion. In a
+dialogue written by the painter, Francesco
+d&rsquo;Ollanda, we catch a glimpse of them together
+in an empty church at Rome, one Sunday afternoon,
+discussing indeed the characteristics of
+various schools of art, but still more the writings
+of St. Paul, already following the ways and
+tasting the sunless pleasures of weary people,
+whose hold on outward things is slackening.
+In a letter still extant he regrets that when he<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
+visited her after death he had kissed her hands
+only. He made, or set to work to make, a
+crucifix for her use, and two drawings, perhaps
+in preparation for it, are now in Oxford.&nbsp;.&nbsp;.&nbsp;.
+In many ways no sentiment could have been
+less like Dante&rsquo;s love for Beatrice than Michael
+Angelo&rsquo;s for Vittoria Colonna. Dante&rsquo;s comes
+in early youth; Beatrice is a child, with the
+wistful, ambiguous vision of a child, with a
+character still unaccentuated by the influence
+of outward circumstances, almost expressionless.
+Vittoria is a woman already weary, in
+advanced age, of grave intellectual qualities.
+Dante&rsquo;s story is a piece of figured work inlaid
+with lovely incidents. In Michael Angelo&rsquo;s
+poems frost and fire are almost the only images&mdash;the
+refining fire of the goldsmith; once or twice
+the ph&oelig;nix; ice melting at the fire; fire struck
+from the rock which it afterwards consumes.&rdquo;</p></div>
+
+<p>Visconti notes that among Italian poets,
+Vittoria Colonna was the first to make religion
+a subject of poetic treatment, and the first to
+introduce nature&rsquo;s ministry to man into poetry.
+Rota, her Italian biographer, states that she
+died in February of 1547, in the Palazzo Cesarini.<span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span>
+This palace is in Genzano, on Lago di
+Nemi, and has been one of the Colonna estates;
+but from Visconti and other authorities it is
+evident that she died in Rome, either in the
+convent of Santa Anna or in the palace of Cesarini,
+the husband of her kinswoman, Giulio
+Colonna, which must have been near the convent
+in Trastevere, the old portion of Rome
+across the Tiber. Visconti records that on the
+last evening of her life when Michael Angelo
+was beside her, she said: &ldquo;I die. Help me to
+repeat my last prayer. I do not now remember
+the words.&rdquo; He clasped her hand and repeated
+it to her, while her own lips moved, she gazed
+intently on him, smiled and passed away.
+This translation has been made of Vittoria
+Colonna&rsquo;s last prayer:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Grant, I beseech Thee, O Lord, that I may
+ever worship Thee with such humility of mind
+as becometh my lowliness and such elevation of
+mind as Thy loftiness demandeth.&nbsp;.&nbsp;.&nbsp;. I entreat,
+O Most Holy Father, that Thy most
+living flame may so urge me forward that, not
+being hindered by any mortal imperfections, I
+may happily and safely again return to Thee.&rdquo;</p></div><p><span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span></p>
+
+<p>It is recorded by an authority that her body,
+&ldquo;enclosed in a casket of cypress wood, lined
+with embroidered velvet,&rdquo; was placed in the
+chapel of Santa Anna which has since been
+destroyed. Visconti says: &ldquo;She desired, with
+Christian humility, to be buried in the manner
+in which the sisters were buried when they died.
+And, as I suppose, her body was placed in the
+common sepulchre of the nuns of Santa Anna.&rdquo;
+Grimm declares that he cannot discover the
+place of her burial, and Visconti declares that
+her tomb remains unknown.</p>
+
+<p>But it is apparently a fact that the body of
+Vittoria Colonna is entombed in the sacristy
+of Santa Domenica Maggiore in Naples, the
+sarcophagus containing it resting by the side
+of the one containing the body of her husband,
+Francesco d&rsquo;Avalos, Marchese of Pescara. This
+church is one of the finest in Naples, with
+twenty-seven chapels and twelve altars, and it
+is here that nearly all the great nobles of the
+kingdom of Naples are entombed. Here is the
+tomb of the learned Thomas Aquinas and here
+is shown, in relief, the miracle of the crucifix
+by Tommaso de Stefani, which&mdash;as the legend
+runs&mdash;thus addressed the learned doctor:<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>&mdash;</p>
+
+<p>&ldquo;<i>Bene scripsisti de me, Thoma; quam ergo
+mercedem <a name="tn332" id="tn332"></a><ins class="correction" title="original: 'recipris'">recipies</ins>?</i>&rdquo;</p>
+
+<p>To which he replied: &ldquo;<i>Non aliam nisi
+te.</i>&rdquo;</p>
+
+<p>It is in the sacristy in which lie all the Princes
+of the House of Aragon that the sarcophagi
+of the Marchese and the Marchesa di Pescara
+are placed side by side in the high gallery
+near the ceiling. The altar has a fine Annunciation
+ascribed to Andrea da Salerno. The
+ceiling (whose coloring is as fresh and vivid
+as if painted yesterday) is by Solimena. Around
+the walls near the ceiling are two balconies
+or galleries, filled with very large wooden
+sarcophagi, whose scarlet velvet covers have
+faded into yellow browns with pink shades,
+many of which are tattered and are falling to
+pieces. The casket containing the body of Fernando
+Francesco d&rsquo;Avalos, Marchese of Pescara
+(the husband of Vittoria Colonna), has on
+it an inscription by Ariosto; and his portrait
+(showing in profile a young face with blonde
+hair and a full reddish brown beard) and a
+banner, also, is suspended above the casket.
+That containing the body of the Marchesa,
+his wife (Vittoria Colonna), has an aperture at<span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span>
+the top where the wood is worn away and the
+embalmed form, partly crumbled, may be seen.
+This seems strange to the verge of fantasy, but
+it is, apparently, true. The writer of this
+volume visited the Church of Santa Domenica
+Maggiore in Naples in December of 1906, and
+was assured by the sacristan that this sarcophagus
+contains the body of the Marchesa. Inquiries
+were then made of other prelates and of
+the Archbishop, who gave the same assurance.
+Later, learned archæologists in Rome were
+appealed to, regarding this assertion made in
+Naples, and the consensus of opinion obtained
+declares their assertion true. Professor Lanciani
+has himself publicly expressed this conviction.
+Still, it remains a curious question as
+to when this sarcophagus was placed in the
+sacristy, for the date goes back into long-buried
+centuries.</p>
+
+<p>Adjoining Santa Domenica Maggiore is the
+monastery in which Thomas Aquinas lived and
+lectured (in 1272), and the cell of the great
+doctor of philosophy is now made into a chapel.
+His lectures called together men of the highest
+rank and learning and were attended by the
+king and the members of the royal family.<span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span>
+The entire locality of this church is replete with
+historic association. The most distinguished of
+the nobility of Naples have, for centuries, held
+their chapels in this church, and in these are
+many notable examples of Renaissance sculpture.</p>
+
+<p>The Accadémia des Arcades of Rome,
+founded in the seventeenth century to do honor
+to lyric art, celebrated the placing of a bust of
+Vittoria Colonna in a gallery of the Capitoline,
+in May of 1865, by a resplendent poetic festa.
+According to the gentle, leisurely customs of the
+land, where it is always afternoon and time has
+no value, thirty-two poets read their songs,
+written in Latin or in Italian, for this occasion,
+which were published in a sumptuous volume
+to be preserved in the archives of the Arcadians,
+who take themselves more seriously than the
+world outside quite realizes. This bust of Vittoria
+Colonna was the gift of the Duca and
+Duchessa of Torlonia of that period. It was
+crowned with laurel, as that of Petrarca had
+been, and the government took official recognition
+of the event.</p>
+
+<p>Goethe was made a member of this Accadémia
+that regarded itself as reflecting the glories of<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span>
+the Golden Age of Greece, and which was a
+century old at the time of his visit to Italy.
+&ldquo;No stranger of any consequence was readily
+permitted to leave Rome without being invited
+to join this body,&rdquo; he recorded, and he wrote
+a humorous description of the formalities of
+his initiation.</p>
+
+<p>Mrs. Horatio Greenough was honored by
+being made a member of this Accadémia in
+recognition of her musical accomplishments,
+and the record of it is placed on the memorial
+marble over her grave in the Protestant cemetery
+in Rome. Every year, on Tasso&rsquo;s birthday
+(April 25), the Accadémia holds a festa in a
+little amphitheatre near &ldquo;Tasso&rsquo;s oak,&rdquo; on the
+Janiculum, at which his bust is crowned with
+laurel. The gardens in which the seventeenth-century
+Arcadians disported themselves are now
+known among the Romans as <i>il Bosco Parrasio
+degli Arcadi</i>.</p>
+
+<p>Throughout Italy the fame of Vittoria Colonna
+only deepens with every succeeding century.
+Her nobility of character, her lofty spirituality
+of life, fitly crowned and perfected her intellectual
+force and brilliant gifts. Although from
+the customs of the time the Marchesa lived<span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span>
+much in convents, she never, in any sense, save
+that of her fervent piety, lived the conventual
+life. Her noble gifts linked her always to the
+larger activities, and her gifts and rank invested
+her with certain demands and responsibilities
+that she could not evade. She was one of
+the messengers of life, and her place as a
+brilliant and distinguished figure in the contemporary
+world was one that the line of
+destiny, which pervades all circumstances and
+which, in her case, was so marked, absolutely
+constrained her to fill. She had that
+supreme gift of the lofty nature, the power of
+personal influence. Her exquisite courtesy and
+graciousness of manner, her simple dignity and
+unaffected sincerity, her delicacy of divination
+and her power of tender sympathy and liberal
+comprehension all combined to make her the
+ideal companion, counsellor, and friend, as well
+as the celebrity of letters and lyric art.</p>
+
+<p>No poet has more exquisitely touched the
+friendship between Vittoria Colonna and Michael
+Angelo than has Margaret J. Preston,
+in a poem supposed to be addressed to the
+sculptor by Vittoria, in which occur the
+lines:<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>&mdash;</p>
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0">&ldquo;We twain&mdash;one lingering on the violet verge,<br /></span>
+<span class="i0">And one with eyes raised to the twilight peaks&mdash;<br /></span>
+<span class="i0">Shall meet in the morn again.<br /></span>
+</div><div class="stanza">
+<p class="center" style="letter-spacing: 3em; margin-right: -3em;">*****</p>
+</div><div class="stanza">
+<span class="i8">.&nbsp;.&nbsp;. Supremest truth I gave;<br /></span>
+<span class="i0">Quick comprehension of thine unsaid thought,<br /></span>
+<span class="i0">Reverence, whose crystal sheen was never blurred<br /></span>
+<span class="i0">By faintest film of over-breathing doubt;<br /></span>
+<span class="i8">.&nbsp;.&nbsp;. helpfulness<br /></span>
+<span class="i0">Such as thou hadst not known of womanly hands;<br /></span>
+<span class="i0">And sympathies so urgent, they made bold<br /></span>
+<span class="i0">To press their way where never mortal yet<br /></span>
+<span class="i0">Entrance had gained,&mdash;even to thy soul.&rdquo;<br /></span>
+</div></div>
+
+<p>This is the <i>Page de Conti</i> that one reads in
+the air as he sails past Ischia on the violet sea;
+and the <i>chant d&rsquo;amour</i> of the sirens catches
+the echo of lines far down the centuries:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;I understood not, when the angel stooped,<br /></span>
+<span class="i0">Whispering, &lsquo;Live on! for yet one joyless soul,<br /></span>
+<span class="i0">Void of true faith in human happiness,<br /></span>
+<span class="i0">Waits to be won by thee, from unbelief.&rsquo;<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;Now, all is clear. For <i>thy</i> sake I am glad<br /></span>
+<span class="i0">I waited. Not that some far age may say,&mdash;<br /></span>
+<span class="i0">&lsquo;<i>God&rsquo;s benison on her, since she was the friend</i><br /></span>
+<span class="i0"><i>Of Michael Angelo!</i>&rsquo;&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span><span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span></div></div>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0"><i>So sometimes comes to soul and sense</i><br /></span>
+<span class="i0"><i>The feeling which is evidence</i><br /></span>
+<span class="i0"><i>That very near about us lies</i><br /></span>
+<span class="i0"><i>The realm of spiritual mysteries.</i><br /></span>
+<span class="i0"><i>The sphere of the supernal powers</i><br /></span>
+<span class="i0"><i>Impinges on this world of ours.</i><br /></span>
+<span class="i0"><i>The low and dark horizon lifts,</i><br /></span>
+<span class="i0"><i>To light the scenic terror shifts;</i><br /></span>
+<span class="i0"><i>The breath of a diviner air</i><br /></span>
+<span class="i0"><i>Blows down the answer of a prayer:&mdash;</i><br /></span>
+<span class="i0"><i>That all our sorrow, pain, and doubt</i><br /></span>
+<span class="i0"><i>A great compassion clasps about,</i><br /></span>
+<span class="i0"><i>And law and goodness, love and force,</i><br /></span>
+<span class="i0"><i>Are wedded fast beyond divorce.</i><br /></span>
+<span class="i0"><i>Then duty leaves to love its task,</i><br /></span>
+<span class="i0"><i>The beggar Self forgets to ask;</i><br /></span>
+<span class="i0"><i>With smile of trust and folded hands,</i><br /></span>
+<span class="i0"><i>The passive soul in waiting stands</i><br /></span>
+<span class="i0"><i>To feel, as flowers the sun and dew,</i><br /></span>
+<span class="i0"><i>The One true Life its own renew.</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Whittier.</span><br />
+</p></div>
+
+<div class="blockquot2"><p>&ldquo;<i>For Thou only art holy. Thou only art the Lord. Thou
+only, O Christ, with the Holy Ghost, art most high in the Glory
+of God the Father.</i>&rdquo;</p></div><p><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span></p>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0"><i>Sometimes in heaven-sent dreams I do behold</i><br /></span>
+<span class="i1"><i>A city with its turrets high in air,</i><br /></span>
+<span class="i1"><i>Its gates that gleam with jewels strange and rare,</i><br /></span>
+<span class="i0"><i>And streets that glow with burning of red gold;</i><br /></span>
+<span class="i0"><i>And happy souls, through blessedness grown bold,</i><br /></span>
+<span class="i1"><i>Thrill with their praises all the radiant air,</i><br /></span>
+<span class="i1"><i>And God himself is light, and shineth there</i><br /></span>
+<span class="i0"><i>On glories tongue of man hath never told.</i><br /></span>
+</div><div class="stanza">
+<span class="i0"><i>And in my dreams I thither march, nor stay</i><br /></span>
+<span class="i1"><i>To heed earth&rsquo;s voices, howsoe&rsquo;er they call,</i><br /></span>
+<span class="i0"><i>Or proffers of the joys of this brief day,</i><br /></span>
+<span class="i1"><i>On which so soon the sunset shadows fall;</i><br /></span>
+<span class="i0"><i>I see the Gleaming Gates, and toward them press&mdash;</i><br /></span>
+<span class="i0"><i>What though my path lead through the Wilderness?</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Louise Chandler Moulton.</span><br />
+<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span></p></div>
+
+
+
+
+<h2><a name="V" id="V"></a>V<br /><br />
+
+<span class="nob">VOICES OF ST. FRANCIS OF ASSISI</span></h2>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">Oh, Italy! thy strength, thy power, thy crown<br /></span>
+<span class="i0">Lie in the life that in Assisi stirs<br /></span>
+<span class="i0">The heart, with impulse of self-sacrifice;<br /></span>
+<span class="i0">Where still St. Francis gathers weary souls<br /></span>
+<span class="i0">In his great love, which reaches out to all.<br /></span>
+<span class="i6">.&nbsp;&nbsp;.&nbsp;&nbsp;. His blessing falls<br /></span>
+<span class="i0">In clear sweet tones: &ldquo;<i>Benedicat tibi</i><br /></span>
+<span class="i0"><i>Convertat vultum suum ad te et</i><br /></span>
+<span class="i0"><i>Det Pacem!</i>&rdquo; Hushed and holy silence breathes<br /></span>
+<span class="i0">About the wanderer who lifts his heart<br /></span>
+<span class="i0">To catch the echo of that voice of love.<br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Celia Richmond.</span><br />
+</p></div>
+
+
+<p class="noi"><span class="smcap">The</span> mystic pilgrimage to Assisi, the &ldquo;Seraphic
+City,&rdquo; prefigures itself almost as a journey to
+the Mount of Vision. &ldquo;Any line of truth that
+leads us above materialism,&rdquo; says Dr. Wilberforce,
+Venerable Archdeacon of Westminster
+Abbey, &ldquo;that forces us to think, that encourages
+the imagination to pierce the world&rsquo;s
+cobwebs, that forces us to remember that
+we are enwrapped by the supernatural, is
+helpful and stimulating. A human life lived<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>
+only in the seen and felt, with no sense of the
+invisible, is a fatally impoverished life, a poor,
+blind, wingless life, but to believe that ever
+around us is a whole world full of spiritual
+beings; that this life, with its burdens, is but
+the shadow which precedes the reality; that
+here we are but God&rsquo;s children at school, is
+an invigorating conviction, full of hope, productive
+of patience and fruitful in self-control.&rdquo;</p>
+
+<p>To an age imprisoned in the fear of God
+the &ldquo;sweet saint,&rdquo; Francis, brought the message
+of the love of God. To an age crushed under
+the abuses of religion as an organization of
+feudal bishops and ecclesiastics, St. Francis
+brought the message of hope and of joy. He
+revealed to his age the absolute reality of the
+spiritual world that surrounds us. He was
+born into a time when there existed on the
+one hand, poverty and misery; on the other,
+selfish and debasing self-indulgence of wealth
+and its corresponding oppression of the poor.
+The Church itself was a power for conquest
+and greed. Its kingdom was of this world.
+St. Bernard and others had nobly aimed to
+effect a reform and had illustrated by their own
+lives the beautiful example of simplicity and<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span>
+unselfishness, but their work failed in effectiveness
+and permanent impress.</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Oh, beauty of holiness!<br /></span>
+<span class="i0">Of self-forgetfulness, of lowliness.&rdquo;<br /></span>
+</div></div>
+
+<p>Not only in beauty, but in power does it
+stand. St. Francis brought to the sad and
+problematic conditions of his time that resistless
+energy of infinite patience, of a self-control
+based on insight into the divine relationships
+of life, and of unfailing fidelity to his high purpose.
+Through good report or through evil
+report he kept the faith, and pressed onward
+to the high calling of God. The twelfth and the
+thirteenth centuries had been a period of religious
+unrest and chaos. As Archdeacon Wilberforce
+has so impressively said in the words
+quoted from him, a life lived with no sense of
+the invisible is blind and impoverished. The
+movement initiated by St. Francis proclaimed
+anew the divine grace and love.</p>
+
+<div class="poem" style="width: 25em;"><div class="stanza">
+<span class="i0">&ldquo;Tokens are dead if the things live not. The light everlasting<br /></span>
+<span class="i0">Unto the blind is not, but is born of the eye that has vision.&rdquo;<br /></span>
+</div></div>
+
+<p>Something not unlike this trend of thought
+must drift through the mind of every one<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span>
+who journeys through the lovely Umbrian
+country to Assisi, one of those picturesquely
+beautiful hill towns of Italy whose romantic
+situation impresses the visitor. Seen from a
+little distance, one could hardly imagine how
+it could be reached unless he were the fortunate
+possessor of an airship. The entire region
+is most picturesque in character. Journeying
+from Rome to Assisi there is a constant ascent
+from the Campagna to the Apennines,
+and the road passes through wild defile and
+valley with amethyst peaks shining fair against
+the sky, with precipitous rocks, and the dense
+growth of oak and pine trees. In some places
+the valley is so narrow that the hills, on either
+side, rise almost within touch of the hand from
+the car window. The hill towns are frequent,
+and the apex of these towns is invariably
+crowned with a castle, a cathedral, or a ruin,
+and around it, circling in terraces, is built the
+town. The charm largely vanishes when fairly
+in these circling roads, for on either side are
+high walls, so that one&rsquo;s view is completely
+bounded by them; but from the summit and
+from the upper floors of the houses the most
+beautiful views are obtained. The Umbrian region,<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span>
+in which are located Perugia, Assisi, Spello,
+Foligno, Spoleto, Terni, Narni, and others, is
+simply the gem region of all Italy. The Umbrians
+are the most ancient of the Italian people,
+and Assisi claims to have been founded eight
+hundred and sixty-five years before the founding
+of Rome. It was the scene of constant
+warfare, and the streets are all underlaid by
+subterranean passages, in which the inhabitants
+could disappear from their enemies.</p>
+
+<p>To this ancient Umbrian city, from which
+went out the life and light that carried wonderful
+currents of vitality and illumination to all
+Italy and into almost all parts of the world, one
+comes as to a special and a sacred pilgrimage.
+For this mediæval town, perched on the top of
+a rocky hill, is the birthplace of St. Francis,
+the founder of the Franciscan order; in it were
+the scenes of his early life, and here, in 1226,
+at the age of forty-four years, he died. The
+convent-church of San Francesco, built to his
+memory in 1230; the lower church, completed at
+that date, while the upper was finished in 1253;
+the magnificent Cathedral of Santa Maria Degli
+Angeli, completed in 1640; the Church of Santa
+Chiara and the Duomo, are the points of interest.<span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span></p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/assisib.jpg"><img src="images/assisi.jpg" width="400" height="301" alt="SAN FRANCESCAN CONVENT-CHURCH, ASSISI" title="SAN FRANCESCAN CONVENT-CHURCH, ASSISI" /></a>
+<p class="caption noi"><small>SAN FRANCESCAN CONVENT-CHURCH, ASSISI</small></p>
+</div>
+
+<p>The purple Apennines, on one spur of which
+Assisi is built, are a picturesque feature of lovely
+Umbria. The old houses of Assisi rise white
+in the sunshine. The ancient walls still surround
+the city, and its towers stand as they
+stood before the eyes of St. Francis, almost seven
+centuries ago. The peak of Mt. Subasio, a
+neighboring peak of the Apennines, looms above
+the colossal rock that crowns the hill around
+whose top Assisi clusters in winding terraces.
+The massive pile of the Francescan church and
+monastery&mdash;the two churches, one above the
+other&mdash;forms an architectural group whose imposing
+aspect arrests the eye of every traveller
+for miles around. The pointed arches of the
+cloisters and the square campanile contrast
+rather than blend in an effective and harmonious
+manner and resemble military fortifications
+rather than an edifice of the church. The old
+walls still surround Assisi, and the houses all
+rise white under the blue Italian sky. The
+narrow streets, hardly wide enough for one carriage
+to pass another, are so intricate in their
+curves as they climb the steep hill, that it requires
+a faith hardly less than the traditional
+degree said to move mountains to lead the<span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span>
+visitor to suppose that he will ever emerge from
+one that he has entered. Many of the houses
+along these curious thoroughfares have no windows,
+the only light and air coming through the
+open door. The bells from the campanile
+of the Francescan convent-church, from the
+Duomo and from the Church of Santa Chiara
+ring every quarter of an hour; and this constant
+clash of bells is almost the only sound that
+breaks the silence of the mediæval town, which
+lends itself to visions and to dreams. On the
+very air is stamped the impress of St. Francis.
+His personality, his teachings, his faith pervaded
+the atmosphere in a way that no one
+could believe until he had himself entered into
+the experience. In narration it cannot but
+seem like a pleasing and half-poetic fancy;
+but the lingerer in this shrine of religion
+and art will realize that the actual personality
+of the man who trod these streets nearly
+seven hundred years ago is strangely before
+him. Canon Knox Little, in a series of lectures
+on St. Francis of Assisi delivered in
+the Ladye Chapel of Worcester Cathedral a
+few years since, says of the panorama of the
+town:<span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span>&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The scene which from Assisi presented itself
+daily to his youthful eyes must have had, did
+have, as we know, a lasting effect upon his mind.
+From thence the eye surveys a noble coronet of
+stately mountains. You look from Radicofani,
+above Trena, to Monte Catria, famous as the
+scene of some of Dante&rsquo;s saddest times of solitude,
+and ever is the eye satisfied with the grace
+and grandeur of the curves of mountain outline,
+and the changing hues of an incomparable sky.
+There are rivers and cities and lakes,&mdash;from
+Thrasymene, just hidden by a line of crests, to
+the Paglia and Tiber beneath, where Orvieto
+crowns its severe and lonely rock. With the
+changing lights and shadows always beautiful in
+the vivid spring or burning summer, tender-tinted
+autumn or clear and sparkling winter, with the
+bright and pure and buoyant atmosphere always
+giving life and vigor, what spot on earth more
+fitted as the birthplace of the saint who was,
+above all things, bright and tender and strong?&rdquo;</p></div>
+
+<p>Assisi was an important town in the twelfth
+century when Francis, the son of Pietro Bernardone
+di Mercanti, wandered over its hills, and
+after severe fasting and prayer communed with<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span>
+God. Born in the midst of the constant warfare
+between Assisi and Perugia, he was first a
+soldier. He was captured and thrown into
+prison, and it was a remarkable dream, or vision,
+that came to him before he was set free, that
+determined his life of consecration. Tradition
+invested his birth with legends, one of which is,
+that in his infancy an aged man came to the
+door and begged to be permitted to take the
+child in his arms, prophesying that he was
+destined to accomplish a great work. Pietro
+Bernardone was a wealthy merchant of Assisi.
+Pica, the mother of Francis, is said to have been
+of noble origin and of a deeply religious nature.
+The early youth of Francis was given to games,
+festivals, and pleasures that degenerated into
+dissipation, but the mother continually affirmed
+her assurance that, if it pleased God, her
+son would become a Christian. In this atmosphere
+was nurtured &ldquo;the sweet-souled saint
+of mediæval Italy,&rdquo; who is described as a figure
+of magical power, whose ardent temperament
+and mystic loveliness attracted to him
+all men.</p>
+
+<p>There is also a legend that Pica went to pray
+at the Portiuncula and that, for seven years,<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span>
+she prayed for a son. Her prayer was answered
+in the coming of the infant who was to be the
+great saint of all the ages. Francis, in his childhood,
+also knelt and prayed at this shrine. In
+the year 1211, when Francis was twenty-nine
+years of age and had entered on his ministry,
+this chapel was given to him, &ldquo;and no sooner
+had they come to live here,&rdquo; it is said, &ldquo;than
+the Lord multiplied their number from day to
+day.&rdquo; At one time he had gone to his devotions
+in great depression of spirits, &ldquo;when, suddenly,
+an unspeakable ecstasy filled his breast. &lsquo;Be
+comforted, my dearest,&rsquo; he said, &lsquo;and rejoice
+in the Lord, and let us not be sad that we are
+few; for it has been shown to me by God that
+you shall increase to a great multitude and shall
+go on increasing to the end of the world. I see
+a multitude of men coming to me from every
+quarter&mdash;French, Spaniards, Germans, English&mdash;each
+in their different tongues encouraging
+the others.&rsquo;&rdquo;</p>
+
+<p>At a distance of perhaps a mile and a half
+from Assisi, down in the valley near the railroad
+station, four holy pilgrims founded a shrine in
+the fourth century. Later, on this site, St.
+Benedict erected a tiny chapel, called &ldquo;St.<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span>
+Maria della Portiuncula&rdquo; (St. Mary of the
+Little Patron), and once, when praying in the
+chapel, Benedict had a vision of a vast crowd of
+people kneeling in ecstasy, chanting hymns of
+praise, while outside greater multitudes waited
+to kneel before the shrine, and he took this to
+mean that a great saint would one day be honored
+there.</p>
+
+<p>So the legends, still conversationally told in
+Assisi, run on and are locally current. Undoubtedly
+the dwellers in this curious old town,
+whose streets have hardly one level spot but
+climb up and down the steep hillside, realize
+that their saint is their title to fame and their
+revenue as well; yet through all the tales there
+breathes a certain sincerity and simplicity of
+worship. The little dark primitive shops teem
+with relics, which make, it is true, a great
+draft on imagination, and by what miracle
+modern photography has contrived to present
+the saint of Assisi in various impressive attitudes
+and groups it would be as well not to inquire
+too closely. It is a part of the philosophy of
+travel to take the goods the gods provide, and
+the blending of amused tolerance and unsuspected
+depths of reverential devotion by which<span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span>
+the visitor will find himself moved, while in
+Assisi, can hardly be described. For, surely,
+here</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i6">&ldquo;.&nbsp;.&nbsp;. there trod<br /></span>
+<span class="i0">The whitest of the saints of God,&rdquo;<br /></span>
+</div></div>
+
+<p class="noi">and Catholic or Protestant, one equally enters
+into the beauty of his memory. The double
+and triple arches of the convent church enclose
+cloistered walls continually filled with visitors.
+No shrine in Italy holds such mysterious power.
+Simplicity and joy were the two keynotes of
+the life taught by St. Francis. &ldquo;Poverty,&rdquo; he
+asserted, &ldquo;is the happy state of life in which
+men are set free from the trammels of conventionalism,
+and can breathe the pure air of God&rsquo;s
+love. The richest inward life is enjoyed when
+life is poorest outwardly. Be poor,&rdquo; he continued,
+&ldquo;try a new principle; be careless of
+having and getting; try <i>being</i>, for a change.
+Our life in the world ought to be such that any
+one on meeting us should be constrained to
+praise the heavenly Father. Be not an occasion
+of wrath to any one,&rdquo; he often said, &ldquo;but
+by your gentleness may all be led to press onward
+to good works.<span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span>&rdquo;</p>
+
+<p>The supreme aim of Francis was that of
+service to humanity. He gave himself with
+impassioned fervor to this one work. For him
+there were no ideals of cloistered seclusion or
+of devotion to learning and art, but the ideal
+alone to uplift humanity. It was literally and
+simply, indeed, the Christ ideal. Of the &ldquo;Rule&rdquo;
+made, one of his biographers says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Amid all these encouragements the Rule
+was made. It consists, like other monastic
+rules, of the three great vows of poverty, chastity,
+and obedience, differing only in so far that
+the poverty ordained by Francis was absolute.
+In other rules, though the individual was allowed
+to possess nothing, the community had often
+rich possessions, and there was no reason why
+the monks should not fare sumptuously and
+secure to themselves many earthly enjoyments,
+notwithstanding their individual destitution and
+their vow. But among the Brothers Minor
+there was not to be so much as a provision secured
+for the merest daily necessities. Day by
+day they were to live by God&rsquo;s providence, eating
+what was given to them, taking no thought
+how they were to be fed, or wherewithal clothed;<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span>
+&lsquo;neither gold nor silver in your purses;&rsquo; not
+even the scrip to collect fragments in&mdash;as if
+God could not provide for every returning necessity.
+There had been monasteries in Italy for
+centuries, and the Benedictines were already a
+great and flourishing community; but this absolute
+renunciation of all things struck a certain
+chill to the hearts of all who heard of it, except
+the devoted band who had no will but that of
+Francis. His friend, the Bishop of Assisi, was one
+of those who stumbled at this novel and wonderful
+self-devotion. &lsquo;Your life, without a possession
+in the world, seems to me most hard and
+terrible,&rsquo; said the compassionate prelate. &lsquo;My
+lord,&rsquo; said Francis, &lsquo;if we had possessions, arms
+and protection would be necessary to us.&rsquo; There
+was a force in this response which perhaps we
+can scarcely realize, but the Assisan bishop, who
+knew something of the temper of the lords of
+Umbria, and knew how lonely were the brethren
+dwelling on the church lands&mdash;the little plot
+(Portiuncula) a whole half league from the city
+gates&mdash;understood and perceived the justice of
+the reply.</p>
+
+<p>&ldquo;Another grand distinction of the Rule drawn
+up by Francis was the occupation it prescribed<span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span>
+to its members. They were not to shut themselves
+up, or to care first for their own salvation.
+They were to preach&mdash;this was their
+special work; they were to proclaim repentance
+and the remission of sins; they were to be
+heralds of God to the world, and proclaim the
+coming of His kingdom. It is not possible to
+suppose that when he thus began to organize
+the mind of Francis did not make a survey of
+the establishments already in existence&mdash;the
+convents bound by the same three great vows,
+where life at this moment was going on so
+placidly, with flocks and herds and vineyards to
+supply the communities, and studious monks
+in their retirement, safe from all secular anxieties,
+fostering all the arts in their beginning, and
+carrying on the traditions of learning; while all
+around them the great unquiet, violent world
+heaved and struggled, yet within the convent
+walls there was leisure and peace. Blessed
+peace and leisure it was often, let us allow,
+preserving for us the germs of many good things
+we now enjoy, and raising little centres of safety
+and charity and brotherly kindness through the
+country in which they were placed. But such
+quiet was not in the nature of Francis. So far<span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span>
+as we can make out, he had thought little of
+himself&mdash;even of his own soul to be saved&mdash;all
+his life. The trouble on his mind had been
+what to do, how sufficiently to work for God
+and to help men. His fellow creatures were
+dear to him; he gave them his cloak from his
+shoulders many a day, and the morsel from
+his own lips, and would have given them the
+heart from his bosom had that been possible.&rdquo;</p></div>
+
+<p>These are the &ldquo;voices&rdquo; that still echo in the air
+of Assisi. In the suburbs is still shown the spot
+where the chapel of St. Damian stood up a rocky
+path on the hillside in an olive grove. It was
+here that the scene of the miracle of the crucifix
+is laid. Before the altar Francis knelt, praying:
+&ldquo;Great and Glorious Father, and thou, Lord
+Jesus, I pray ye, shed abroad your light in the
+darkness of my mind. May I in all things act
+in accordance with thy holy will.&rdquo;</p>
+
+<p>It is recorded that while he thus knelt in deep
+prayer, he was unable to turn his eyes from the
+cross, conscious that something marvellous was
+taking place. The image of the Saviour assumed
+life; the eyes turned attentively on him;
+a voice spoke accepting his service and he felt<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span>
+at once endowed with the most marvellous tide
+of vitality, of joy, and of exhilaration. At this
+moment he entered on that life whose impress
+is left on the ages. Of the character and the
+peculiar quality of its influence Mrs. Oliphant
+well says:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It is not always possible to follow with our
+sympathy that literal, childlike rendering of
+every incident in the life of the Master, which
+sometimes looks fantastical and often unmeaning.
+He was a man of his time, and could live
+only under the conditions which that time
+allowed. He made visible to a literal, practical,
+unquestioning age the undeniable and astounding
+fact that the highest of all beings chose a
+life of poverty, hardship, and humbleness; that
+He chose submission instead of resistance, love
+instead of oppression, peace and forgiveness instead
+of revenge and war. Christ had died in
+their hearts, as said the legend of that Christmas
+at Greccia; and, as in one of the bold and artless
+pictures just then beginning to yield to a
+more refined and subtle art, Francis set forth
+before the world the image of his Master. The
+Son of man was lifted up, as on another cross,<span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span>
+before the eyes of Umbria, before all Italy,
+warlike and wily, priest and baron, peasant and
+Pope. In this world Francis knew nothing,
+acknowledged nothing, cared for nothing save
+Christ and Him crucified&mdash;except, indeed,
+Christ&rsquo;s world, the universe redeemed, the souls
+to be saved, the poor to be comforted, the friends
+to be cherished, the singing birds and bubbling
+fountains, the fair earth and the sweet sky.
+Courteous, tender, and gentle as any paladin,
+sweet-tongued and harmonious as any poet,
+liberal as any prince, was the barefooted beggar
+and herald of God. We ask no visionary reverence
+for the Stigmata, no wondering belief in
+any miracle. As he stood, he was as great a
+miracle as any then existing under God&rsquo;s abundant,
+miraculous heavens; more wonderful than
+are the day and night, the sun and the dew;
+only less wonderful than that great Love which
+saves the world, and which it was his aim and
+destiny to reflect and show forth.&rdquo;</p></div>
+
+<p>That mystic union to which all the ages
+attest, the union that may, at any moment, be
+formed between the soul and God, that mystery
+which the church calls conversion and which<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span>
+finds its perfect interpretation in the words of
+St. Paul, when he said, that if any man be in
+Christ he is a new creation, had been accomplished
+in the life of Francis. He realized the
+fulness of the knowledge of God&rsquo;s will; he longed
+only for wisdom and for spiritual understanding.
+Nor is this experience one to be relegated to the
+realm of miracle. It is simply entering into
+the supreme completeness of life. It is not
+alone St. Paul, but every man, who may truly
+say, &ldquo;I can do all things through Christ, who
+strengtheneth me.&rdquo; Nor does this experience,
+when translated aright into daily life and action,
+require any abnormal form of expression. It
+does not, in its truest significance, mean a life
+apart from the ordinary duties, but rather
+it means that these duties shall be fulfilled in
+the larger and nobler way. The exceptional
+man may be called to be the standard bearer;
+to renounce all domestic ties and give his service
+to the world; but such a life as this differs
+only in degree from that which in the ordinary
+home and social relations finds ample means
+for its best expression. The persistent aim
+after perfection should be the keynote of every
+life. No one should be satisfied to hold as his<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span>
+supreme ideal any lesser standard of ultimate
+achievement than is involved in the divine command,
+&ldquo;Be ye therefore perfect, even as your
+Father in heaven is perfect.&rdquo; This is the
+soul&rsquo;s ideal, whatever ages and eternities it may
+require for it to recognize this trackless path.</p>
+
+<p>St. Francis recognized joy as a factor of the
+nobler life. &ldquo;It was his constant effort,&rdquo; writes
+one biographer, &ldquo;that there should be bright
+looks and cheerful tones about him. To one
+of his brethren, who had the habit of walking
+about sadly with his head drooping, he said,&mdash;it
+is evident, with a spark of the impatience
+natural to his own vivacious spirit,&mdash;&lsquo;You
+may surely repent of your sins, my brother,
+without showing your grief so openly. Let
+your sorrow be between God and you: pray to
+Him to pardon you by His mercy, and to restore
+to your soul the joy of His salvation. But before
+me and the others be always cheerful, for it
+does not become a servant of God to have an
+air of melancholy and a face full of trouble.&rsquo;&rdquo;</p>
+
+<p>An incident in the early life of St. Francis,
+which had determining significance, was his
+meeting with Dominic. The story is told &ldquo;that
+Dominic, praying in a church in Rome, saw, in<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span>
+a vision, our Lord rise from the right hand of
+the Father in wrath, wearied at last with the
+contradiction of sinners, with a terrible aspect
+and three lances in his hand, each one of which
+was to destroy from the face of the earth a distinct
+class of offenders. But while the dreamer
+gazed at this awful spectacle, the Virgin Mother
+arose and pleaded for the world, declaring that
+she had two faithful servants whom she was
+about to send into it to bring sinners to the
+feet of the Saviour; one of these was Dominic
+himself, the other was a poor man, meanly
+clad, whom he had never seen before. This
+vision came to the devout Spaniard, according
+to the legend, during the night, which he spent,
+as he was wont, in a church, in prayer. Next
+morning, while he mused on the dream which
+had been sent to him, his eye fell all at once
+upon a stranger in a brown tunic, of aspect as
+humble and modest as his garb, coming into
+the same church to pray. Dominic at once ran
+to him, fell on his neck, and, saluting him with
+a kiss, cried, &lsquo;Thou art my companion: thy work
+and mine is the same. If we stand by each
+other, nothing can prevail against us.&rsquo;&rdquo;</p>
+
+<p>No magic mirror, however, revealed to Francis<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span>
+the wonderful panorama of his future. No
+sibyl turned the leaves of the records yet to
+unfold. &ldquo;He was preparing himself for a life
+of penitence rather than a life of activity,&rdquo; in
+the opinion of Paul Sabatier, and he had
+dreamed no dream of becoming a religious
+founder. He was so entirely without any personal
+ambition, save that of being obedient to
+the Heavenly Vision, that this absolute consecration
+of purpose enabled the divine power
+to work through him without obstruction. He
+became a very perfect instrument, so to speak,
+in the divine hand. After repairing the little
+chapel called the Portiuncula, on the level
+ground at the foot of the hill, some two miles
+from Assisi, his plan was to there pass his time
+in meditation and prayer. But the legend runs
+that on the feast of St. Mathias (February 24), in
+the winter of 1209, a Benedictine monk was
+celebrating mass and on his turning to read,
+&ldquo;Wherever ye go preach, saying, The kingdom
+of heaven is at hand,&rdquo; Francis was profoundly
+and peculiarly impressed, and he exclaimed:
+&ldquo;This is what I desire, O Father; from this
+day forth I set myself to put this command in
+practice.&rdquo; He felt that Jesus himself had<span class="pagenum"><a name="Page_363" id="Page_363">[363]</a></span>
+spoken to him through the priest. Love and
+sacrifice became to him the supreme ideals,
+and in this moment, in that poor and bare little
+chapel, was inaugurated one of the greatest
+and most far-reaching religious movements of
+the entire world.</p>
+
+<div class="poem" style="width: 15em;"><div class="stanza">
+<span class="i0">&ldquo;Not always as the whirlwind&rsquo;s rush<br /></span>
+<span class="i1">On Horeb&rsquo;s mount of fear,<br /></span>
+<span class="i0">Not always as the burning bush<br /></span>
+<span class="i1">To Midian&rsquo;s shepherd seer,<br /></span>
+<span class="i0">Not as the awful voice which came<br /></span>
+<span class="i1">To Israel&rsquo;s prophet bards,<br /></span>
+<span class="i0">Nor as the tongues of cloven flame,<br /></span>
+<span class="i1">Nor gift of fearful words,&mdash;<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;Not always thus with outward sign<br /></span>
+<span class="i1">Of fire or voice from Heaven<br /></span>
+<span class="i0">The message of a truth divine,<br /></span>
+<span class="i1">The call of God is given!&rdquo;<br /></span>
+</div></div>
+
+<p>That great ministry of St. Francis, whose
+influence pervades all time,&mdash;that lies between
+the opening years of the thirteenth and the
+opening years of the twentieth centuries,&mdash;was
+initiated the next morning in Assisi, when Francis
+preached for the first time. He spoke simply,
+emphasizing the truths he had learned to realize
+through his own experience: the absolute duty<span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span>
+of following after perfection; the importance of
+realizing the shortness of life and the need of
+repentance. The first disciple of Francis was
+a wealthy resident of Assisi, named Bernardo.
+He was impressed with the conviction that he
+should distribute his possessions and unite with
+Francis in all his aims and work. Without
+definite organization, others joined them. They
+passed that spring and summer going up and
+down the country, sometimes assisting the harvesters
+and haymakers, and everywhere entering
+into the common life of the people. The
+Bishop of Assisi, however, remonstrated with
+Francis, saying that to him it seemed very harsh
+and unwise to try to live without owning anything.
+To which Francis replied that he did
+not desire temporal possessions, as these required
+arms for their defence and were an
+obstacle to the love of God and one&rsquo;s neighbor.
+It has remained for later years to discern the
+still truer significance of the teachings of Jesus,
+that neither possessions nor the lack of possessions
+form the real test, but the use which is
+made of them. As spiritual insight is developed
+it is more and more clearly realized that the
+quality of the life lived is the sole matter of<span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span>
+importance, and not the conditions that surround
+it.</p>
+
+<p>The brotherhood increased. The abbot of
+the Benedictines on Monte Subasio ceded to
+Francis and his order the little chapel called
+the Portiuncula, now enclosed within the vast
+and magnificent church of Santa Maria degli
+Angeli. M. Paul Sabatier, in his admirable
+biography of St. Francis, points out clearly that
+the founder of the Franciscans contemplated a
+laboring and not a mendicant order. During
+the decade 1211 to 1221, which Francis and his
+followers passed at the Portiuncula, a portion of
+the time was constantly passed in industrial pursuits.
+&ldquo;With all his gentleness, Francis knew
+how to show an inflexible severity toward the
+idle,&rdquo; says Sabatier, &ldquo;and he even went so far
+as to dismiss a friar who refused to work.&rdquo;
+Although Francis espoused poverty, declaring
+that she was his bride, he was unfalteringly loyal
+to the ideals of honest industry and integrity.</p>
+
+<div class="figcenter border" style="width: 288px;">
+<a href="images/francisb.jpg"><img src="images/francis.jpg" width="288" height="400" alt="ST. FRANCIS D&rsquo;ASSISI, THE DUOMO, ASSISI Giovanni Dupré" title="ST. FRANCIS D&rsquo;ASSISI, THE DUOMO, ASSISI Giovanni Dupré" /></a>
+<p class="caption noi"><small>ST. FRANCIS D&rsquo;ASSISI,<br /> THE DUOMO, ASSISI<br /> Giovanni Dupré</small></p>
+</div>
+
+<p>The mystic legends of the life of their saint
+that abound in Assisi are touched with poetic romance
+in that a companion figure is always seen
+by his side, that of Santa Chiara. Not more
+inseparable in popular thought are Dante and<span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span>
+Beatrice, or Petrarca and Laura, than are Francis
+and Clara. Their statues stand side by side
+in the Duomo; they are represented together
+by both painter and sculptor in the churches
+of Santa Chiara and Santa Maria degli Angeli
+in the old hill town. Chiara was the daughter
+of a noble family, and as a girl of sixteen, coming
+under the influence of Francis from hearing
+one of his sermons, she, too, became one of
+his followers and left her father&rsquo;s palace in
+Assisi to take the vows of perpetual and voluntary
+poverty at the altar of the Portiuncula.
+Followed by two women, she passed swiftly
+through the town in the dead of the night, and
+through dark woods, her hurrying figure seeming
+like some spirit driven by winds towards an
+unknown future. One thing alone was clear
+before her&mdash;that she was nearing the abode of
+Francis Bernardone whose preaching at San
+Giorgio only a month before had thrilled her,
+inspiring her in this strange way to seek the life
+he had described in fiery words. Just as she
+came in sight of the Portiuncula the chanting
+of the brethren, which had reached her in the
+wood, suddenly ceased, and they came out with
+lighted torches in expectation of her coming.<span class="pagenum"><a name="Page_367" id="Page_367">[367]</a></span>
+Swiftly and without a word she passed in to
+attend the midnight mass which Francis was to
+serve, and the scene is thus described:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The ceremony was simple, wherein lies the
+charm of all things Franciscan. The service
+over and the last blessing given, St. Francis led
+Clare toward the altar, and with his own hands
+cut off her long, fair hair and unclasped the
+jewels from her neck. But a few minutes more
+and a daughter of the proud house of Scifi
+stood clothed in the brown habit of the
+order, the black veil of religion falling about
+her shoulders, lovelier far in this nun-like
+severity than she had been when decked out
+in all her former luxury of silken gowns and
+precious gems.</p>
+
+<p>&ldquo;It was arranged that Clare was to go afterward
+to the Benedictine nuns of San Paolo,
+near Bastia, about an hour&rsquo;s walk farther on
+in the plain. So when the final vows had been
+taken, St. Francis took her by the hand and
+they passed out of the chapel together just as
+dawn was breaking, while the brethren returned
+to their cells gazing half sadly, as they
+passed, at the coils of golden hair and the<span class="pagenum"><a name="Page_368" id="Page_368">[368]</a></span>
+little heap of jewels which still lay upon the
+altar cloth.&rdquo;</p></div>
+
+<p>Clara founded a convent and lived as its
+abbess, and the great church of Santa Chiara
+is built on the site of this convent. She was
+born in Assisi in 1194, and died in 1253, surviving
+Francis by twenty-seven years. Her
+father was the Count Favorini Scifi, and he had
+destined his daughter&mdash;who had great beauty&mdash;to
+a rich and brilliant marriage. He violently
+opposed her choice of the religious life, but no
+earthly power, she declared, should sever her
+from it.</p>
+
+<p>The beauty of the lifelong friendship between
+Francis and Clara is thus touched upon by
+Mrs. Oliphant:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It was one of those tender and touching
+friendships which are to the student of history
+like green spots in the desert; and which
+gave to the man and the woman thus voluntarily
+separated from all the joys of life a certain
+human consolation in the midst of their hardships.
+They can have seen each other but
+seldom, for it was one of the express stipulations<span class="pagenum"><a name="Page_369" id="Page_369">[369]</a></span>
+of the Franciscan Rule that the friars should
+refrain from all society with women, and have
+only the most sparing and reserved intercourse
+even with their sisters in religion. And Francis
+was no priest, nor had he the privilege of hearing
+confession and directing the spiritual life of
+his daughter in the faith. But he sent to her to
+ask enlightenment from her prayers, when any
+difficulty was in his way. He went to see her
+when he was in trouble; especially once on his
+way to Rieti to have an operation performed
+on his eyes. Once the two friends ate together
+at a sacramental meal, the pledge and almost
+the conclusion on earth of that tenderest, most
+disinterested, and unworldly love which existed
+between them. That he was sure of her sympathy
+in all things, of her prayers and spiritual
+aid, whatsoever he might be doing, wheresoever
+he might be, no doubt was sweet to Francis
+in all his labors and trials. As he walked many
+a weary day past that church of St. Damian,
+every stone of which was familiar to him, and
+many laid with his own hands, must not his
+heart have warmed at thought of the sister
+within, safe from all conflict with the world,
+upon whose fellow-feeling he could rely absolutely<span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span>
+as man can rely only on woman? The
+world has jeered at the possibility of such friendships
+from its earliest age; and yet they have
+always existed,&mdash;one of the most exquisite and
+delicate of earthly ties. Gazing back into that
+far distance over the graves, not only of those
+two friends, but of a hundred succeeding generations,
+a tear of grateful sympathy comes into
+the student&rsquo;s eye. He is glad to believe that,
+all those years, Francis could see in his comings
+and goings the cloister of Clara; and that this
+sacred gleam of human fellowship,&mdash;love purified
+of all self-seeking,&mdash;tender, visionary, celestial
+affection, sweetened their solitary lives.&rdquo;</p></div>
+
+<p>Legends innumerable, attesting supernormal
+manifestations regarding Francis, sprang up and
+have been perpetuated through the ages. One
+is as follows:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Hardly more than three years from the
+moment when the pale penitent was hooted
+through Assisi amid the derisive shouts of the
+people, and driven with blows and curses into
+confinement in his own father&rsquo;s house, we find
+that it has already become his custom on Sunday<span class="pagenum"><a name="Page_371" id="Page_371">[371]</a></span>
+to preach in the cathedral; and that, from
+his little convent at the Portiuncula, Francis
+has risen into influence in the whole country,
+which no doubt by this time was full of stories
+of his visit to Rome and intercourse with the
+Pope, and all the miraculous dreams and
+parables with which that intercourse was attended.
+Already the mind of the people, so
+slow to adopt, but so ready to become habituated
+to, anything novel, had used itself to the
+sight of the brethren in their brown gowns, and,
+leaping from one extreme to the other, instead
+of madmen, learned to consider them saints.
+The air about the little cloister began to breathe
+of miracles,&mdash;miracles which must have been
+a matter of common report among the contemporaries
+of the saint, for Celano wrote
+within three years of Francis&rsquo;s death. Once,
+when their leader was absent, a sudden wonder
+startled the brethren. It was midnight between
+Saturday and Sunday, and Francis, who had
+gone to preach at Assisi, was at the moment
+praying in the canon&rsquo;s garden. A chariot of
+fire, all radiant and shining, suddenly entered
+the house, awaking those who lay asleep, and
+moving to wonder and awe those who watched,<span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span>
+or labored, or prayed. It was the heart and
+thoughts of their leader returning to them in
+the midst of his prayer, which were figured by
+this appearance.&rdquo;</p></div>
+
+<p>When Francis died a pathetic scene is thus
+described:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;All the clergy of Assisi, chanting solemn
+hymns, came out to meet the bier, and thus
+they climbed the hill to the birthplace of the
+saint, the city of his toils and tears and blessing.
+When they came to St. Damian an affecting
+pause was made. Clara within, with all her
+maidens, waited the last visit of their father and
+friend. Slowly the triumphant crowd defiled
+into the church of the nuns, hushing, let us
+hope, their songs of joy, their transports of
+gratulations, out of respect to the grief which
+dwelt there, and could scarcely, by all the arguments
+of family pride, or the excitement of this
+universal triumph, be brought to rejoice. The
+bier was set down within the chancel, the coffin
+opened, and opened also was the little window
+through which the nuns received the sacrament
+on ordinary occasions. To this little opening<span class="pagenum"><a name="Page_373" id="Page_373">[373]</a></span>
+the pale group of nuns, ten of them, with Clara
+at their head, came marching silently, with
+tears and suppressed cries. Clara herself, even
+in face of that multitude, could not restrain her
+grief. &lsquo;Father, father, what will become of us?&rsquo;
+she cried out; &lsquo;who will care for us now, or
+console us in our troubles?&rsquo; &lsquo;Virgin modesty,&rsquo;
+says Celano, stopped her lamentations, and with
+a miserable attempt at thanksgiving, reminding
+herself that the angels were rejoicing at his
+coming, and all was gladness on his arrival in
+the city of God, the woman who had been his
+closest friend in this world, whose sympathy
+he had sought so often, kissed the pale hands&mdash;&lsquo;splendid
+hands,&rsquo; says Celano, in his enthusiasm,
+&lsquo;adorned with precious gems and shining
+pearls&rsquo;&mdash;and disappeared from the little window
+with her tears into the dim convent behind,
+where nobody could reprove her sorrow.&rdquo;</p></div>
+
+<p>The personality of Chiara comes down to us
+through the ages invested with untold charm.
+It is said that when she was dying there came
+&ldquo;a long procession of white-robed virgins, led
+by the Queen of Heaven, whose head was
+crowned with a diadem of shining gold, each of<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span>
+the celestial visitors stooped to kiss Chiara as
+her soul passed to its home.&rdquo;</p>
+
+<p>During all the life of Francis, whenever any
+new movement or work was to be undertaken,
+he invariably sent to ask the counsel and the
+prayers of Chiara.</p>
+
+<p>The miraculous preservation of the body of
+Santa Chiara is one of the articles of faith in
+Assisi. In 1850&mdash;six hundred years after her
+death&mdash;a tomb believed to be hers was found
+and opened in the presence of a distinguished
+group of ecclesiastics, among whom was Cardinal
+Pecci, later Pope Leo XIII. In this tomb
+a form is said to have been found, and it has
+been placed in a reliquary of alabaster and
+Carrara marble especially constructed for it.
+This sanctuary is placed in the church of Santa
+Chiara, in the crypt, behind a glass screen,
+where candles are kept perpetually burning.
+Lina Gordon Duff, writing the history of Assisi,
+says of this curious spectacle:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;As pilgrims stand before a grating in the
+dimly lighted crypt, the gentle rustle of a nun&rsquo;s
+dress is heard; slowly invisible hands draw the
+curtain aside, and the body of Santa Chiara is<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span>
+seen lying in a glass case upon a satin bed, her
+face clearly outlined against her black and
+white veils, whilst her brown habit is drawn in
+straight folds about her body. She clasps the
+book of her Rule in one hand, and in the other
+holds a lily with small diamonds shining on
+the streamers.&rdquo;</p></div>
+
+<div class="figcenter border" style="width: 308px;">
+<a href="images/chiarab.jpg"><img src="images/chiara.jpg" width="308" height="400" alt="SANTA CHIARA, THE DUOMO, ASSISI Amalia Dupré" title="SANTA CHIARA, THE DUOMO, ASSISI Amalia Dupré" /></a>
+<p class="caption noi"><small>SANTA CHIARA, THE DUOMO, ASSISI<br /> Amalia Dupré</small></p>
+</div>
+
+<p>In all these churches&mdash;the great convent
+church, upper and lower, of the Franciscans
+elaborately adorned with frescoes by Cimabue
+and by Giotto; in the ancient Duomo; in Santa
+Chiara and in Santa Maria degli Angeli&mdash;statues
+of the two saints, Francis and Chiara,
+are placed side by side. She shares all the
+exaltation of his memory and the fulness of his
+fame.</p>
+
+<p>The strange problem of the stigmata has,
+perhaps, never been absolutely solved. Canon
+Knox Little says that as to the miracles of St.
+Francis generally speaking, there is no intrinsic
+improbability; that &ldquo;his holy life, his constant
+communion with God, the abundant blessings
+with which it pleased God to mark his
+ministry, all point in the same direction.&rdquo; Latter-day
+revelations of psychic science disclose<span class="pagenum"><a name="Page_376" id="Page_376">[376]</a></span>
+contemporary facts of the power of mental influence
+on the physical form that are, in many
+instances, hardly less wonderful than this
+alleged miracle of St. Francis. Whether the
+story is accepted literally or only in a figurative
+sense does not affect the transcendent power
+of his influence. His entire life and work illustrate
+the beauty of holiness. &ldquo;Art in its widest
+sense gained a marvellous impulse from his
+work and effort,&rdquo; says Canon Knox Little.
+The French and Provençal literature and the
+schools of Byzantine art preceded the life of
+Francis; but his influence imparted a powerful
+wave of sympathetic and vital insight and awakened
+a world of new sensibilities of feeling.
+Indeed, it is a proverb of Italy, &ldquo;Without
+Francis, no Dante.&rdquo; Certainly the life of Francis
+was the inspiration of the early Italian
+art. Cimabue and Giotto drew from the inspiration
+of that unique and lovely life the
+pictorial conceptions that have made Assisi the
+cradle of Italian painting. The great works of
+Giotto are in the lower church of the Franciscan
+monastery. One of these frescoes represents
+chastity as a maiden kneeling in a shrine,
+while angels bring to her branches of palm.<span class="pagenum"><a name="Page_377" id="Page_377">[377]</a></span>
+Obedience is depicted as placing a yoke upon
+the bowed figure of a priest, while St. Francis,
+attended by two angels, looks on; Poverty,
+whom Francis declared to be his bride, is pictured
+as accompanied by Hope and Charity,
+who give her in marriage to St. Francis, the
+union being blessed by Christ, while the
+heavenly Father and throngs of angels gaze
+through the clouds on this nuptial scene. The
+fresco called Gloriosus Franciscus is perhaps
+the crowning work of Giotto. Francis is seen
+in a beatitude of glory, with a richly decorated
+banner bearing the cross and seven stars floating
+above his head and bands of angels in the
+air surrounding him. Canon Knox Little, alluding
+to these interesting works of Giotto, says
+that &ldquo;even in their faded glories they give an
+immense interest to the lower church of Assisi.
+No one can look at them now unmoved, or
+wander on the hillside to the west of the little
+city, with the rugged rocks above one&rsquo;s head, and
+beneath one&rsquo;s feet the rich carpets of cyclamen,
+and before one&rsquo;s eyes long dreamy stretches of
+the landscape of Umbria, without being touched
+by the feeling of that beautiful and loving life
+devoted to God and man and nature, in utter<span class="pagenum"><a name="Page_378" id="Page_378">[378]</a></span>
+truth, which therefore left such an impress on
+Christian art.&rdquo;</p>
+
+<p>The Madonna and saints painted by Cimabue
+are faded almost to the point of obliteration,
+yet there still lingers about them a certain grace
+and charm. The visitor to this Franciscan
+monastery church realizes that he is beholding
+the art which was the very pledge and prophecy
+of the Renaissance, and he realizes, too, that
+the Renaissance itself was the outgrowth of
+the new vitality communicated to the world by
+the life and character of St. Francis. He gave
+to the world the realization of the living Christ;
+he taught that religion was in action, not in
+theology. He liberated the spirit; and when
+this colossal church was being built (1228-53)
+the artists who had felt the new thrill of life
+opened by his teaching hastened to Assisi to
+express their appreciation by their pictorial
+work on its walls. The qualities of spiritual life&mdash;faith,
+sacrifice, sympathy, and love&mdash;began,
+for the first time, to be interpreted into artistic
+expression.</p>
+
+<p>The tomb of St. Francis is in the crypt of the
+church. The stone sarcophagus containing his
+body was discovered in 1818, and then placed<span class="pagenum"><a name="Page_379" id="Page_379">[379]</a></span>
+here in a little chamber especially prepared,
+surrounded by an iron latticework with candles
+perpetually burning.</p>
+
+<p>From the sacristy of the lower church, stairs
+ascend to the upper, with its beautiful nave
+and transept with a high altar, and the choir
+stalls. While the lower church with its great
+arches is always dark, the upper is flooded with
+light from vast windows. There is a series of
+frescoed panels on either side, accredited to
+pupils of Giotto, full of forcible action and
+a glow of color. But the upper church, while
+it is magnificent, lacks somewhat of that mystic
+atmosphere one is so swiftly conscious of in
+the gloom and mystery of the lower church.</p>
+
+<p>Stretching behind the churches, along the
+crest of the high hill, is the colossal monastery
+itself, with that double row of arches and colonnades
+that makes it so conspicuous a feature of
+all the Umbrian valley. Formerly hundreds of
+monks dwelt here; but the Italian government
+suppressed this monastery in 1866, and since
+that time it has been used as a school for boys.</p>
+
+<p>The ancient Duomo, whose façade is of the
+twelfth century, has three exquisite rose windows,
+and on either side, as one approaches<span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span>
+the high altar, stand the statues of St. Francis
+and of Santa Chiara. In the little piazza in
+front of the church is a bronze copy of Dupré&rsquo;s
+famous statue of St. Francis.</p>
+
+<p>The colossal church of Santa Maria degli
+Angeli, with its magnificent dome, is a contrast,
+indeed, to the primitive little Portiuncula where
+Francis knelt in prayer, and which is now preserved
+in the centre of this vast cathedral,&mdash;the
+rude structure encased in marble, and
+decorated, above the entrance, with a picture
+by Overbeck, whose motive is St. Francis as he
+stands, hushed and reverent, listening to the
+voice that tells him to embrace poverty. There
+is a fine Perugino in the church, representing
+the Saviour. The cell in which St. Francis
+died, enclosed in the little chapel which St.
+<a name="tn380" id="tn380"></a><ins class="correction" title="original: 'Bonaventuri'">Bonaventura</ins> built over it, is preserved in this
+great cathedral.</p>
+
+<p>&ldquo;And who was he that opened that door
+in heaven?&rdquo; questions Canon Knox Little in
+reference to St. Francis. &ldquo;Who was he that
+gave that fresh life and thought? Who but the
+man who had brought down in his own person
+the living Christ into his century, who had
+taught men again the love of God, and then the<span class="pagenum"><a name="Page_381" id="Page_381">[381]</a></span>
+love of man and the love of nature; who had
+lifted the people out of their misery and degradation,
+and awakened the church out of its
+stiffness and worldliness; it was he, too, who
+inspired, who may at most be said to have
+created, Italian art,&mdash;the great St. Francis!
+Such are the deep, such are the penetrating,
+such are the far-reaching effects of sanctity.
+If a soul is, by divine grace, given wholly to
+God, it is impossible for us to say to what
+heights it may attain, or what good, in every
+region of human effort, it may do.&rdquo;</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/camaldolib.jpg"><img src="images/camaldoli.jpg" width="400" height="283" alt="BAIÆ AND ISCHIA, FROM CAMALDOLI" title="BAIÆ AND ISCHIA, FROM CAMALDOLI" /></a>
+<p class="caption noi"><small>BAIÆ AND ISCHIA, FROM CAMALDOLI</small></p>
+</div>
+
+<p>Perugia, the neighboring city only fifteen miles
+from Assisi, is the metropolis of all this Umbrian
+region. Like Assisi, it is a &ldquo;hill town,&rdquo; built
+on an acropolis of rock, its foundations laid by
+the Etruscans more than three thousand years
+before the Christian era, and its atmosphere is
+freighted with the records of artists and scholars.
+The Perugians were the forerunners. They
+held the secret of artifice in metals and gems;
+they were architects and sculptors. The only
+traces of their painting that have come down
+to us are their works on sarcophagi, on vases
+or funeral urns,&mdash;traces that indicate their gifts
+for line and form. It was about 310 B.C. that<span class="pagenum"><a name="Page_382" id="Page_382">[382]</a></span>
+all Umbria became a Roman province. The
+colossal porta of Augustus&mdash;a gateway apparently
+designed for the Cyclops&mdash;still retains its
+inscription, &ldquo;Augustus Perusia.&rdquo; The imperishable
+impress of the great Roman conqueror
+is still seen in many places. Perugia was a firm
+citadel, as is attested by the fact that Totila and
+his army of Goths spent seven years in besieging
+it. The centuries from the thirteenth to
+the fifteenth inclusive, when it was under the
+sway of the Guelphs and the Ghibellines, were
+years of tragic violence. Even the cathedral
+became the scene of riot, and its interior was
+entirely washed with wine, and it was reconsecrated
+before it could be again used for holy
+offices. The little piazza in front of the
+cathedral, now dreaming in the sun, has been
+the scene of strange and contrasting crises of
+life. Strife and warfare have desolated it; the
+footsteps of Bernardino of Siena have consecrated
+it, as he passed within the great portals
+to preach the gospel of peace. He was one of
+the most potent of the Francescan disciples,
+and Bernardino (born of the noble family of
+the Albizzeschi, in 1380, in Siena, the year
+after St. Catherine&rsquo;s death) for forty years<span class="pagenum"><a name="Page_383" id="Page_383">[383]</a></span>
+wandered over Italy, preaching peace and
+repentance. Vespasiano da Bisticci, a contemporary
+historian, records that Bernardino
+&ldquo;converted and changed the minds and spirits
+of men marvellously and had a wondrous power
+in persuading men to lay aside their mortal
+hatreds.&rdquo; Bernardino died at the age of sixty-four
+in Aquila, and the towns in which he had
+faithfully carried on his apostolic work placed
+the sacred sign of the divine name (I.H.S.)
+upon their gates and palaces, in his memory.
+In the Sienese gallery is a portrait of San Bernardino
+by Sano, painted in 1460, representing
+the saint as the champion of the Holy Name,
+with the inscription, &ldquo;I have manifested Thy
+name to men.&rdquo; In one of his impressive and
+wonderful sermons San Bernardino said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;There still remain many places for us to
+make. Ah! for the love of God, love one
+another. Alas! see you not that, if you love
+the destruction one of the other you are ruining
+your very selves? Ah! put this thing right for
+the love of God. Love one another! What I
+have done to make peace among you and to
+make you like brothers, I have done with that<span class="pagenum"><a name="Page_384" id="Page_384">[384]</a></span>
+zeal I should wish my own soul to receive. I
+have done it all to the glory of God. And let
+no one think that I have set myself to do anything
+at any person&rsquo;s request. I am only moved
+by the bidding of God for His honor and glory.&rdquo;</p></div>
+
+<p>Opposite the Duomo of Perugia, on the other
+side of the piazza, is the Palazzo Municipio,
+with a Gothic façade, a beautiful example of
+thirteenth-century architecture. Here also is
+the colossal fountain with three basins, decorated
+with pictorial designs from the Bible by
+Niccolo Pisano and Arnolfo of Florence, and
+in the shadow of this fountain St. Dominic, St.
+Francis, and St. Bernardino often met and held
+converse.</p>
+
+<p>Perugia easily reads her title clear to artistic
+immortality in having been the home of Perugino,
+the master of Raphael. Here he lived
+for several years working with Pinturicchio in
+the frescoes that adorn the Collegio del Cambio,
+now held as a priceless treasure hall of art.
+They still glow with rich coloring,&mdash;the Christ
+seen on the Mount of Transfiguration; the
+Mother and Child with the adoring magi; and
+the chariot of the dawn driven by Apollo a<span class="pagenum"><a name="Page_385" id="Page_385">[385]</a></span>
+century before Guido painted his &ldquo;Aurora&rdquo; in
+the Palazzo <a name="tn385" id="tn385"></a><ins class="correction" title="original: 'Rospigliosa'">Rospigliosi</ins> in Rome.</p>
+
+<p>From the parapets of Perugia are views of
+supreme poetic beauty. The play of light and
+color on the picturesque hills and mountains
+of the Umbrian country; the gray-green gleam
+of olive orchards and the silver threads of winding
+streams; the towers and ruins and castles
+of a dozen towns and villages that crown the
+slopes, and the violet shadows of deepening
+twilight, with Assisi bathed in a splendor of
+rose and gold,&mdash;all combine to make this an
+ever-changing panorama for the poet and
+painter.</p>
+
+<p>No journey in Italy is quite like that to the
+lovely Umbrian valley and its Jerusalem, Assisi,
+the shrine which, with the single exception of
+Rome, is the special place of pilgrimage for the
+entire religious world. Perugia offers the charm
+of art, and attracts the visitor, also, by an exceptional
+degree of modern comfort and convenience;
+but Assisi is the shrine before which
+he kneels, where the footsteps of saints who
+have knelt in prayer make holy ground, and
+where he realizes anew the consecration of faith
+and sacrifice. The very air is filled with divine<span class="pagenum"><a name="Page_386" id="Page_386">[386]</a></span>
+messages, and in lowly listening he will hear,
+again, those wonderful and thrilling words of
+St. Francis:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;By the holy love which is in God I pray all
+to put aside every obstacle, every care, every
+anxiety, that they may be able to consecrate
+themselves entirely to serve, love, and honor the
+Lord God, with a pure heart and a sincere purpose,
+which is what He asks above all things.&rdquo;</p></div><p><span class="pagenum"><a name="Page_387" id="Page_387">[387]</a></span></p>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0"><i>White phantom city, whose untrodden streets</i><br /></span>
+<span class="i1"><i>Are rivers, and whose pavements are the shifting</i><br /></span>
+<span class="i2"><i>Shadows of palaces and strips of sky;</i><br /></span>
+<span class="i0"><i>I wait to see thee vanish like the fleets</i><br /></span>
+<span class="i1"><i>Seen in mirage, or towers of clouds uplifting</i><br /></span>
+<span class="i2"><i>In air their unsubstantial masonry.</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Longfellow.</span><br />
+</p></div>
+
+
+<div class="poem" style="width: 23em;"><div class="stanza">
+<span class="i0"><i>Fair as the palace builded for Aladdin,</i><br /></span>
+<span class="i0"><i>Yonder St. Mark uplifts its sculptured splendor&mdash;</i><br /></span>
+<span class="i0"><i>Intricate fretwork, Byzantine mosaic,</i><br /></span>
+<span class="i0"><i>Color on color, column upon column,</i><br /></span>
+<span class="i0"><i>Barbaric, wonderful, a thing to kneel to!</i><br /></span>
+<span class="i0"><i>Over the portal stand the four gilt horses,</i><br /></span>
+<span class="i0"><i>Gilt hoof in air, and wide distended nostril,</i><br /></span>
+<span class="i0"><i>Fiery, untamed, as in the days of Nero.</i><br /></span>
+<span class="i0"><i>Skyward, a cloud of domes and spires and crosses;</i><br /></span>
+<span class="i0"><i>Earthward, black shadows flung from jutting stonework.</i><br /></span>
+<span class="i0"><i>High over all the slender Campanile</i><br /></span>
+<span class="i0"><i>Quivers, and seems a falling shaft of silver.</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Thomas Bailey Aldrich.</span><br />
+<span class="pagenum"><a name="Page_388" id="Page_388">[388]</a></span></p></div>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0"><i>As one who parts from Life&rsquo;s familiar shore,</i><br /></span>
+<span class="i1"><i>Looks his last look in long-beloved eyes,</i><br /></span>
+<span class="i1"><i>And sees in their dear depths new meanings rise</i><br /></span>
+<span class="i0"><i>And strange light shine he never knew before;</i><br /></span>
+<span class="i0"><i>As then he fain would snatch from Death his hand</i><br /></span>
+<span class="i1"><i>And linger still, if haply he may see</i><br /></span>
+<span class="i1"><i>A little more of this Soul&rsquo;s mystery</i><br /></span>
+<span class="i0"><i>Which year by year he seemed to understand;</i><br /></span>
+<span class="i0"><i>So, Venice, when thy wondrous beauty grew</i><br /></span>
+<span class="i1"><i>Dim in the clouds which clothed the wintry sea</i><br /></span>
+<span class="i0"><i>I saw thou wert more beauteous than I knew,</i><br /></span>
+<span class="i1"><i>And long to turn and be again with thee.</i><br /></span>
+<span class="i0"><i>But what I could not then I trust to see</i><br /></span>
+<span class="i0"><i>In that next life which we call memory.</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Phillips Brooks.</span><a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a><br />
+</p></div>
+<p><span class="pagenum"><a name="Page_389" id="Page_389">[389]</a></span></p>
+
+
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+
+<span class="nob">THE GLORY OF A VENETIAN JUNE</span></h2>
+
+<div class="blockquot2"><p>I have been between Heaven and Earth since our arrival at Venice.
+The Heaven of it is ineffable&mdash;never had I touched the skirts of so
+celestial a place. The beauty of the architecture, the silver trails of
+water up between all that gorgeous color and carving, the enchanting
+silence, the music, the gondolas,&mdash;I mix it all up together, and maintain
+that nothing is like it, nothing equal to it, no second Venice in the
+world.</p>
+
+<p class="right">
+<span class="smcap">Mrs. Browning</span>, in the June of 1850.<br />
+</p>
+</div>
+
+
+<p class="noi"><span class="smcap">The</span> first glimpse of enchanted Venice, as her
+towers and marble palaces rise wraith-like from
+the sea, is an experience that can never fade
+from memory. Like a mirage, like a vision
+invoked by some incantation or magician&rsquo;s spell,
+the scene prefigures itself, bringing a thrill of
+some vague and undefined memory, as if a
+breath floated by,&mdash;</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i1">&ldquo;An odor from Dreamland sent,<br /></span>
+<span class="i0">That makes the ghost seem nigh me,<br /></span>
+<span class="i1">Of a splendor that came and went;<br /></span>
+<span class="i0">Of a life lived somewhere,&mdash;I know not<br /></span>
+<span class="i1">In what diviner sphere,&mdash;<br /></span>
+<span class="i0">Of memories that stay not and go not,&rdquo;<br /></span>
+<span class="pagenum"><a name="Page_390" id="Page_390">[390]</a></span></div></div>
+
+<p class="noi">which eludes all translation into words. Nor
+does the spell dissolve and vanish when put to
+the test of one&rsquo;s actual sojourn in the Dream
+City. It is an experience outside the boundaries
+of the ordinary day and daylight world,
+as if one were caught up into the ethereal realm
+to find a city</p>
+
+<div class="poem" style="width: 16em;"><div class="stanza">
+<span class="i0">&ldquo;.&nbsp;.&nbsp;. of gliding and wide-wayed silence<br /></span>
+<span class="i0">With room in the streets for the soul.&rdquo;<br /></span>
+</div></div>
+
+<p>The sense of remoteness from common life
+could hardly be greater if one were suddenly
+swept away to some far star, blazing in the
+firmament; or if Charon had rowed him over
+the mystic river and he had entered the
+abodes of life on the plane beyond. Even the
+hotel becomes an enchanted palace whose
+salons, luxuriously decorated, open by long
+windows on marble balconies overhanging the
+Grand Canal. Dainty little tables piled with
+current reading matter, in French, English,
+and Italian, stand around; the writing-desks are
+sumptuous, filled with every convenience of
+stationery; and the matutinal coffee and rolls
+are served the guest in any idyllic niche wherein
+he chooses to ensconce himself, regardless of<span class="pagenum"><a name="Page_391" id="Page_391">[391]</a></span>
+the regulation <i>salle-à-manger</i>. One looks across
+the Grand Canal to the beautiful Church of
+Santa Maria della Salute. The water plashes
+against the marble steps as gondolas glide past;
+the blue sky of Italy reflects itself in the waters
+below, until one feels as if he were floating in
+the air between sea and sky. In the heart of
+the city, with throngs of people moving to and
+fro, all is yet silence, save the cry of the gondolier,
+the confused echo of voices from the
+people who pass, and here and there the faint
+call of a bird. No whir and rush of electric
+cars and motors; no click of the horses&rsquo; feet on
+the asphalt pavement&mdash;no pavement, indeed,
+and no horses, no twentieth-century rush of life.
+It is Venice, it is June, and the two combine
+to make an illuminated chapter. To live in
+Venice is like being domesticated in the heart
+of an opal. How wonderful it is to drift&mdash;a
+sky above and a sky below&mdash;on still waters at
+sunset, with the Dream City mirrored in the
+depths, every shade of gold and rose and amber
+mirrored back,&mdash;the very atmosphere a sea of
+color, recalling to one Ruskin&rsquo;s words that &ldquo;none
+of us appreciate the nobleness and the sacredness
+of color. Of all God&rsquo;s gifts to man,&rdquo; he<span class="pagenum"><a name="Page_392" id="Page_392">[392]</a></span>
+continues, &ldquo;color is the holiest, the most divine,
+the most solemn. Color is the sacred and saving
+element.&rdquo; If the enthusiasm in these words
+savor of exaggeration, Venice is the place that
+will lure one to forgetfulness of it. One is
+simply conscious of being steeped in color and
+revelling in a strange loveliness. One no longer
+marvels at the glory of Tintoretto and Paolo
+Veronese. They but interpreted on canvas the
+shining reality. A charming writer on Venice
+has well said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;The aspects of Venice are as various, as
+manifold, as the hues held in solution upon her
+waters beneath a sirocco sky. There is a perpetual
+miracle of change; one day is not like
+another, one hour varies from the next; there
+is no stable outline such as one finds among
+the mountains, no permanent vista, as in a
+view across a plain. The two great constituents
+of the Venetian landscape, the sea and the
+sky, are precisely the two features in nature
+which undergo most incessant change. The
+cloud-wreaths of this evening&rsquo;s sunset will never
+be repeated again; the bold and buttressed piles
+of those cloud-mountains will never be built<span class="pagenum"><a name="Page_393" id="Page_393">[393]</a></span>
+again just so for us; the grain of orange and
+crimson that stains the water before our prow,
+we cannot be sure that we shall look upon its
+like again.&nbsp;.&nbsp;.&nbsp;. One day is less like another in
+Venice than anywhere else. The revolution of
+the seasons will repeat certain effects; spring will
+chill the waters to a cold, hard green; summer
+will spread its breadth of golden light on palace
+front and water way; autumn will come with its
+pearly-gray sirocco days, and sunsets flaming
+a sombre death; the stars of a cloudless winter
+night, the whole vast dome of heaven, will
+be reflected in the mirror of the still lagoon.
+But in spite of this general order of the seasons,
+one day is less like another in Venice than
+anywhere else; the lagoon wears a different
+aspect each morning when you rise, the sky
+offers a varied composition of cloud each evening
+as the sun sets. Words cannot describe
+Venice, nor brush portray her ever-fleeting,
+ever-varying charm. Venice is to be felt, not
+reproduced; to live there is to live a poem,
+to be daily surfeited with a wealth of beauty
+enough to madden an artist to despair.&rdquo;</p></div>
+
+<p>It was in the autumn of 1882 that the Rev.<span class="pagenum"><a name="Page_394" id="Page_394">[394]</a></span>
+Dr. Phillips Brooks, later Bishop of Massachusetts,
+visited Venice and wrote of San Marco:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Strange how there is nothing like St. Mark&rsquo;s
+in Venice, nothing of the same kind as the great
+church. It would have seemed as if, standing
+here for so many centuries, and always profoundly
+loved and honored, it would almost of
+necessity have influenced the minds of the generations
+of architects, and shown its power in
+their works. But there seems to be no sign of
+any such influence. It stands alone.&rdquo;</p></div>
+
+<p>Dr. Brooks noted that Venice had &ldquo;two
+aspects, one sensuous and self-indulgent, the
+other lofty, spiritual, and even severe. Both
+aspects,&rdquo; he continues, &ldquo;are in its history and
+both are also in its art. Titian often represents
+the former. The loftier, nobler Tintoretto gives
+us the second. There is something in his greatest
+pictures, as, for instance, in the Crucifixion,
+at St. Rocco, which no other artist approaches.
+The lordly composition gives us an impression
+of intellectual grasp and vigor. The foreground
+group of prostrate women is full of a tenderness.
+The rich pearly light, which floods the centre,<span class="pagenum"><a name="Page_395" id="Page_395">[395]</a></span>
+glows with a solemn picturesqueness, and the
+great Christ, who hangs like a benediction over
+the whole, is vocal with a piety which no other
+picture in the world displays. And the Presentation
+of the Virgin, in Santa Maria dell&rsquo;Orto,
+is the consummate presentation of that beautiful
+subject, its beauty not lost in its majesty.&rdquo;</p>
+
+<p>Of other pictures Dr. Brooks said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;In the Academia there is the sunshine of
+three hundred years ago. Paris Bordone&rsquo;s
+glowing picture of the Fisherman who brings
+the Ring of St. Mark to the Doge, burned like
+a ray of sunlight on the wall. Carpaccio&rsquo;s
+delightful story of St. Ursula brought the old
+false standards of other days back to one&rsquo;s mind,
+but brought them back lustrous with the splendor
+of summers that seemed forever passed, but
+are perpetually here. Tintoretto&rsquo;s Adam and
+Eve was, as it always is, the most delightful
+picture in the gallery, and Pordenone&rsquo;s great
+St. Augustine seemed a very presence in the
+vast illuminated room.&rdquo;</p></div>
+
+<p>Tennyson loved best, of all the pictures in
+Venice, a Bellini,&mdash;a beautiful work, in the<span class="pagenum"><a name="Page_396" id="Page_396">[396]</a></span>
+Church of Il Redentore; and he was deeply
+impressed by the &ldquo;Presentation of the Virgin,&rdquo;
+from Tintoretto, in the Church of the Madonna
+dell&rsquo;Orto. &ldquo;He was fascinated by St. Mark&rsquo;s,&rdquo;
+writes the poet&rsquo;s son, &ldquo;by the Doge&rsquo;s Palace
+and the Piazza, and by the blaze of color in
+water and sky. He climbed the Campanile,
+and walked to the library where he could
+scarcely tear himself away from the Grimani
+Breviary.&rdquo;</p>
+
+<p>Venice, though not containing any single
+gallery comparable with the Pitti and the
+Uffizi, is still singularly rich in treasures of art,
+and rich in legend and story. The school of
+encrusted architecture is nowhere so wonderfully
+represented as here, and it is only in this
+architecture that a perfect scheme of color decoration
+is possible. In all the world there is no
+such example of encrusted architecture as that
+revealed in St. Mark&rsquo;s. It is a gleaming mass
+of gold, opal, ruby, and pearl; with alabaster
+pillars carved in designs of palm and pomegranate
+and lily; with legions of sculptured
+angels looking down; with altars of gold ablaze
+with scarlet flowers and snowy lilies, while
+clouds of mystic incense fill the air. One most<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span>
+impressive place is the baptistery, where is the
+tomb of St. Mark and also that of the Doge
+Andrea Dandolo, who died at the age of forty-six,
+having been chosen Doge ten years before.
+His tomb is under a window in the baptistery,
+and the design is that of his statue in bronze,
+lying on a couch, while two angels at the head
+and the feet hold back the curtains.</p>
+
+<p>The sarcophagus that is said to contain the
+body of St. Mark is of the richest description, encrusted
+with gold and jewels on polished ebony
+and marble. There is a legend that after St.
+Mark had seen the people of Aguilia well
+grounded in religion he was called to Rome by
+St. Peter; but before setting off he took with
+him in a boat the holy Bishop Hennagoras and
+sailed to the marshes of Venice. The boat was
+driven by wind to a small island called Rialto,
+on which were some houses, and St. Mark was
+suddenly snatched into ecstasy and heard the
+voice of an angel saying, &ldquo;Peace be to thee,
+Mark; here shall thy body rest.&rdquo;</p>
+
+<p>There is also a legend that in the great conflagration
+which destroyed Venice in 976 A.D.,
+the body of St. Mark was lost and no one knew
+where to find it. Then the pious Doge and the<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span>
+people gave themselves to fasting and prayer,
+and assembled in the church, asking that the
+place be revealed them. It was on the 25th
+of June that the assemblage took place. Suddenly
+one of the pillars of the church trembled,
+and opened to disclose the sarcophagus,&mdash;a
+chest of bronze. The legend goes on to say
+that St. Mark stretched his hand out through the
+side and that a noble, Dolfini by name, drew a
+gold ring off the finger.</p>
+
+<p>The place where this miracle is said to have
+been wrought is now marked by the Altar of
+the Cross.</p>
+
+<p>Ruskin declares that &ldquo;a complete understanding
+of the sanctity of color is the key to
+European art.&rdquo; Nowhere is this sanctity of
+color so felt as at San Marco. The church is
+like the temple of the New Jerusalem.</p>
+
+<p>The origin of Venice is steeped in sacred history.
+It is pre-eminently the city founded in
+religious enthusiasm. The chronicles of De
+Monici, written in 421, give this passage: &ldquo;God,
+who punishes the sins of men by war, sorrow,
+and whose ways are past finding out, willing
+both to save the innocent blood, and that a
+great power, beneficial to the whole world,<span class="pagenum"><a name="Page_399" id="Page_399">[399]</a></span>
+should arise in a place strange beyond belief,
+moved the chief men of the cities of the Venetian
+province both in memory of the past, and
+in dread of future distress, to establish states
+upon the nearer islands of the Adriatic, to which,
+in the last extremity, they might retreat for
+refuge.&nbsp;.&nbsp;.&nbsp;. They laid the foundation of the
+new city under good auspices on the island of
+the Rialto, the highest and nearest to the mouth
+of the Brenta, on March 25, 471.&rdquo;</p>
+
+<p>The first Doge of Venice was Paolo Lucio
+<a name="tn399" id="tn399"></a><ins class="correction" title="original: 'Anopeste'">Anafesto</ins>, elected by the tribunal of commonalty,
+tribunals, and clergy, at Heraclea, in
+697. The period of the subjection of the
+ecclesiastical to the ducal and patrician powers
+followed. The &ldquo;Council of Ten&rdquo; was established
+in 1335, and the last Doge elected was
+Lodovico Manin in 1789, who exclaimed, &ldquo;<i>Tolè
+questo: no la doperò più</i>,&rdquo; as the French Revolution
+destroyed the Republic of Venice.</p>
+
+<p>The finest example of Renaissance architecture
+in Venice is that of the <i>Libreria Vecchia</i>,
+the work of Jacobo Sansovino, completed in
+the sixteenth century. Never were the creations
+of poet and philosopher more fittingly enshrined.
+The rich Doric frieze, the Ionic columns, the<span class="pagenum"><a name="Page_400" id="Page_400">[400]</a></span>
+stately balustrade, with statues and obelisks,
+the resplendent richness of ornamentation, offer
+a majesty and beauty seldom found even in the
+best classical architecture of Europe. On the
+ceiling of one sala is a picture by Titian representing
+&ldquo;Wisdom&rdquo; as a woman, reclining on a
+cloud, her right hand outstretched to take a
+book that Genius is offering her. There are
+two beautiful caryatides by Vittoria and rich
+mural work by <a name="tn400a" id="tn400a"></a><ins class="correction" title="original: 'Battesta'">Battista</ins> Franco and De Moro.</p>
+
+<p>Petrarca, returning from his wanderings in
+1362, pleaded with the Senate of Venezia
+to give him a house, in return for which he
+offered the inheritance of his library. This was
+the nucleus of the fine collection which since
+1812 has been included in the Palace of the
+Doges. In it are some magnificent works by
+Paolo Veronese, one portrait by Tintoretto, and
+others by Salviati and Telotti.</p>
+
+<p>The Doge&rsquo;s Palace is a treasure house of history.
+One enters the Porta <a name="tn400b" id="tn400b"></a><ins class="correction" title="original: 'delta'">della</ins> Carta, which
+dates back to 1638, erected by Bartolomeo
+Buon. The portal is very rich in sculpture,
+and among the reliefs is a heroic one of Francesco
+Foscari, kneeling before the lion at St.
+Mark&rsquo;s. One recalls his tragic fate and passes<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span>
+on. Perhaps, <i>en passant</i>, one may say that his
+pilgrimage through Venice and Florence is so
+constantly in the scenes of tragedy that he is
+prone to sink almost into utter sadness, even,
+rather than seriousness. The air is full of
+ghosts. One feels the oppression of all the life
+that has there been lived, all the tragedies that
+have been enacted in these scenes.</p>
+
+<p>In Renaissance nothing more wonderful in
+Europe can be found than the court of the
+Palace of the Doges. Antonio Rizzo began the
+east façade of the building in 1480, and it was
+continued by Lombardo, and completed by
+Scarpagnino. &ldquo;Words cannot be found to
+praise the beauty of these sculptures,&rdquo; says Salvatico,
+&ldquo;as well as of the single ornaments of
+the walls and of the ogres which have been
+carved so delicately and richly that they cannot
+be excelled by the Roman antique friezes.&rdquo;</p>
+
+<p>By the golden staircase one goes to the council
+chambers,&mdash;the hall of the Senate, the Council
+of Ten, and the Council of Three. In the great
+council chamber is that most celebrated mural
+painting in the world, &ldquo;The Glory of Venice,&rdquo;
+by Paolo Veronese, which covers the ceiling. In
+a frieze are the portraits of seventy-six of the<span class="pagenum"><a name="Page_402" id="Page_402">[402]</a></span>
+Doges, but in one space is a black tablet only,
+with the inscription: &ldquo;This in place of M. F.,
+who was executed for his crimes.&rdquo;</p>
+
+<p>The &ldquo;Sala del Maggior Consiglio&rdquo; (hall of
+the grand council) is very rich in paintings.
+Above the throne is Tintoretto&rsquo;s &ldquo;The Glory of
+Paradise,&rdquo; and the walls are covered with battle
+pieces and symbolic and allegorical paintings.
+There is &ldquo;Venice Crowned by Fame,&rdquo; by Paolo
+Veronese, &ldquo;Doge Niccolò da Ponte Presenting
+the Senate and Envoys of Conquered Cities
+to Venice,&rdquo; by Tintoretto; &ldquo;Venice Crowned by
+the Goddess of Victory,&rdquo; by Palma Giovane,
+and many another of the richest and most wonderful
+beauty.</p>
+
+<p>Descending into the prisons and dungeons
+brings one into a vivid realization of the grim
+history of which these were the scenes. The
+Bridge of Sighs has two covered passages, one
+for the political and one for the criminal prisoners.
+Here is shown a narrow ledge on which
+the condemned man stood, with a slanting stone
+passageway before him, which, when the guillotine
+had done its swift and deadly work, conveyed
+the crimson flood into the dark waters
+of the canal below, while the body was thrown<span class="pagenum"><a name="Page_403" id="Page_403">[403]</a></span>
+in the water on the other side. There are the
+&ldquo;Chambers of Lead,&rdquo; where prisoners were confined,
+intensely hot in the summer, and as
+intensely cold in the winter. Many of these
+dark, close, narrow cells&mdash;in which the one
+article of furniture allowed was the wooden
+slanting rack, that served as a bed&mdash;still remain.
+In many of these are inscriptions that
+were written by the prisoners. One reads (in
+translation): &ldquo;May God protect me against him
+whom I trust; I will protect myself against him
+whom I do not trust.&rdquo;</p>
+
+<p>The murderer, Giovanni M. Borni, wrote in
+his cell: &ldquo;G. M. B. was confined very unjustly
+in this prison; if God does not help it will be
+the last desolation of a poor, numerous, and
+honest family.&rdquo;</p>
+
+<p>All visitors to these gloomy dungeons recall
+the lines of Byron:&mdash;</p>
+
+<div class="poem" style="width: 17em;"><div class="stanza">
+<span class="i0">&ldquo;I stood in Venice on the Bridge of Sighs,<br /></span>
+<span class="i0">A palace and a prison on each hand.&rdquo;<br /></span>
+</div></div>
+
+<p>The piazza of St. Mark&rsquo;s is a distinctive
+feature, even in all Europe. It is not large; it
+is surrounded on three sides with shops, which
+are merely glittering bazaars of jewels and bric-a-brac;<span class="pagenum"><a name="Page_404" id="Page_404">[404]</a></span>
+the sidewalk is blockaded with cafés <i>al
+fresco</i>, the ground is half covered with the dense
+flocks of white doves, but here all lingers and
+loiters. The façade of St. Mark&rsquo;s fills one end&mdash;a
+mass of gleaming color. At one corner
+is the tall clock tower (Torre dell&rsquo;Orologio)
+in the Renaissance style of 1400, crowned with
+the gilded lion of St. Mark. On the festa days
+three figures, the Three Wise Men, preceded
+by an angel, come forth on the tower and bow
+before the Madonna, in a niche above,&mdash;a very
+ingenious piece of mechanism. With its rich
+architecture and sculptures and masses of color,
+the piazza of San Marco is really an open-air
+hall, where all the town congregates from morning
+till midnight.</p>
+
+<p>To study the art of the Venetian school is a
+work of months, and one that would richly
+repay the student. The churches and galleries
+of Venice give a truly unique opportunity. In
+the Church of San Sebastiano lies Paolo Veronese,
+the church in which he painted his celebrated
+frescoes, now transformed into a temple
+for himself. Here one finds his &ldquo;Coronation
+of the Virgin,&rdquo; &ldquo;The Virgin in the Gloria,&rdquo;
+&ldquo;Adoration of the Magi,&rdquo; &ldquo;Martyrdom of San<span class="pagenum"><a name="Page_405" id="Page_405">[405]</a></span>
+Sebastian,&rdquo; and many others. In the Scuola
+di San Rocco are the great works of Tintoretto,
+&ldquo;St. Magdalene in the Wilderness,&rdquo; the &ldquo;Visitation,&rdquo;
+and the &ldquo;Murder of the Innocents.&rdquo;</p>
+
+<p>In the San Maria dei Frari is the tomb of
+Titian,&mdash;an exquisite grouping of sculpture in
+Carrara marble, erected in 1878-80 by the command
+of the Emperor of Austria, the work of
+Zandomenighi. In this church is Titian&rsquo;s most
+famous painting, the &ldquo;Madonna of the Pessaro,&rdquo;
+the work of which is probably, too, the greatest
+in all Venetian art. The Hall of Heaven is
+shown, supported by colossal columns. St.
+Peter, <a name="tn405" id="tn405"></a><ins class="correction" title="original: 'Maucis'">Francis</ins>, and Antoninus are commending
+the Pessaro family to the Virgin, who is enthroned
+on high. The beauty of line, the splendor
+of color, and the marvellous composition
+render this immortal masterpiece something
+whose sight marks an epoch in life. Canova&rsquo;s
+tomb in San Maria dei Frari is a wonderful
+thing. It is a pyramid of purest marble, with
+a door opening for the sarcophagus, above which
+is a portrait of Canova in relief, and on either
+side the door angels and symbolic figures are
+sculptured.</p>
+
+<p>The Church of Santa Maria della Salute, to<span class="pagenum"><a name="Page_406" id="Page_406">[406]</a></span>
+which one is always returning, is a wonderful
+example of artistic architecture, as its snowy
+towers and dome seem to rise out of the water
+and float in the air.</p>
+
+<p>The fall of the Campanile in 1904 was regarded
+as a calamity by all the civilized world.
+For a thousand years it had stood at the side of
+St. Mark&rsquo;s; but the disaster aroused the attention
+of experts to the condition of the great
+cathedral itself, and it was found that the vast
+area of over fifty thousand square feet of matchless
+mosaic needed restoration in order that
+they should be preserved.</p>
+
+<p>The Palazzo Rezzonico, which dates to Clement
+XIII, usually known as the &ldquo;Browning
+Palace,&rdquo; has been for many years one of the
+special interests to the visitor in Venice. In
+the early months of 1907 it passed out of the
+hands of Robert Barrett Browning, who had
+purchased it in 1888, and had held it sacredly,
+with its poetic and personal associations, since
+the death of his father, the poet, in 1889. To
+Mr. Barrett Browning is due the grateful appreciation
+of a multitude of tourists for his generous
+and never-failing courtesy in permitting
+them the privilege of visiting this palace in<span class="pagenum"><a name="Page_407" id="Page_407">[407]</a></span>
+which his father had passed many months of
+enjoyment. It was from this residence that
+the poet Browning wrote, in October of 1880,
+to a friend:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Every morning at six I see the sun rise; far
+more wonderfully, to my mind, than his famous
+setting which everybody glorifies. My bedroom
+window commands a perfect view; the
+still, gray lagune, the few sea-gulls flying, the
+islet of San Giorgio in deep shadow and the
+clouds in a long purple rock behind which a
+sort of spirit of rose burns up till presently all
+the rims are on fire with gold, and last of all
+the orb sends before it a long column of its
+own essence apparently; so my day begins.&rdquo;</p></div>
+
+<p>Later, of his son&rsquo;s palace, Mr. Browning
+wrote:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Have I told you that there is a chapel which
+he has restored in honor of his mother&mdash;putting
+up there the inscription by Tommaseo,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>
+now above Casa Guidi in Florence?&rdquo;</p></div>
+
+<p><span class="pagenum"><a name="Page_408" id="Page_408">[408]</a></span></p>
+<p>In this palace Mr. Browning wrote some of
+his later poems, and it may well be that it was
+when he was clad in his singing robes that he
+perhaps most deeply felt the ineffable charm of
+Venice:&mdash;</p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;For the stars help me, and the sea bears part;<br /></span>
+<span class="i1">The very night is clinging<br /></span>
+<span class="i0">Closer to Venice&rsquo; streets to leave one space<br /></span>
+<span class="i1">Above me.&nbsp;.&nbsp;.&nbsp;.&rdquo;<br /></span>
+</div></div>
+
+<p>It was from these lofty salons in the Browning
+Palace that the poet passed to the &ldquo;life
+more abundant&rdquo; on that December day of
+1889, on the very day that his last volume,
+&ldquo;Asolando,&rdquo; was published and also the last
+volume of Tennyson&rsquo;s. Regarding these Mr.
+Gladstone said, in a letter to Lord Tennyson:
+&ldquo;The death of Browning on the day of the
+appearance of your volume, and we hear of
+one of his own, is a touching event.&rdquo;</p>
+
+<p>From the time of Mrs. Browning&rsquo;s death in
+Florence (in June of 1861) Mr. Browning never
+felt that he could see Italy again, until the
+autumn of 1878, when he, with his sister, Miss
+Sarianna Browning, came to Venice by way
+of the Italian lakes and Verona. At this time<span class="pagenum"><a name="Page_409" id="Page_409">[409]</a></span>
+they only remained for a fortnight, domiciled
+in the old Palazzo Brandolin-Rota, which was
+transformed into the Albergo dell&rsquo;Universo.
+This palace was on the Grand Canal below
+the Accadémia, and here he returned through
+two or three subsequent years. Mr. Browning
+became very fond of Venice, and he explored
+its winding ways and gardens and knew it,
+not merely from the gondola view, but from
+the point of view of the curious little dark
+and narrow byways, the bridges, and the
+piazzas.</p>
+
+<p>It was in 1880 that Mr. Browning first met,
+through the kind offices of Mr. Story, a most
+charming and notable American lady, Mrs.
+Arthur Bronson (Katherine DeKay), who had
+domiciled herself in Casa Alvisi, an old palace
+on the Grand Canal opposite the Church of
+Santa Maria della Salute. She was a woman
+of very interesting personality, and had drawn
+about her a circle including many of the most
+distinguished people of her time, authors, artists,
+poets, and notable figures in the social world.
+She was eminently <i>simpatica</i> and her lovely impulses
+of generous kindness were rendered possible
+to translate into the world of the actual by<span class="pagenum"><a name="Page_410" id="Page_410">[410]</a></span>
+the freedom which a large fortune confers on
+its possessor. Between Mrs. Bronson and Mr.
+Browning there sprang up one of those rare
+and beautiful friendships that lasted during his
+lifetime, and to her appreciation and many
+courtesies he owed much of the happiness of
+his later years. In the autumn of 1880 Mrs.
+Bronson made Mr. Browning and his sister her
+guests, placing at their disposal a suite of rooms
+in the Palazzo Giustiniani Recanati&mdash;a palace
+adjoining her own&mdash;and each night they dined
+and passed the evening with her, with music
+and conversation to enchant the hours. After
+Mr. Browning&rsquo;s death, Mrs. Bronson was the
+friend whom all pilgrims to his shrine in Venice
+felt it a special privilege to meet and to hear
+speak of him. In her palace was a large easy-chair,
+with a ribbon tied across the arms, in
+which Browning was accustomed to sit, and
+which was held sacred to him. Mrs. Bronson
+was an accomplished linguist, and the <i>habitués</i>
+of her salon represented many nationalities.
+Among these was the Princess Montenegro, the
+mother of the present Queen of Italy.</p>
+
+<p>It is little wonder that the Browning Palace
+was for so many years a focus for all who<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span>
+revered and loved the wedded poets, Robert and
+Elizabeth Barrett Browning.</p>
+
+<p>In the marble court, roofed only by the blue
+Venetian sky, stood Mr. Barrett Browning&rsquo;s
+statue of &ldquo;Dryope&rdquo; in bronze, on its marble
+pedestal,&mdash;a beautiful conception of the Dryope
+of Keats,&mdash;the dweller in forest solitudes
+whom the Hamadryads transformed into a
+poplar. Here a fountain makes music all day
+long, and the court is also adorned in summer
+by great Venetian jars of pink hydrangeas in
+full bloom. The grand staircase, with its carved
+balustrade and the wide landing where a rose
+window decorates the wall, leads to the lofty
+salons which were yet as homelike as they were
+artistic during the residence of the Brownings.
+Mr. Story&rsquo;s bust of Mrs. Browning, other portrait
+busts of both the poets, sculptured by
+their artist son, and by others, and other memorials
+abound. In the library were gathered
+many interesting volumes, autographed from
+their authors, and many rare and choice editions,
+among which was one of the &ldquo;Sonnets
+from the Portuguese&rdquo; in a sumptuous volume
+whose artistic beauty found a fitting setting to
+Mrs. Browning&rsquo;s immortal sonnets. Among<span class="pagenum"><a name="Page_412" id="Page_412">[412]</a></span>
+other volumes were a collection of signed
+&ldquo;Etchings&rdquo; by Sir Laurence Alma-Tadema;
+presentation copies from Tennyson, Matthew
+Arnold, Aubrey De Vere, Walter Savage Landor,
+and many another known to fame; and a copy,
+also, of a study of Mrs. Browning&rsquo;s poetry<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> by
+an American writer.</p>
+
+<p>There is one memento over which the visitor
+always smiled&mdash;a souvenir of a London evening
+in 1855 when the Brownings had invited
+Dante Gabriel Rossetti and his brother and
+Lord Madox Brown to meet Tennyson and
+listen to his reading of his new poem, &ldquo;Maud,&rdquo;
+then still unpublished. During the reading Rossetti
+drew a caricature representing Tennyson
+with his hair standing on end, his eyes glowering
+and his hand theatrically extended, as he
+held a manuscript inscribed,</p>
+
+<div class="poem" style="width: 21em;"><div class="stanza">
+<span class="i0">&ldquo;I hate the dreadful hollow behind the little wood.&rdquo;<br /></span>
+</div></div>
+
+<p>A reproduction of John Singer Sargent&rsquo;s
+painting, &ldquo;The Gypsy Dance,&rdquo; bore the inscription,
+&ldquo;To <i>mon ami</i>, Browning.&rdquo; From the
+library is a niche, decorated in gold, with memorial
+entablatures to the memory of Mrs. Brown<span class="pagenum"><a name="Page_413" id="Page_413">[413]</a></span>ing.
+On the outer wall of the palace is an
+inscription that runs:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Robert Browning died in this house 12th
+December, 1889.</p>
+
+<div class="poem" style="width: 14em;"><div class="stanza">
+<span class="i0">&ldquo;Open my heart and you will see<br /></span>
+<span class="i0">Graven inside it &lsquo;Italy.&rsquo;&rdquo;<br /></span>
+</div></div>
+</div>
+
+<p>There is a sadness in the fact that this palace,
+consecrated to the memory of the immortal
+poets, husband and wife, has passed into the
+hands of strangers; but that is a part of the play
+in a world in which we have no continuing
+city. In the spring of 1905, Miss Sarianna
+Browning died in the home of her nephew,
+near Florence, and her body was buried in the
+new Protestant cemetery in that city; the old
+one, where all that was mortal of Elizabeth
+Barrett Browning was laid to rest, being now
+closed. Mr. Barrett Browning, in his Tuscan
+villa, is again dwelling near Florence, his native
+city, which must forever hold to him its atmosphere
+of consecrated beauty as the beloved
+home of his mother,&mdash;the noblest and greatest
+of all woman poets.</p>
+
+<p>The centenary of Carlo Goldoni was celebrated<span class="pagenum"><a name="Page_414" id="Page_414">[414]</a></span>
+in Venice in the spring of 1907 by the
+publication of all his works and a monograph
+on his life; an exhibition of personal relics; the
+presentation of one of his dramas set to music
+by Baldassare Galuppi, the great Venetian
+composer of his time, and by a procession to
+lay a wreath of laurel on his monument in the
+Campo San Bartolommeo. The drama given,
+entitled the &ldquo;Buranello,&rdquo; was the last work of
+the author, and it was presented in the theatre
+Goldoni. The Municipal Council of Venice
+voted the sum of fifty thousand lire for the <i>édition
+de luxe</i>, which consists of twenty volumes, in
+octavo. In each volume is a different portrait
+of Goldoni, facsimile of manuscripts, and the
+reproduction of literary curiosities.</p>
+
+<p>The monograph of Goldoni was issued by the
+press of the Venetian Institute of Graphic Art
+in a limited number of copies.</p>
+
+<p>It contains more than three hundred printed
+pages and a series of very interesting illustrations.
+Among these are the reproductions
+of ancient engravings which are most rare
+(such as the view of the Grimani Theatre
+at San Giovanni Crisostomo, a famous theatre
+existing in the days of the Venetian republic,<span class="pagenum"><a name="Page_415" id="Page_415">[415]</a></span>
+but now demolished), frontispieces of destroyed
+editions, and other personal memorials. The
+revival of the splendid work of the famous artist
+was one of the attractions of the festa of celebration.
+The art exhibition of Venice in this
+spring of 1907 was very picturesque. One
+special salon was allotted to the artists of Great
+Britain, and there was a fine loan collection of
+the portraits of English noblemen painted by
+Mr. Sargent. This salon was decorated with
+panels by Frank Brangwyn.</p>
+
+<p>Venice forever remains a dream, a mirage, an
+enchantment. Has it a recognized social life,
+with &ldquo;seasons&rdquo; that come and go? Has it
+trade, commerce, traffic? Has it any existence
+save on the artist&rsquo;s canvas, in the poet&rsquo;s vision?
+Has it a resident population to whom it is a
+home, and not the pilgrimage of passionate
+pilgrims?</p>
+
+<p>There are those who find this Venice of all
+the year round a society of stately nobles whose
+ancestral claims are identified with the history
+of the city and who are at home in its palaces
+and gondolas, but of this resident life the
+visitor is less aware than of that in any other
+city in Italy. For him it remains forever in<span class="pagenum"><a name="Page_416" id="Page_416">[416]</a></span>
+his memory as the crowning glory of June evenings
+when the full, golden moon hangs over
+towers and walls, when gondolas freighted with
+Venetian singers loom up out of the shadows
+and fill the air with melody that echoes as in
+dreams, and that vanishes&mdash;one knows not
+when or where. Mr. Howells, in his delightful
+&ldquo;Venetian Days,&rdquo; has interpreted much of that
+life that the tourist never recognizes, that eludes
+his sight; and the Dream City still, to the visitor
+who comes and goes, shrouds itself in myth
+and mystery. One of the poetic visions of
+Venice is that given in Robert Underwood
+Johnson&rsquo;s &ldquo;Browning at Asolo&rdquo; (inscribed to
+Mrs. Arthur Bronson), of which the opening
+stanzas run:&mdash;</p>
+
+<div class="poem" style="width: 20em;"><div class="stanza">
+<span class="i0">&ldquo;This is the loggia Browning loved,<br /></span>
+<span class="i1">High on the flank of the friendly town;<br /></span>
+<span class="i0">These are the hills that his keen eye roved,<br /></span>
+<span class="i1">The green like a cataract leaping down<br /></span>
+<span class="i1">To the plain that his pen gave new renown.<br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;There to the West what a range of blue!&mdash;<br /></span>
+<span class="i0">The very background Titian drew<br /></span>
+<span class="i1">To his peerless Loves. O tranquil scene!<br /></span>
+<span class="i0">Who than thy poet fondlier knew<br /></span>
+<span class="i1">The peaks and the shore and the lore between?<span class="pagenum"><a name="Page_417" id="Page_417">[417]</a></span><br /></span>
+</div><div class="stanza">
+<span class="i0">&ldquo;See! yonder&rsquo;s his Venice&mdash;the valiant Spire,<br /></span>
+<span class="i1">Highest one of the perfect three,<br /></span>
+<span class="i0">Guarding the others: the Palace choir,<br /></span>
+<span class="i0">The Temple flashing with opal fire&mdash;<br /></span>
+<span class="i1">Bubble and foam of the sunlit sea.&rdquo;<br /></span>
+</div></div>
+
+<p>Edgar Fawcett, always enchanted with his
+Venetian days, pictures the northern lagoon,
+some six miles from Venice, as &ldquo;a revel of
+pastoral greenness, with briery hedges, numberless
+wild flowers and the most captivating of
+sinuous creeks, overarched by an occasional
+bridge, so old that you greet with respect every
+moss-grown inch of its drowsy and sagging
+brickwork. The cathedral, the ineludible cathedral
+of all Italian settlements, is reached after a
+short ramble, and you enter it with mingled
+awe and amusement,&rdquo; he continues. &ldquo;Some of
+its mosaics, representing martyrs being devoured
+by flames and evidently enjoying themselves a
+great deal during this mortuary process, challenge
+the disrespectful smile. But others are
+vested with a rude yet sacred poetry, and certain
+semi-Oriental marble sculptures, adjacent
+to the altar, would make an infidel feel like
+crossing himself for the crime of having
+yielded to a humorous twinge. This duomo<span class="pagenum"><a name="Page_418" id="Page_418">[418]</a></span>
+dates far back beyond the Middle Ages, and
+so does the small Church of Santa Fosca, only
+a step away. What renders Torcello so individual
+among all the islands and islets of the
+lagoon, I should say, is her continual contrast
+between the ever-recurrent idyllicism of open
+meadows or wilding clusters of simple rustic
+thickets, and the enormous antiquity of these
+two hoary ecclesiastic fanes. History is in
+the air, and you feel that the very daisies
+you crush underfoot, the very copses from
+which you pluck a scented spray, have their
+delicate rustic ancestries, dating back to Attila,
+who is said once to have brought his destructive
+presence where now such sweet solemnity
+of desertion and quietude unmolestedly
+rules.&rdquo;</p>
+
+<p>History and legend and art and romance meet
+and mingle to create that indefinable sorcery of
+Venice. It is like nothing on earth except a
+poet&rsquo;s dream, and his poetic dream is of the
+ethereal realm. The wonderful music that
+floats over the &ldquo;silver trail&rdquo; of still waters;
+the mystic silences; the resplendence of color,&mdash;all,
+indeed, weave themselves into an incantation
+of the gods; it is the ineffable loveliness of<span class="pagenum"><a name="Page_419" id="Page_419">[419]</a></span>
+Paradise where the rose of morning glows &ldquo;and
+the June is always June,&rdquo; and it is no more
+earth, but a celestial atmosphere,&mdash;this glory
+of June in Venice.<span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span></p>
+
+
+<p><span class="pagenum"><a name="Page_421" id="Page_421">[421]</a></span></p>
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+<div class="poem" style="width: 26em;"><div class="stanza">
+<span class="i0"><i>Dear Italy! The sound of thy soft name</i><br /></span>
+<span class="i1"><i>Soothes me with balm of Memory and Hope.</i><br /></span>
+<span class="i1"><i>Mine, for the moment, height and sweep and slope</i><br /></span>
+<span class="i0"><i>That once were mine. Supreme is still the aim</i><br /></span>
+<span class="i6"><i>To flee the cold and gray</i><br /></span>
+<span class="i6"><i>Of our December day,</i><br /></span>
+<span class="i0"><i>And rest where thy clear spirit burns with unconsuming flame.</i><br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Thou human-hearted land, whose revels hold</i><br /></span>
+<span class="i1"><i>Man in communion with the antique days,</i><br /></span>
+<span class="i1"><i>And summon him from prosy greed to ways</i><br /></span>
+<span class="i0"><i>Where Youth is beckoning to the Age of Gold;</i><br /></span>
+<span class="i6"><i>How thou dost hold him near</i><br /></span>
+<span class="i6"><i>And whisper in his ear</i><br /></span>
+<span class="i0"><i>Of the lost Paradise that lies beyond the alluring haze!</i><br /></span>
+</div>
+
+<p class="right">
+<span class="smcap">Robert Underwood Johnson.</span><br />
+<span class="pagenum"><a name="Page_422" id="Page_422">[422]</a></span></p></div>
+
+
+<hr style="visibility: hidden; margin: 3em;" />
+
+
+<div class="blockquot2"><p><i>Great ideas create great peoples. Let your life be the living
+summary of one sole organic idea. Enlarge the horizon of the
+peoples. Liberate their conscience from the materialism by which
+it is weighed down. Set a vast mission before them. Rebaptize
+them.</i></p>
+
+<p class="right">
+<span class="smcap">Mazzini.</span><br />
+</p></div>
+
+<p class="noi"><br /></p>
+
+
+<div class="blockquot2"><p><i>All parts array for the progress of souls: all religion, all solid
+things, arts, governments,&mdash;all that was or is apparent upon
+this globe, or any globe, falls into niches and comes before the procession
+of Souls along the grand roads of the universe.&nbsp;.&nbsp;.&nbsp;. Of the
+progress of the souls of men and women along the grand roads of
+the universe, all other progress is the needed emblem and sustenance.</i></p>
+
+<p class="right">
+<span class="smcap">Walt Whitman.</span><br />
+<span class="pagenum"><a name="Page_423" id="Page_423">[423]</a></span></p></div>
+
+
+
+
+<h2><a name="VII" id="VII"></a>VII<br /><br />
+
+<span class="nob">THE MAGIC LAND</span></h2>
+
+<div class="blockquot2"><p>More than five hundred years have passed over the country of Dante
+since the death of his mortal part&mdash;years of glory and of shame, of genius
+and intolerable mediocrity, of turbulent liberty and mortal servitude; but
+the name of Dante has remained, and the severe image of the poet still
+rules the destinies of Italian generations, now an encouragement and now
+a reproach. The splendor of no other genius has been able to eclipse or
+dim the grandeur of Dante; never has there been a darkness so profound
+that it could conceal this star of promise from Italian eyes; neither the
+profanations of tyrants and Jesuits, nor the violations of foreign invaders,
+have been able to efface it. &ldquo;<i>Sanctum Poetæ nomen quod nunquam barbaries
+violavit.</i>&rdquo;</p>
+
+<p class="right">
+<span class="smcap">Mazzini.</span><br />
+</p></div>
+
+
+<p class="noi"><span class="smcap">The</span> true life of Italy is not read in any record
+of contemporary facts or statistics. Mazzini
+once said of Dante, in an essay on the immortal
+poet, that &ldquo;the life, the true life of Dante does
+not lie in the series of the material facts of his
+existence. The life of Dante consists in the
+sufferings and aspirations of his soul; in its
+dominant impulses; in the ceaseless development
+of the idea which was at once his guide,
+inspiration, and consolation; in his belief as a
+man and as an Italian.&rdquo; The real life of Italy<span class="pagenum"><a name="Page_424" id="Page_424">[424]</a></span>
+is, by analogy, to be read in that atmosphere
+of aspiration and of noble purpose which characterizes
+the nation rather than in the material
+facts of its general progress at the present time.
+As a country Italy is young. It is still less than
+forty years since her unity was declared, and to
+merge the large number of separate States into
+one harmonious whole is a task requiring the
+evolutionary progress of time; for a nation, like
+a university, cannot be a matter of instantaneous
+creation. It must germinate and grow.
+The country that, previous to so comparatively
+a recent date as the year 1870, was, in the phrasing
+of Prince Metternich, &ldquo;a geographical expression,&rdquo;
+can hardly be judged by present
+national standards after an existence of only
+thirty-seven years, although it need be said in
+no spirit of apology; for Italy is advancing in
+scientific development, in manufactures, and in
+the problems involved in civil and hydraulic
+engineering to a notable degree in the northern
+part. Milan and Naples are separated by far
+more than geographical distance. In modern
+progress Milan is divided by centuries from all
+Southern Italy.</p>
+
+<p>Between Italy and the United States the<span class="pagenum"><a name="Page_425" id="Page_425">[425]</a></span>
+<i>entente cordiale</i> is not merely that of diplomatic
+and ceremonial courtesy, but of an exceptional
+degree of mutually sympathetic comprehensions.
+In noble ambitions and lofty purposes Americans
+and Italians are closely akin. In zeal for
+contemporary scientific progress, in an intense
+susceptibility to the glories of art, and in hospitality
+to all that makes for progress, both
+nations meet in mutual recognition. Of no
+people is it more deeply true than of Americans
+that &ldquo;each man has two countries: his own
+and Italy.&rdquo; The average traveller sees this
+fair land with a breadth and thoroughness seldom
+called into requisition elsewhere. In England
+he is usually content with London, the
+tour of the cathedral towns and the lake region
+of the poets. France is summed up to him in
+Paris and in the chateaux of outlying districts.
+But Italy beguiles the traveller into every lonely
+foot-trail in the mountains; to every &ldquo;piazza
+grande&rdquo; of lonely hamlets, isolated on a rocky
+hillside; to every &ldquo;fortezza&rdquo; that crowns a
+mountain summit. The unexplored byways of
+Italy are magnetic in their fascination, and one
+special source of congratulation on the part of
+those fortunate tourists who travel with their<span class="pagenum"><a name="Page_426" id="Page_426">[426]</a></span>
+own motor car is that they are thus enabled to
+penetrate into untrodden byways in Italy in a
+manner impossible to those who must depend
+entirely on the regulation railroad service. All
+lovers of Italy are devoted to these original
+tours of private exploration. A recent trip to
+<a name="tn426" id="tn426"></a><ins class="correction" title="original: 'Saricinesco'">Saracinesco</ins>, in the region of Tivoli, was made
+by Mrs. Stetson (Grace Ellery Channing) with
+her husband, and in a descriptive record of the
+little journey into an unfrequented mountain
+region this paragraph occurs:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Roused by &lsquo;an awful rose of dawn&rsquo; which
+turned every solemn slope to strange amber and
+amethyst, we left that rocky eyrie next day,
+returning by way of Anticoli&mdash;beloved of artists.
+And if the ascent had qualified us for
+Alpine climbers, the descent qualified us as
+members of the Italian cavalry corps. Pictures
+of officers riding down the face of cliffs will
+never impress us again; we know now it is the
+very simplest of &lsquo;stunts.&rsquo; Our way down was diversified
+by the tinkling of thousands of sheep-bells,
+by the far too close proximity of bulls to
+Maria&rsquo;s crimson headdress, which nothing in
+the world would induce her to remove, and by<span class="pagenum"><a name="Page_427" id="Page_427">[427]</a></span>
+sundry meetings with relations, long-unseen
+friends, and strangers, from whom we culled
+the whole register of deaths, births, marriages,
+and happenings for a month past. At last,
+beside a little bridge near the railroad station,
+Leonardo addressed his ten-thousandth adjuration
+to Beppino, whose poor little legs trembled
+under him. It was no longer, &lsquo;Ah, sacred one!&mdash;don&rsquo;t
+you see Anticoli!&rsquo;&mdash;or &lsquo;the rock,&rsquo;
+or whatever it might be; now he said, &lsquo;Ah,
+sacred one!&mdash;don&rsquo;t you comprehend?&mdash;the
+Signora descends&rsquo;&mdash;and Beppino looked distinctly
+pleased.</p>
+
+<p>&ldquo;Here we demanded the reckoning, skilfully
+evaded hitherto.</p>
+
+<p>&ldquo;&lsquo;Well&mdash;a franc for each beast,&mdash;and half
+a franc for the room,&mdash;the rest was nothing&mdash;a
+<i>sciocchezza</i>.&rsquo;</p>
+
+<p>&ldquo;A franc apiece!&mdash;half a franc!&mdash;were <i>we</i>
+brigands that we should do this thing?&rdquo;</p></div>
+
+<p>This typical picture of idyllic days in Italy,
+enjoyed in the impromptu excursion and trip,
+reveals the delicacy of feeling and the sunny
+kindness that characterize the <i>contadini</i> and
+which imparts to any social contact with them<span class="pagenum"><a name="Page_428" id="Page_428">[428]</a></span>
+a grace and sweetness peculiar to Italian life.
+There are parts of Italy where it is still the
+Middle Ages and no hint of the twentieth
+century has yet penetrated. The modern spirit
+has almost taken possession of Rome; it is
+largely in evidence in Florence and even
+Venice, and it dominates Milan; but in most
+of the &ldquo;hill towns&rdquo; and in the little hamlets
+and lonely haunts where a house is perhaps
+improvised out of the primeval rock, the
+prevailing life is still mediæval, and only
+awakens on festa days into any semblance of
+activity.</p>
+
+<p>Somewhere, away up in the hills, several
+miles from Pegli,&mdash;on the Mediterranean coast
+near Genoa,&mdash;is one of these sequestered little
+hill towns called <i>Acqua Sacra</i>. The name is
+obvious, indeed, for the sound of the &ldquo;sacred
+water&rdquo; fills the air, falling from every hillside
+and from the fountain of the <i>acqua sacra</i> by
+the church. Pilgrims come from miles around
+to drink of these waters. Each house in this
+remote little hamlet is of solid stone, resembling
+a fortress on a small scale, and the houses cling
+to the hillsides like mosses to a rock. Though
+far up in the mountains, the hills rise around<span class="pagenum"><a name="Page_429" id="Page_429">[429]</a></span>
+the hamlet like city walls, as if the life of all
+the world were kept outside. The unforeseen
+visit to these remote hamlets, suddenly chancing
+upon some small centre of happy and half-idyllic
+life, is one of the charms of tourist travel
+in this land of ineffable loveliness.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/theaterb.jpg"><img src="images/theater.jpg" width="400" height="290" alt="RUINS OF THE GREEK THEATRE, TAORMINA, SICILY" title="RUINS OF THE GREEK THEATRE, TAORMINA, SICILY" /></a>
+<p class="caption noi"><small>RUINS OF THE GREEK THEATRE, TAORMINA, SICILY</small></p>
+</div>
+
+<p>The approach to Italy, by whatever direction,
+by land or by sea, one enters, is one of magical
+beauty. Whether one enters from the Mediterranean
+or from the Adriatic, or by means of
+the Mont Cenis, the Simplon, or the St. Gothard
+pass, through the sublime mountain wall, each
+gateway is marvellous in attraction. Approaching
+from the seas that completely surround Italy
+except on one side, the almost undreamed-of
+splendor of Naples, Genoa, and Venice, as seen
+from off the shore, exceeds all power of painter
+or poet to reproduce. The precipitous coast
+of Sicily; the picturesque city of Palermo;
+the wonderful ruins of the Greek theatre on
+the heights in Taormina,&mdash;all enchant the
+tourist. To anchor off Naples, in the beautiful
+bay, serves the purpose of an hotel out at
+sea. It is like living in Venice&mdash;only more so!
+By the little rowboats one may go, at any moment,
+to Naples, and it is more delightful than<span class="pagenum"><a name="Page_430" id="Page_430">[430]</a></span>
+passing the days in the city itself. For at
+night as one strolls or sits on deck what a picture
+is before the eye! All Naples, on her
+semicircular shores, with her terraced heights
+rising above, defined in a blaze of electric
+lights! Genoa, <i>la Superba</i>, is still more magnificent
+when seen from the sea; and Venice,
+rising dream-enchanted, completes the wonders
+of the approach by water.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/ponteb.jpg"><img src="images/ponte.jpg" width="400" height="241" alt="PONTE VECCHIO, FLORENCE" title="PONTE VECCHIO, FLORENCE" /></a>
+<p class="caption noi"><small>PONTE VECCHIO, FLORENCE</small></p>
+</div>
+
+<p>As the new Italy has not yet achieved any
+homogeneous unity, Naples, Rome, Florence,
+Venice, and Milan differ in their characteristics
+to such a degree that no general interpretation
+of the residents of any one would appropriately
+describe those of another. Paris and Vienna
+hardly differ as much as do Milan and Rome;
+and Venice, Florence, and Rome, each rich in
+art treasures, have little else in common. Certain
+characteristics of each of the large cities
+reveal themselves prominently, even to a superficial
+observer. Milan, as has been said, is
+a centre of activity, as Florence is of culture
+and accomplishments. Florence has the largest
+and the most choice circulating library in all
+Italy and one that ranks among the best on the
+Continent. Her galleries are treasure stores of<span class="pagenum"><a name="Page_431" id="Page_431">[431]</a></span>
+art, and her social life is unsurpassed&mdash;one
+might almost say unrivalled&mdash;in its fine quality.
+Music, philosophic culture, learning in all
+lines of research characterize Florentine society.
+Education has always been regarded in Florence
+as a matter of prime importance, and when the
+government grant of funds is insufficient the
+sum is made up by private contributions, so
+that the <i>Scuola del Popolo</i> gives free instruction,
+yearly, to eighteen hundred pupils, in every
+branch of technical and art education. This
+fact alone offers its own explanation of that
+general intelligence of the people which so impresses
+the visitor in Florence. But this is a
+municipal rather than national fact. Every
+special development in any direction in Italy
+will always be found to be the characteristic of
+the city or locality, not of the country as a
+whole; and thus the unity of Italy is still a
+political expression rather than a political fact.
+It is a theory which is not yet developed into
+an experience. Italy is in the making. Practically,
+she is the youngest of countries, with
+less than forty years of experimental attempt at
+<i>national</i> life behind her. Not until 1919 will
+she have attained the first half century of her<span class="pagenum"><a name="Page_432" id="Page_432">[432]</a></span>
+united life. Educational facilities, inclusive of
+schools, libraries, and museums; railroads, telegraph
+and telephone service, electric lighting
+and electric trams,&mdash;all the ways and means
+of the modern mechanism of life are, inevitably,
+in a nebulous state in Italy. The political
+situation is extremely interesting at the present
+time. That the &ldquo;Blacks&rdquo; and the &ldquo;Whites&rdquo;
+are diametrically opposed to each other is in
+the nature of history rather than that of contemporary
+record or of prophecy; and that this
+is a traditional attitude in this city of the Cæsars
+is not a fact by any means unknown; but the situation
+is complicated by the third party&mdash;the
+Socialists&mdash;who, by allying themselves with
+either, would easily turn the scales and command
+the situation. If they were ardent Catholics
+and were advocates of the Papal supremacy,
+the temporal power of the Pope would be restored
+in less time almost than could be recorded, and
+Pius X would be in residence in the Palazzo
+Quirinale rather than Victor Emanuele III.
+But this great modern uprising in Italy&mdash;a
+movement that is gathering force and numbers
+so rapidly that no one can venture to prophesy
+results even in the comparatively immediate<span class="pagenum"><a name="Page_433" id="Page_433">[433]</a></span>
+future&mdash;this great modern movement is neither
+for church nor state. The Socialist uprising is
+very strong in Milan and through Northern
+Italy. It is much in evidence in the Umbrian
+region&mdash;in Foligno, Spoleto, Nervi, and those
+towns; and from Frascati to Genzano and in
+the Lake Nemi chain of villages&mdash;Rocca di
+Papa, Castel Gandolpho, Ariccia, Albano&mdash;these
+villages within some fifteen miles of Rome.
+In these there is a veritable stronghold of Socialism,
+where its purposes and policy are entrenched.
+Yet when one alludes to its policy,
+the term is rather too definite. If it had a
+settled and well-formulated policy on which all
+its adherents were in absolute accord they would
+carry all before them. But Socialism is still a
+very elastic term and covers, if not a multitude
+of sins, at least a multitude of ideas and
+ideals. There is now a rumor that the situation
+is forcing the absolutely inconceivable union
+of church and state&mdash;of the Vatican and the
+Quirinale&mdash;that they may thus withstand their
+common foe. A more amazing and extraordinary
+turn of affairs could not be imagined; and
+if the rumor (which is now becoming more coherent
+in Rome) should prove to be the forerunner<span class="pagenum"><a name="Page_434" id="Page_434">[434]</a></span>
+of any truth, the situation will be one of
+the most amazing in all history.</p>
+
+<p>Epoch-making events in the course of progress
+are always preceded by circumstances that
+form to them a natural approach and chain of
+causation. They are the results of which the
+causes stretch backward in the past. One of
+the things that has an incalculably determining
+influence on the present situation is that of the
+character of the present Pope. His Holiness,
+Pius X, brings to the Papacy an entirely new
+element. He is no ascetic or exclusive ecclesiastic;
+he is no diplomat or intriguant, but rather
+a simple, kindly man, of a simplicity totally
+unprecedented in the annals of the Palazzo
+Vaticano. Instead of clinging with unswerving
+intensity of devotion to the idea of the restoration
+of the temporal power of the church, Pope
+Pius X would not be disinclined to the uniting
+of church and state as in England; the Vatican
+to remain, like the See of Canterbury, the acknowledged
+head of the spiritual power, while
+the Quirinale remained the head of the government
+to which the church should give its political
+adherence, the Quirinale in return giving
+to the Vatican its religious adherence. Perhaps<span class="pagenum"><a name="Page_435" id="Page_435">[435]</a></span>
+it is not too much to say that something not
+unlike this might easily become&mdash;if it is not
+already&mdash;the dream of Pius X. But in the
+mean time there is another factor with which to
+reckon, and that is the present Papal Secretary
+of State, Cardinal Merry del Val. He it is who
+really holds the mystic key of St. Peter&rsquo;s. He
+is a diplomatist, an ecclesiastic, an embodiment
+of all that is severe and archaic in authority.
+The Pope is by no means able to set his course
+by his own watch-lights. The College of Cardinals
+surrounds him, and the College of Cardinals
+is practically one Cardinal, the keen
+scholar and the all determining Cardinal Merry
+del Val, whose personality dominates the court
+of the Vatican. This remarkable prelate represents
+the most advanced and progressive
+thought of the day in many ways,&mdash;as has
+been noted in preceding pages,&mdash;but as a
+Jesuit he is unalterably devoted to what he considers
+the only ideal,&mdash;the restoration of the
+temporal power of the Pope. Spain revealed
+her attitude when King Alphonso asked of all
+the monarchs of Europe that the name of each
+should be borne by his infant son, the heir-apparent;
+and for Italy he asked the name of<span class="pagenum"><a name="Page_436" id="Page_436">[436]</a></span>
+the Pope and not of the King, thus recognizing
+Pius X rather than Victor Emmanuel III as
+the head of the nation.</p>
+
+<p>That the Socialists have very logical and
+serious grounds for complaint is true. That
+their leader, Signor Enrico Ferri, an Italian
+journalist and a Senator, is one of the most
+able men in Italy since the time of Cavour is
+equally undeniable. The Socialists are fortunate,
+too, in other leading men. <a name="tn436" id="tn436"></a><ins class="correction" title="original: 'Zurati'">Turati</ins>, the
+editor of the <i>Critica Sociale</i>, Pantaleoni, Colajanni,
+and others are absolutely the hope of
+Italy at the present time in the struggle for better
+conditions. For the conditions of life in
+Italy, as regards taxation, the problems of transit,
+the government restrictions on agricultural
+production and on manufactures, are absolutely
+intolerable and should not be endured for a
+day. The taxation is so exorbitant that it is a
+marvel Italy is not depopulated. On land the tax
+rate is from thirty to fifty per cent; the income
+tax is not merely, as one would suppose, levied
+on a legitimate income derived from a man&rsquo;s possessions,
+but is levied on salaries, ranging from
+ten to twenty per cent of these, and also, not
+content with this unheard-of extortion, the tax<span class="pagenum"><a name="Page_437" id="Page_437">[437]</a></span>
+is levied on the nature and source of his salary,
+and even the smallest wage is thus subject to
+an income tax. Again, there is a most absurd
+tax on salt, which, like sugar and tobacco, is
+held as a government monopoly. No poor person
+living on the seacoast in Italy is allowed to
+take even a pail of water from the sea to his
+house, as the government assumes that, by evaporation,
+it might yield a few grains of salt. The
+tax on sugar effectually checks an industry that
+might be made most profitable, that of putting
+up fruit in jams, jellies, and compote, and renders
+the price of these commodities absurdly
+high. Again, when taxes are paid the process
+is even worse than the unjust and exorbitant
+tax itself. No one is allowed to send a check
+or postal order; no tax gatherer calls at the
+home or the office. Each person must go himself
+or send a personal representative to a given
+place between certain hours. Here stand a long
+procession, each person in town going up, filling
+out pages of written formalities; talking of each
+item and discussing it according to the national
+custom, until the office hours are over for that
+day, and often not one-fourth of the persons
+waiting have been served. All then must take<span class="pagenum"><a name="Page_438" id="Page_438">[438]</a></span>
+their chances the next day, and perhaps even a
+third or a fourth day,&mdash;a loss of time and
+energy that in no other country would be tolerated
+for a moment. But time has not yet
+any recognizable value in Italy. Every enterprise
+and manufacture is taxed in Italy, and as
+the returns of these are inevitably revealed so
+that no evasion is possible, and as the exactions
+of the government consume nearly all the profits,
+the result is that all business enterprises are discouraged
+and that Italy swarms with a great
+idle population, while nearly all articles and
+supplies are imported from other countries, with
+the payment of enormous duties, making their
+cost far greater, proportionately, than their
+value.</p>
+
+<p>There are great tracts of country in Southern
+Italy suitable for tobacco raising, but (as it is
+one of the government monopolies) people are
+forbidden to raise it; and in private gardens
+only three plants are permitted. Again, all industries
+are crippled, if not paralyzed, by the
+tax at the frontier, and also by the tax at every
+gate of every city. At every <i>porta</i> in Rome
+are stationed government officers who scrutinize
+every box, basket, and package; and all fruit,<span class="pagenum"><a name="Page_439" id="Page_439">[439]</a></span>
+eggs, garden stuff, milk, and commodities of
+every kind are taxed as they are brought inside
+the walls.</p>
+
+<p>The railroads of Italy are, at present, very
+poor in all facilities of transit. Within a year
+the Italian government has &ldquo;taken over&rdquo; these
+roads and better conditions are promised, which
+are, alas! not yet in sight. There are many
+&ldquo;counts&rdquo; to the indictment against the Italian
+railroads which are only suitable to adorn the
+very lowest circles of the Inferno described by
+Dante. They are uncleanly; the roadbeds are
+so rough that the miserably built compartments
+jolt and jostle over the tracks; the seats are so
+high that the feet can hardly touch the floor,
+and the facilities for light and air are as badly
+managed as is possible to conceive. As is well
+known, these are divided into first, second, and
+third class, these compartments all being in
+the same train, and between the first and second
+there is little difference save that of price.
+Curiously, the price of even second-class travelling
+in Italy is over half a cent a mile higher
+than that of the splendid trains in America,
+with their swift time, their smooth roadbeds,
+their admirable conveniences in every way.<span class="pagenum"><a name="Page_440" id="Page_440">[440]</a></span>
+Again, no luggage is carried free, and the prices
+asked for it are extortionate beyond words.
+One may check all his impedimenta from San
+Francisco to New York without extra charge;
+but in going from Rome to Naples, or from
+Florence to Genoa to sail, the same luggage will
+cost from six to eight dollars to convey it to
+the steamer. Again, these railroads pay their
+employés so poorly that only the most inefficient
+service can be retained at all; only those
+persons who are the absolute prisoners of poverty
+will consent to accept such meagrely paid
+service.</p>
+
+<p>The Italian government consists, like that of
+most countries, of an upper and lower house,
+the Senate and the House of Deputies. But the
+former is rather a matter of miscellaneous honors
+than one of political initiative. There is no
+limit to the number of Senators; they are created
+by being named by the King, and the office is
+for life. If a man attracts the favorable notice of
+the King,&mdash;because he is a good artist, engineer,
+archæologist, chemist, or financier,&mdash;presto, he
+is liable to be made a Senator. Canova, the
+celebrated sculptor, was made a Senator because,
+indeed, he was a great artist! There<span class="pagenum"><a name="Page_441" id="Page_441">[441]</a></span>
+is one condition, however, that a Senator
+must be one who pays annually not less than
+three thousand lire in taxes. The Senators receive
+no salary, and their times of meeting are
+uncertain and no man&rsquo;s presence is obligatory.
+The House of Deputies has five hundred and
+eight members, all of whom must be Italian
+subjects over thirty years of age. They have no
+salary, but are given the entire freedom of the
+realm in all transit on railroads and steamers.
+The Chamber of Deputies is largely made up
+of professional men, and it is little wonder
+that the Socialists are demanding an entire
+reform in the government of the country.
+There was never in any country more defective
+conditions than now prevail in Italy. The very
+fact that the young King is an estimable gentleman,
+who is personally not in the least to blame
+for the prevailing status of unfortunate conditions,
+is in one way an added misfortune, as
+the personal loyalty he justly inspires militates
+by so much against the revolution in government
+which is so deeply a necessity of Italy
+before her better and more prosperous life can
+begin. It is now a country of stagnation. All
+Southern and Central Italy simply lives off its<span class="pagenum"><a name="Page_442" id="Page_442">[442]</a></span>
+tourists; and every year prices and fees and
+extortion in general from the visitors to Italy
+become greater.</p>
+
+<p>Senator Enrico Ferri, the leader of Socialism
+in Italy, was born in 1856 in Mantua. He had
+a university education, was admitted to the bar,
+and in 1881 was called to the chair of penal
+law in the University of Bologna. The Senator
+is a scientific Socialist,&mdash;a man of the most
+exceptional gifts and qualities, and the author
+of a noted work, entitled &ldquo;Criminal Sociology,&rdquo;
+which is translated into several languages. Senators
+Ferri and Lombroso are special friends
+and also co-workers.</p>
+
+<p>On taking his seat in the University of
+Bologna, Professor Ferri delivered a lecture, entitled
+&ldquo;New Horizons in Penal Law,&rdquo; which
+was a most impressive effort. In it he said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It was in this inaugural discourse that I
+affirmed the existence of the positivist school of
+criminal law, and assigned to it these two
+fundamental rules: First, while the classical
+schools of criminal law have always studied the
+crime and neglected the criminal, the object of
+the positivist school was, in the first place, to<span class="pagenum"><a name="Page_443" id="Page_443">[443]</a></span>
+study the criminal, so that, instead of the crime
+being regarded merely as a juridical fact, it
+must be studied with the aid of biology, of psychology,
+and of criminal statistics as a natural
+and social fact, transforming the old criminal
+law into a criminal sociology. Secondly, while
+the classical schools, since Beccaria and Howard,
+have fulfilled the historic mission of decreasing
+the punishments as a reaction from the severity
+of the mediæval laws, the object of the positivist
+school is to decrease the offence by investigating
+its natural and social causes in order to
+apply social remedies more efficacious and more
+humane than the penal counteraction, always
+slow in its effects, especially in its cellular system,
+which I have called one of the aberrations
+of the nineteenth century.&rdquo;</p></div>
+
+<p>Such is the man to whom it is no extravagance
+to allude as one of the present leaders of
+progress in Italy. He is in the early prime of
+mature life; he is a man of education, culture,
+great original gifts, and of sympathies with humanity
+as wise and judicious as they are liberal
+and all-embracing. Scientific Socialism tolerates
+no lawlessness, no violence, nor does it, like<span class="pagenum"><a name="Page_444" id="Page_444">[444]</a></span>
+the so-called Christian Socialism, attempt to
+graft impossible conditions on society. It regards
+the laws of economics, and it is practicable
+and possible as well as considerate
+and just. And the great inspirer, proclaimer,
+and leader of scientific Socialism is Enrico
+Ferri.</p>
+
+<p>Italy not only inspires the enthusiasm of the
+lover of beauty in nature and art, she inspires
+a vital and abiding interest in all that shall
+make for her true progress, and she inspires, as
+well, absolute faith in her ultimate future. At
+present her monarchy is among the most liberal
+and progressive of Europe. King Victor Emmanuel
+is a man of integrity, of intelligence, and
+of devotion to the best interests of his country
+as he understands these interests to be. If they
+might be better served by a more democratic
+form of government, it is hardly to be asked
+or expected that such a view should present
+itself to an hereditary monarch. Among the
+most liberal element there are not wanting men
+who believe that for the immediate future the
+present form of government is the most feasible.
+In their conviction Italy is by no means prepared
+to be a republic. The masses of the<span class="pagenum"><a name="Page_445" id="Page_445">[445]</a></span>
+people are uneducated; and a great work, requiring
+time, must be effected in the popularization
+of intelligence and of instruction, before
+democratic government could be adopted. Yet
+there is no faltering in the outlook on a glorious
+future. The noble words of Mazzini still
+ring in the Italian air: &ldquo;Walk in faith, and fear
+not. Believe, and you will conquer.&rdquo; By way
+of enforcing his convictions Mazzini said:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;Upon a day in the sixteenth century, at
+Rome, some men bearing the title of <i>Inquisitors</i>,
+who assumed to derive wisdom and authority
+from God himself, were assembled to decree
+the immobility of the earth. A prisoner stood
+before them. His brow was illumined by genius.
+He had outstripped time and mankind, and revealed
+the secret of a world.</p>
+
+<p>&ldquo;It was Galileo.</p>
+
+<p>&ldquo;The old man shook his bold and venerable
+head. His soul revolted against the absurd violence
+of those who sought to force him to deny
+the truths revealed to him by God. But his
+pristine energy was worn down by long suffering
+and sorrow; the monkish menace crushed
+him. He strove to submit. He raised his hand,<span class="pagenum"><a name="Page_446" id="Page_446">[446]</a></span>
+he too, to declare the immobility of the earth.
+But as he raised his hand, he raised his weary
+eyes to that heaven they had searched throughout
+long nights to read thereon one line of the
+universal law; they encountered a ray of that
+sun which he so well knew motionless amid the
+moving spheres. Remorse entered his heart: an
+involuntary cry burst from the believer&rsquo;s soul:
+<i>Eppur si muove!</i> and yet it moves.</p>
+
+<p>&ldquo;Three centuries have passed away. Inquisitors,&mdash;inquisition,&mdash;absurd
+theses imposed by
+force,&mdash;all these have disappeared. Naught
+remains but the well-established movement of
+the earth, and the sublime cry of Galileo floating
+above the ages.</p>
+
+<p>&ldquo;Child of Humanity, raise thy brow to the
+sun of God, and read upon the heavens: <i>It
+moves.</i> Faith and action! The future is ours.&rdquo;</p></div>
+
+<p>&ldquo;Poetry,&rdquo; added Mazzini, &ldquo;will teach the
+young the nobleness of sacrifice, of constancy,
+and silence; of feeling one&rsquo;s self alone without
+despairing, in an existence of suffering unknown
+or misunderstood; in long years of bitterness,
+wounds, and delusion, endured without murmur
+or lament; it will teach them to have faith in<span class="pagenum"><a name="Page_447" id="Page_447">[447]</a></span>
+things to come, and to labor unceasingly to
+hasten their coming, even though without hope
+of living to witness their triumph;&rdquo; and his
+final word in this great invocation to the new
+potencies of the opening future is an exhortation
+to believe in all greatness and goodness.
+&ldquo;Faith,&rdquo; he said, &ldquo;which is intellect, energy,
+and love, will put an end to the discords existing
+in a society which has neither church nor
+leaders; which invokes a new world, but forgets
+to ask its secret, its Word, from God.&rdquo; In
+universal education must lie the first national
+aid to the development of Italy. &ldquo;<i>L&rsquo;anima del
+gran mondo è l&rsquo;allegria.</i>&rdquo;</p>
+
+<p>As Florence is pre-eminently the city of culture,
+so is Milan of activities. Her keynote is
+<i>modernité</i>. The visitor is at once impressed by
+her energy, her enterprise, and her commercial
+prosperity. Milan has the best municipal facilities
+and conveniences in all Italy. The electric
+lighting of streets, public buildings, and
+residences, the street transit, the arrangement
+and conduct of shops and all industrial matters,
+are in such contrast to any other city in Italy
+as to lead the sojourner to ask himself whether
+he can still be on the southern side of the Alpine<span class="pagenum"><a name="Page_448" id="Page_448">[448]</a></span>
+range. In the Galleria Vittorio Emanuele
+Milan has the most wonderful structure in all
+Europe. This arcade was built in 1865, and
+under the magnificent glass dome it includes
+nearly one hundred of the most attractive
+and well-stocked shops, bazaars, and establishments.
+The dome is decorated with frescoes
+and caryatides, and with the statues of numbers
+of eminent men, among whom are Dante,
+Raphael, Savonarola, and Cavour. The offices
+and banks in Milan are centres of incessant
+energy.</p>
+
+<p>For all this stress of activity the visitor does
+not, however, forget the art features; the visit
+to the antique Church of St. Ambrosio; to the
+old convent where Leonardo da Vinci&rsquo;s celebrated
+fresco, &ldquo;The Last Supper,&rdquo; is to be
+seen, though so faded that it is now difficult
+to discern all the figures. Nor does he fail to
+climb the wonderful cathedral that lifts its airy
+grace, as if about to float upward in the skies.
+Every flight of the steps, in the ascent, brings
+one to a new vision of beauty. On the roof of
+this cathedral one wanders as in a very forest
+of sculpture. Its scheme of decoration includes
+more than two thousand statues, two of which<span class="pagenum"><a name="Page_449" id="Page_449">[449]</a></span>
+are by Canova. From the summit, when the air
+is clear, there are beautiful views of the Alps.</p>
+
+<p>To the savant and scholar the Ambrosian
+library in Milan is one of the special treasures
+of Europe. It contains some of the most rare
+and valuable manuscripts in the entire world,&mdash;some
+of Virgil&rsquo;s with annotations from Petrarcha;
+a manuscript of Dante&rsquo;s; drawings by
+Leonardo da Vinci, and other interesting matters
+of which no other copies exist.</p>
+
+<p>The Magic Land is seen under its most bewitching
+spell in the region of the Italian lakes.
+The palace of Isola Bella; the charming gardens;
+the lake of Como, green-walled in hills
+whose luxuriant foliage and bloom form a
+framework for the white villas that cluster on
+their terraced slopes,&mdash;all form a very fairyland
+of ethereal, rose-embowered beauty. At night
+the lakes are a strange, unreal world of silver
+lights and shadows.</p>
+
+<p>The completion of the Simplon tunnel has
+opened between Italy and Paris a route not
+only offering swifter facilities for transit, but
+adding another to the regions of beauty. This
+route has also still further increased the commercial
+importance of Milan, the portal and<span class="pagenum"><a name="Page_450" id="Page_450">[450]</a></span>
+metropolis of Northern Italy. Milan has become
+the national centre of all scientific and
+technical pursuits, and it is fairly the Mecca for
+young men of Central and Southern Italy who
+are entering into the professions, or into civil
+and electrical engineering and other of the
+technical arts and industries.</p>
+
+<p>Bologna, with her historic University, with
+the long covered arcades of the streets, the
+fountain, which is the work of Giovanni di
+Bologna, and the gallery where many of Guido&rsquo;s
+best works are placed, has its individual interest
+for the tourist; and Verona, Pavia, Modena,
+Parma, and Turin all repay a visit from the
+leisurely saunterer in Italy.</p>
+
+<p>Pisa offers to the visitor four interesting
+architectural monuments in the Duomo, the
+Baptistery, the Leaning Tower, and the Campo
+Santo, all of which are unique. The cathedral
+has unique designs in its black and white
+marbles that render it almost as much an object
+of artistic study as is the cathedral in
+Siena. The view from the summit of the Leaning
+Tower reveals the Mediterranean six miles
+in the distance, gleaming like a sea of silver.
+The Campo Santo dates from the thirteenth<span class="pagenum"><a name="Page_451" id="Page_451">[451]</a></span>
+century, when the earth of which it is composed
+was brought (in 1228) from the holy places
+in Jerusalem, conveyed to the city (then a seaport)
+by fifty galleys sent out by the Republic
+of Pisa. The interior walls of the Campo
+Santo are covered with fresco paintings by
+Orcagna which are one of the artistic spectacles
+of the country in their extravagant portrayal
+of theological beliefs, so realistically
+presented in their dramatic scenes from Paradise
+and from Hades, as to leave nothing to the
+imagination. The fantasies in this emblematic
+sculpture of memorial monuments over a period
+of seven hundred years can be seen in the
+Campo Santo of Pisa,&mdash;a strange and often a
+most grotesque medley.</p>
+
+<p>Genoa is well named La Superba. Her
+thoroughfares are streets of palaces. Her terraced
+gardens and villas, reached by the subterranean
+funicular street railway, are regions
+of unique and incomparable beauty, with the
+blue Mediterranean at their feet. Genoa is the
+paradise for walking. The streets are largely
+inaccessible to carriages, but the admirable
+street electric railway penetrates every locality.
+It passes in dark tunnels under the hills, reappears<span class="pagenum"><a name="Page_452" id="Page_452">[452]</a></span>
+on the high terraces, and climbs every
+height. From the crest of one of these Corsica
+can often be seen. All the hill-slopes are a
+dream of pictorial grandeur, with their terraces,
+their palaces, their sculpture, fountains, and
+flowers. On the summit of almost every hill
+there is a fortress, and often ramparts which are
+silhouetted, in dark masses, against the sky.
+Orange groves abound on the terraces, often
+showing the golden fruit, buds, and blossoms
+all at the same time.</p>
+
+<p>Genoa is fairly a metropolis of sculpture.
+The great families have themselves perpetuated
+in portrait statues rather than in painted portraits.
+In one of the grand ducal palaces in
+the Via Balbi the visitor may see, not only the
+life-size statues and the busts of the family ancestry,
+but one group comprising nine figures,
+where three generations are represented, in
+both sitting and standing poses, ingeniously
+combined.</p>
+
+<p>The churches of Genoa are among the richest
+in Europe. That of the <a name="tn452" id="tn452"></a><ins class="correction" title="original: 'Annunziati'">Annunziata</ins>, the
+special monument of the Lomellini family,
+glitters and gleams with its gold ceilings and
+rich frescoes. The cathedral has the special<span class="pagenum"><a name="Page_453" id="Page_453">[453]</a></span>
+allurement of the emerald dish which King
+Solomon received as a gift from the Queen of
+Sheba. The little &ldquo;street of the jewellers&rdquo; is
+an alluring place,&mdash;so narrow that one can almost
+stand in the centre of the road and touch
+the shop windows on either hand, and these
+windows dazzle the eye with their fascinating
+glitter of gold and silver filigree work and their
+rich jewels.</p>
+
+<div class="figcenter border" style="width: 400px;">
+<a href="images/genoab.jpg"><img src="images/genoa.jpg" width="400" height="299" alt="CAMPO SANTO, GENOA" title="CAMPO SANTO, GENOA" /></a>
+<p class="caption noi"><small>CAMPO SANTO, GENOA</small></p>
+</div>
+
+<p>Beyond all other curious excursions that even
+a Magic Land can offer is that to the Campo
+Santo of Genoa. A cloistered promenade encloses
+a square, and above are terraced colonnades,
+each and all revealing statues, and
+monuments, and groups of sculpture whose
+varied beauty, oddity, or bizarre effects are a
+curious study. Some memorials&mdash;as one of
+an angel with outstretched wings; another of
+a flight of angels bearing the soul away; another
+combining the figure of Christ with the cross,
+and angels hovering near&mdash;are full of beauty.
+Others are a marvel of ingenious and incongruous
+combination. One of the latter represents
+the man whose memory it commemorates as
+lying on his bed in his last illness; the physician
+stands by, his fingers on the patient&rsquo;s pulse; on<span class="pagenum"><a name="Page_454" id="Page_454">[454]</a></span>
+the opposite side a maid is approaching with a
+dish holding some article of food, and near the
+physician are grouped the wife, with a little
+child clinging to her skirts; the son, holding
+his hat with both hands and looking down on
+it, and the daughter, a young girl, with her
+eyes raised to heaven. Each of these figures is
+in life size; the bed is reproduced in marble,
+with the pillows and all the coverings in the
+most absolute realism, and the entire effect is
+so startling in its bizarre aspect that one could
+hardly believe in its existence until by personal
+observation he had verified so singular a monument.</p>
+
+<p>Yet there is beauty and symbolic loveliness,
+too, in many of the memorial sculptures of this
+Campo Santo, and turning away from this
+cemetery in which lies the body of the noble
+Mazzini, one hears on the air the refrain of
+his words on Dante:&mdash;</p>
+
+<div class="blockquot"><p>&ldquo;It appeared to him of more importance to
+hasten to accomplish his mission upon earth,
+than to meditate upon the inevitable hour which
+marks for all men the beginning of a new
+task. And if at times he speaks of weariness<span class="pagenum"><a name="Page_455" id="Page_455">[455]</a></span>
+of life, it is only because he sees evil more and
+more triumphant in the places where his mission
+was appointed. He concerned himself, not
+about the length or the shortness of life, but
+about the end for which life was given; for he
+felt God in life, and knew the creative virtue
+there is in action.&rdquo;</p></div>
+
+<p>Eighty thousand people followed Mazzini to
+his tomb, and his name lives in the Italy of
+to-day as one to be associated with that of
+Dante as prophet and inspirer.</p>
+
+<p>The enchantment of approaching Genoa from
+the sea at night is an experience to remain as
+one of the pictorial treasures of memory. The
+magnificent <i>lanterna</i>, the lighthouse with its revolving
+light, that can be seen for fifty miles
+out from the coast; the brilliant illumination
+defining the <i>fortezza</i> on the summit of one hill;
+the curving lights of the terraced residential
+district and the illumination of the very forest
+of shipping clustered in the bay,&mdash;all combine
+into a scene not easily effaced from the memories
+of foreign scenes.</p>
+
+<p>It is only in close relations with Italian literature
+that Italy can be adequately enjoyed and<span class="pagenum"><a name="Page_456" id="Page_456">[456]</a></span>
+that the sojourner may enter into sympathetic
+associations with contemporary Italian life. Dr.
+Richard Garnett believes that the literature of
+Italy &ldquo;is a less exhaustive manifestation than
+elsewhere of the intellect of the nation,&rdquo; and
+that &ldquo;the best energies of the country are employed
+in artistic production. It is, indeed,
+remarkable,&rdquo; he continues, &ldquo;that out of the nine
+Italians most brilliantly conspicuous in the first
+rank of genius and achievement,&mdash;Aquinas,
+Dante, Columbus, Leonardo, Michael Angelo,
+Raphael, Titian, Galileo, Napoleon,&mdash;only one
+should have been a man of letters.&rdquo;</p>
+
+<p>Contemporary Italian literature follows the
+trend of the day in reflecting the life of the
+people. The novels of Fogazzaro, the poems
+of Carducci, the biography and history written
+by Villari, to say nothing of several other
+writers who, while not approaching these authors,
+have still a definite place in the literature
+of the present, offer illumination on the outer
+scenery of life, and offer interpretation of the
+life itself. Art has declined; literature has advanced
+in Italy, even within the past decade.
+The law of progress is as inevitable as is the law
+of gravitation.<span class="pagenum"><a name="Page_457" id="Page_457">[457]</a></span></p>
+
+<div class="poem" style="width: 19em;"><div class="stanza">
+<span class="i0">&ldquo;Onward the chariot of the Unvarying moves;<br /></span>
+<span class="i1">Nor day divulges him nor night conceals;<br /></span>
+<span class="i0">Thou hear&rsquo;st the echo of unreturning hooves,<br /></span>
+<span class="i1">And thunder of irrevocable wheels.&rdquo;<br /></span>
+</div></div>
+
+<p>The future of Italy inspires faith in the renewal
+of its noblest ideals of achievement. Its
+ineffable beauty is a heritage of joy to every
+visitor who comes under the indescribable spell
+of its attraction and finds that, in all the panorama
+of foreign life which haunts his memory,
+it is Italy which shines resplendent as the
+Magic Land!<span class="pagenum"><a name="Page_459" id="Page_459">[459]</a></span><span class="pagenum"><a name="Page_458" id="Page_458">[458]</a></span></p>
+
+
+<hr style="visibility: hidden; margin: 2em;" />
+
+<div class="footnotes">
+<h2><a name="FOOTNOTES" id="FOOTNOTES"></a><small>FOOTNOTES:</small></h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Henry Wadsworth Longfellow: Houghton, Mifflin &amp; Co.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> From &ldquo;Life of Phillips Brooks,&rdquo; by kind permission of Messrs.
+E. P. Dutton &amp; Co.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This inscription and a description in detail of all the memorials of
+Elizabeth Barrett Browning are given in full in a volume entitled &ldquo;A
+Study of Elizabeth Barrett Browning.&rdquo; Boston: Little, Brown, &amp; Co.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> &ldquo;A Study of Elizabeth Barrett Browning.&rdquo; Little, Brown, &amp; Co.</p></div>
+</div>
+
+<hr style="visibility: hidden; margin: 2em;" />
+
+<p><span class="pagenum"><a name="Page_460" id="Page_460">[460]</a></span></p><p><span class="pagenum"><a name="Page_461" id="Page_461">[461]</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<div class="index">
+<ul class="IX">
+<li>
+<span class="smcap">Accademia</span> des Arcades, Rome, <a href="#Page_334">334</a>.</li>
+<li>
+Accadémia di San Luca, oldest art school, <a href="#Page_44">44</a>;
+<ul class="IX">
+<li>location of, <a href="#Page_45">45</a>;</li>
+<li>galleries of, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>.</li></ul></li>
+<li>Acqua Sacra, <a href="#Page_428">428</a>.</li>
+<li>Akers, Paul, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>early death of, <a href="#Page_53">53</a>;</li>
+<li>work of, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>;</li>
+<li>quoted, <a href="#Page_56">56</a>;</li>
+<li>Hawthorne&rsquo;s estimate of, <a href="#Page_57">57</a>.</li></ul>
+</li>
+<li>
+Aldrich, Thomas Bailey, quoted, <a href="#Page_387">387</a>.</li>
+<li>
+Allen, Elizabeth Akers, quoted, <a href="#Page_53">53</a>.</li>
+<li>
+Amalfi, <a href="#Page_253">253</a>-<a href="#Page_257">257</a>;
+<ul class="IX">
+<li>destruction of, <a href="#Page_258">258</a>, <a href="#Page_259">259</a>.</li></ul>
+</li>
+<li>Ambrosian library, Milan, <a href="#Page_449">449</a>.</li>
+<li>
+American Academy, Rome, <a href="#Page_214">214</a>.</li>
+<li>
+American Embassy, Rome, location of, <a href="#Page_153">153</a>;
+<ul class="IX">
+<li>ball at, <a href="#Page_164">164</a>-<a href="#Page_167">167</a>;</li>
+<li>receptions at, <a href="#Page_169">169</a>.</li></ul></li>
+<li>
+Anderson, Hendrick Christian, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Angelo, Michael, work of, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_312">312</a>;<ul class="IX">
+<li>message of, <a href="#Page_117">117</a>;</li>
+<li>friendship with Vittoria Colonna, <a href="#Page_290">290</a>;</li>
+<li>Longfellow&rsquo;s poem on, <a href="#Page_308">308</a>-<a href="#Page_310">310</a>;</li>
+<li>art of, <a href="#Page_313">313</a>, <a href="#Page_314">314</a>;</li>
+<li>quoted, <a href="#Page_314">314</a>, <a href="#Page_316">316</a>, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>, <a href="#Page_323">323</a>;</li>
+<li>gift to Vittoria Colonna, <a href="#Page_318">318</a>;</li>
+<li>meeting with Francesco d&rsquo;Ollanda, <a href="#Page_322">322</a>, <a href="#Page_323">323</a>, <a href="#Page_324">324</a>;</li>
+<li>Walter Pater&rsquo;s estimate of, <a href="#Page_327">327</a>, <a href="#Page_328">328</a>, <a href="#Page_329">329</a>.</li></ul></li>
+<li>
+<a name="tn461" id="tn461"></a><ins class="correction" title="original: 'Annunziati'">Annunziata</ins> Cathedral, Genoa, <a href="#Page_452">452</a>.</li>
+<li>
+Aquinas, Thomas, birthplace of, <a href="#Page_276">276</a>;
+<ul class="IX">
+<li>tomb of, <a href="#Page_331">331</a>;</li>
+<li>monastery of, <a href="#Page_333">333</a>.</li></ul></li>
+<li>
+Aquinum, <a href="#Page_277">277</a>.</li>
+<li>
+&ldquo;Arcadians,&rdquo; meetings of, <a href="#Page_150">150</a>.</li>
+<li>
+Ariosto, <a href="#Page_306">306</a>.</li>
+<li>
+Art, as leader of popular taste, <a href="#Page_115">115</a>;
+<ul class="IX">
+<li>inspired by religious ideals, <a href="#Page_116">116</a>;</li>
+<li>Renaissance in, <a href="#Page_117">117</a>;</li>
+<li>national importance of, <a href="#Page_117">117</a>;</li>
+<li>ignored, <a href="#Page_118">118</a>;</li>
+<li>relation to ugliness, <a href="#Page_119">119</a>;</li>
+<li>falseness of, <a href="#Page_121">121</a>;</li>
+<li>influence on life, <a href="#Page_122">122</a>;</li>
+<li>united with religion, <a href="#Page_123">123</a>.</li></ul></li>
+<li>
+Assisi, pilgrimage to, <a href="#Page_341">341</a>, <a href="#Page_344">344</a>;
+<ul class="IX">
+<li>founding of, <a href="#Page_345">345</a>;</li>
+<li>points of interest in, <a href="#Page_345">345</a>, <a href="#Page_346">346</a>;</li>
+<li>Canon Knox Little&rsquo;s description of, <a href="#Page_348">348</a>;</li>
+<li>as a shrine, <a href="#Page_385">385</a>.</li></ul></li>
+<li>
+Assisi, Bishop of, <a href="#Page_354">354</a>, <a href="#Page_364">364</a>.</li>
+<li>
+Assisi, St. Francis of, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>;
+<ul class="IX">
+<li>message of, <a href="#Page_342">342</a>;</li>
+<li>birthplace of, <a href="#Page_345">345</a>;</li>
+<li>impress of, <a href="#Page_347">347</a>;</li>
+<li>parents of, <a href="#Page_348">348</a>, <a href="#Page_349">349</a>;</li>
+<li>early life of, <a href="#Page_350">350</a>;</li>
+<li>legends regarding, <a href="#Page_351">351</a>;</li>
+<li>quoted, <a href="#Page_352">352</a>, <a href="#Page_354">354</a>, <a href="#Page_356">356</a>;</li>
+<li>supreme aim of, <a href="#Page_353">353</a>;</li>
+<li>Rule of, <a href="#Page_353">353</a>, <a href="#Page_354">354</a>;</li>
+<li>prayer of, <a href="#Page_356">356</a>;</li>
+<li>character of, <a href="#Page_357">357</a>;</li>
+<li>incident in early life of, <a href="#Page_360">360</a>;</li>
+<li>first ministry of, <a href="#Page_363">363</a>;</li>
+<li>first disciple of, <a href="#Page_364">364</a>;</li>
+<li>at the Portiuncula, <a href="#Page_365">365</a>;</li>
+<li>
+<span class="pagenum"><a name="Page_462" id="Page_462">[462]</a></span>friendship with Clara, <a href="#Page_365">365</a>, <a href="#Page_367">367</a>, <a href="#Page_368">368</a>;</li>
+<li>legends regarding, <a href="#Page_370">370</a>;</li>
+<li>death of, <a href="#Page_372">372</a>;</li>
+<li>miracles of, <a href="#Page_375">375</a>;</li>
+<li>tomb of, <a href="#Page_378">378</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li><span class="smcap">Bagot</span>, Richard, in Rome, <a href="#Page_11">11</a>, <a href="#Page_13">13</a>.</li>
+<li>
+Baia, <a href="#Page_241">241</a>.</li>
+<li>
+Baldwin, Rev. Dr., in Rome, <a href="#Page_10">10</a>, <a href="#Page_171">171</a>.</li>
+<li>
+Ball, Thomas, work of, <a href="#Page_52">52</a>.</li>
+<li>
+Balzac, quoted, <a href="#Page_120">120</a>.</li>
+<li>
+Barberini, Cardinal, <a href="#Page_72">72</a>.</li>
+<li>
+Baths of Caracalla, <a href="#Page_139">139</a>.</li>
+<li>
+Baths of Diocletian, <a href="#Page_184">184</a>.</li>
+<li>
+Bell, John, grave of, <a href="#Page_216">216</a>.</li>
+<li>
+Bembo, Cardinal, <a href="#Page_306">306</a>.</li>
+<li>
+Benedictines, <a href="#Page_354">354</a>, <a href="#Page_365">365</a>.</li>
+<li>
+Benton, Dwight, grave of, <a href="#Page_221">221</a>;
+<ul class="IX">
+<li>estimate of, <a href="#Page_221">221</a>.</li></ul></li>
+<li>
+Bernardino of Siena, <a href="#Page_382">382</a>, <a href="#Page_383">383</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_383">383</a>.</li></ul></li>
+<li>
+Bernini, Lorenzo, work of, <a href="#Page_22">22</a>.</li>
+<li>
+Besant, Mrs. Annie, <a href="#Page_174">174</a>.</li>
+<li>
+Biblioteca Sarti, <a href="#Page_48">48</a>.</li>
+<li>
+&ldquo;Blacks,&rdquo; <a href="#Page_145">145</a>, <a href="#Page_146">146</a>.</li>
+<li>
+Bologna, <a href="#Page_450">450</a>.</li>
+<li>
+Bonaparte, Princess Christina, death of, <a href="#Page_203">203</a>.</li>
+<li>
+Boni, Commendatore, opinion of, <a href="#Page_244">244</a>.</li>
+<li>
+Boni, Giovanni M., <a href="#Page_403">403</a>.</li>
+<li>
+Bronson, Mrs. Arthur, <a href="#Page_409">409</a>, <a href="#Page_410">410</a>.</li>
+<li>
+Brooks, Rev. Phillips, in Rome, <a href="#Page_15">15</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_16">16</a>, <a href="#Page_39">39</a>, <a href="#Page_388">388</a>, <a href="#Page_394">394</a>, <a href="#Page_395">395</a>.</li></ul></li>
+<li>
+Brownell, W. C., quoted, <a href="#Page_96">96</a>.</li>
+<li>
+Browning, Elizabeth B., in Rome, <a href="#Page_11">11</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_60">60</a>, <a href="#Page_114">114</a>, <a href="#Page_125">125</a>, <a href="#Page_389">389</a>;</li>
+<li>death of, <a href="#Page_80">80</a>, <a href="#Page_408">408</a>;</li>
+<li>meeting with Mrs. Bronson, <a href="#Page_410">410</a>, <a href="#Page_411">411</a>.</li></ul></li>
+<li>
+Browning Palace, <a href="#Page_406">406</a>, <a href="#Page_410">410</a>, <a href="#Page_411">411</a>, <a href="#Page_412">412</a>, <a href="#Page_413">413</a>.</li>
+<li>
+Browning, Robert, quoted, <a href="#Page_3">3</a>, <a href="#Page_407">407</a>, <a href="#Page_408">408</a>;
+<ul class="IX">
+<li>in Rome, <a href="#Page_11">11</a>, <a href="#Page_70">70</a>;</li>
+<li>in Venice, <a href="#Page_406">406</a>;</li>
+<li>death of, <a href="#Page_408">408</a>.</li></ul></li>
+<li>
+Browning, Miss Sarianna, <a href="#Page_408">408</a>, <a href="#Page_413">413</a>.</li>
+<li>
+Buono, <a href="#Page_236">236</a>.</li>
+<li>
+Byron, Lord, in Rome, <a href="#Page_22">22</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_22">22</a>, <a href="#Page_403">403</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li><span class="smcap">Campagna</span>, <a href="#Page_73">73</a>, <a href="#Page_205">205</a>.</li>
+<li>
+Campanile, fall of, <a href="#Page_406">406</a>.</li>
+<li>
+Campo Verano, <a href="#Page_76">76</a>.</li>
+<li>
+Campo Santo of Pisa, <a href="#Page_450">450</a>, <a href="#Page_451">451</a>, <a href="#Page_453">453</a>.</li>
+<li>
+Campidoglio, buildings on, <a href="#Page_25">25</a>.</li>
+<li>
+<a name="tn462" id="tn462"></a><ins class="correction" title="original: 'Camprani'">Campriani</ins>, <a href="#Page_237">237</a>.</li>
+<li>
+Canova, in Rome, <a href="#Page_7">7</a>;
+<ul class="IX">
+<li>his genius, <a href="#Page_33">33</a>;</li>
+<li>masterpiece of, <a href="#Page_42">42</a>;</li>
+<li>realism of, <a href="#Page_118">118</a>.</li></ul></li>
+<li>
+Capella Sistina, <a href="#Page_27">27</a>.</li>
+<li>
+Capo Miseno, <a href="#Page_241">241</a>.</li>
+<li>
+Capri, island of, <a href="#Page_262">262</a>, <a href="#Page_263">263</a>, <a href="#Page_264">264</a>;
+<ul class="IX">
+<li>roses of, <a href="#Page_266">266</a>.</li></ul></li>
+<li>
+Capuano, Cardinal, legends of, <a href="#Page_256">256</a>.</li>
+<li>
+Capuccini, convent of, <a href="#Page_255">255</a>.</li>
+<li>
+Carducci, <a href="#Page_143">143</a>.</li>
+<li>
+Carter, Professor Jesse Benedict, in Rome, <a href="#Page_169">169</a>.</li>
+<li>
+Carter, Mrs. Jesse Benedict, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_169">169</a>.</li>
+<li>
+Casa Buonarroti, <a href="#Page_312">312</a>.</li>
+<li>
+Casino Borghese, <a href="#Page_185">185</a>.</li>
+<li>
+Castel d&rsquo;Ischia, <a href="#Page_292">292</a>, <a href="#Page_293">293</a>, <a href="#Page_294">294</a>.</li>
+<li>
+Castellammare, <a href="#Page_250">250</a>.</li>
+<li>
+Castle Gandolfo, <a href="#Page_286">286</a>.</li>
+<li>
+<span class="pagenum"><a name="Page_463" id="Page_463">[463]</a></span>Castiglione, <a href="#Page_306">306</a>.</li>
+<li>
+Cecioni&rsquo;s &ldquo;La Madre,&rdquo; <a href="#Page_121">121</a>.</li>
+<li>
+Cestius, Caius, tomb of, <a href="#Page_215">215</a>.</li>
+<li>
+Channing, Grace Ellery, <a href="#Page_10">10</a>, <a href="#Page_91">91</a>.</li>
+<li>
+Chapel of Holy Sacrament, <a href="#Page_202">202</a>.</li>
+<li>
+Chateaubriand, in Rome, <a href="#Page_21">21</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_21">21</a>.</li></ul></li>
+<li>
+Cicero&rsquo;s villa, remains of, <a href="#Page_207">207</a>.</li>
+<li>
+Cimabue, <a href="#Page_376">376</a>, <a href="#Page_378">378</a>.</li>
+<li>
+Cole, Thomas, in Rome, <a href="#Page_9">9</a>.</li>
+<li>
+Coleman, Charles Caryl, home of, <a href="#Page_263">263</a>.</li>
+<li>
+College of Cardinals, <a href="#Page_435">435</a>.</li>
+<li>
+Colonna, Fabrizio, <a href="#Page_290">290</a>.</li>
+<li>
+Colonna family, <a href="#Page_285">285</a>, <a href="#Page_288">288</a>, <a href="#Page_289">289</a>, <a href="#Page_306">306</a>, <a href="#Page_307">307</a>.</li>
+<li>
+Colonna palace and gardens, <a href="#Page_131">131</a>.</li>
+<li>
+Colonna, Vittoria, home of, <a href="#Page_282">282</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_283">283</a>, <a href="#Page_303">303</a>;</li>
+<li>parents of, <a href="#Page_285">285</a>;</li>
+<li>early childhood of, <a href="#Page_286">286</a>, <a href="#Page_288">288</a>;</li>
+<li>horoscope of, <a href="#Page_289">289</a>;</li>
+<li>destiny of, <a href="#Page_290">290</a>;</li>
+<li>betrothal of, <a href="#Page_290">290</a>;</li>
+<li>marriage of, <a href="#Page_294">294</a>, <a href="#Page_295">295</a>;</li>
+<li>early married life of, <a href="#Page_295">295</a>, <a href="#Page_296">296</a>;</li>
+<li>quoted, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_300">300</a>, <a href="#Page_303">303</a>, <a href="#Page_305">305</a>, <a href="#Page_319">319</a>, <a href="#Page_320">320</a>, <a href="#Page_321">321</a>;</li>
+<li>in Pope Leo&rsquo;s court, <a href="#Page_302">302</a>;</li>
+<li>her husband&rsquo;s death, <a href="#Page_302">302</a>;</li>
+<li>removal of, <a href="#Page_304">304</a>;</li>
+<li>fame of, <a href="#Page_306">306</a>;</li>
+<li>return to Rome of, <a href="#Page_307">307</a>;</li>
+<li>Longfellow&rsquo;s picture of, <a href="#Page_308">308</a>, <a href="#Page_309">309</a>, <a href="#Page_310">310</a>, <a href="#Page_325">325</a>, <a href="#Page_326">326</a>, <a href="#Page_327">327</a>;</li>
+<li>travels of, <a href="#Page_308">308</a>, <a href="#Page_311">311</a>;</li>
+<li>her influence with Michael Angelo, <a href="#Page_313">313</a>;</li>
+<li>life in Rome and Orvieto, <a href="#Page_314">314</a>;</li>
+<li>receives letters and sonnet from Michael Angelo, <a href="#Page_317">317</a>;</li>
+<li>receives present from Michael Angelo, <a href="#Page_318">318</a>;</li>
+<li>arranges meeting of Michael Angelo and Francesco d&rsquo;Ollanda, <a href="#Page_322">322</a>, <a href="#Page_323">323</a>, <a href="#Page_324">324</a>;</li>
+<li>Walter Pater&rsquo;s comments on, <a href="#Page_328">328</a>;</li>
+<li>death of, <a href="#Page_329">329</a>;</li>
+<li>last prayer of, <a href="#Page_330">330</a>;</li>
+<li>burial of, <a href="#Page_331">331</a>;</li>
+<li>tomb of, <a href="#Page_332">332</a>;</li>
+<li>bust of, <a href="#Page_334">334</a>;</li>
+<li>fame of, <a href="#Page_335">335</a>, <a href="#Page_336">336</a>;</li>
+<li>Margaret J. Preston&rsquo;s poem on, <a href="#Page_337">337</a>.</li></ul></li>
+<li>
+Condivi, quoted, <a href="#Page_313">313</a>.</li>
+<li>
+Contarini, Cardinal, <a href="#Page_306">306</a>.</li>
+<li>
+Corsini chapel, <a href="#Page_152">152</a>.</li>
+<li>
+Crawford, Marion, in Rome, <a href="#Page_11">11</a>, <a href="#Page_13">13</a>.</li>
+<li>
+Crawford, Thomas, in Rome, <a href="#Page_49">49</a>;
+<ul class="IX">
+<li>career of, <a href="#Page_51">51</a>;</li>
+<li>poem on, <a href="#Page_52">52</a>.</li></ul></li>
+<li>
+Crow, Hon. Wayman, <a href="#Page_61">61</a>.</li>
+<li>
+Cumæ, <a href="#Page_241">241</a>.</li>
+<li>
+Cumæan Sibyl, <a href="#Page_242">242</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">da Bisticci</span>, Vespasiano, <a href="#Page_383">383</a>.</li>
+<li>
+Dalbano, Edoardo, <a href="#Page_236">236</a>.</li>
+<li>
+Dana, Richard Henry, <a href="#Page_219">219</a>.</li>
+<li>
+Dante, quoted, <a href="#Page_267">267</a>-<a href="#Page_270">270</a>;
+<ul class="IX">
+<li>Mazzini&rsquo;s estimate of, <a href="#Page_454">454</a>.</li></ul></li>
+<li>
+d&rsquo;Avalos, Donna Constanza, <a href="#Page_291">291</a>.</li>
+<li>
+d&rsquo;Avalos, Francesco, <a href="#Page_290">290</a>, <a href="#Page_294">294</a>, <a href="#Page_295">295</a>.</li>
+<li>
+De Castro, Consul General, in Rome, <a href="#Page_169">169</a>.</li>
+<li>
+Decline of art, <a href="#Page_31">31</a>.</li>
+<li>
+d&rsquo;Ollanda, Francesco, <a href="#Page_322">322</a>-<a href="#Page_324">324</a>.</li>
+<li>
+<a name="tn463" id="tn463"></a><ins class="correction" title="original: 'del Vall'">del Val</ins>, Cardinal Merry, <a href="#Page_146">146</a>-<a href="#Page_149">149</a>, <a href="#Page_435">435</a>.</li>
+<li>
+del Vasto, Marchese, <a href="#Page_299">299</a>.</li>
+<li>
+De Monici, chronicles of, <a href="#Page_398">398</a>.</li>
+<li>
+de Staël, Mme., in Rome, <a href="#Page_11">11</a>, <a href="#Page_22">22</a>.</li>
+<li>
+Dietsch, C. Percival, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+di Francavilla, Duchess, <a href="#Page_291">291</a>-<a href="#Page_293">293</a>.</li>
+<li>
+di Mercanti, Pica, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>.</li>
+<li>
+di Mercanti, Pietro Bernardone, <a href="#Page_348">348</a>, <a href="#Page_349">349</a>.</li>
+<li>
+<span class="pagenum"><a name="Page_464" id="Page_464">[464]</a></span>di Pescara, Marchesa, <a href="#Page_296">296</a>, <a href="#Page_298">298</a>, <a href="#Page_299">299</a>, <a href="#Page_300">300</a>, <a href="#Page_301">301</a>, <a href="#Page_302">302</a>, <a href="#Page_306">306</a>, <a href="#Page_311">311</a>, <a href="#Page_312">312</a>, <a href="#Page_322">322</a>, <a href="#Page_331">331</a>, <a href="#Page_332">332</a>, <a href="#Page_335">335</a>.</li>
+<li>
+di Pescara, Marchese, <a href="#Page_292">292</a>, <a href="#Page_296">296</a>, <a href="#Page_299">299</a>, <a href="#Page_300">300</a>, <a href="#Page_301">301</a>, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>, <a href="#Page_304">304</a>, <a href="#Page_331">331</a>, <a href="#Page_332">332</a>.</li>
+<li>
+Doges, Palace of, <a href="#Page_400">400</a>-<a href="#Page_403">403</a>.</li>
+<li>
+Dolce, Ludovico, <a href="#Page_306">306</a>.</li>
+<li>
+Don Erasmo Gattola, <a href="#Page_273">273</a>.</li>
+<li>
+Duca de Torlonia, family of, <a href="#Page_205">205</a>.</li>
+<li>
+Duff, Lina Gordon, quoted, <a href="#Page_374">374</a>.</li>
+<li>
+Dupaty, quoted, <a href="#Page_16">16</a>.</li>
+<li>
+Duran, M. Carolus, in Rome, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Elena</span>, Queen, <a href="#Page_140">140</a>, <a href="#Page_142">142</a>, <a href="#Page_179">179</a>.</li>
+<li>
+Eliot, George, quoted, <a href="#Page_252">252</a>.</li>
+<li>
+Emerson, Mary Moody, letters to, <a href="#Page_12">12</a>.</li>
+<li>
+Emerson, Ralph Waldo, in Rome, <a href="#Page_12">12</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_85">85</a>.</li></ul></li>
+<li>
+Emmons, Miss Elise, in Rome, <a href="#Page_167">167</a>.</li>
+<li>
+Esposito, <a href="#Page_237">237</a>.</li>
+<li>
+Ezekiel, Moses, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>studios of, <a href="#Page_97">97</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li><span class="smcap">Fawcett</span>, Edgar, quoted, <a href="#Page_417">417</a>.</li>
+<li>
+Ferrara, Duca and Duchessa of, <a href="#Page_311">311</a>.</li>
+<li>
+Ferri, Signor Enrico, <a href="#Page_436">436</a>, <a href="#Page_442">442</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_442">442</a>.</li></ul></li>
+<li>
+Festus, quoted, <a href="#Page_30">30</a>.</li>
+<li>
+Field, Kate, in Rome, <a href="#Page_12">12</a>.</li>
+<li>
+Florence, culture of, <a href="#Page_430">430</a>, <a href="#Page_431">431</a>.</li>
+<li>
+Fra Ambrosia, <a href="#Page_322">322</a>.</li>
+<li>
+Franciscan, <a href="#Page_367">367</a>.</li>
+<li>
+Frascati, visited, <a href="#Page_205">205</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Galileo</span>, in Rome, <a href="#Page_139">139</a>, <a href="#Page_445">445</a>.</li>
+<li>
+Galleria Vittorio Emanuele, <a href="#Page_448">448</a>.</li>
+<li>
+Garibaldi, villa of, <a href="#Page_239">239</a>.</li>
+<li>
+Garnett, Dr. Richard, quoted, <a href="#Page_456">456</a>.</li>
+<li>
+Genoa, <a href="#Page_430">430</a>;
+<ul class="IX">
+<li>features of, <a href="#Page_451">451</a>;</li>
+<li>as a metropolis of sculpture, <a href="#Page_452">452</a>;</li>
+<li>churches of, <a href="#Page_452">452</a>;</li>
+<li>enchantment of, <a href="#Page_455">455</a>.</li></ul></li>
+<li>
+Ghiberto, Bishop, <a href="#Page_311">311</a>.</li>
+<li>
+Gibson, John, in Rome, <a href="#Page_10">10</a>, <a href="#Page_36">36</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_59">59</a>;</li>
+<li>grave of, <a href="#Page_221">221</a>.</li></ul></li>
+<li>
+Giotto, <a href="#Page_376">376</a>, <a href="#Page_377">377</a>, <a href="#Page_379">379</a>.</li>
+<li>
+Giovio, Paolo, <a href="#Page_306">306</a>.</li>
+<li>
+Gladstone, in Rome, <a href="#Page_11">11</a>.</li>
+<li>
+Goethe, in Rome, <a href="#Page_11">11</a>, <a href="#Page_20">20</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_20">20</a>.</li></ul></li>
+<li>
+Goethe, August, grave of, <a href="#Page_216">216</a>.</li>
+<li>
+Goldoni, Carlo, centenary of, <a href="#Page_413">413</a>;
+<ul class="IX">
+<li>memorial of, <a href="#Page_414">414</a>.</li></ul></li>
+<li>
+Good Friday, service in Rome, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>.</li>
+<li>
+Greenough, Horatio, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>work of, <a href="#Page_49">49</a>;</li>
+<li>death, <a href="#Page_50">50</a>.</li></ul></li>
+<li>
+Greenough, Mrs. Horatio, <a href="#Page_335">335</a>.</li>
+<li>
+Greenough, Richard, in Rome, <a href="#Page_10">10</a>, <a href="#Page_58">58</a>;
+<ul class="IX">
+<li>grave of, <a href="#Page_217">217</a>.</li></ul></li>
+<li>
+Greenough, Sarah B., tomb of, <a href="#Page_218">218</a>.</li>
+<li>
+Grotto de Matrimonia, <a href="#Page_263">263</a>.</li>
+<li>
+Grotto Ferrata, <a href="#Page_209">209</a>.</li>
+<li>
+Guili, Commendatore Conte, <a href="#Page_214">214</a>.</li>
+<li>
+Guthers, Carl, work of, <a href="#Page_236">236</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Hare</span>, Augustus William, grave of, <a href="#Page_221">221</a>.</li>
+<li>
+Hawthorne, Nathaniel, quoted, <a href="#Page_45">45</a>, <a href="#Page_57">57</a>, <a href="#Page_67">67</a>, <a href="#Page_195">195</a>.</li>
+<li>
+Healy, Mr., in Rome, <a href="#Page_19">19</a>.</li>
+<li>
+Herculaneum, <a href="#Page_242">242</a>;
+<ul class="IX">
+<li>excavations in, <a href="#Page_244">244</a>;</li>
+<li>Professor Spinazzola on, <a href="#Page_242">242</a>, <a href="#Page_243">243</a>;</li>
+<li>destruction of, <a href="#Page_244">244</a>;</li>
+<li>
+<span class="pagenum"><a name="Page_465" id="Page_465">[465]</a></span>theatre in, <a href="#Page_247">247</a>.</li></ul></li>
+<li>
+Hillard, George Stillman, in Rome, <a href="#Page_12">12</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_51">51</a>, <a href="#Page_230">230</a>, <a href="#Page_248">248</a>.</li></ul></li>
+<li>
+Holy Week, in Rome, <a href="#Page_200">200</a>.</li>
+<li>
+Hosmer, Harriet, in Rome, <a href="#Page_10">10</a>, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;
+<ul class="IX">
+<li>work of, <a href="#Page_62">62</a>.</li></ul></li>
+<li>
+Howe, Dr. Samuel Gridley, in Rome, <a href="#Page_12">12</a>.</li>
+<li>
+Howe, Julia Ward, in Rome, <a href="#Page_12">12</a>.</li>
+<li>
+Howells, William Dean, in Rome, <a href="#Page_13">13</a>, <a href="#Page_416">416</a>.</li>
+<li>
+Howitt, William and Mary, graves of, <a href="#Page_216">216</a>.</li>
+<li>
+Hugo, Victor, <a href="#Page_41">41</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Ischia</span>, <a href="#Page_281">281</a>;
+<ul class="IX">
+<li>romantic impressions of, <a href="#Page_282">282</a>;</li>
+<li>home of Vittoria Colonna, <a href="#Page_282">282</a>;</li>
+<li>the d&rsquo;Avalos castle in, <a href="#Page_291">291</a>;</li>
+<li>as an enchanted island, <a href="#Page_296">296</a>;</li>
+<li>Vittoria&rsquo;s return to, <a href="#Page_299">299</a>, <a href="#Page_305">305</a>.</li></ul></li>
+<li>
+Italy, land of romance and song, <a href="#Page_6">6</a>;
+<ul class="IX">
+<li>Mazzini&rsquo;s opinion of, <a href="#Page_65">65</a>;</li>
+<li>true life of, <a href="#Page_423">423</a>;</li>
+<li>as a youthful country, <a href="#Page_424">424</a>;</li>
+<li>relation with United States, <a href="#Page_425">425</a>;</li>
+<li>traveller in, <a href="#Page_425">425</a>;</li>
+<li>picture of idyllic days in, <a href="#Page_427">427</a>;</li>
+<li>approach to, <a href="#Page_429">429</a>;</li>
+<li>cities of, <a href="#Page_429">429</a>, <a href="#Page_430">430</a>;</li>
+<li>in the making, <a href="#Page_431">431</a>;</li>
+<li>politics of, <a href="#Page_432">432</a>;</li>
+<li>Socialistic uprising in, <a href="#Page_433">433</a>;</li>
+<li>taxation in, <a href="#Page_436">436</a>-<a href="#Page_438">438</a>;</li>
+<li>railroads in, <a href="#Page_439">439</a>, <a href="#Page_440">440</a>;</li>
+<li>government of, <a href="#Page_440">440</a>, <a href="#Page_441">441</a>;</li>
+<li>future of, <a href="#Page_444">444</a>, <a href="#Page_457">457</a>;</li>
+<li>lakes of, <a href="#Page_449">449</a>;</li>
+<li>contemporary literature of, <a href="#Page_456">456</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li><span class="smcap">James</span>, Henry, in Rome, <a href="#Page_11">11</a>, <a href="#Page_13">13</a>.</li>
+<li>
+Jameson, Mrs., in Rome, <a href="#Page_67">67</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_193">193</a>.</li></ul></li>
+<li>
+Johnson, Robert Underwood, quoted, <a href="#Page_416">416</a>, <a href="#Page_421">421</a>.</li>
+<li>
+Juvenal, birthplace of, <a href="#Page_277">277</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Keats</span>, in Rome, <a href="#Page_11">11</a>, <a href="#Page_132">132</a>;
+<ul class="IX">
+<li>memorial, <a href="#Page_133">133</a>;</li>
+<li>grave of, <a href="#Page_216">216</a>.</li></ul></li>
+<li>
+Kemble, Adelaide, in Rome, <a href="#Page_68">68</a>.</li>
+<li>
+Kemble, Fanny, in Rome, <a href="#Page_68">68</a>.</li>
+<li>
+Keynote of life, <a href="#Page_359">359</a>.</li>
+<li>
+Khayyam, Omar, quoted, <a href="#Page_3">1</a>, <a href="#Page_94">94</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Lacus</span> Avernus, <a href="#Page_240">240</a>.</li>
+<li>
+Lanciani, Professor, lectures by, <a href="#Page_138">138</a>, <a href="#Page_139">139</a>;
+<ul class="IX">
+<li>opinion of, <a href="#Page_244">244</a>, <a href="#Page_333">333</a>.</li></ul></li>
+<li>
+Leaning Tower of Pisa, <a href="#Page_450">450</a>.</li>
+<li>
+Libraries of Rome, <a href="#Page_214">214</a>, <a href="#Page_223">223</a>.</li>
+<li>
+Lister, Mrs., in Rome, <a href="#Page_172">172</a>.</li>
+<li>
+Liszt, Abbé, in Rome, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>.</li>
+<li>
+Little, Canon Knox, quoted, <a href="#Page_347">347</a>, <a href="#Page_348">348</a>, <a href="#Page_376">376</a>, <a href="#Page_377">377</a>, <a href="#Page_380">380</a>.</li>
+<li>
+Lodge, Sir Oliver, quoted, <a href="#Page_120">120</a>.</li>
+<li>
+Longfellow, Henry Wadsworth, in Rome, <a href="#Page_12">12</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_125">125</a>, <a href="#Page_253">253</a>, <a href="#Page_274">274</a>, <a href="#Page_279">279</a>, <a href="#Page_281">281</a>, <a href="#Page_308">308</a>, <a href="#Page_309">309</a>, <a href="#Page_310">310</a>, <a href="#Page_325">325</a>, <a href="#Page_327">327</a>, <a href="#Page_387">387</a>.</li></ul></li>
+<li>
+Longfellow, Rev. Samuel, quoted, <a href="#Page_18">18</a>.</li>
+<li>
+Lowell, James Russell, in Rome, <a href="#Page_12">12</a>.</li>
+<li>
+Ludovisi collection, <a href="#Page_185">185</a>.</li>
+<li>
+Luther, in Rome, <a href="#Page_80">80</a>;
+<ul class="IX">
+<li>ascent of the Scala Santa, <a href="#Page_156">156</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Margherita</span>, Queen Mother, <a href="#Page_140">140</a>, <a href="#Page_141">141</a>;
+<ul class="IX">
+<li>palace of, <a href="#Page_142">142</a>;</li>
+<li>quoted, <a href="#Page_143">143</a>;</li>
+<li>relations with artists, <a href="#Page_144">144</a>;</li>
+<li>at requiem mass, <a href="#Page_179">179</a>.</li></ul></li>
+<li>
+Marino, <a href="#Page_286">286</a>, <a href="#Page_287">287</a>.</li>
+<li>
+<span class="pagenum"><a name="Page_466" id="Page_466">[466]</a></span>Mazzini, <a href="#Page_191">191</a>, <a href="#Page_192">192</a>; quoted, <a href="#Page_64">64</a>, <a href="#Page_422">422</a>, <a href="#Page_423">423</a>, <a href="#Page_444">444</a>, <a href="#Page_446">446</a>;
+<ul class="IX">
+<li>works of, <a href="#Page_190">190</a>, <a href="#Page_191">191</a>;</li>
+<li>estimate of, <a href="#Page_191">191</a>;</li>
+<li>tomb of, <a href="#Page_454">454</a>.</li></ul></li>
+<li>
+Mead, Larkin G., in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>work of, <a href="#Page_53">53</a>.</li></ul></li>
+<li>
+Mediæval Museum of Rome, <a href="#Page_139">139</a>.</li>
+<li>
+Meredith, Owen, quoted, <a href="#Page_3">2</a>.</li>
+<li>
+Metella, Cecilia, tomb of, <a href="#Page_145">145</a>.</li>
+<li>
+Milan, activity of, <a href="#Page_430">430</a>, <a href="#Page_447">447</a>;
+<ul class="IX">
+<li>structures of, <a href="#Page_448">448</a>;</li>
+<li>Ambrosian library of, <a href="#Page_449">449</a>;</li>
+<li>as scientific centre, <a href="#Page_450">450</a>.</li></ul></li>
+<li>
+Mills, Clark, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Milton, in Rome, <a href="#Page_11">11</a>, <a href="#Page_19">19</a>.</li>
+<li>
+Misenus, burial place of, <a href="#Page_241">241</a>.</li>
+<li>
+Monte Aquino, <a href="#Page_276">276</a>.</li>
+<li>
+Monte Cairo, <a href="#Page_277">277</a>.</li>
+<li>
+Monte Cassino, <a href="#Page_304">304</a>.</li>
+<li>
+Monte Catria, <a href="#Page_348">348</a>.</li>
+<li>
+Monte Mario, <a href="#Page_21">21</a>, <a href="#Page_133">133</a>.</li>
+<li>
+Monte Pincio, <a href="#Page_188">188</a>.</li>
+<li>
+Monte San Mano, <a href="#Page_304">304</a>.</li>
+<li>
+Morelli, Domenico, work of, <a href="#Page_234">234</a>, <a href="#Page_235">235</a>.</li>
+<li>
+Moulton, Louise Chandler, in Rome, <a href="#Page_13">13</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_95">95</a>, <a href="#Page_267">267</a>, <a href="#Page_340">340</a>.</li></ul></li>
+<li>
+Myers, Frederick W. H., memorial tablet to, <a href="#Page_220">220</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Naples</span>, described, <a href="#Page_227">227</a>-<a href="#Page_231">231</a>;
+<ul class="IX">
+<li>University of, <a href="#Page_232">232</a>;</li>
+<li>Museum, <a href="#Page_233">233</a>;</li>
+<li>natural attractions of, <a href="#Page_237">237</a>;</li>
+<li>hotels of, <a href="#Page_238">238</a>;</li>
+<li>Bay of, <a href="#Page_265">265</a>.</li></ul></li>
+<li>
+Nardi, Monsignore, in Rome, <a href="#Page_18">18</a>.</li>
+<li>
+Nero&rsquo;s tomb, <a href="#Page_78">78</a>, <a href="#Page_80">80</a>.</li>
+<li>
+Nisida, island of, <a href="#Page_240">240</a>.</li>
+<li>
+Norton, Charles Eliot, quoted, <a href="#Page_267">267</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Obelisk</span> in Piazza del Popolo, <a href="#Page_77">77</a>.</li>
+<li>
+Oldest art school, <a href="#Page_44">44</a>.</li>
+<li>
+Oliphant, Mrs., quoted, <a href="#Page_357">357</a>, <a href="#Page_368">368</a>.</li>
+<li>
+Orvieto, <a href="#Page_314">314</a>.</li>
+<li>
+<a name="tn466" id="tn466"></a><ins class="correction" title="original: 'Ossi, Professor Dall'">Osso, Professor Dall&rsquo;</ins>, opinion of, <a href="#Page_244">244</a>.</li>
+<li>
+Oxenham, Rev. Dr. and Mrs. Nutcombe, in Rome, <a href="#Page_171">171</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Pæstum</span>, <a href="#Page_260">260</a>, <a href="#Page_261">261</a>.</li>
+<li>
+Page de Conti, <a href="#Page_337">337</a>.</li>
+<li>
+Page, William, in Rome, <a href="#Page_66">66</a>.</li>
+<li>
+Palatine Hill, <a href="#Page_13">13</a>, <a href="#Page_112">112</a>.</li>
+<li>
+Palazzo Barberini, <a href="#Page_72">72</a>, <a href="#Page_90">90</a>.</li>
+<li>
+Palazzo Bernini, <a href="#Page_32">32</a>.</li>
+<li>
+Palazzo Bonaparte, <a href="#Page_203">203</a>.</li>
+<li>
+Palazzo Brandolin-Rota, <a href="#Page_409">409</a>.</li>
+<li>
+Palazzo Cesarini, <a href="#Page_314">314</a>, <a href="#Page_329">329</a>.</li>
+<li>
+Palazzo del Drago, <a href="#Page_163">163</a>, <a href="#Page_164">164</a>.</li>
+<li>
+Palazzo di Capodimonte, <a href="#Page_233">233</a>.</li>
+<li>
+Palazzo di Donna Ana, <a href="#Page_239">239</a>.</li>
+<li>
+Palazzo Margherita, <a href="#Page_142">142</a>.</li>
+<li>
+Palazzo Municipio, <a href="#Page_384">384</a>.</li>
+<li>
+Palazzo Quirinale, <a href="#Page_142">142</a>, <a href="#Page_143">143</a>, <a href="#Page_432">432</a>.</li>
+<li>
+Palazzo Rezzonico, <a href="#Page_406">406</a>.</li>
+<li>
+Palazzo Senni, <a href="#Page_172">172</a>.</li>
+<li>
+Palazzo Tamagno, <a href="#Page_104">104</a>.</li>
+<li>
+Palazzo Vaticano, <a href="#Page_27">27</a>.</li>
+<li>
+Pantheon, <a href="#Page_177">177</a>;
+<ul class="IX">
+<li>ceremonies at, <a href="#Page_179">179</a>.</li></ul></li>
+<li>
+Papal supremacy, <a href="#Page_432">432</a>.</li>
+<li>
+Parsons, Thomas William, quoted, <a href="#Page_52">52</a>, <a href="#Page_276">276</a>.</li>
+<li>
+Pater, Walter, quoted, <a href="#Page_327">327</a>, <a href="#Page_328">328</a>.</li>
+<li>
+Perugia, town of, <a href="#Page_381">381</a>-<a href="#Page_384">384</a>.</li>
+<li>
+Perugino, <a href="#Page_384">384</a>.</li>
+<li>
+Petrarcha, <a href="#Page_258">258</a>, <a href="#Page_259">259</a>, <a href="#Page_400">400</a>.</li>
+<li>
+Phlegræan Plain, <a href="#Page_240">240</a>.</li>
+<li>
+Piazza Barberini, <a href="#Page_18">18</a>.</li>
+<li>
+Piazza del Popolo, <a href="#Page_76">76</a>, <a href="#Page_80">80</a>, <a href="#Page_134">134</a>.</li>
+<li>
+<span class="pagenum"><a name="Page_467" id="Page_467">[467]</a></span>Piazza di Spagna, <a href="#Page_70">70</a>, <a href="#Page_133">133</a>, <a href="#Page_146">146</a>.</li>
+<li>
+Piazza di Trinità, <a href="#Page_133">133</a>.</li>
+<li>
+Piazza San Giovanni, <a href="#Page_151">151</a>.</li>
+<li>
+Pietro da Cortona, work of, <a href="#Page_194">194</a>.</li>
+<li>
+Pisa, architectural monuments of, <a href="#Page_450">450</a>.</li>
+<li>
+Pistolesi, quoted, <a href="#Page_43">43</a>.</li>
+<li>
+Pliny, the Younger, quoted, <a href="#Page_244">244</a>.</li>
+<li>
+Poe, quoted, <a href="#Page_136">136</a>.</li>
+<li>
+Pompeii, <a href="#Page_243">243</a>, <a href="#Page_245">245</a>, <a href="#Page_248">248</a>.</li>
+<li>
+Pope Adrian, <a href="#Page_302">302</a>.</li>
+<li>
+Pope Clement XII, tomb of, <a href="#Page_152">152</a>.</li>
+<li>
+Pope Julius II, <a href="#Page_23">23</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>.</li>
+<li>
+Pope Leo XII, <a href="#Page_302">302</a>.</li>
+<li>
+Pope Leo XIII, tomb of, <a href="#Page_154">154</a>.</li>
+<li>
+Pope Paschal, dream of, <a href="#Page_157">157</a>.</li>
+<li>
+Pope Paul III, <a href="#Page_313">313</a>.</li>
+<li>
+Pope Pio Nono, <a href="#Page_64">64</a>, <a href="#Page_75">75</a>.</li>
+<li>
+Pope Pius X, <a href="#Page_145">145</a>, <a href="#Page_147">147</a>;
+<ul class="IX">
+<li>&ldquo;passage&rdquo; of, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>;</li>
+<li>ceremonial receptions of, <a href="#Page_146">146</a>;</li>
+<li>residence of, <a href="#Page_432">432</a>;</li>
+<li>character of, <a href="#Page_434">434</a>;</li>
+<li>dream of, <a href="#Page_435">435</a>.</li></ul></li>
+<li>
+Portiuncula, <a href="#Page_365">365</a>, <a href="#Page_366">366</a>.</li>
+<li>
+Posilipo, <a href="#Page_239">239</a>.</li>
+<li>
+Powers, Hiram, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>America&rsquo;s first sculptor, <a href="#Page_49">49</a>;</li>
+<li>work, <a href="#Page_50">50</a>.</li></ul></li>
+<li>
+Pratello, <a href="#Page_237">237</a>.</li>
+<li>
+Preston, Margaret J., quoted, <a href="#Page_280">280</a>, <a href="#Page_337">337</a>.</li>
+<li>
+Principessa d&rsquo;Antuni, <a href="#Page_163">163</a>, <a href="#Page_164">164</a>.</li>
+</ul>
+<ul class="IX">
+<li><span class="smcap"><a name="tn467a" id="tn467a"></a><ins class="correction" title="original: 'Quatre'">Quattro</ins></span> Fontane, Via delle, <a href="#Page_72">72</a>.</li></ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Raphael</span>, work of, <a href="#Page_22">22</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_79">79</a>;
+<ul class="IX">
+<li>genius of, <a href="#Page_26">26</a>;</li>
+<li>masterpieces of, <a href="#Page_27">27</a>;</li>
+<li>Franklin Simmons, opinion of, <a href="#Page_29">29</a>;</li>
+<li>inspiration of, <a href="#Page_30">30</a>;</li>
+<li>decline of art after, <a href="#Page_31">31</a>.</li></ul></li>
+<li>
+<a name="tn467b" id="tn467b"></a><ins class="correction" title="original: 'Revello'">Ravello</ins>, Cathedral at, <a href="#Page_260">260</a>.</li>
+<li>
+Ravenna, battle of, <a href="#Page_296">296</a>.</li>
+<li>
+Read, Thomas Buchanan, in Rome, <a href="#Page_67">67</a>.</li>
+<li>
+Realism, kinds of, <a href="#Page_118">118</a>.</li>
+<li>
+<i>Regina Madre</i>, <a href="#Page_140">140</a>, <a href="#Page_142">142</a>.</li>
+<li>
+Regio Palazzo del Quirinale, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>.</li>
+<li>
+Reid, Hon. Whitelaw, <a href="#Page_105">105</a>.</li>
+<li>
+Reinhart, William, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Religion united with art, <a href="#Page_123">123</a>.</li>
+<li>
+Renaissance in Italy, <a href="#Page_117">117</a>.</li>
+<li>
+Richmond, Celia, <a href="#Page_341">341</a>.</li>
+<li>
+Rocca di Papa, <a href="#Page_287">287</a>.</li>
+<li>
+Rogers, Randolph, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>early death of, <a href="#Page_53">53</a>.</li></ul></li>
+<li>
+Roman environment, <a href="#Page_93">93</a>.</li>
+<li>
+Rome, features of, <a href="#Page_3">1</a>;
+<ul class="IX">
+<li>as artistic centre, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_114">114</a>;</li>
+<li>under Pontifical régime, <a href="#Page_8">8</a>;</li>
+<li>Longfellow&rsquo;s love for, <a href="#Page_16">16</a>;</li>
+<li>Goethe&rsquo;s impressions of, <a href="#Page_20">20</a>;</li>
+<li>work of Michael Angelo and Raphael in, <a href="#Page_22">22</a>;</li>
+<li>oldest art school of, <a href="#Page_44">44</a>;</li>
+<li>latter-day artists in, <a href="#Page_49">49</a>;</li>
+<li>Brownings in, <a href="#Page_67">67</a>;</li>
+<li>social life in, <a href="#Page_113">113</a>, <a href="#Page_127">127</a>;</li>
+<li>new bridge of, <a href="#Page_128">128</a>;</li>
+<li>in May, <a href="#Page_129">129</a>;</li>
+<li>in winter, <a href="#Page_129">129</a>, <a href="#Page_130">130</a>;</li>
+<li>in spring, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>;</li>
+<li>festas in, <a href="#Page_136">136</a>;</li>
+<li>discussed by Professor Lanciani, <a href="#Page_138">138</a>;</li>
+<li>society in, <a href="#Page_140">140</a>, <a href="#Page_141">141</a>, <a href="#Page_170">170</a>;</li>
+<li>two courts of, <a href="#Page_142">142</a>;</li>
+<li>modern features of, <a href="#Page_145">145</a>;</li>
+<li>enchanting views in, <a href="#Page_151">151</a>;</li>
+<li>poetic symbolism in, <a href="#Page_158">158</a>-<a href="#Page_160">160</a>;</li>
+<li>of the present day, breakfast-table talk in, <a href="#Page_162">162</a>;</li>
+<li>American Embassy in, <a href="#Page_163">163</a>;</li>
+<li>elevator service in, <a href="#Page_164">164</a>;</li>
+<li>American consulate in, <a href="#Page_169">169</a>;</li>
+<li>delightful hostesses in, <a href="#Page_171">171</a>, <a href="#Page_172">172</a>;</li>
+<li>
+<span class="pagenum"><a name="Page_468" id="Page_468">[468]</a></span>attitude toward modern thought in, <a href="#Page_173">173</a>;</li>
+<li>Theosophical Society of, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>;</li>
+<li>demand for apartments in, <a href="#Page_175">175</a>;</li>
+<li>sight-seeing in, <a href="#Page_183">183</a>;</li>
+<li>great palaces in, <a href="#Page_187">187</a>;</li>
+<li>famous drive of, <a href="#Page_188">188</a>;</li>
+<li>birthday celebrations of, <a href="#Page_189">189</a>;</li>
+<li>Republic of, <a href="#Page_190">190</a>;</li>
+<li>rich years to artists in, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>;</li>
+<li>Papal ceremonies in, <a href="#Page_195">195</a>;</li>
+<li>curious spectacle in, <a href="#Page_198">198</a>;</li>
+<li>Holy Week in, <a href="#Page_200">200</a>;</li>
+<li>Good Friday service in, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>;</li>
+<li>motoring from, <a href="#Page_204">204</a>, <a href="#Page_205">205</a>;</li>
+<li>outlying towns of, <a href="#Page_207">207</a>;</li>
+<li>American Academy in, <a href="#Page_214">214</a>;</li>
+<li>libraries of, <a href="#Page_214">214</a>;</li>
+<li>Protestant cemetery of, <a href="#Page_215">215</a>;</li>
+<li>literature of, <a href="#Page_223">223</a>;</li>
+<li>modern spirit in, <a href="#Page_428">428</a>.</li></ul></li>
+<li>
+Rosa, Salvator, <a href="#Page_234">234</a>.</li>
+<li>
+Rosenkrans, Baroness, <a href="#Page_173">173</a>.</li>
+<li>
+Rota, <a href="#Page_329">329</a>.</li>
+<li>
+Ruskin, in Rome, <a href="#Page_12">12</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_398">398</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Sabatier</span>, Paul, quoted, <a href="#Page_362">362</a>, <a href="#Page_365">365</a>.</li>
+<li>
+Sallust, Gardens of, <a href="#Page_140">140</a>.</li>
+<li>
+Salvatico, quoted, <a href="#Page_401">401</a>.</li>
+<li>
+San Agostino, church of, <a href="#Page_198">198</a>.</li>
+<li>
+San Caterina di Viterbo, <a href="#Page_314">314</a>.</li>
+<li>
+San Francesco, church of, <a href="#Page_345">345</a>.</li>
+<li>
+San Giovanni, <a href="#Page_153">153</a>.</li>
+<li>
+San Marco, <a href="#Page_394">394</a>.</li>
+<li>
+San Maria della Pace, <a href="#Page_27">27</a>.</li>
+<li>
+San Maria dei Frari, <a href="#Page_405">405</a>.</li>
+<li>
+San Silvestre, <a href="#Page_32">32</a>.</li>
+<li>
+Sansovino, Jacob, work of, <a href="#Page_399">399</a>.</li>
+<li>
+Santa Anna, convent of, <a href="#Page_314">314</a>.</li>
+<li>
+Santa Chiara (Clara), <a href="#Page_365">365</a>;
+<ul class="IX">
+<li>takes vows, <a href="#Page_366">366</a>, <a href="#Page_367">367</a>;</li>
+<li>founds convent, <a href="#Page_368">368</a>;</li>
+<li>family history of, <a href="#Page_368">368</a>;</li>
+<li>friendship with St. Francis of Assisi, <a href="#Page_368">368</a>;</li>
+<li>at death of Francis, <a href="#Page_372">372</a>;</li>
+<li>personality of, <a href="#Page_373">373</a>;</li>
+<li>preservation of body of, <a href="#Page_374">374</a>.</li></ul></li>
+<li>
+Santa Domenica Maggiore, church of, <a href="#Page_303">303</a>, <a href="#Page_331">331</a>, <a href="#Page_333">333</a>.</li>
+<li>
+Santa Maria Degli Angeli, <a href="#Page_345">345</a>, <a href="#Page_365">365</a>, <a href="#Page_380">380</a>.</li>
+<li>
+Santa Maria del Popolo, <a href="#Page_78">78</a>-<a href="#Page_80">80</a>.</li>
+<li>
+Santa Maria della Salute, <a href="#Page_405">405</a>.</li>
+<li>
+Santa Monica, tomb of, <a href="#Page_199">199</a>.</li>
+<li>
+Scala di Spagna, <a href="#Page_72">72</a>.</li>
+<li>
+Scala Santa, <a href="#Page_155">155</a>;
+<ul class="IX">
+<li>Luther&rsquo;s ascent of, <a href="#Page_156">156</a>.</li></ul></li>
+<li>
+Scifi, Count Favorini, <a href="#Page_368">368</a>.</li>
+<li>
+Scott, Sir Walter, in Rome, <a href="#Page_20">20</a>.</li>
+<li>
+Sejanus, fall of, <a href="#Page_263">263</a>.</li>
+<li>
+Sermoneta, Duke of, in Rome, <a href="#Page_18">18</a>.</li>
+<li>
+Severn, Joseph, grave of, <a href="#Page_216">216</a>.</li>
+<li>
+Shelley, in Rome, <a href="#Page_22">22</a>;
+<ul class="IX">
+<li>memorial, <a href="#Page_133">133</a>;</li>
+<li>quoted, <a href="#Page_215">215</a>;</li>
+<li>grave of, <a href="#Page_216">216</a>.</li></ul></li>
+<li>
+Simmons, Franklin, in Rome, <a href="#Page_10">10</a>, <a href="#Page_15">15</a>, <a href="#Page_91">91</a>, <a href="#Page_98">98</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_29">29</a>;</li>
+<li>works of, <a href="#Page_98">98</a>-<a href="#Page_112">112</a>;</li>
+<li>early life, <a href="#Page_100">100</a>;</li>
+<li>degrees conferred upon, <a href="#Page_103">103</a>;</li>
+<li>marriage of, <a href="#Page_103">103</a>;</li>
+<li>latest success of, <a href="#Page_107">107</a>;</li>
+<li>studios of, <a href="#Page_112">112</a>;</li>
+<li>realism of, <a href="#Page_119">119</a>;</li>
+<li>beautiful creation of, <a href="#Page_121">121</a>;</li>
+<li>grave of, <a href="#Page_217">217</a>.</li></ul></li>
+<li>
+Simmons, Mrs. Franklin, in Rome, <a href="#Page_104">104</a>;
+<ul class="IX">
+<li>death of, <a href="#Page_112">112</a>;</li>
+<li>estimate of, <a href="#Page_112">112</a>;</li>
+<li>grave of, <a href="#Page_218">218</a>.</li></ul></li>
+<li>
+Sindoni, Turillo, <a href="#Page_144">144</a>.</li>
+<li>
+Sistine Chapel, art in, <a href="#Page_177">177</a>.</li>
+<li>
+Sorrento, <a href="#Page_251">251</a>, <a href="#Page_252">252</a>.</li>
+<li>
+Spearman, Frank Hamilton, in Rome, <a href="#Page_167">167</a>;
+<ul class="IX">
+<li>work of, <a href="#Page_168">168</a>.</li></ul></li>
+<li>
+Spinazzola, Professor, quoted, <a href="#Page_242">242</a>, <a href="#Page_243">243</a>.</li>
+<li>
+St. Ambrosio, church of, <a href="#Page_448">448</a>.</li>
+<li>
+<span class="pagenum"><a name="Page_469" id="Page_469">[469]</a></span>St. Andrew, <a href="#Page_256">256</a>.</li>
+<li>
+St. Benedict, work of, <a href="#Page_270">270</a>, <a href="#Page_271">271</a>;
+<ul class="IX">
+<li>tomb of, <a href="#Page_272">272</a>;</li>
+<li>chapel of, <a href="#Page_350">350</a>.</li></ul></li>
+<li>
+St. Damian, chapel of, <a href="#Page_356">356</a>.</li>
+<li>
+St. Gaudens, Augustus, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+St. Gregory, feast of, <a href="#Page_180">180</a>.</li>
+<li>
+St. Maria della Portiuncula, <a href="#Page_351">351</a>.</li>
+<li>
+St. Mark&rsquo;s, Venice, <a href="#Page_396">396</a>, <a href="#Page_397">397</a>, <a href="#Page_404">404</a>.</li>
+<li>
+St. Mark, tomb of, <a href="#Page_397">397</a>;
+<ul class="IX">
+<li>legend regarding, <a href="#Page_397">397</a>.</li></ul></li>
+<li>
+St. Paola d&rsquo;Orvieto, <a href="#Page_314">314</a>.</li>
+<li>
+Stebbins, Emma, in Rome, <a href="#Page_58">58</a>.</li>
+<li>
+Stetson, Charles Walker, in Rome, <a href="#Page_10">10</a>, <a href="#Page_91">91</a>;
+<ul class="IX">
+<li>work of, <a href="#Page_113">113</a>.</li></ul></li>
+<li>
+Stetson, Mrs. Charles Walker, in Rome, <a href="#Page_11">11</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_426">426</a>.</li></ul></li>
+<li>
+Stillman, Mr., quoted, <a href="#Page_39">39</a>.</li>
+<li>
+Story, Julian, in Rome, <a href="#Page_91">91</a>;
+<ul class="IX">
+<li>studio of, <a href="#Page_97">97</a>.</li></ul></li>
+<li>
+Story, Waldo, in Rome, <a href="#Page_91">91</a>;
+<ul class="IX">
+<li>studio of, <a href="#Page_97">97</a>;</li>
+<li>works of, <a href="#Page_98">98</a>.</li></ul></li>
+<li>
+Story, William Wetmore, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>first visit to Italy of, <a href="#Page_62">62</a>;</li>
+<li>in Florence, <a href="#Page_65">65</a>;</li>
+<li>quoted, <a href="#Page_70">70</a>, <a href="#Page_80">80</a>, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_286">286</a>;</li>
+<li>in Palazzo Barberini, Rome, <a href="#Page_71">71</a>;</li>
+<li>works of, <a href="#Page_81">81</a>-<a href="#Page_86">86</a>;</li>
+<li>estimate of, <a href="#Page_82">82</a>-<a href="#Page_90">90</a>;</li>
+<li>literary work of, <a href="#Page_90">90</a>;</li>
+<li>grave of, <a href="#Page_217">217</a>.</li></ul></li>
+<li>
+Stowe, Harriet Beecher, in Rome, <a href="#Page_11">11</a>.</li>
+<li>
+Strada Nuova di Posilipo, <a href="#Page_239">239</a>.</li>
+<li>
+Symonds, John Addington, grave of, <a href="#Page_220">220</a>;
+<ul class="IX">
+<li>estimate of, <a href="#Page_220">220</a>;</li>
+<li>quoted, <a href="#Page_261">261</a>, <a href="#Page_264">264</a>, <a href="#Page_315">315</a>, <a href="#Page_316">316</a>.</li></ul></li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Tasso</span>, <a href="#Page_252">252</a>, <a href="#Page_253">253</a>, <a href="#Page_335">335</a>.</li>
+<li>
+Tennyson&rsquo;s choice of pictures in Venice, <a href="#Page_395">395</a>.</li>
+<li>
+Thackeray, in Rome, <a href="#Page_69">69</a>.</li>
+<li>
+Theocritus, quoted, <a href="#Page_85">85</a>.</li>
+<li>
+Theosophical Society of Rome, <a href="#Page_173">173</a>.</li>
+<li>
+Thomas, Edith, quoted, <a href="#Page_82">82</a>.</li>
+<li>
+Thompson, Launt, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Thorwaldsen, in Rome, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>quoted, <a href="#Page_35">35</a>;</li>
+<li>realism of, <a href="#Page_119">119</a>.</li></ul></li>
+<li>
+Tiberius, summer palace of, <a href="#Page_262">262</a>;
+<ul class="IX">
+<li>baths of, <a href="#Page_263">263</a>.</li></ul></li>
+<li>
+Tilton, J. Rollin, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>grave of, <a href="#Page_219">219</a>.</li></ul></li>
+<li>
+Titian, tomb of, <a href="#Page_405">405</a>.</li>
+<li>
+Torlonia, Duca and Duchessa of, <a href="#Page_334">334</a>.</li>
+<li>
+Trelawney, grave of, <a href="#Page_216">216</a>.</li>
+<li>
+Trinità di Monti, church of, <a href="#Page_133">133</a>.</li>
+<li>
+Tusculum, <a href="#Page_207">207</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Umberto</span>, King, <a href="#Page_142">142</a>.</li>
+<li>
+Umbrians, <a href="#Page_345">345</a>.</li>
+<li>
+Urbino, <a href="#Page_285">285</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Vanderlyn</span>, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Vaughn, Monsignor, <a href="#Page_181">181</a>.</li>
+<li>
+Vatican, galleries of, <a href="#Page_112">112</a>.</li>
+<li>
+Vatican palace, <a href="#Page_196">196</a>, <a href="#Page_198">198</a>.</li>
+<li>
+Vedder, Anita, in Rome, <a href="#Page_171">171</a>.</li>
+<li>
+Vedder, Elihu, in Rome, <a href="#Page_10">10</a>;
+<ul class="IX">
+<li>art of, <a href="#Page_91">91</a>-<a href="#Page_95">95</a>;</li>
+<li>appreciation of, <a href="#Page_96">96</a>;</li>
+<li>works of, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>;</li>
+<li>country house of, <a href="#Page_262">262</a>.</li></ul></li>
+<li>
+Vedder, Mrs. Elihu, in Rome, <a href="#Page_170">170</a>.</li>
+<li>
+Venice, first glimpses of, <a href="#Page_389">389</a>;
+<ul class="IX">
+<li>Grand Canal of, <a href="#Page_390">390</a>;</li>
+<li>in June, <a href="#Page_391">391</a>;</li>
+<li>color and loveliness of, <a href="#Page_392">392</a>;</li>
+<li>art of, <a href="#Page_395">395</a>, <a href="#Page_396">396</a>;</li>
+<li>origin of, <a href="#Page_398">398</a>;</li>
+<li>first Doge of, <a href="#Page_399">399</a>;</li>
+<li>Renaissance architecture in, <a href="#Page_399">399</a>;</li>
+<li>
+<span class="pagenum"><a name="Page_470" id="Page_470">[470]</a></span>Doge&rsquo;s Palace, <a href="#Page_400">400</a>-<a href="#Page_404">404</a>;</li>
+<li>art in, <a href="#Page_404">404</a>;</li>
+<li>fall of Campanile in, <a href="#Page_406">406</a>;</li>
+<li>Browning Palace in, <a href="#Page_408">408</a>-<a href="#Page_413">413</a>;</li>
+<li>centenary of Carlo Goldoni celebrated in, <a href="#Page_413">413</a>, <a href="#Page_414">414</a>;</li>
+<li>art exhibition in, <a href="#Page_415">415</a>;</li>
+<li>June evening in, <a href="#Page_416">416</a>;</li>
+<li>as a poet&rsquo;s dream, <a href="#Page_418">418</a>.</li></ul></li>
+<li>
+Vernet, Horace, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+Verona, <a href="#Page_311">311</a>.</li>
+<li>
+Veronese, Paolo, <a href="#Page_404">404</a>.</li>
+<li>
+Vesuvius, <a href="#Page_229">229</a>.</li>
+<li>
+Via Bonella, <a href="#Page_45">45</a>.</li>
+<li>
+Victor Emmanuel III, <a href="#Page_118">118</a>, <a href="#Page_215">215</a>, <a href="#Page_432">432</a>, <a href="#Page_444">444</a>.</li>
+<li>
+Villa Aldobrandini, <a href="#Page_208">208</a>.</li>
+<li>
+Villa Barberini, <a href="#Page_209">209</a>.</li>
+<li>
+Villa Borghese, <a href="#Page_14">14</a>, <a href="#Page_187">187</a>.</li>
+<li>
+Villa Doria, <a href="#Page_211">211</a>.</li>
+<li>
+Villa <a name="tn470" id="tn470"></a><ins class="correction" title="original: 'Falconicri'">Falconieri</ins>, <a href="#Page_213">213</a>.</li>
+<li>
+Villa Jovis, <a href="#Page_263">263</a>.</li>
+<li>
+Villa Medici, <a href="#Page_4">4</a>, <a href="#Page_134">134</a>.</li>
+<li>
+Villa Nazionale, <a href="#Page_238">238</a>.</li>
+<li>
+Villa Pamphilia Doria, <a href="#Page_149">149</a>.</li>
+<li>
+Villa Torlonia, <a href="#Page_206">206</a>.</li>
+<li>
+Virgil, quoted, <a href="#Page_241">241</a>;
+<ul class="IX">
+<li>grotto of, <a href="#Page_242">242</a>.</li></ul></li>
+<li>
+Visconti, <a href="#Page_329">329</a>, <a href="#Page_330">330</a>.</li>
+<li>
+Vittorio Emanuele, <a href="#Page_214">214</a>.</li>
+</ul>
+
+<ul class="IX">
+<li>
+<span class="smcap">Waldstein</span>, Dr. Charles, quoted, <a href="#Page_245">245</a>.</li>
+<li>
+Ward, Mrs. Humphry, quoted, <a href="#Page_210">210</a>, <a href="#Page_212">212</a>.</li>
+<li>
+Watson, William, quoted, <a href="#Page_9">9</a>, <a href="#Page_25">25</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>.</li>
+<li>
+Wellman, Walter, <a href="#Page_9">9</a>.</li>
+<li>
+West, Benjamin, in Rome, <a href="#Page_10">10</a>.</li>
+<li>
+White, Mr. and Mrs. Henry, in Rome, <a href="#Page_165">165</a>.</li>
+<li>
+&ldquo;Whites,&rdquo; <a href="#Page_145">145</a>.</li>
+<li>
+Whitman, Walt, quoted, <a href="#Page_422">422</a>.</li>
+<li>
+Whitney, Anne, in Rome, <a href="#Page_10">10</a>, <a href="#Page_58">58</a>.</li>
+<li>
+Whittier, quoted, <a href="#Page_339">339</a>.</li>
+<li>
+Wilberforce, Rev. Basil, quoted, <a href="#Page_125">125</a>, <a href="#Page_341">341</a>.</li>
+<li>
+Woolson, Constance Fenimore, tomb of, <a href="#Page_219">219</a>.</li>
+</ul>
+<ul class="IX">
+<li>
+<span class="smcap">Zuccaro</span>, Federigo, <a href="#Page_44">44</a>.</li></ul>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2 class="u"><a name="WORKS_BY_LILIAN_WHITING" id="WORKS_BY_LILIAN_WHITING"></a>WORKS BY LILIAN WHITING</h2>
+
+<div class="blockquot2"><p class="negi">THE WORLD BEAUTIFUL. First, Second, and Third Series.
+3 vols. 16mo. $1.00 per vol. Decorated cloth, $1.25 per vol.</p>
+<p class="negi2">Cannot help being uplifting and inspiring.&mdash;<i>New Church Messenger.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">AFTER HER DEATH, 16mo. $1.00. Decorated cloth, $1.25.</p>
+
+<p class="negi2">Should bring positive aid in sorrow.&mdash;<i>Hartford Post.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">FROM DREAMLAND SENT. Verses of the Life to Come.
+16mo. $1.00. Decorated cloth, $1.25.</p>
+
+<p class="negi2">Graceful, tender, true, appealing to what is best in the human heart.&mdash;<i>The Independent.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE SPIRITUAL SIGNIFICANCE; or, Death as an Event in
+Life. 16mo. $1.00. Decorated cloth, $1.25.</p>
+
+<p class="negi2">It suggests and hints at the ultimate significance of scientific investigation with relation to the
+totality of thought in a very fresh and suggestive way.&mdash;<i>The Outlook.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">KATE FIELD: A RECORD. With portraits, including one by
+Elihu Vedder. 12mo. Decorated cloth, $2.00.</p>
+
+<p class="negi2">A wonderfully vivid portrait.&mdash;<i>San Francisco Chronicle.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">A STUDY OF ELIZABETH BARRETT BROWNING, 16mo.
+Decorated cloth, $1.25.</p>
+
+<p class="negi2">The most virile picture of Mrs. Browning in all our literature.&mdash;<i>New York Times.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE WORLD BEAUTIFUL IN BOOKS, 16mo. $1.00 net.
+Decorated cloth, $1.25 net.</p>
+
+<p class="negi2">Great thoughts of great writers are touched upon with rare discrimination and critical power.&mdash;<i>Boston
+Transcript.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">BOSTON DAYS. Illustrated. 12mo. $1.50 net.</p>
+
+<p class="negi2">All the famous names associated with Boston pass in review.&mdash;<i>Boston Herald.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE LIFE RADIANT, 16mo. $1.00 net. Decorated cloth, $1.25 net.</p>
+
+<p class="negi2">No one can read it without having a clearer perception of the meaning of life and of the infinite
+possibilities of the human soul in its process of advancement.&mdash;<i>Chicago Chronicle.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE OUTLOOK BEAUTIFUL, 16mo. $1.00 net. White and
+gold, $1.25 net.</p>
+
+<p class="negi2">A fitting crown to &ldquo;The World Beautiful.&rdquo;&mdash;<i>Philadelphia Ledger.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE FLORENCE OF LANDOR. Fully illustrated. 8vo. In
+box, $2.50 net.</p>
+
+<p class="negi2">A striking picture of Florence, doubly interesting because so many eminent persons appear
+in it.&mdash;<i>Philadelphia Ledger.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">THE JOY THAT NO MAN TAKETH FROM YOU. 18 mo.
+50 cents net.</p>
+
+<p class="negi2">Emphasizes the reality of spiritual things with an intense conviction.&mdash;<i>Living Age.</i></p></div>
+
+
+<div class="blockquot2"><p class="negi">FROM DREAM TO VISION OF LIFE. 16mo. $1.00 net.
+White and gold, $1.25 net. Uniform with &ldquo;The World Beautiful.&rdquo;</p>
+
+<p class="negi2">A study of life from the mere transient dream to the radiant eternal vision.</p></div>
+
+
+<div class="blockquot2"><p class="negi">THE LAND OF ENCHANTMENT. From Pike&rsquo;s Peak to the
+Pacific. Fully illustrated. 8vo. $2.50 net.</p>
+
+<p class="negi2">A vivid presentation of the scenic marvels and resources of the Southwest.</p></div>
+
+<hr style="width: 65%;" />
+<p class="center"><big>LITTLE, BROWN, &amp; CO., Publishers, BOSTON</big></p>
+
+
+
+<hr style="width: 65%;" />
+<div class="tnote">
+<h2><a name="TRANSCRIBERrsquoS_NOTE" id="TRANSCRIBERrsquoS_NOTE"></a><small>TRANSCRIBER&rsquo;S NOTE</small></h2>
+
+
+<p class="noi">The original language, spelling and punctuation have been preserved, except where noted.<br /><br />
+The illustrations were moved to the paragraph they refer to. The List of Illustrations was changed accordingly.<br />
+</p>
+
+<p class="noi">
+Page <a href="#tnxii">xii</a>: Vittoria Colonna, Galleria Buonarotti, Florence<br />
+<br />
+Page <a href="#tn6">6</a>: artistic centre of the ninteenth century and<br />
+<br />
+Page <a href="#tn19">19</a>: on the wall of the <i>casa</i> in the Via delle Quattre Fontane<br />
+<br />
+page <a href="#tn26">26</a>: the Palazzo Sentoriale and the Palazzo dei Conservatore.<br />
+<br />
+page <a href="#tn27">27</a>: the Stanza della Incendio and the Sala di Constantino.<br />
+<br />
+page <a href="#tn32a">32</a>: winds on the Pont San Angelo, and in the vast<br />
+<br />
+page <a href="#tn32b">32</a>: the Music Nazionale&mdash;is the group of &ldquo;Pluto<br />
+<br />
+page <a href="#tn55">55</a>: during hs stay in Rome are &lsquo;St. Elizabeth of<br />
+<br />
+page <a href="#tn72">72</a>: The Via delle Quatre Fontane, on which the<br />
+<br />
+page <a href="#tn138">138</a>: given under the auspices of the Societa Archeologica,<br />
+<br />
+page <a href="#tn148">148</a>: <i>gentilinomo</i>, who is gorgeously arrayed in knee<br />
+<br />
+page <a href="#tn161">161</a>: Jacomletti, and there is also a kneeling statue<br />
+<br />
+page <a href="#tn163a">163</a>: and the Via dell Quattro Fontane. The<br />
+<br />
+page <a href="#tn163b">163</a>: for living purposes. The portere, the guards,<br />
+<br />
+page <a href="#tn170">170</a>: and in the Vedder villa, <i>Torre Quatro Venti</i><br />
+<br />
+page <a href="#tn171">171</a>: the American wife of Caviliere Cortesi, an<br />
+<br />
+page <a href="#tn178">178</a>: Peruzzi, and Annibale Caracci. Raphael is<br />
+<br />
+page <a href="#tn185">185</a>: that includes the &ldquo;Ludovisi Mars;&rdquo; Hercules,&rdquo;<br />
+<br />
+page <a href="#tn200">200</a>: he may rest, <i>mens conscia recta</i>!<br />
+<br />
+page <a href="#tn205">205</a>: whose grand Roman palazzo is in the Boca di<br />
+<br />
+page <a href="#tn244b">244</a>: Forum, succeding Lanciani&mdash;believe that some<br />
+<br />
+page <a href="#tn272a">272</a>: Mignano (Ginodone Trieramosca) and also to<br />
+<br />
+page <a href="#tn272b">272</a>: are a series of fresco paintings by Luca Gindano,<br />
+<br />
+page <a href="#tn276">276</a>: to be a &ldquo;Monumento Nazionali,&rdquo; and it is now<br />
+<br />
+page <a href="#tn286a">286</a>: in the &ldquo;Inferno.&rdquo; The Colonna and the Orsino<br />
+<br />
+page <a href="#tn286b">286</a>: look down from Castel Gondolfo on the gloomy,<br />
+<br />
+page <a href="#tn287">287</a>: Marino, Castel Gondolfo, and Frascati, with<br />
+<br />
+page <a href="#tn295a">295</a>: for the country they left Naples for Pietzalba<br />
+<br />
+page <a href="#tn295b">295</a>: Musefico, il Givoio, and il Minturo. It was an<br />
+<br />
+page <a href="#tn297a">297</a>: Per te narrar tre quante dubbie voglie,<br />
+<br />
+page <a href="#tn297b">297</a>: <i>Fra quanti aspri martir, degliosa io vivo!</i>&rdquo;<br />
+<br />
+page <a href="#tn304">304</a>: San Mano that had formerly been its property.<br />
+<br />
+page <a href="#tn305">305</a>: world&rsquo;s sun; and not to add light to <i>mio vel solo</i>,<br />
+<br />
+page <a href="#tn213">213</a>: The Villa Falconicri, in Frascati, which was<br />
+<br />
+page <a href="#tn234">234</a>: Benvenuto Cellini at the Castel Sant Angelo;<br />
+<br />
+page <a href="#tn237">237</a>: of the street scenes of Naples; Camprani and<br />
+<br />
+page <a href="#tn244a">244</a>: equestrian statue of Bulbi, in the Naples Museum,<br />
+<br />
+page <a href="#tn260a">260</a>: The cathedral at Revello has traces of the<br />
+<br />
+page <a href="#tn260b">260</a>: of the Palazzo Rufelo might enchant Hafiz himself.<br />
+<br />
+page <a href="#tn272c">272</a>: by Mazzarappi and Marco da Siena. Nothing<br />
+<br />
+page <a href="#tn274">274</a>: Terre di Lavorno region:&mdash;<br />
+<br />
+page <a href="#tn332">332</a>: &ldquo;<i>Bene scripsisti de me, Thoma; quam ergo mercedem recipris?</i>&rdquo;<br />
+<br />
+page <a href="#tn380">380</a>: Bonaventuri built over it, is preserved in this<br />
+<br />
+page <a href="#tn385">385</a>: the Palazzo Rospigliosa in Rome.<br />
+<br />
+page <a href="#tn399">399</a>: Anopeste, elected by the tribunal of commonalty,<br />
+<br />
+page <a href="#tn400a">400</a>: mural work by Battesta Franco and De Moro.<br />
+<br />
+page <a href="#tn400b">400</a>: One enters the Porta delta Carta, which<br />
+<br />
+page <a href="#tn405">405</a>: Peter, Maucis, and Antoninus are commending<br />
+<br />
+page <a href="#tn426">426</a>: Saricinesco, in the region of Tivoli, was made<br />
+<br />
+page <a href="#tn436">436</a>: too, in other leading men. Zurati, the<br />
+<br />
+page <a href="#tn452">452</a>: in Europe. That of the Annunziati, the<br />
+<br />
+page <a href="#tn461">461</a>: Annunziati Cathedral, Genoa, 452.<br />
+<br />
+page <a href="#tn462">462</a>: Camprani, 237.<br />
+<br />
+page <a href="#tn463">463</a>: del Vall, Cardinal Merry, 146-149, 435.<br />
+<br />
+page <a href="#tn466">466</a>: Ossi, Professor Dall, opinion of, 244.<br />
+<br />
+page <a href="#tn467a">467</a>: Quatre Fontane, Via delle, 72.<br />
+<br />
+page <a href="#tn467b">467</a>: Revello, Cathedral at, 260.<br />
+<br />
+page <a href="#tn470">470</a>: Villa Falconicri, 213.<br />
+</p>
+
+<p class="noi">On page <a href="#Page_235">235</a>: &ldquo;Da Scala d'Oro&rdquo; should be &ldquo;La Scala d'Oro&rdquo; or
+&ldquo;Madonna della Scala d'Oro&rdquo;.</p>
+
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
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+</body>
+</html>
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@@ -0,0 +1,11068 @@
+The Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Italy, the Magic Land
+
+Author: Lilian Whiting
+
+Release Date: August 10, 2009 [EBook #29658]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ITALY, THE MAGIC LAND ***
+
+
+
+
+Produced by Juliet Sutherland, Emanuela Piasentini and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  [Illustration: _Temple, Taormina_]
+
+
+
+
+                       ITALY
+
+                  THE MAGIC LAND
+
+                        BY
+
+                  LILIAN WHITING
+
+  AUTHOR OF "THE FLORENCE OF LANDOR," "THE LAND OF
+  ENCHANTMENT," "THE WORLD BEAUTIFUL," ETC.
+
+
+         "And, under many a yellow star,
+         We dropped into the Magic Land!"
+
+
+         _Illustrated from Photographs_
+
+                      BOSTON
+             LITTLE, BROWN, AND COMPANY
+                       1907
+
+
+
+
+_Copyright, 1907_,
+
+BY LITTLE, BROWN, AND COMPANY.
+
+_All rights reserved_
+
+Published November, 1907
+
+THE GRIFFITH-STILLINGS PRESS, BOSTON, U.S.A.
+
+
+
+
+  TO
+  ELLA
+
+  (MRS. FRANKLIN SIMMONS)
+
+  WHOSE EARTHLY FORM REPOSES IN THE BEAUTIFUL ROMAN CEMETERY,
+  WHERE POETIC ASSOCIATIONS WITH KEATS AND SHELLEY HAUNT
+  THE AIR,--UNDER THE SCULPTURED "ANGEL OF THE RESURRECTION,"
+  WITH ITS MAJESTIC SYMBOLISM OF THE
+  TRIUMPH OF IMMORTALITY,--BUT WHOSE RADIANT
+  PRESENCE STILL TRANSFIGURES THE LIFE THAT
+  HELD HER IN IMMORTAL DEVOTION,--
+  THESE PAGES ARE INSCRIBED,
+
+  WITH THE UNFORGETTING LOVE OF
+
+                    LILIAN WHITING.
+
+ROME, ITALY, May Days, 1907.
+
+
+
+
+    "_Nor Life is ever lord of Death,
+    And Love can never lose its own._"
+
+
+
+
+PREFATORY NOTE
+
+
+That Florence, the "Flower City," receives only a passing allusion in
+this record of various impressions that gleam and glow through the days
+after several visits to the Magic Land, is due to the fact that in a
+previous volume by the writer--one entitled "The Florence of
+Landor"--the lovely Tuscan town with its art, its ineffable beauty, and
+its choice social life, formed the subject matter of that volume. Any
+attempt to portray Florence in the present book would savor only of the
+repetition of loves and enthusiasms already recorded in the previous
+work in which Walter Savage Landor formed the central figure. For that
+reason no mention of Florence, beyond some mere allusion, is attempted
+in these pages, which only aim to present certain fragmentary
+impressions of various sojourns in Italy, refracted through the prism of
+memory. Whatever inconveniences or discomfort attend the traveller
+swiftly fade, and leave to him only the precious heritage of resplendent
+sunset skies, of poetic association, of artistic beauty. In spirit he is
+again lingering through long afternoons in St. Peter's till the golden
+light through the far windows of the tribune is merged into the dusk of
+twilight in which the vast monumental groups gleam wraith-like. Again
+he is ascending the magnificent _Scala Regia_, and lingering in the
+Raphael Stanze, or in the wonderful sculpture galleries of the Vatican,
+or sauntering in the sunshine on the Palatine. In memory he is again
+spellbound by ancient and mediaeval art. In the line of modern sculpture
+the work of Franklin Simmons in Rome is a feature of Italy that haunts
+the imagination. No lover of beauty would willingly miss his great
+studios in the Via San Nicolo da Tolentino, with their wealth of ideal
+creations that contribute new interest to the most divine of all the
+arts.
+
+    "The world of art is an ideal world,--
+    The world I love, and that I fain would live in;
+    So speak to me of artists and of art,
+    Of all the painters, sculptors, and musicians
+    That now illustrate Rome."
+
+The mystic charm of the pilgrimage to Assisi; the romance that reflects
+itself in the violet seas and flaming splendors of the sky on the shores
+of Ischia and Capri; the buried treasures of Amalfi; the magnetic
+impressiveness of the Eternal City,--all these enter into life as new
+forces to build and shape the future into undreamed-of destinies.
+
+                    L. W.
+
+  THE BRUNSWICK, BOSTON,
+  October Days, 1907.
+
+
+
+
+CONTENTS
+
+
+                                                          PAGE
+
+  I THE PERIOD OF MODERN ART IN ROME                         3
+
+  II SOCIAL LIFE IN THE ETERNAL CITY                       127
+
+  III DAY-DREAMS IN NAPLES, AMALFI, AND CAPRI              227
+
+  IV A PAGE DE CONTI FROM ISCHIA                           281
+
+  V VOICES OF ST. FRANCIS OF ASSISI                        341
+
+  VI THE GLORY OF A VENETIAN JUNE                          389
+
+  VII THE MAGIC LAND                                       423
+
+  INDEX                                                    459
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  Temple, Taormina                       _Frontispiece in Photogravure_
+
+  Angel, Church of San Andrea delle Fratte, Rome            _Page_   12
+
+  Detail from the Stuart Monument, St. Peter's, Rome          "      24
+
+  Tomb of Clement XIII, St. Peter's, Rome                     "      32
+
+  "The Genius of Death," Detail from the Tomb
+  of Clement XIII, St. Peter's, Rome                          "      43
+
+  "La Fortuna," Accademia di San Luca, Rome                   "      47
+
+  Spanish Steps, Piazza Trinita dei Monti, Rome               "      72
+
+  Tomb of Pio Nono, San Lorenzo (Fuori le Mura) Rome          "      75
+
+  "The Dance of the Pleiades"                                 "      92
+
+  "Grief and History," Detail from Naval Monument,
+  Washington                                                  "     105
+
+  "The Genius of Progress Leading the Nations"                "     108
+
+  "Mother of Moses"                                           "     112
+
+  "Valley Forge"                                              "     116
+
+  La Pieta, St. Peter's, Rome                                 "     120
+
+  Villa Medici, Rome                                          "     134
+
+  Entrance to Villa Pamphilia-Doria, Rome                     "     159
+
+  Statue of Christ, Ancient Church of San Martina, Rome       "     193
+
+  Castel San Angelo and St. Peter's, Rome                     "     204
+
+  Porta San Paola, Pyramid of Caius Cestius, Rome             "     216
+
+  Castel Sant'Elmo, Naples                                    "     231
+
+  Ancient Temple, Baiae                                        "     241
+
+  Ischia, from the Sea                                        "     282
+
+  La Rocca, Ischia                                            "     294
+
+  Castello di Alfonso, Ischia                                 "     306
+
+  Detail from "Parnassus," Raphael Stanze, Palazzo
+  Vaticano, Rome                                              "     311
+
+  Vittoria Colonna, Galleria Buonarroti, Florence             "     320
+
+  San Francescan Convent-Church, Assisi                       "     346
+
+  St. Francis d'Assisi, The Duomo, Assisi                     "     366
+
+  Santa Chiara, The Duomo, Assisi                             "     375
+
+  Baiae and Ischia, from Camaldoli                             "     382
+
+  Ruins of the Greek Theatre, Taormina, Sicily                "     429
+
+  Ponte Vecchio, Florence                                     "     434
+
+  Campo Santo, Genoa                                          "     453
+
+
+
+
+    "_Rest we content if whispers from the stars
+    In wafting of the incalculable wind
+    Come blown at midnight through our prison-bars._"
+
+
+
+
+THE MAGIC LAND
+
+    _By woodland belt, by ocean bar,
+      The full south breeze our forehead fanned;
+    And, under many a yellow star,
+      We dropped into the Magic Land._
+
+           *       *       *       *       *
+
+    _We heard, far-off, the siren's song;
+      We caught the gleam of sea-maids' hair;
+    The glimmering isles and rocks among
+      We moved through sparkling purple air._
+
+    _Then Morning rose, and smote from far
+      Her elfin harps o'er land and sea;
+    And woodland belt, and ocean bar
+      To one sweet note sighed--"Italy!"_
+
+                    OWEN MEREDITH.
+
+
+
+
+ITALY, THE MAGIC LAND
+
+
+
+
+I
+
+THE PERIOD OF MODERN ART IN ROME
+
+    But ah, that spring should vanish with the Rose!
+    That youth's sweet-scented manuscript should close?
+    The nightingale that in the branches sang,
+    Oh, where and whither flown again,--who knows?
+
+                    OMAR KHAYYAM.
+
+
+ROME, as the picturesque city of the Popes in the middle years of the
+nineteenth century, was resplendent in local color. It was the Rome of
+sunny winters; the Rome of gay excursions over that haunted sea of the
+Campagna to pictorial points in the Alban and Sabine hills; the Rome of
+young artist life, which organized impromptu festas with Arcadian
+freedom, and utilized the shadow or the shelter of ruined temples or
+tombs in which to spread its picnic lunches and bring the glow of
+simple, friendly intercourse into the romantic lights of the poetic,
+historic, or tragic past. There were splendid Catholic processions and
+ceremonials that seemed organized as a part of the stage scenery that
+ensconced itself, also, with the nonchalance of easy possession, in the
+vast salons of historic palaces where tapestried walls and richly
+painted ceilings, arched high overhead, with statues dimly seen in
+niches here and there, and the bust of some crowned Antoninus, or
+radiant Juno, gleaming from a shadowy corner, all made up the
+_mise-en-scene_ of familiar evenings. There were lingering hours in the
+gardens of the Villa Medici into whose shades one strolled by that
+beguiling path along the parapet on Monte Pincio, through the beautiful
+grove with its walks and fountains. The old ilex bosquet, with its
+tangled growth and air of complete seclusion, had its spell of
+fascination. Then, as now, the elevated temple, at the end of the main
+path, seemed the haunt of gods and muses. In all the incidental, as well
+as the ceremonial social meeting and mingling, art and religion were the
+general themes of discussion. This idyllic life--
+
+    "Comprehending, too, the soul's
+    And all the high necessities of art"--
+
+has left its impress on the air as well as its record on many a page of
+the poet and the romancist. The names that made memorable those
+wonderful days touch chords of association that still vibrate in the
+life of the hour. For the most part the artists and their associates
+have gone their way--not into a Silent Land, a land of shadows and
+vague, wandering ghosts--but into that realm wherein is the "life more
+abundant," of more intense energy and of nobler achievement; the realm
+in which every aspiration of earth enlarges its conception and every
+inspiration is exalted and endowed with new purpose; the realm where, as
+Browning says,--
+
+    "Power comes in full play."
+
+The poet's vision recognizes the truth:--
+
+    "I know there shall dawn a day,
+      --Is it here on homely earth?
+    Is it yonder, worlds away,
+      Where the strange and new have birth,
+    That Power comes in full play?"
+
+The names of sculptor, painter, and poet throng back, imaged in that
+retrospective mirror which reflects a vista of the past, rich in ideal
+creation. Beautiful forms emerge from the marble; pictorial scenes glow
+from the canvas; song and story and happy, historic days are in the
+very air. To Italy, land of romance and song, all the artists came
+trooping, and
+
+    "Under many a yellow Star"
+
+they dropped into the Magic Land. If the wraiths of the centuries long
+since dead walked the streets, they were quite welcome to revisit the
+glimpses of the moon and contribute their mystery to the general
+artistic effectiveness of the Seven-hilled City. All this group of
+American idealists, from Allston and Page to Crawford, Story, Randolph
+Rogers, Vedder, Simmons, and to the latest comer of all, Charles Walter
+Stetson, recognized something of the artist's native air in this Mecca
+of their pilgrimage.
+
+It was, indeed, quite natural, on account of the stupendous work of
+Michael Angelo and the unrivalled museums of the Vatican, that Rome
+should have become pre-eminently the artistic centre of the nineteenth
+century and should have attracted students and lovers of art from all
+parts of the world. The immortal works of the two great periods, the
+Greek and the Renaissance,--the art that was forever great because it
+was the outgrowth of profound religious conviction,--were enshrined in
+the churches and the galleries of Rome. The leading countries of Europe
+sent here their aspiring students and established permanent academies
+for their residence. Germany, France, and England were thus represented.
+Thorwaldsen came as a pensioner from the Academy of Fine Arts in
+Copenhagen; and it was during his life, and that of the noble Canova,
+that Rome began to be recognized as the modern world-centre of art. Was
+it not a natural sequence that the early painters and sculptors who came
+to study under the stimulating influences of the great masterpieces of
+the past should linger on in the city whose very air became to them the
+breath of inspiring suggestion? Where but in Rome would have come to
+Crawford the vision of his "Orpheus" and of his noble Beethoven? or to
+Story his "Libyan Sibyl," and that exquisite group, "Into the Silent
+Land"? or to Vedder his marvellous creations of "The Fates Gathering in
+the Stars," the "Cumaean Sibyl," or the "Dance of the Pleiades"? to
+Simmons his triumphant "Angel of the Resurrection," and "The Genius of
+Progress Leading the Nations"? or to Stetson that ineffable vision of
+"The Child," and that wonderful group called "Music"? whose coloring
+Titian or Giorgione might well mistake for their own.
+
+Under the Pontifical _regime_ the general character of Rome was mediaeval
+and religious. The perpetual festas of the church made the streets
+constantly picturesque with their processions of monks, and friars, and
+priests, and these wonderful blendings of color and scenic effect
+stimulated the artistic sense. The expenses of living in Rome were then
+only a fraction of what the cost is at the present time; and as the city
+was the resort of the wealthy and cultured few, the artists were
+surrounded by the stimulus of critical appreciation and of patronage.
+Their work, their dreams, were the theme of literary discussion, and
+focussed the attention of the polite world. Their studios were among the
+important interests to every visitor in the Eternal City. In those days
+the traveller did not land with his touring car at Naples, make "the
+run" to Rome in a record that distanced any possibilities of railroad
+trains, pass two or three days in motoring about the city and its
+environs, seeing the exterior of everything in a dissolving view and the
+interior of nothing,--as within this time, at least, he must flash on
+in his touring car to Florence. On the contrary, the traveller proceeded
+to Rome with serious deliberation, and with a more realizing sense of
+undertaking a journey than Walter Wellman experiences in attempting to
+fly in his aero-car to the North Pole and send his observations across
+the polar seas by wireless telegraphy. The visitor went to Rome for a
+winter, for a year, and gave himself up to leisurely impressions. Rome
+was an atmosphere, not a spectacle, and it was to be entered with the
+lofty and reverent appreciation of the poet's power and the artist's
+vision.
+
+In Rome, Thomas Cole painted some of his best pictures; and in Rome or
+Florence wrought a long list of painters and sculptors. Whether in the
+Eternal City or in the Flower City, their environment was alike
+Italy--the environment of the Magic Land. Among the more prominent of
+all these devotees of Beauty several nationalities were represented.
+Each might have said of his purpose, in the words of William Watson:--
+
+    "I follow Beauty; of her train am I,
+      Beauty, whose voice is earth and sea and air;
+    Who serveth, and her hands for all things ply;
+      Who reigneth, and her throne is everywhere."
+
+Among these artists there flash upon memory the names of Vanderlyn,
+Benjamin West, Allston, Rauch, Ange, Veit, Tenerani, Overbeck, Schadow,
+Horace Vernet, Thorwaldsen, John Gibson, Hiram Powers, Crawford, Page,
+Clark Mills, Randolph Rogers, William Rinehart, Launt Thompson, Horatio
+and Richard Greenough, Thomas Ball, Anne Whitney, Larkin G. Mead, Paul
+Akers, William Wetmore Story, Harriet Hosmer, J. Rollin Tilton, and,
+later, Elihu Vedder, Moses Ezekiel, Franklin Simmons, Augustus St.
+Gaudens, and Charles Walter Stetson, the name of Mr. Stetson linking the
+long and interesting procession with the immediate life of to-day. Of
+these later artists Story, Miss Hosmer, Ezekiel, Vedder, Simmons, and
+Stetson are identified with Rome as being either their permanent or
+their prolonged residence. Mr. St. Gaudens was a transient student,
+returning to his own country to pursue his work; and of two young
+sculptors, Hendrick Christian Anderson and C. Percival Dietsch, time has
+not yet developed their powers beyond an experimental stage of brilliant
+promise.
+
+  [Illustration: ANGEL, CHURCH OF SAN ANDREA DELLE FRATTE, ROME
+                 Giovanni Lorenzo Bernini
+                 _Page 32_]
+
+The Rome of the artists of clay and canvas was also the Rome of the
+poets and romancists, of authors in all lines of literary achievement.
+How the names of the procession of visitors and sojourners in the
+Eternal City, from Milton, Goethe, and Mme. de Stael to Henry James,
+Marion Crawford, Richard Bagot, and Grace Ellery Channing (Mrs. Charles
+Walter Stetson), gleam from that resplendent panorama of the modern past
+of Rome! Like the words in electric fire that flash out of the darkness
+in city streets at night, there shine the names of Shelley and of Keats;
+of Gladstone, on whom in one memorable summer day, while strolling in
+Italian sunshine, there fell a vision of the sacredness and the
+significance of life and its infinite responsibility in the fulfilment
+of lofty purposes. What charming associations these guests and
+sojourners have left behind! Hawthorne, embodying in immortal romance
+the spirit of the scenic greatness of the Eternal City; Margaret Fuller,
+Marchesa d'Ossoli, allying herself in marriage with the country she
+loved, and living in Rome those troubled, mysterious years that were to
+close the earthly chapter of her life; Robert and Elizabeth Browning,
+the wedded poets, who sang of love and Italy; Harriet Beecher Stowe,
+finding on the enchanted Italian shores the material which she wove
+with such irresistible attraction into the romance of "Agnes of
+Sorrento;" Longfellow, with his poet's vision, transmuting every vista
+and impression into some exquisite lyric; Lowell, bringing his
+philosophic as well as his poetic insight to penetrate the untold
+meaning of Rome; Thomas William Parsons, making the country of Dante
+fairly his own; Thackeray, with his brilliant interpretation of the
+_comedie humaine_; Emerson, who, oblivious of all the glories of art or
+the joys of nature, absorbed himself in writing transcendental letters
+to his eccentric, but high-souled aunt, Mary Moody Emerson; Ruskin,
+translating Italian art to Italy herself; Dr. Samuel Gridley Howe and
+his poet wife, Mrs. Julia Ward Howe, in the first flush of their bridal
+happiness, when Mrs. Howe's impassioned love for the Seven-hilled City
+inspired many a lyric that mirrors the Roman atmosphere of that day;
+Kate Field, with a young girl's glad enthusiasm over the marvellous
+loveliness of a Maytime in Rome, and her devotion to those great
+histrionic artists, Ristori and Salvini; George Stillman Hillard,
+leaving to literature the rich legacy of his "Six Months in
+Italy,"--a work that to this day holds precedence as a clear and
+comprehensive presentation of the scenic beauty, the notable monumental
+and architectural art, and the general life and resources of this land
+of painter and poet. Other names, too, throng upon memory--that of
+William Dean Howells, painting Italian life in his "Venetian Days," and
+charming all the literary world by his choice art; and among later work,
+the interesting interpretations of Rome and of social life in Rome, by
+Marion Crawford, Henry James, and Richard Bagot,--in chronicle, in
+romance, or in biographical record. During the last quarter of the
+nineteenth century, indeed, the visitors to Rome--authors, artists,
+travellers of easy leisure--defy any numerical record. Mrs. Louise
+Chandler Moulton, poet, romancist, and delightful _raconteur_ as well,
+has recorded some charming impressions of her various sojourns in Rome
+both in her "Random Rambles" and in "Lazy Tours." Of the Palatine Hill
+we find her saying:--
+
+     "Sometimes we go to the Palace of the Caesars, and look off upon the
+     heights where the snow lingers and the warm light rests, making
+     them shine like the Delectable Mountains. Nearer at hand are the
+     almond trees, in flower, or the orange trees, bright at once with
+     their white, sweet blossoms and their golden fruit."
+
+Mrs. Moulton writes of the "stately dwellers" in Rome whom time cannot
+change; and to whom, whenever she returns, she makes her first visit;
+some of whom are in the mighty palace of the Vatican and some of whom
+dwell in state in the Capitol.
+
+     "The beautiful Antoninus still wears his crown of lotus in Villa
+     Albani and the Juno whom Goethe worshipped reigns forever at the
+     Ludovisi," she writes; "I can never put in words the pleasure I
+     find in these immortals." Mrs. Moulton loved to wander in the Villa
+     Borghese "before the place is thronged with the beauty and fashion
+     of Rome as it is in the late afternoon. I do not wonder that Miriam
+     and Donatello could forget their fate in these enchanted glades,"
+     she wrote, "and dance as the sunbeams danced with the shadows.
+     Sometimes I seem to see them where the sun sifts through the young
+     green leaves, and her beauty--her human, deep-souled beauty--and
+     his fantastic grace are the only things here that cannot change.
+
+     "The walls will crumble; the busts of kings and heroes and poets
+     will lose their contours, the lovely Roman ladies also grow old and
+     fade, and vanish from sight and from memory; but still these two,
+     hopeless yet happy, will dance in these wild glades immortally
+     beyond the reach of the effacing years."
+
+The visit to Rome of the Rev. Dr. Phillips Brooks--later the Bishop of
+Massachusetts--is immortalized in the most lifelike portrait bust of the
+great preacher ever modelled; a bust in which the genius of the
+sculptor, Franklin Simmons, found one of its noblest expressions, and
+has perpetuated, with masterly power, the energy of thought, at once
+profound and intense, in the countenance of Bishop Brooks. These, and
+many another whom the gods have loved and dowered with gifts, rise
+before any retrospective glance over the comparatively recent past of
+Rome. Bishop Brooks passed there the Holy Week of one Lenten season,
+and of the Miserere in the Sistine Chapel he wrote that it was certainly
+the most wonderful music to which he had ever listened; and he added:--
+
+     "The Miserere in the Sistine, the Benediction from the balcony, the
+     solemn moment of the elevation of the Host on Easter, and the
+     illumination of St. Peter's, these all seem to reach very
+     remarkably the great ideal of the central religious commemoration
+     of Christendom."
+
+It was in the winter of 1828 that Mr. Longfellow first visited Rome,
+which "is announced," he wrote, "by Nero's tomb," and he quotes Dupaty's
+lines:--
+
+    "Quoi! c'est la Rome? quoi!
+    C'est le tombeau de Neron qui l'annonce."
+
+Mr. Longfellow expressed his love for the Eternal City, and in a
+personal letter[1] he said:--
+
+     "I have been so delighted with Rome that I have extended my
+     residence much beyond my original intention. There is so much in
+     the city to delay the stranger; the villages in the environs are so
+     beautiful, and there is such a quiet and stillness about everything
+     that, were it in my power, I should be induced to remain the whole
+     year round. You can imagine nothing equal to the ruins of Rome. The
+     Forum and the Coliseum are beyond all I had ever fancied them; and
+     the ruined temples and the mouldering aqueducts which are scattered
+     over the Campagna; I do not believe there is a finer view in the
+     world than that from the eastern gate of the city, embracing the
+     Campagna, with its ruined aqueducts diverging in long broken
+     arcades, and terminated by the sweep of the Albanian hills,
+     sprinkled with their white villages, and celebrated in song and
+     story! But the great charm of the scene springs from association;
+     and though everything in Italy is really picturesque, yet strip the
+     country of its historic recollections,--think merely of what it is,
+     and not of what it has been,--and you will find the dream to be
+     fading away.
+
+     "You would be shocked at the misery of the people, especially in
+     the Pope's dominions: but their element seems to be in rags and
+     misery; and with the ceremonials of their religion and the holidays
+     of the church, which average nearly three a week, they are
+     poor--and lazy and happy. I mean, happy in their way."
+
+In a later visit the poet was domiciled in an hotel on the Piazza
+Barberini, where the wonderful view included then the entire city "to
+where St. Peter's dome darkens against the sunset." Of this visit his
+brother, Rev. Samuel Longfellow, writes:--
+
+     "Here Mr. Longfellow became for the season the centre of the group
+     of American visitors and resident artists, whose well-known names
+     need not be recounted. Here he made, also, acquaintances among the
+     Italians,--especially the Duke of Sermoneta, the Dantean scholar,
+     and Monsignore Nardi, of the papal court. The Pope himself he did
+     not visit. An interesting acquaintance was that made with the Abbe
+     Liszt, who was spending the winter in Rome, having rooms in the
+     abandoned Convent of Santa Francesca, in the Forum. Calling there
+     one evening, in company with Mr. Healy the artist, the inner door
+     of the apartment was opened to them by Liszt himself, holding high
+     in his hand a candle which illuminated his fine face. The picture
+     was so striking that Mr. Longfellow begged his companion to put it
+     upon canvas,--which he did; and the painting now hangs in the
+     library of Craigie House. At a morning visit, Liszt delighted the
+     party with a performance upon his Chickering pianoforte.
+
+     "To see Rome, as all travellers know, is a work for many months;
+     and it was pursued with tolerable diligence. But Mr. Longfellow was
+     never a good sight-seer. He was impatient of lingering in picture
+     galleries, churches, or ruins. He saw quickly the essential points,
+     and soon tired of any minuter examination."
+
+But long, indeed, before nineteenth-century artists and authors laid
+siege to the Eternal City, in the far-away years of 1638, Milton visited
+Rome, and there still remains the tablet, on the wall of the _casa_ in
+the Via delle Quattro Fontane in which he stayed, a tablet bearing an
+inscription giving the date of his visit; as, also, in Via Machella,
+there is an inscription marking the place where Scott lived during his
+visit to Rome. Goethe made his memorable tour to Italy in 1786--fourteen
+years before the dawn of the nineteenth century--and wrote: "I feel the
+greatest longing to read Tacitus in Rome;" and again (an observation
+with which every visitor to the Eternal City will sympathize) he
+noted:--
+
+     "It grows more and more difficult for me to render an account of my
+     residence in Rome, for as we always find the sea deeper the further
+     we go, so it is with me in observation of this city.... Wherever we
+     go and wherever we stand, we see about us a finished
+     picture,--forms of every kind and style; palaces and ruins; gardens
+     and wastes; the distant and the near houses; triumphal arches and
+     columns,--often all so close together that they might be sketched
+     on a single sheet. One should have a thousand points of steel with
+     which to write, and what can a single pen do? and then in the
+     evening one is weary and exhausted with the day of seeing and
+     admiring. Here one reads history from within outward."
+
+Chateaubriand, who in his earliest youth had visited America as the
+guest of Washington, passed the winter of 1803-4 in Rome, and his
+pictorial transcriptions of the city and its environs are among the most
+exquisite things in literary record. As, for instance, this description
+of a sunset from Monte Mario:--
+
+     "I was never weary of seeing, from the Villa Borghese, the sun go
+     down behind the cypresses of Monte Mario, and the pines of the
+     Villa Pamphili planted by Le Notre. I have stood upon the Ponte
+     Molle to enjoy the sublime spectacle of the close of day. The
+     summits of the Sabine hills appeared of lapis lazuli and pale gold,
+     while their bases and sides were bathed in vapors of violet or
+     purple. Sometimes lovely clouds, like fairy cars, borne along by
+     the evening wind with inimitable grace, recall the mythological
+     tales of the descent of the deities of Olympus. Sometimes old Rome
+     seems to have spread all over the west the purple of her consuls
+     and her Caesars, beneath the last steps of the god of day. This rich
+     decoration does not vanish so quickly as in our climate. When we
+     think the hues are about to disappear they revive on some other
+     point of the horizon; one twilight follows another and the magic of
+     sunset is prolonged."
+
+It was in the same year that Mme. de Stael visited Rome and recorded, in
+her glowing romance, "Corinne," the impressions she received. In the
+spring of 1817 Lord Byron found in Rome the inspiration that he
+transmitted into that wonderful line in "Childe Harold":--
+
+    "The Niobe of Nations! There she stands."
+
+It was two years later that Shelley passed the spring in the
+Seven-hilled City, retiring to Leghorn later, to write his tragedy of
+"The Cenci."
+
+In Rome the visitor follows Michael Angelo and Raphael through the
+various churches and museums. The celebrated sibyls of Raphael are in
+the Santa Maria della Pace; his "Isaiah" is in San Agostino and his
+"Entombment" in the Casino of the Villa Borghese. While the sublime work
+of Michael Angelo in the Sistine Chapel is always one of the first
+things in Rome to which the traveller goes to study that incomparable
+work portraying the Creation--the Prophets and the Sibyls, the Angels
+and the Genii, that record the impassioned power of the master--yet all
+footsteps turn quickly, too, to the church called San Pietro in Vincoli,
+near the house in which Lucrezia Borgia lived, in which is the colossal
+Moses of Michael Angelo. As it stands, it fails to convey the first
+design of the great sculptor. Originally intended for the tomb of Pope
+Julius II, the plan included a massive block of marble (some forty by
+twenty feet) surmounted by a cornice and having its niches, its columns,
+and its statues, of which the Moses was to have been one. It would then
+have been judged relatively to the entire group, while now it is seen
+alone, and thus out of the proportions that were in the mind of the
+artist. The entire conception, indeed, was to unite sculpture and
+architecture into one splendid combination. "Thus the statue of Moses
+was meant to have been raised considerably above the eye of the
+spectator," writes Mr. Hillard, "and to have been a single object in a
+colossal structure of architecture and sculpture, which would have had a
+foreground and a background, and been crowned with a mass at once
+dome-like and pyramidal. Torn, as it is, from its proper place; divorced
+from its proportionate companionship; stuck against the wall of a
+church; and brought face to face with the observer,--what wonder that so
+many of those who see it turn away with no other impressions than those
+of caricature and exaggeration!"
+
+Mr. Hillard adds:--
+
+     "But who that can appreciate the sublime in art will fail to bow
+     down before it as embodied in this wonderful statue? The majestic
+     character of the head, the prodigious muscles of the chest and
+     arms, and the beard that flows like a torrent to the waist,
+     represent a being of more than mortal port and power, speaking with
+     the authority, and frowning with the sanctions of incarnate law.
+     The drapery of the lower part of the figure is inferior to the
+     anatomy of the upper part. Remarkable as the execution of the
+     statue is, the expression is yet more so; for notwithstanding its
+     colossal proportions, its prominent characteristic is the
+     embodiment of intellectual power. It is the great leader and
+     lawgiver of his people that we see, whose voice was command, and
+     whose outstretched arm sustained a nation's infant steps. He looks
+     as if he might control the energies of nature as well as shape the
+     mould in which the character of his people should be formed. That
+     any one should stand before this statue in a scoffing mood is to me
+     perfectly inexplicable. My own emotions were more nearly akin to
+     absolute bodily fear. At an irreverent word, I should have expected
+     the brow to contract into a darker frown, and the marble lips to
+     unclose in rebuke."
+
+  [Illustration: DETAIL FROM STUART MONUMENT, ST. PETER'S, ROME
+                   Antonio Canova
+                   _Page 33_]
+
+William Watson condenses his impressions of this majestic sculpture in
+the following quatrain.--
+
+    "The captain's might, and mystery of the seer--
+      Remoteness of Jehovah's colloquist,
+    Nearness of man's heaven-advocate--are here:
+      Alone Mount Nebo's harsh foreshadow is miss'd."
+
+The impressive group of sculptures and buildings on the
+Campidoglio--where once the shrine of Jupiter Capitolinus stood--owes
+its present picturesque scheme largely to Michael Angelo. The
+fascination of the long flights of steps leading from the Piazza
+Aracoeeli to the Capitoline, where the ancient bronze equestrian statue
+of Marcus Aurelius forever keeps guard, is indescribable. The historic
+statues of Castor and Pollux mark the portals; on either hand there are
+seen the Muses of ancient sculpture, the Palazzo Senatoriale and the
+Palazzo dei Conservatori. There is in the entire world no more classic
+ground than is found in this impressive grouping of art and
+architecture.
+
+The genius of Raphael has recorded itself in those brilliant and
+imperishable works that enthrall the student of art in the Raphael
+stanze in the Vatican. He was imbued with the spirit of Greek art, and
+while Titian is a greater colorist, while Correggio, Botticelli,
+Perugino, and other artists that could be named equal or exceed Raphael
+in certain lines, yet as the interpreter of the profoundest thought, and
+for his philosophic grasp and his power to endow his conceptions with
+the most brilliant animation, he stands alone. The religious exaltation
+of "The Transfiguration" reveals the supreme degree of the divine genius
+of Raphael. That this painting was the last work of his life, that it
+was placed above his body as it lay in state, and was carried in his
+funeral procession, invests it with peculiar interest.
+
+As a draftsman Raphael was second only to Michael Angelo, with whom he
+must forever share the immortality of fame. The Academy in Venice holds
+some of his choicest drawings, and in the Venetian sketch-book in the
+National Gallery in London are many of his small pictures, including
+that of the "Knight's Dream."
+
+It was in the autumn of 1508, when Raphael was in his twenty-fifth year,
+that he was called to Rome in the service of the Pope. The Pontiff at
+this time was Pope Julius II, whose successor was Leo X, and under their
+pontificates (from 1508 to 1520) Raphael produced these masterpieces
+which stand unrivalled in the world save by the creations of Michael
+Angelo in the Capella Sistina. The celebrated "Four Sibyls" of Raphael
+are not, however, in the stanze of the Vatican, but in the Church of San
+Maria della Pace. In the Palazzo Vaticano these four wonderful stanze
+entrance the visitor; the Stanza della Signatura, the Stanza d'Eliodoro,
+the Stanza dell'Incendio and the Sala di Constantino.
+
+For the decoration of these stanze several painters from Umbria had been
+summoned,--Perugino, Sodoma, Signorelli, and others; but when Raphael
+had produced the "Disputa" in the Sala della Signatura, Pope Julius II
+recognized the work as so transcendent that he ordered the other artists
+to cease and even had some of their paintings obliterated that there
+might be more space for the exercise of Raphael's genius. In the
+"Disputa" are glorified the highest expressions of the human
+intellect--the domain portrayed being that of Theology, Philosophy,
+Poetry, and Justice. The splendor of this creation transcends all
+attempts of interpretation in language. Against a background of gold
+mosaic are portrayed these typical figures enthroned on clouds where
+genii flit to and fro bearing tablets with inscriptions. Theology holds
+in the left hand a book, while the other points to the vision of angels;
+Poetry, laurel-crowned, is seen seated on a throne with books and lyre;
+Philosophy wears a diadem, and Justice, with her balance and her sword,
+is also crowned. The title of this marvellous work is misleading. Its
+message is not that of disputation but of beatitude. At the altar are
+grouped the congregation; the mystic spell of heavenly enthusiasm
+enfolds the scene as an atmosphere, as above the heavens open and the
+glorified Christ, surrounded by the saints who have kept the faith, is
+disclosed to the devotees kneeling below, while a choir of listening
+angels bend over them from the distant clouds in the background.
+
+Under Poetry are grouped Apollo and the Muses, and the figures of Homer,
+Dante and Virgil, of Petrarcha, Anacreon and Sappho, of Pindar and of
+Horace are recognized. The great scholars seen in the Philosophy include
+Plato and Aristotle, while in the groups under Justice, Moses and Solon
+are seen.
+
+"Raphael seems to have never known despair," remarked Franklin Simmons
+of the work of this divine genius. "His paintings reveal no struggle,
+but seem to have been produced without effort, as if brought into
+existence by an enchanter's wand."
+
+No observation could more vividly interpret the wonderful effect
+produced on the student by Raphael, and he cannot but recall the truth
+expressed in these lines of Festus:--
+
+            "All aspiration is a toil;
+    But inspiration cometh from above
+    And is no labor."
+
+The inspiration of Raphael was of the noblest order. His genius, his
+kindling enthusiasm, his ecstasy of religious devotion, have left an
+imperishable heritage to art. By his transcendent gifts he represents
+the highest manifestation of the art of painting in the Renaissance. For
+the true note in art lies in spiritual perception. Not so brilliant a
+colorist as Titian, he was more the interpreter of the extension of
+human activity into that realm of the life more abundant, and with his
+extraordinary facility of execution he united exquisite refinement and
+unerring sense of beauty and the masterly power in composition that
+fairly created for the spectator the visions that his soul beheld. "I
+say to you," said Mr. Bryce recently in a press interview,--"I say to
+you, each oncoming tide of life requires and needs men of lofty thought
+who shall dream for it, sing for it, who shall gather up its tendencies,
+formulate its ideals and voice its spirit." One of those men of lofty
+thought who thus dream for the ages was Raphael, and his power and glory
+have left an ineffaceable impress upon human life. He was the divinely
+appointed messenger of beauty, and he was never disobedient to the
+heavenly vision.
+
+    "Time hath no tide but must abide
+      The servant of Thy will;
+    Tide hath no time, for to Thy rhyme
+      The ranging stars stand still."
+
+The decline of art after Michael Angelo and Raphael was marked. The very
+splendor and power of their creations, instead of inspiring those who
+immediately followed them, produced almost the inertia of despair. In
+the reverence and awe and admiration with which these transcendent
+masterpieces were approached any power to originate seemed futile by
+contrast. Imitation rather than creation became the method adopted,
+resulting in an increased poverty of design and feeble execution. The
+art of the sixteenth century deteriorated rapidly till the baroco style
+was in evidence. One reason, too, for the decline was in that art was no
+longer so exclusively dedicated to the high service of religion, but
+aimed, instead, to please and to procure patrons, and thus were all
+worthy standards lowered to pernicious levels.
+
+A sculptor who left his impress upon the sixteenth-century art was
+Lorenzo Bernini, a Neapolitan (born in 1598) who died in Rome in 1685.
+The work of Bernini has a certain fascination and airy touch that, while
+it sometimes degenerates into the merely fantastic and even into tawdry
+and puerile affectations, has at its best a refinement and grace that
+lend to his sculptures an enduring charm, as seen in his "Apollo and
+Daphne" (a work executed in his eighteenth year) which is now in the
+Casino of the Villa Borghese. Bernini's name is perpetuated in the
+colossal statues on the colonnade of St. Peter's, the great bronze
+angels with their draperies streaming to the winds on the Ponte San
+Angelo, and in the vast fountain in the Piazza Navona. In the court of
+the Palazzo Bernini is one of the most interesting of his works--a
+colossal figure, allegorical in significance, illustrating "Truth
+Brought to Light by Time." One of the most important works of
+Bernini--now placed in the Museo Nazionale--is the group of "Pluto and
+Proserpine."
+
+  [Illustration: TOMB OF CLEMENT XIII, ST. PETER'S, ROME
+                 Antonio Canova
+                 _Page 42_]
+
+The influence that was to reform and regenerate the art of sculpture in
+the sixteenth century came with the great and good Canova, with which
+was united that of Flaxman and of Thorwaldsen. The heavenly messengers
+are always sent and appear at the time they are most needed. Neither
+Truth nor Art is ever left without a witness.
+
+    "God sends his teachers unto every age,
+    To every clime, and every race of men,
+    With revelations fitted to their growth
+    And shape of mind; nor gives the realm of truth
+    Into the selfish rule of one sole race."
+
+Canova's genius and services were widely recognized. In 1719 he was made
+a Senator; he was ennobled with the title of Marchese of Ischia and
+granted a yearly allowance of three thousand scudi; and his noble and
+generous enthusiasms, not less than his genius, have left their record
+on life as well as on art. When he died (in Venice, Oct. 3, 1822) his
+work included fifty-nine statues, fourteen groups, twenty-two monuments,
+and fifty-four busts. The statue of Pius V and the tomb of Clement XIII
+are his greatest works, and the latter is perhaps even increasingly
+held as a masterpiece of the ages.
+
+Canova, warned by the fatal influence of imitation in art in the
+sixteenth century, frequently counselled his pupils against copying his
+own style and constantly urged them to study from the Greeks. He advised
+them to visit frequently the studios of other artists, "and especially,"
+he would add, "the studios of Thorwaldsen, who is a very great artist."
+
+In the early part of the nineteenth century contemporary sculpture in
+Rome was led by the three great artists,--Canova, Thorwaldsen, and
+Gibson. In 1829 Gibson had the honor of being elected a member of the
+Accademia di San Luca in place of the sculptor Massimiliano, who had
+then just died. Cammuccini, the historical painter, proposed Gibson, and
+with the ardent assistance of Thorwaldsen he was elected resident
+Academician of merit. "Like Canova, Thorwaldsen was most generous to
+young artists," says Gibson of the great Danish master, "and he freely
+visited all who required his advice. I profited greatly by the knowledge
+which this splendid sculptor had of his art. On every occasion when I
+was modelling a new work he came to me, and corrected whatever he
+thought amiss. I also often went to his studio and contemplated his
+glorious works, always in the noblest style, full of pure and severe
+simplicity. His studio was a safe school for the young, and was the
+resort of artists and lovers of art from all nations. The old man's
+person can never be forgotten by those who saw him. Tall and strong,--he
+never lost a tooth in his life,--he was most venerable looking. His kind
+countenance was marked with hard thinking, his eyes were gray, and his
+white locks lay upon his broad shoulders. At great assemblies his breast
+was covered with orders."
+
+Thorwaldsen (born in Copenhagen, Nov. 19, 1770) went to Rome in
+1797--sent by the government of Denmark as a pensioner. It is said that,
+in his enthusiasm for Rome, Thorwaldsen dated his birth from the hour he
+entered the Eternal City. "Before that day," he exclaimed, "I existed; I
+did not live." For nearly fifty years--until his death in 1844--he lived
+and worked in Rome, occupying at one time the studio in Via Babuino that
+had formerly been that of Flaxman.
+
+John Gibson, who went to Rome in 1817,--twenty years after Thorwaldsen
+first arrived,--had the good fortune to be for five years a pupil of
+Canova, whose death in 1822 terminated this inestimable privilege. The
+elevation of purpose that characterized the young English student made
+his progress and development a matter of peculiar interest to the
+master. Gibson, also, bears his testimony to the stimulus of the Roman
+environment. "Rome above all other cities," he says, "has a peculiar
+influence upon and charm for the real student; he feels himself in the
+very university of art, where it is the one thing talked about and
+thought about. Constantly did I feel the presence of this influence.
+Every morning I rose with the sun, my soul gladdened by a new day of a
+happy and delightful pursuit; and as I walked to my breakfast at the
+Caffe Greco and watched with new pleasure the tops of the churches and
+palaces gilt by the morning sun, I was inspired with a sense of daily
+renovated youth, and fresh enthusiasm, and returned joyfully to the
+combat, to the invigorating strife with the difficulties of art. Nor did
+the worm of envy creep round my heart whenever I saw a beautiful idea
+skilfully executed by any of my young rivals, but constantly spurred on
+by the talent around me I returned to my studio with fresh resolution."
+
+Again to a friend Gibson writes:--
+
+     "I renewed my visits to the Vatican, refreshing my spirits in that
+     Pantheon of the gods, demigods, and heroes of Hellas.... In the art
+     of sculpture the Greeks were gods.... In the Vatican we go from
+     statue to statue, from fragment to fragment, like the bee from
+     flower to flower."
+
+These five years in which Canova, Thorwaldsen, and Gibson lived and
+wrought together--although the youngest of this trio was still in his
+student life--form a definite period in the history of modern art in
+Rome. The dreams, the enthusiasm, the devotion to ideal beauty which
+characterized their work left its impress and its vitality of
+influence--a mystic power ready to incarnate itself again through the
+facility of expression of the artists yet to come. To the young men
+whose steps were turned toward Rome in these early years of the century
+just passed, how great was the privilege of coming into close range of
+the influence of such artists as these; to study their methods; to hear
+the expression of their views on art in familiar meeting and
+conversation! These artists were closely in touch with that "lovely and
+faithful dream which came with Italian Renaissance in the works of
+Pisani, Mino di Fiesole, Donatello, Michael Angelo, and Giovanni da
+Bologna--all who caught the spirit of Greek art." Artistic truth was the
+keynote of the hour, and it is this truth which is the basis of the
+highest conception of life.
+
+    "Art's a service,--mark:
+    A silver key is given to thy clasp
+    And thou shalt stand unwearied night and day,
+    And fix it in the hard, slow-turning wards
+    To open, so that intermediate door
+    Betwixt the different planes of sensuous form
+    And form insensuous, that inferior men
+    May learn to feel on still through these to those,
+    And bless thy ministration. The world waits for help."
+
+In their true relation art and ethics meet in their ministry to
+humanity, for only in their union can they best serve man. All the
+nobler culture has its responsibility in service. "Many a man has a
+blind notion of stewardship about his property, but very few have it
+about their knowledge," said Bishop Phillips Brooks, and he added: "One
+grows tired of seeing cultivated people with all their culture cursed by
+selfishness." To the true idealist--as distinct from the mere
+emotionalist with aesthetic tastes--selfishness is an impossible prison.
+The only spiritual freedom lies in the perpetual sharing of the fuller
+life. The gift shared is the gift doubled. Art is the spiritual glory of
+life; the supreme manifestation, the very influence of spiritual
+achievement. Mr. Stillman, discussing the revival of art, has
+questioned: "Does the world want art any longer? Has it, in the present
+state of human progress, any place which will justify devotion to it?"
+
+He questions as to whether man is still
+
+    "Apparelled in celestial light,"
+
+or whether he has lost "the glory and the freshness" of his dreams.
+
+     "No one can admit," continues Mr. Stillman, "that the human
+     intellect is weaker than it was five or twenty centuries ago; but
+     it is certain that if we take the pains to study what was done five
+     centuries ago in painting, or twenty centuries ago in sculpture,
+     and compare it with the best work of to-day, we shall find the
+     latter trivial and 'prentice work compared with the ordinary work
+     of men whose names are lost in the lustre of a school.
+
+     "Then, little men inspired by the Zeitgeist, painted greatly; now,
+     our great men fail to reach the technical achievement of the little
+     men of them. There is only one living painter who can treat a
+     portrait as a Venetian artist of 1550 A.D. would have done it, and
+     how differently in the mastery of his material! If we go to the
+     work of wider range, the Campo Santo of Pisa, the Stanze, the
+     Sistine Chapel, the distance becomes an abyss; the simplest
+     fragment of a Greek statue of 450 B.C. shows us that the best
+     sculpture of this century, even the French, is only a happy
+     child-work, not even to be put in sight of Donatello or Michael
+     Angelo. The reason is simple, and already indicated. The early men
+     grew up in a system in which the power of expression was taught
+     from childhood; they acquired method as the musician does now, and
+     the tendency of the opinion of their time was to keep them in the
+     good method."
+
+Is this not too narrow and sweeping a judgment? The art of portraiture
+certainly did not die with the Venetian painters of 1550, however great
+their work; and if there be but "one living painter" who can treat
+portrait art like the early Venetians, there are scores of artists who
+achieve signal success by other methods of treatment.
+
+At all events, these three men, Canova, Thorwaldsen, and Gibson, worked
+with the conviction that art is service. With Victor Hugo, Canova could
+have said: "Genius is not made for genius; it is made for men.... Let
+him have wings for the infinite provided he has feet for the earth, and
+that, after having been seen flying, he is seen walking. After he has
+been seen an archangel, let him be still more a brother.... To be the
+servant of God in the march of progress--such is the law which regulates
+the growth of genius."
+
+They worked and taught by this creed. Thorwaldsen, on first arriving in
+Rome, wandered for three years, it is said, among the statues of gods
+and heroes, like a man in a dream. The atmosphere of the earlier day
+when Titian was employed by the king of Portugal and Raphael by the Pope
+to create works of great public importance still lingered and exerted
+over Thorwaldsen, and over all artists susceptible to its subtle
+influence, a peculiar spell. Its power was revealed in his subsequent
+works--the "Christ;" the sculptured groups for tombs in St. Peter's and
+in other churches; the poetic reliefs symbolizing "Day" and "Night;"
+"Ganymede Watering the Eagle;" the "Three Graces," "Hebe," and many
+others.
+
+Among Canova's works his immortal masterpiece is the monumental memorial
+group for the tomb of Pope Clement XIII in St. Peter's. The Pope is
+represented as kneeling in prayer. The modelling of the entire figure is
+instinct with expression. The fine and beautiful hands express reverence
+and trust. The countenance is pervaded with that peace only known to the
+soul that is in complete harmony with the divine power. The Holy Father
+has taken the tiara from his head and it lies before him on the
+cushion on which he kneels. Although the entire portrayal of the figure
+reveals that devotion expressed in the solemn and searching words of the
+church service, "And here we offer and present unto thee, O Lord,
+ourselves, our souls and bodies to be a reasonable, holy, and living
+sacrifice unto thee,"--although it is the very utmost rendering of the
+soul to God, it is yet the deliberate, the joyful, the living acceptance
+of divine love and no mere trance of ecstasy. No more wonderful figure
+in all the range of sculpture has been created than the Clement XIII of
+Canova.
+
+  [Illustration: "THE GENIUS OF DEATH,"
+                 DETAIL FROM TOMB OF CLEMENT XIII,
+                 ST. PETER'S, ROME
+                 Antonio Canova
+                 _Page 43_]
+
+The group is completed by two symbolic figures representing Religion and
+Death. The former is personified as a female figure holding a cross; the
+latter sits with his torch reversed. Grief, but not hopeless and
+despairing sorrow, is portrayed; it is the grief companioned by faith
+which ever sees
+
+    "The stars shine through the cypress trees."
+
+The base of the monument represents a chapel guarded by lions.
+Pistolesi, the great Italian authority on the sculpture of St. Peter's
+and the Vatican galleries, notes that the lions typify the firmness and
+the force and the courage, "_la fortezza dell'anima_," that so signally
+characterized Clement XIII. There is probably no sacred monument in the
+realm of all modern art which can equal this creation in its delicacy,
+its lofty beauty, and the noble message that it conveys.
+
+The oldest art school, the Accademia di San Luca, founded in 1507 by
+Sixtus, when he called to Rome all the leading artists of Europe to
+assist in the decoration of the Sistine Chapel, is an organization that
+magically links the present with the days of Canova, Thorwaldsen, and
+Gibson, as it linked them, also, with the remote and historic past. The
+father of the present custodian of the Academy knew Thorwaldsen well.
+The grandfather of the gifted Italian sculptor, Tadolini (who has
+recently completed the tomb for Pope Leo XIII, placed in the Basilica of
+San Giovanni Laterano), modelled the bust of Thorwaldsen, and in one
+gallery hangs the great Danish sculptor's portrait, painted by himself.
+The first director of San Luca was Federigo Zuccaro. In the early years
+of the nineteenth century this Academy was a vital centre of art life,
+and it is still a school that draws students, although the visitor who
+does not loiter and linger in his Rome may fail to know of this most
+alluring place. The San Luca is in the Via Bonella, one of the old,
+dark, narrow, and gloomy streets of the oldest part of Rome,--a short
+street of hardly more than two blocks, running between the Via
+Alessandra and the Forum. Hawthorne vividly pictures all this old Rome
+when he speaks of the "narrow, crooked, intricate streets, so
+uncomfortably paved with little squares of lava that to tread over them
+is a penitential pilgrimage; so indescribably ugly, moreover; so cold,
+so alley-like, into which the sun never falls and where a chill wind
+forces its deadly breath into our lungs; the immense seven-storied,
+yellow-washed hovels, or call them palaces, where all that is dreary in
+domestic life seems magnified and multiplied; those staircases which
+ascend from a ground floor of cook shops and cobblers' stalls, stables
+and regiments of cavalry, to a middle region of princes, cardinals, and
+ambassadors, and an upper tier of artists just beneath the unattainable
+sky: ... in which the visitor becomes sick at heart of Italian
+trickery, which has uprooted whatever faith in man's integrity had till
+then endured;" the city "crushed down in spirit by the desolation of her
+ruin and the hopelessness of her future;" one recalls these words when
+passing through the unspeakable gloom and horror and desolation and
+squalor of ancient Rome. In these surroundings one's cab stops at "No.
+44," and ringing the bell the door is open, whether by super-normal
+agency or by some invisible terrestrial manipulation one is unable to
+determine; but in the semi-darkness of the narrow hall he discerns
+before him a flight of steep stairs, and, as no other vista opens, he
+reasons that, by the law of exclusion, this must be the appointed way.
+Along the wall are seen, here and there, some antique casts from
+Trajan's Column, and reliefs from Canova and Thorwaldsen. The galleries
+above hold only a small and a comparatively unimportant collection of
+pictures. There are marines from Vernet and Claude Lorraine; a "Venus
+Crowned by the Graces" from Rubens; Giulio Romano's copy of Raphael's
+"Galatea,"--the original of which (in the Villa Farnesina) represents
+Galatea surrounded by Nymphs, Cupids, and Tritons, being carried in a
+shell across the sea. There is a Cupid, and also the "Fortuna" of Guido
+Reni,--the latter a figure of ineffable grace floating in the air. One
+of Raphael's early works representing "St. Luke Painting the Madonna" is
+here. There are several works by Titian, but these have less than would
+be expected of the glory usually associated with his name; and a Vandyke
+representing the Virgin and Child, with two angels playing, the one on a
+lute, the other on the violin.
+
+  [Illustration: "LA FORTUNA," ACCADEMIA DI SAN LUCA, ROME
+                 Guido Reni
+                 _Page 47_]
+
+One salon filled with portraits of artists is especially interesting,
+and that of Thorwaldsen is so feminine in its costume and the parting of
+the hair, that it is almost inevitably mistaken for that of a woman.
+Guido's graceful "Fortuna" is represented as a female figure flying
+through the air, her long hair streaming in the wind, and the picture
+recalls to one the Greek legend of Opportunity, as told by Kainos. The
+legend runs:--
+
+     "'Of what town is thy sculptor?'
+
+     "'Of Lukzon.'
+
+     "'What is his name?'
+
+     "'Lysippos.'
+
+     "'And thine?'
+
+     "'Opportunity, controller of all things.'
+
+     "'But why standest thou on tiptoe?'
+
+     "'I am always running.'
+
+     "'Why, then, hast thou wings on both feet?'
+
+     "'I fly like the wind.'
+
+     "'But wherefore bearest thou a razor in thy right hand?'
+
+     "'As a sign to men that I am sharper than any steel.'
+
+     "'And why wearest thou thy hair long in front?'
+
+     "'That I may be seized by him who approaches me.'
+
+     "'By Zeus! And thou art bald behind?'
+
+     "'Because once I have passed with my winged feet no one may seize
+     me then.'"
+
+From one landing, on the steep narrow staircase of San Luca, opens the
+Biblioteca Sarti, an art library of some fifteen thousand volumes. The
+sculpture gallery is now closed and can only be entered by special
+permission. This is the more to be regretted as it contains the
+principal collections in Rome of the original casts of the works of
+Thorwaldsen and Canova.
+
+The latter-day artists who have been setting up their Lares and Penates
+in Rome at various periods during the early and into the later years of
+the nineteenth century have found the Eternal City in strong contrast
+with its twentieth-century aspects, however it may have differed from
+the Rome of the Popes. The earlier American artists to seek the
+Seven-hilled City were painters; and Allston, Copley, and Stuart had
+already distinguished themselves in pictorial art before America had
+produced any sculptor who could read his title clear to fame. It is to
+Hiram Powers (born in Vermont in 1805) that America must look as her
+first sculptor, chronologically considered, closely followed by Thomas
+Crawford, who was but eight years his junior, and by Horatio Greenough,
+who was also born in the same year as Powers, and who preceded him in
+Italy, but whose work has less artistic value. Mr. Greenough has left a
+colossal (if not an artistic) monument to his gifts in stately shaft
+marking Bunker Hill which he designed. Problematic in their claim to
+artistic excellence as are his "Washington"--a seated figure in the
+grounds of the Capitol in Washington--and his group in relief called
+"The Rescue" in the portico of the Capitol, his name lives by his
+personality as a man of liberal culture and noble character, if not by
+his actual rank in art. First of the American group in Italy, he was
+followed by Powers, who sought the ineffable beauty and enchantment of
+Florence in 1837. Horatio Greenough died in comparatively early life,
+leaving perhaps the most interesting of his works in a relief (purchased
+by Professor George Ticknor, the distinguished historian of Spain)
+"representing in touching beauty and expression a sculptor in an
+attitude of dejection and discouragement before his work, while a hand
+from above pours oil into his dying lamp, an allegory illustrative of
+the struggles of genius and the relief which timely patronage may extend
+to it."
+
+Mr. Powers passed his entire life in Florence. His work attracted great
+attention and inspired ardent appreciation. In portrait busts Powers was
+especially successful; and his "Greek Slave," his "Fisher Boy," "Il
+Penseroso," and "Proserpine" impressed the art-loving public of the time
+as marked by strong artistic power and as entitled to permanent rank in
+sculpture.
+
+Mr. Crawford died young; but his name lives in the majestic bronze
+statue of "Beethoven" which is in the beautiful white and gold interior
+of Symphony Hall, in Boston; and his "Orpheus" and some other works
+claim high appreciation. Writing of Crawford, Mr. Hillard said:--
+
+     "Crawford's career was distinguished by energy, resolution, and
+     self-reliance. While yet a youth, he formed the determination to
+     make himself an artist; and with this view went to Rome--alone,
+     unfriended, and unknown--and there began a life of toil and
+     renunciation; resisting the approaches alike of indolence and
+     despondency. His strength of character and force of will would have
+     earned distinction for powers inferior to his. Nothing was given to
+     self-indulgence; nothing to vague dreams; nothing to unmanly
+     despair. He did not wait for the work that he would have, but
+     labored cheerfully upon that which he could have. Success came
+     gradually, but surely; and his powers as surely proved themselves
+     to be more than equal to the demand made upon them."
+
+On the death of Mr. Crawford, Thomas William Parsons wrote a memorial
+poem in which this stanza occurs:--
+
+    "O Rome! what memories awake,
+      When Crawford's name is said,
+    Of days and friends for whose dear sake
+    That path of Hades unto me
+      Will have no more of dread
+    Than his own Orpheus felt, seeking Eurydice!
+      O Crawford! husband, father, brother
+      Are in that name, that little word!
+    Let me no more my sorrow smother;
+      Grief stirs me, and I must be stirred."
+
+Thomas Ball, who went in early manhood to Florence, where he remained
+until when nearly at the age of fourscore he returned to his native
+land, still continues, at the age of eighty-five, to pursue the art he
+loves. He has created works, as his equestrian statue of "Washington" in
+the Public Gardens and his "Lincoln Freeing the Slave" in Park Square,
+both in Boston; his great Washington Memorial group in Methuen,
+Massachusetts; his "Christ Blessing Little Children," and many other
+historic and ideal sculptures, that seem endowed with his beautiful and
+winning spirit as well as with his rare gifts. Larkin G. Mead chose
+Florence rather than Rome for his home and work. His noble "River God,"
+placed at the head of the Mississippi near St. Paul, as well as other
+interesting creations, link his name with that of his native land.
+Randolph Rogers, a man of genius; Rinehart, Paul Akers, and Thompson all
+died before the full maturity of their powers; Akers at the early age of
+thirty-six, leaving, as his bride of a year, the poet, Elizabeth Akers
+Allen, who, under the _nom de plume_ of "Florence Percy," has endeared
+herself to all lovers of lyric art. In a monograph on Paul Akers,
+written after his death, the writer says of his studio in Rome:--
+
+     "Linked with this studio is Hawthorne's tale of 'The Marble Faun,'
+     as Kenyon's studio was none other than Paul Akers's. Though
+     Hawthorne in his romance saw fit to lay the scene in the rooms once
+     occupied by Canova, it was in the Via del Crecie that he wove the
+     thread of his Italian romance.
+
+     "Paul Akers's growing reputation and increase of work ere long made
+     it necessary for him to seek a more commodious studio, and he took
+     rooms once occupied by the famous Canova. Here he had made under
+     his supervision copies in marble of many of the famous works of the
+     Vatican and the Capitol. The largest collection of these was a
+     commission from Mr. Edward King of Newport, and among them were
+     busts of Ariadne, Demosthenes, and Cicero, and a facsimile of the
+     'Dying Gladiator' which Mr. King presented to the Redwood Library
+     of Newport.
+
+            *       *       *       *       *
+
+     "During his first winter in Rome he was permitted by the
+     authorities to make a cast of a mutilated bust of Cicero which had
+     long lain in the Vatican. A critic writing from Rome in 1857 says
+     of this bust of Cicero: 'Mr. Akers obtained permission to take a
+     cast from it; he then restored the eye, brow, and ears, and
+     modelled a neck and bust for it in accordance with the temperament
+     shown by the nervous and rather thin face. He has succeeded
+     admirably. It is the very head of the Vatican, yet without the
+     scars of envious time, and sits gracefully on human shoulders,
+     instead of being rolled awkwardly back upon a shelf.' This bust is
+     unlike the portrait which so long passed for Cicero's, but has been
+     identified by means of a medal which was struck by the Magnesians
+     in honor of the great orator during his consulate, and is now the
+     authorized portrait of Cicero. The finest of Paul Akers's creations
+     executed during his stay in Rome are 'St. Elizabeth of Hungary,'
+     which represents the princess at the moment the roses have fallen
+     to the ground; 'Una and the Lion,' an illustration of the line in
+     Spenser's 'Faerie Queene,'--
+
+    'Still while she slept he kept both watch and ward;'
+
+     the head of Milton and the 'Pearl Diver.' The 'Pearl Diver,' now
+     owned by the city of Portland, represents a youth stretched upon a
+     sea-worn rock and wrapped in eternal sleep. The arms are thrown
+     above the head, and about the waist is a net containing
+     pearl-bearing shells for which he has risked his life. There is no
+     trace of suffering; all is subdued to beauty. It is death
+     represented as the ancients conceived it, the act of the
+     torch-reverting god. This youth, who has lost his life at the
+     moment when all that for which he had dared was within his grasp,
+     suggests Paul Akers's own untimely death on the eve of his
+     triumph."
+
+It was from his Roman studio that Mr. Akers wrote to a friend:--
+
+     "Yesterday Browning called. He looked a long time at my Milton, and
+     said it was Milton, the man-angel. He praised the wealth of hair
+     which I had given the head, and then said that Mrs. Browning had a
+     lock of Milton's hair, the only one now in existence. This was
+     given her by Leigh Hunt, just before his death, who had the records
+     proving it to be genuine. The hair was, he said, like mine. He
+     invited me to visit him in Florence, where he would show me the
+     first edition of Milton's poems, marked to indicate the peculiar
+     accent which the poet sometimes adopted, a knowledge of which makes
+     clear somewhat that otherwise seems discordant. Milton was so great
+     a musician that there could have been no fault in sound in his
+     compositions. He looked over my books; said my edition of Shelley
+     was one which he had corrected for the press, not from a knowledge
+     of the original MS., but from his internal evidence that so it must
+     have been; said Poe was a wonderful man; spoke of Tennyson in the
+     warmest terms. Took up a copy of his own poems published in the
+     United States, and remarked that it was better than the English
+     edition, yet had some awful blunders, and wished me to allow him to
+     correct a copy for me. My head of the 'Drowned Girl' caught his eye
+     and interested him. I told him that I had thought of Hood's 'Bridge
+     of Sighs.' He then said that Hood wrote that on his deathbed, and
+     read it to him before any one else had seen it. Hood was doubtful
+     whether it was worth publishing. To-morrow Mrs. Browning is to
+     come; she has been quite ill since she came to Rome, and I have
+     seen her but once. I derive much comfort from the friendship of
+     Charlotte Cushman. She has just gone from here. She has frequent
+     breakfast parties; I have attended but one. Mr. and Mrs. James T.
+     Fields, Wild, the painter, and myself were the guests. Fields I
+     like much."
+
+The first works of Mr. Akers were two portrait busts, of Longfellow and
+of Samuel Appleton. Of his bust of Milton, Hawthorne in the "Marble
+Faun" has said:--
+
+     "In another style, there was the grand, calm head of Milton, not
+     copied from any one bust or picture, yet more authentic than any
+     of them, because all known representations of the poet had been
+     profoundly studied and solved in the artist's mind. The bust over
+     the tomb in Greyfriar's Church, the original miniatures and
+     pictures wherever to be found, had mingled each its special truth
+     in this one work--wherein likewise by long perusal and deep love of
+     'Paradise Lost,' the 'Comus,' the 'Lycidas,' and 'L'Allegro,' the
+     sculptor had succeeded even better than he knew in spiritualizing
+     his marble with the poet's mighty genius. And this was a great
+     thing to have achieved, such a length of time after the dry bones
+     and dust of Milton were like those of any other dead man."
+
+Richard Greenough and the painter, Mr. Haseltine, were prominent figures
+among the early American group of the nineteenth-century artists in
+Rome. There came Emma Stebbins, who modelled a fine portrait bust of
+Charlotte Cushman; and Anne Whitney, whose statues of Samuel Adams and
+of Leif Ericson adorn public grounds in Boston; whose life-size statue
+of Harriet Martineau is the possession of Wellesley College; and whose
+"Chaldean Astronomer," "Lotus-Eater," and "Roma"--a figure personifying
+the Rome of Pio Nono--reveal her power in ideal creation.
+
+The name of Harriet Hosmer stands out in brilliant pre-eminence among
+those of all women who have followed the plastic art. Her infinite charm
+of personality seems to impart itself to her work, and she has the gift
+to make friends as well as to call forms out of clay--the success of
+friendship being one even more permanently satisfying. In her early life
+as a girl hardly more than twenty, she sought Rome, living with art as
+her chaperon. Her versatility, her picturesque individuality, and her
+imaginative power all combined to win sympathetic recognition. Gibson,
+whose guidance was particularly well adapted to develop her gifts,
+received her into his own studio and took a deep interest in her work.
+It was during the period of her early efforts that Hawthorne was in
+Rome, and she is graphically depicted in his notebooks in her boyish cap
+at work in the clay. Gibson was an artist, _con amore_, and Miss
+Hosmer's joyous abandon to her art captivated his sympathy. "In my art
+what do I find?" he questioned; "happiness; love which does not depress
+me; difficulties which I do not fear; resolution which never abates;
+flights which carry me above the ground; ambition which tramples no one
+down." Master and pupil were akin in their unwearied devotion to art. Of
+Gibson, whose absence of mind regarding all the details of life made him
+almost helpless in travel and affairs, Miss Hosmer used gleefully to say
+that he "was a god in his studio, but God help him out of it!" This
+glancing sprite of a girl, frightening her friends by her daring and
+venturous horseback riding; gravitating by instinct to offer some
+generous, tender aid to the sick, the destitute, or the helpless; the
+life and light of gay dinners and of social evenings; working from six
+in the morning till night in her studio, "with an absence of
+pretension," says Mrs. Browning, "and simplicity of manners which accord
+rather with the childish dimples in her rosy cheeks than with her broad
+forehead and high aims," had the magic gift that merged her visitors and
+patrons into enthusiastic friends; and Mrs. Browning has chronicled the
+pretty scene when Lady Marion Alford, the daughter of the Earl of
+Northumberland, knelt before the girl artist and slipped on her finger
+a ring--a precious ruby set with diamonds--as a token of her devotion.
+Reading Miss Hosmer's life still further backward, the reader is
+transported, as if on some magic carpet, to St. Louis, in the United
+States, where a noble and lofty man, Hon. Wayman Crow,--a generous
+friend, a liberal patron of the arts, a man of the most refined tastes
+and culture, whose great qualities were always used in high
+service,--first aided Miss Hosmer to the preliminary studies in her art,
+and whose accomplished and lovely daughters (now Mrs. Lucien Carr of
+Boston, Mrs. Edwin Cushman of Newport and Rome, and Mrs. Emmons of
+Leamington, England) were as a trio of sisters to the young artist. And
+"the flowing conditions of life" bear on this lifelong friendship until
+a fair young girl, Elise (the daughter of Mrs. Emmons), catches up this
+sweet tie and as an accomplished and lovely young woman in Roman
+society, when these "flowing conditions" had come down even into the
+season of 1906-7, Miss Emmons cherished the fame of Harriet Hosmer and
+enjoyed the privilege of a constant correspondence with the
+distinguished artist. So the past links itself again with the present;
+and who can tell where any story in life begins or ends in the constant
+evolutionary progress?
+
+Miss Hosmer's work attracted wide attention. Her majestic statue of
+"Zenobia;" the winsome "Puck;" the impressive statue of "Beatrice
+Cenci," representing her as she lay in her cell in Castel San Angelo the
+night before her execution,--these and other works of hers are of an
+interesting character and will hold their permanent rank in sculpture.
+
+Were all the muses present at the christening of William Wetmore
+Story--sculptor, musician, poet and painter, jurist and man of letters,
+and the friend whose social relationships made life a thing of beauty--
+
+    "To winds and waterfalls,
+    And autumn's sunlit festivals,
+    To music and to music's thoughts
+    Inextricably bound"?
+
+Mr. Story made his first visit to Italy in 1847; not at that time with
+any fixed purpose of exchanging his profession of the law for art. He
+loved literature, and his grace and ease in expression had already
+manifested his literary talent; he had an inclination toward
+modelling--it could hardly, at this time, have been called by a stronger
+name--and curiously enough with him the usual conditions were reversed
+and he received a commission for a statue of his father, Judge Story,
+before he had made any definite turning toward the art of sculpture. A
+young man of versatile gifts and accomplished scholarship, sculpture was
+to him one among the many attractive forms of art rather than the
+supreme attraction; and it was the stimulus of the given work that
+determined him as a sculptor, rather than his determination to be a
+sculptor that determined the work. Among the goddesses of life Destiny
+must, perhaps, be allowed a place. At all events, after Mr. Story's
+initial glance at Italy, he sought Rome again a year later, and this
+time it was his choice for life, however unrevealed to his eye were the
+resplendent years that lay before him. He had fallen under the spell of
+the Magic Land. In a letter to Lowell, Mr. Story had questioned how he
+should ever endure again "the restraint and bondage of Boston." It was
+the picturesque Rome of the Popes that he first knew. The years of
+1848-49 were those of revolutionary activities in Italy. Pio Nono, one
+of the most saintly and beloved of the Popes,--whose mortal form now
+rests in that richly decorated chapel in old San Lorenzo, _fuori le
+mura_, on the site of the church that Constantine founded on the burial
+place of St. Lawrence,--made his flight to Gaeta and the Roman republic
+was established. It was a dramatic scene when Pio Nono returned (April
+12, 1850), entering Rome by the Porta San Giovanni. The scene from this
+gate was then, as now, one of the most impressive in the Eternal City.
+
+It was in this vast Basilica of San Giovanni Laterano that Pio Nono
+entered that April day, leaving his carriage and walking alone to the
+altar, where he knelt in devotion. A splendid procession awaited without
+to accompany the Holy Father to the Papal Palace. The superb state
+carriages conveyed princes and foreign ambassadors and great nobles.
+From the Piazza San Giovanni to St. Peter's every house was illuminated,
+and the populace cheered and waved until the very air vibrated with
+sound and color. These were the days when the methods of government were
+a visible spectacle, a drama, making the life in Rome a daily
+illuminated missal.
+
+The Storys, on their return to Italy, located themselves for a time in
+Florence, where they met the Brownings, and that lifelong friendship
+between the poet and the sculptor was initiated. In these happy
+Florentine days Mr. Story worked in his studio while his wife read to
+him the life of Keats, then just issued, written by Monckton Milnes,
+later Lord Houghton. But the "flowing conditions" soon bore them onward
+to Rome, where they settled themselves in the Via Porta Pinciana, and
+met the Crawfords, who were domiciled in the Villa Negroni. In these
+Roman days, too, appeared Mr. Cropsey, of poetic landscape fame, and
+here, too, was Margaret Fuller. Mazzini was then a leading figure in the
+Chamber of Deputies,--"the prophet not only of modern Italy, but of the
+modern world." He found Italy "utilitarian and materialistic, permeated
+by French ideas, and weakened by her reliance on French initiative. He
+was filled with hope that Italy might not only achieve her own unity,
+but might once more accomplish, as she had in the Rome of the Caesars and
+the Rome of the Church, the unity of the Western world. 'On my side I
+believe,' he says, 'that the great problem of the day was a religious
+problem, to which all other questions were but secondary.'" He was
+asserting that "we cannot relate ourselves to the Divine, but through
+collective humanity. It is not by isolated duty (which indeed the
+conditions of modern life render more and more impossible), nor by
+contemplation of mere Power as displayed in the material world, that we
+can develop our nature. It is rather by mingling with the universal
+life, and by carrying on the evolution of the never-ending work."
+
+The studios of Mr. Crawford in those days were in the Piazza delle
+Terme, near the Baths of Diocletian. William Page, the painter, was
+domiciled on the slope of the Quirinal where he painted a portrait of
+Charlotte Cushman which Mrs. Browning described as "a miracle"; one of
+Mrs. Crawford; the head of Mrs. Story, which he insisted upon presenting
+to her husband; and a magnificent portrait of Browning which the artist
+presented to Mrs. Browning. "Both of us," wrote Robert Browning of this
+gift, "would have fain escaped being the subjects of such princely
+generosity; but there was no withstanding his delicacy and
+noble-mindedness." Mrs. Jameson was much in Rome in the early years of
+the 1850-60 decade, living in the old port by the Tiber nearly opposite
+to the new and splendid building of the law courts. Near the Tarpeian
+Rock Frederika Bremer had perched, in a tiny room of which she took all
+the frugal care, even to washing the blue cups and plates when she
+invited the Hawthornes to a tea of a simplicity that suggested, indeed,
+the utmost degree of "light" housekeeping. Thomas Buchanan Read was one
+of the hosts and guests of this social group, and it was at a dinner he
+gave that Hawthorne met Gibson, whose conversational talents were
+evidently (upon that occasion) chiefly employed in contemning the
+pre-Raphaelite school of painters and emphasizing the need of sculptors
+to discover and to follow the principles of the Greeks,--"a fair
+doctrine, but one which Mr. Gibson fails to practise," observes
+Hawthorne. The Brownings were variously bestowed in Rome through
+succeeding winters,--in the Bocca di Leone, in the Via del Tritone and
+elsewhere. Mrs. Browning, as her "Casa Guida Windows" and many other
+poems attest, took always the deepest interest in Italian politics.
+American and English friends come and go, but the little group of
+residents and the more permanent sojourners, as the Hawthornes and the
+Brownings, continue their daily variations on life in the social dinners
+and teas, the excursions and the sight-seeing of the wonderful city.
+
+Only the magician could "call up the vanished past again" and summon
+into an undeniable materialization those charming figures to come forth
+out of the shadowy air of the rich, historic past, and stand before us
+in the full light of contemporary attention. Not alone this group of
+choice persons, but the environment of their time, the very atmosphere,
+are demanded of this necromancy. The figure of Adelaide Kemble (Mrs.
+Sartoris) is one of these, and the tradition still survives of a concert
+given in the splendid, spacious hall of the Palazzo Colonna where she
+was the prima donna of the occasion. There were also musicals at the
+house of Mrs. Sartoris, where the guests met her famous sister, Fanny
+Kemble. Mrs. Browning was fond of both the sisters, and said of them
+that their social brilliancy was their least distinction. She found
+them both "noble and sympathetic," and her "dear Mr. Page" and "Hatty"
+(Miss Hosmer) "an immense favorite with us both," she said of her
+husband and herself; these and the Storys made up the special circle for
+the Brownings in Rome. "The Sartoris house has the best society in
+Rome," writes Mrs. Browning to Miss Mitford, "and exquisite music, of
+course. We met Lockhart there and my husband sees a good deal of him....
+A little society," she says, "is good for soul and body, and on the
+Continent it is easy to get a handful of society without paying too dear
+for it. This is an advantage of Continental life."
+
+Mrs. Browning greatly admired the work of Mr. Page, whose portraits she
+found "like Titian's." But the tinted statues of Gibson seemed to her
+inartistic. His famous painted Venus she called "pretty," but only as a
+wax doll might be, not as a work of genuine art. Then Thackeray and his
+two daughters came; Miss Anne (now known to the world of literature as
+Anne Thackeray Ritchie) was a special favorite with Mrs. Browning.
+
+Coming to Rome at one time from Florence in midwinter, the Brownings
+found that the Storys had taken an apartment for them (in the Via Bocca
+di Leone), and they arrived to find lighted fires and lamps. Their
+journey had included a week's visit at Assisi, studying the rich art of
+Cimabue and Giotto in the church of the great Franciscan monastery. Mrs.
+Browning visited studios in Rome and found that of Mr. Crawford more
+interesting to her than Mr. Gibson's, but no artist is "as near" to her,
+as she herself says, as Mr. Page. The Storys left the Porta Pinciana to
+live at No. 93 in the Piazza di Spagna, and in the same house with the
+Brownings, in the Bocca di Leone, Mr. Page had his apartment. To Lowell,
+Mr. Story wrote of the Brownings:--
+
+     "The Brownings and we became great friends in Florence, and, of
+     course, we could not become friends without liking each other. He,
+     Emelyn says, is like you. He is of my size, but slighter, with
+     straight black hair, small eyes, a smooth face, and manner nervous
+     and rapid. He has great vivacity, but not the least humor; some
+     sarcasm, considerable critical faculty, and very great frankness
+     and friendliness of manner and mind. Mrs. Browning will sit buried
+     up in a large easy-chair listening and talking very quietly and
+     pleasantly. Very unaffected is she.... I have hundreds of statues
+     in my head, but they are in the future tense. Powers I knew very
+     well in Florence. He is a man of great mechanical talent and
+     natural strength of perception, but with no poetry in his
+     composition, and I think no creative power.... I have been to hear
+     Allegri's 'Miserere' in the Sistine Chapel, with the awful and
+     mighty figures of Michael Angelo looking down from the ceiling; to
+     hear Guglielmi's 'Miserere' in St. Peter's, while the gloom of
+     evening was gathering in the lofty aisles and shrouding the
+     frescoed domes, was a deeply affecting and solemnly beautiful
+     experience. Never can one forget the plaintive wailing of the
+     voices that seemed to implore pity and pardon."
+
+It was in 1856 that the Storys located themselves in Palazzo Barberini,
+which Bernini designed and which was built "out of the quarry of the
+Coliseum" by Urban VIII. It is one of the wonderful old palaces of
+Rome,--this mass of Barberini courts, gardens, terraces, and vast
+apartments, with the interminable winding stairs, where on one landing
+Thorwaldsen's lion lies before the great doors decorated with the arms
+of Popes and princes. Here the old Cardinal Barberini lived his stormy
+life; here are the gallery and the library,--the latter stored with
+infinite treasures of ancient documents, old maps whose portrayal of the
+earth bears little resemblance to the present, and famous manuscripts
+and volumes in old vellum, some fifty thousand in all. In the Barberini
+gallery are a few noted works,--Raphael's "Fornarina," Guido's "Beatrice
+Cenci," a "Holy Family" by Andrea del Sarto, and others.
+
+  [Illustration: SPANISH STEPS, PIAZZA TRINITA DEI MONTI, ROME
+                 _Page 72_]
+
+The Via delle Quattro Fontane, on which the Palazzo Barberini stands,
+might well be known as the street of the wonderful vista. One strolls
+down it to the Via Sistina and to Piazza Trinita de' Monti at the head
+of the Spanish steps (the Scala di Spagna), pausing for the loveliness
+of the view. Across the city rises the opposite height of Monte Mario,
+and to the left the Janiculum, now crowned with the magnificent
+equestrian statue of Garibaldi, which is in evidence from almost every
+part of Rome. As far as the eye can see the Campagna stretches away,
+infinite as the sea--a very Campagna Mystica. The luminous air, the
+faint, misty blue of the distance, the deep purple shadows on the hills,
+make up a landscape of color. At the foot of the Spanish steps the
+flower venders spread out their wares,--great bunches of the
+flame-colored roses peculiar to Italy, the fragrant white hyacinths,
+golden jonquils, baskets of violets, and masses of lilies of the valley.
+
+On many a night of brilliant moonlit glory the artistic sojourners in
+Rome lingered on the parapet of the Pincian Hill watching the moonlight
+flood the Eternal City until churches and palaces seemed to swim in a
+sea of silver. Or in the morning, when the rose-red of dawn was aglow,
+there seemed to hover over the city that wraith of mist whose secret
+Claude Lorraine surprises in his landscapes. These dawn visions of
+mysterious, incredible beauty are a part of the very identity of Rome.
+
+There were mornings when the Hawthornes with Mrs. Jameson or some other
+friend would drive out to the old San Lorenzo (_fuori le mura_), the
+church founded by Constantine in 330 on the site where the body of St.
+Lawrence was buried. At various periods the church was enlarged and
+finally, as recently as in 1864, Pio Nono had great improvements made
+under the architect Vespignani. In the piazza in front was placed an
+immense column of red granite, some sixty feet high, with the statue of
+St. Lawrence, a standing figure, at the top. It is most impressive. The
+colonnade at the entrance of the church is decorated with frescoes and
+contains two immense sarcophagi, whose sides are beautifully sculptured
+with reliefs. The roof is supported by six Ionic columns. Entering the
+church one finds an interior of three aisles divided by colossal columns
+of Oriental granite. In the middle aisle, on both sides the galleries,
+are fresco paintings illustrating the martyrdom of St. Lawrence and of
+St. Stephen, one series on the right and the other on the left. One of
+these paintings, especially, of the life of St. Lawrence, is strangely
+haunting to the imagination. It represents the youthful, slender figure,
+nude, save for slight drapery, laid on the gridiron while the fire is
+being kindled under it and the fagots shovelled in. The physical
+shrinking of the flesh--of every nerve--from the torture, the spiritual
+strength and invincible energy of the countenance, are wonderfully
+depicted. The great aisle was painted by order of Pius IX by Cesare
+Fracassini; in it are two pulpits of marble. A double staircase of
+marble conducts to that part of the Basilica of Constantine which by
+Honorius III was converted into the presbytery. It is decorated at the
+upper end by twelve columns of violet marble which rise from the level
+of the primitive basilica beneath. At the end is the ancient pontifical
+seat, adorned with mosaic and precious marbles. The papal altar is under
+a canopy in the Byzantine style. The pavement of this presbytery is
+worthy of particular attention. Descending to the confessional which is
+under the high altar the tomb of the martyred saints, Lawrence, Stephen,
+and Justin, is found.
+
+  [Illustration: TOMB OF PIO NONO, SAN LORENZO (FUORI LE MURA), ROME
+                 _Page 75_]
+
+It was the request of Pio Nono that his mortal body should rest here,
+where it is placed in a simple tomb, according to his own instructions;
+but the chapel is very rich in decoration which was paid for by money
+sent from all parts of the world.
+
+The chapel walls are entirely encrusted in mother-of-pearl, gilt bronze,
+and beautiful marbles. The mosaic paintings are formed of gold and
+precious stones of fabulous value. This interior is perhaps the richest
+in the world in its decoration. San Lorenzo is a patriarchal church, and
+one of the seven pilgrimage churches of Rome. Near San Lorenzo is the
+Campo Verano, a cemetery containing many beautiful memorial sculptures.
+
+In those days, half a century ago, the entrance most often used by
+visitors to Rome was through the Via Flaminia and the Porta del Popolo,
+opening on the Piazza del Popolo, rather the most picturesque and
+impressive place in all Rome. On the left is the Pincian Hill (Monte
+Pincio), with its rich terraces, balustrades, its beautiful porticos
+filled with statuary, its groves of cypress and ilex trees; a classic
+vision rising on the sight and enchanting the imagination. On the side
+opposite the Porta three roads diverge in fan shape--the Via Babuino,
+the Corso, and the Ripetta, with the "twin churches" side by side; one
+between the Babuino and the Corso, the other between the Corso and the
+Ripetta.
+
+The Corso (which was the ancient Flaminian Way) runs straight to the
+Piazza Venezia at the foot of the Capitoline Hill. This Piazza del
+Popolo was widened and decorated by Pius VII. It is formed by two
+semicircles, adorned with fountains and statues, and terminated by four
+symmetrical edifices. In the semicircles are colossal groups in marble,
+and a road opposite the Pincio leads to the Ponte Margherita and the
+Prati di Castello.
+
+The obelisk in the centre of the piazza was brought to Rome from
+Heliopolis by Caesar Augustus and originally stood in the Circus Maximus.
+It was erected here by Pope Sixtus V, and it is nearly a hundred feet in
+height. It is formed of red granite, and while it has been broken in
+three places, the hieroglyphics are still legible. This obelisk was
+first erected in Egypt as a part of the Temple of the Sun at Heliopolis,
+in a period preceding that of Rameses II. After the battle of Actium,
+Augustus transported it to Rome, and it was first placed in the Circus
+Maximus, but during the reign of Valentinian it fell from its pedestal
+and lay buried in the earth, until in the sixteenth century Pope Sixtus
+V had it placed in the centre of the Piazza del Popolo, and consecrated
+it to the cross. The two inscriptions are on opposite sides. One thus
+reads:--
+
+     "The Emperor Caesar, son of the divine Caesar Augustus, Sovereign
+     Pontiff, twelve times Emperor, eleven times Consul, fourteen times
+     Tribune, having conquered Egypt, consecrated this gift to the Sun."
+
+The other inscription is as follows:--
+
+     "Sixtus V, Sovereign Pontiff, excavated, transported, and restored
+     this obelisk, sacrilegiously consecrated to the Sun by the great
+     Augustus, in the great Circus, where it lay in ruins, and dedicated
+     it to the cross triumphant in the fourth year of his pontificate."
+
+The Church of Santa Maria del Popolo is built into the very wall of
+Monte Pincio on the site of Nero's tomb. It dates back to 1099, and
+consists of three naves and several chapels. In the first chapel is a
+"Nativity" by Pinturicchio, who also painted the lunettes. Another
+chapel belongs to the Cibo family, and is rich in marbles and adorned
+with sixteen columns of Sicilian jasper. The "Conception" is by Maratta,
+the "Martyrdom of St. Lawrence" by Morandi, and the "St. Catherine" by
+Volterra. The "Visitation" was sculptured by Bernini in 1679. The third
+chapel is painted by Pinturicchio (1513), and the fourth has an
+interesting bas-relief of the fifteenth century. The picture of the
+Virgin, on the high altar, is one of those attributed to St. Luke; the
+paintings on the vault of the choir are by Pinturicchio. The two marble
+monuments are, from their perfection of design and execution, reckoned
+among the best modern works. They are by Cantucci da S. Savino. In the
+chapel following is an "Assumption" by Annibale Carracci; the side
+pictures are by Caravaggio. The last chapel but one in the small nave is
+the Chigi chapel, and is one of the most celebrated in Rome.
+
+Raphael gave the designs for the dome, the paintings of the frieze, and
+the altar picture. This latter was begun by Del Piombo and finished by
+Salviati. The statue of Daniel is by Bernini. The front of the altar and
+the statues of Jonah and Elijah were done by Lorenzetto (1541), from
+designs by Raphael. Outside this chapel is the monument of Princess
+Odescalchi Chigi (1771), by Paolo Posi. The stained windows of the choir
+belong to the fourteenth century, and in the sacristy and the vestibule
+are monuments also of the fourteenth century and of the fifteenth.
+Luther resided in the convent attached to this church when he was in
+Rome.
+
+There is a legend that a large walnut tree grew on the site of Nero's
+tomb in whose branches innumerable crows had their home, and that they
+devastated all that part of Rome. An appeal was made to the Virgin, who
+declared that the crows were demons who kept watch over the ashes of
+Nero, and ordered the tree to be cut down and burned, the ashes being
+scattered to the air, and that, on the spot, a church should be built to
+her honor. This was accomplished, and the crows no more troubled the
+Eternal City.
+
+The gardens of Lucullus were on the Monte Pincio. The view of the
+terraced hillside from the Piazza del Popolo is one of the most
+impressive in Rome.
+
+The Hawthornes left Rome in 1859; and the death of Mrs. Browning in June
+of 1861 left the little circle of the Roman winters irreparably broken.
+"Returning to Rome," wrote Story to Charles Eliot Norton, "I have not
+one single intimate ... no one with whom I can walk any of the higher
+ranges of art and philosophy." Mr. Story had modelled the busts of both
+Mr. and Mrs. Browning during their sojourns in Rome; in 1853 Harriet
+Hosmer had made the cast of the "clasped hands" of the poets, the model
+having since been cast in bronze; Mr. Page had, as already noted,
+painted a portrait of Robert Browning; and Mr. Leighton (afterward Sir
+Frederick) had made a beautiful portrait sketch of Mrs. Browning. In
+later years all these memorials, with other paintings or plastic
+sketches of the wedded poets, were grouped in Mr. Barrett Browning's
+palace in Venice.
+
+At this time Mr. Story had completed his "Cleopatra," which Hawthorne
+had embalmed in literary mention in "The Marble Faun;" and beside his
+"Judith," "Sappho," and other lesser works, he had achieved one of his
+finest successes in the "Libyan Sibyl." Both the "Cleopatra" and the
+"Sibyl" became famous. Whether they would produce so strong an effect at
+the present stage of twentieth-century life is a problem, but one that
+need not press for solution. Mr. Story was singularly fortunate in
+certain conditions that grouped themselves about his life and combined
+to establish his fame. These conditions, of course, were largely the
+outer reflection of inner qualities, as our conditions are apt to be;
+still, the "lack of favoring gales" not infrequently foredooms some
+gallant bark to a disastrous course.
+
+    "Man is his own star....
+
+           *       *       *       *       *
+
+    Our acts, our angels, are, for good or ill,
+    Our fatal shadows that walk by us still,"
+
+it is true; yet has not Edith Thomas embodied something of that
+overruling destiny that every thoughtful observer must discern in life
+in these lines?--
+
+    "You may blame the wind or no,
+    But it ever hath been so--
+    Something bravest of its kind
+    Leads a frustrate life and blind,
+    For the lack of favoring gales
+    Blowing blithe on other sails."
+
+Only occasionally have we
+
+    "... the time, and the place,
+    And the loved one all together."
+
+Mr. Story's nature was eminently sympathetic with the other arts; he was
+himself almost as much a literary man as he was a sculptor; he was the
+friend and companion of literary men, and to the fact that art in the
+middle years of the nineteenth century was far more a literary topic
+than a matter of critical scrutiny, Mr. Story owed an incalculable
+degree of his fame. He was an extremely interesting figure with his
+social grace, his liberal culture, and his versatile gifts. His life was
+centred in choice and refined associations. If not dowered with lofty
+and immortal original genius, he had a singular combination of talent,
+of fastidious taste, and of the intellectual appreciation that enabled
+him to select interesting ideal subjects to portray in the plastic art.
+These appealed to the special interest of his literary friends and were
+widely discussed in the press and periodicals of the day. It is a
+_bonmot_ of contemporary studio life that Hawthorne rather than Story
+created the "Cleopatra," and one ingenious spirit suggests that as Mr.
+Story put nothing of expression or significance into his statues, the
+beholder could read into them anything he pleased; finding an empty
+mould, so to speak, into which to pour whatever image or embodiment he
+might conjure up from the infinite realm of imagination. One of the
+latest of these contemporary critics declares that "Story declined
+appreciably, year by year, falling away from his own standard; haunted
+to the point of obsession by visions of mournful female figures,
+generally seated, wrapped in gloom. It seems strange," this critic
+continues, "that so active a mind should dream of nothing but brooding,
+sinister souls, of bodies bowed in grief, or tense with rage. Never
+once, apparently, did there come to him a vision of buoyancy and grace;
+of a beauty that one could love; of good cheer and joy of very living;
+always these unwholesome creatures born of that belated Byronic
+romanticism."
+
+This criticism, while it has as little appreciation of Mr. Story's
+exquisite culture and of the taste and refinement of his art as the
+general rush of the motor car and telephonic conversational life of the
+first decade of the twentieth century has of the thoughtful, the poetic,
+the leisurely atmosphere of Mr. Story's time, is yet not without a keen
+flashlight of truth. Painting had its reactionary crisis from the
+pre-Raphaelite ideals and the _intransigeants_ have had their own
+conflicts in which they survived, or disappeared, according to the
+degree of artistic vitality within. Sculpture and literature must also
+meet the series of tests to which the onward progress of life persists
+in subjecting them, and those who are submerged and perish can only
+encourage the survivors as did the Greeks, as sung by Theocritus:--
+
+    "A shipwrecked sailor, buried on this coast,
+          Bids you set sail.
+    Full many a gallant ship, when we were lost,
+          Weathered the gale."
+
+"As we refine, our checks grow finer," said Emerson. As life becomes
+more elaborate and ambitious, the critical tests increase. Contemporary
+fame can be created for the artist by favorable contemporary comment;
+but it rests with himself, after all; it rests in the abiding
+significance of his work--or the lack of it--as to whether this fame is
+perpetuated. That of Mr. Story does not hold within itself all the
+qualities that insure the appreciation of the present day. It is, as the
+critic of the hour expresses himself, "too literary,"--too largely a
+question of classic titles which appealed to the mid-nineteenth-century
+authors whose judgment of art the twentieth century finds particularly
+amusing. Henry James has somewhere held up to ridicule the early Beacon
+Hill Boston for its impassioned devotion to the "attenuated outlines" of
+Flaxman's art. But the work of Story will survive all transient
+variations of opinion, even of the present realistic age; for is not
+true realism, after all, to be found in the eternal ideals of truth,
+grace, dignity, refinement, significance, and beauty? These qualities
+have a message to convey; and no one can study with sympathetic
+appreciation any sculpture of William Wetmore Story without feeling that
+the work has something to say; that it is not a mere reproduction of
+some form, but is, rather, an idea impersonated, and therefore it has
+life, it has significance. The criticism of the immediate hour is not
+necessarily infallible because it is contemporary. What does William
+Watson say?
+
+    "A deft musician does the breeze become
+      Whenever an AEolian harp it finds;
+    Hornpipe and hurdy-gurdy both are dumb
+      Unto the most musicianly of winds."
+
+It is an irretrievable loss if, in the passion for the _vita nuova_, a
+generation, or a century, shall substitute for the AEolian harp the mere
+hornpipe and hurdy-gurdy of the hour. In another of his keenly critical
+quatrains William Watson embodies this signal truth:--
+
+    "His rhymes the poet flings at all men's feet,
+      And whoso will may trample on his rhymes.
+    Should Time let die a song that's pure and sweet,
+      The singer's loss were more than matched by Time's."
+
+Art is progressive, and the present is always the "heir of all the ages"
+preceding; but it cannot be affirmed that it invariably makes the best
+use of its rich inheritance.
+
+There are latter-day sculptors who excel in certain excellences that
+Story lacked; still, it would not be his loss, but our own, if we fail
+in a due recognition of that in his art which may appeal to the
+imagination; for, whatever the enthusiasms of other cults may be, there
+are qualities of beauty, strength, and profound significance in the art
+of Story that must insure their permanent recognition. Still, it remains
+true that Mr. Story owes his fame in an incalculable degree to the
+friendly pens of Hawthorne and others of his immediate circle,--Lowell,
+Motley, Charles Eliot Norton, Thackeray, Browning,--friends who,
+according to the latest standards of art criticism, were not unqualified
+nor absolute judges of art, but who were in sympathy with ideal
+expression and recognized this as embodied in the statues of Story.
+
+Browning wrote to the London _Times_ an article on Mr. Story's work, in
+which he conjured up most of the superlative phrases of commendation
+that the limits of the English language allow to praise his work, none
+of whose marshalled force was too poor to do him reverence. The
+versatile gifts of Story's personality drew around him friends whose
+influence was potent and, indeed, authoritative in their time.
+
+Still, any analysis of these conditions brings the searcher back to the
+primary truth that without the gifts and grace to attract about him an
+eminent circle of choice spirits he could not have enjoyed this potent
+aid and inspiration; and thus, that
+
+    "Man is his own star,"
+
+is an assertion that life, as well as poetry, justifies. In the full
+blaze of this fundamental truth, it is, not unfrequently, the
+mysterious spiritual tragedy of life that many an one as fine of fibre
+and with lofty ideals
+
+    "Leads a frustrate life and blind,
+    For the lack of favoring gales
+    Blowing blithe on other sails."
+
+Mr. Story was himself of too fine an order not to divine this truth.
+With what unrivalled power and pathos has he expressed it in his
+poem--one far too little known--the "Io Victis":--
+
+    "I sing the song of the Conquered, who fell in the Battle of
+           Life,--
+    The hymn of the wounded, the beaten, who died overwhelmed
+           in the strife;
+    Not the jubilant song of the victors, for whom the resounding
+           acclaim
+    Of nations was lifted in chorus, whose brows wore the chaplet
+           of fame,
+    But the hymn of the low and the humble, the weary, the
+           broken in heart,
+
+           *       *       *       *       *
+
+    Whose youth bore no flower on its branches, whose hopes
+           burned in ashes away,
+    From whose hands slipped the prize they had grasped at, who stood
+           at the dying of day
+    With the wreck of their life all around them...."
+
+In this poem Mr. Story touched the highest note of his life,--as poet,
+sculptor, painter, or writer of prose; in no other form of expression
+has he equalled the sublimity of sentiment in these lines:--
+
+                             "... I stand on the field of defeat,
+    In the shadow, with those who are fallen, and wounded, and
+           dying, and there
+
+           *       *       *       *       *
+
+    Hold the hand that is helpless, and whisper, 'They only the
+         victory win
+    Who have fought the good fight, and have vanquished the
+         demon that tempts us within;
+    Who have held to their faith unseduced by the prize that the
+         world holds on high;
+    Who have dared for a high cause to suffer, resist, fight,--if
+         need be, to die.'"
+
+Such a poem must have its own immortality in lyric literature.
+
+For a period of forty years the home of the Storys in Palazzo Barberini
+was a noted centre of the most charming social life. Mr. Story's
+literary work--in his contributions of essays and poems to the _Atlantic
+Monthly_; in his published works, the "Roba di Roma," "Conversations in
+a Studio," his collected "Poems," and others--gave him a not transitory
+rank in literature which rivals, if it does not exceed, his rank in
+art.
+
+Meantime other artists were to take up their permanent abode in the
+Seven-hilled City,--Elihu Vedder in 1866; Franklin Simmons two years
+later; Waldo and Julian Story, the two sons of William Wetmore Story,
+though claiming Rome as their home, are American by parentage and
+ancestry; and Mr. Waldo Story succeeds his father in pursuing the art of
+sculpture in the beautiful studios in the Via San Martino built by the
+elder Story. In 1902 Charles Walter Stetson, with his gifted wife, known
+to the contemporary literary world by her maiden name, Grace Ellery
+Channing, set up their household gods and lighted their altar fires in
+the city by the Tiber, ready, it may be, to exclaim with Ovid:--
+
+    "Four times happy is he, and times without number is happy,
+    Who the city of Rome uninterdicted enjoys."
+
+  [Illustration: "THE DANCE OF THE PLEIADES"
+                 Elihu Vedder
+                 _Page 92_]
+
+If art is a corner of the universe seen through a temperament, the
+temperament of Mr. Vedder must offer an enthralling study, for it seems
+to be a lens whose power of refraction defies prophecy because it deals
+with the incalculable forces. His art concerns itself little with the
+aesthetic, but is chiefly the art of the intellect and the imagination.
+All manner of symbols and analogies; the laws of the universe that
+prevail beyond the stars; the celestial figures; the undreamed
+significance in prophecy or in destiny; omens, signs, and wonders; the
+world forces, advancing stealthily in the shadows of a dusky twilight;
+the Fates, under brilliant skies, gathering in the stars; oracles and
+supernatural coincidences that lurk in undreamed-of days; the Pleiades
+dancing in a light that never was on sea or land; unknown Shapes that
+meet outside space and time and question each other's identity; the dead
+that come forth from their graves and glide, silent and spectral,
+through a crowd, unseen by any one; the prayer of the celestial powers
+poured forth in the utter solitude of the vast desert,--it is these that
+are the realm of Vedder's art, and what has the normal world of portrait
+and landscape to do with such art as this? Can it only be relegated to a
+class, an order, of its own, and considered as being--Vedderesque? It
+seems to stand alone and unparalleled. In his work lies the
+transfiguration of all mystery. Vedder never paints nature, in the
+sense of landscapes, and yet one often feels that he has the key to the
+very creation of nature; that he has supped with gods and surprised the
+secrets of the stars. Do the winds whisper to him?--
+
+    "The Muse can knit
+    What is past, what is done,
+    With the web that's just begun."
+
+How can he find the design to phrase his thought--this painter of ideas?
+
+    "Can blaze be done in cochineal,
+    Or noon in mazarin?"
+
+Whatever the Roman environment may have done for Allston, Page, and
+Story, there is no question but that to Vedder it has been as his soul's
+native air. For him the sirens sing again on the coast; the sorceress
+works her spell; the Cumaean Sibyl again flies, wraithlike, over the
+plain, clasping her rejected leaves of destiny which Tarquin in his
+blindness has refused to buy. The Rome that lies buried under the ages
+rises for Vedder. His art cannot be catalogued under any known division
+of portrait, landscape, marine, or genre, but it is simply--the art of
+Vedder. It stands alone and absolutely unrivalled. The pictorial
+creations of Vedder are as wholly without precedent or comparison as if
+they were the sole pictorial treasures of the world. The visitor may
+care for them, or not care, according to his own ability to comprehend
+and to recognize the inscrutable genius there manifested; but in either
+case he will find nowhere else, in either ancient or contemporary art,
+any parallel to these works.
+
+One could well fancy that to any interrogation of his conceptions the
+artist might reply:--
+
+    "I am seeker of the stone,
+    Living gem of Solomon.
+    But what is land, or what is wave,
+    To me, who only jewels crave?
+
+           *       *       *       *       *
+
+    I'm all-knowing, yet unknowing;
+    Stand not, pause not in my going."
+
+In the rich, weird realm of Omar Khayyam's Persian poem, the Rubaiyat,
+Mr. Vedder found the opportunity of his life for translating its thought
+into strange, mystic symbolism. Never were artist and poet so blended
+in one as in Vedder's wonderful illustrations for this poem. It has
+nothing in common with what we ordinarily call an illustrated work. It
+is a great treasure of art for all the ages. It is a very fount of
+inspiration for painter and poet. An exquisite sonnet suggested by "The
+Angel of the Darker Cup" is the following by Louise Chandler Moulton:--
+
+    "She bends her lovely head to taste thy draught,
+      O thou stern Angel of the Darker Cup!
+      With thee to-night in the dim shades to sup,
+    Where all they be who from that cup have quaffed.
+    She had been glad in her own loveliness, and laughed
+      At Life's strong enemies who lie in wait;
+      Had kept with golden youth her queenly state,
+    All unafraid of Sorrow's threat'ning shaft.
+
+    "Then human Grief found out her human heart,
+      And she was fain to go where pain is dumb;
+        So Thou wert welcome, Angel dread to see,
+        And she fares onward with thee, willingly,
+    To dwell where no man loves, no lovers part,--
+      Thus Grief that is, makes welcome Death to come."
+
+The sonnet, the stanza, and the pictorial interpretation all form one
+beautiful trio in poetic and graphic art.
+
+Writing of Mr. Vedder, Mr. W. C. Brownell speaks of the personal force
+in a picture and says that with Vedder this personal force is
+imagination,--"the imagination of a man whose natural expression is
+pictorial, but who is a man as well as a painter; who has lived as well
+as painted, who has speculated, pondered, and felt much.... It is this,"
+he continues, "that places Vedder in the front rank of the imaginative
+painters of the day." Of Mr. Vedder's painting called "The Enemy Sowing
+Tares," Mr. Brownell writes:--
+
+     "... Here you note a dozen phases of significance. The theme is
+     unconventional; the man has become the archenemy; the night is
+     weird and awe-inspiring; the tares represent the foe of the
+     church--money; they are sown at the foot of the cross--the symbol
+     of the church.... Mr. Vedder has not passed his life in Rome for
+     nothing. His attitude is in harmony with the spirit of the Sistine
+     and the Stanze."
+
+One of the interesting and mystical works of Vedder is "The Soul between
+Doubt and Faith,"--three heads, that of the Soul hooded and draped,
+looking before her with eyes that seem to discern things not seen by
+mortals; the sinister face of Doubt at the left, the serene, inspiring
+countenance of Faith at the right. It is a magical picture to have
+before one with its profoundly significant message. The works of Mr.
+Vedder will grow more priceless as the years pass by. They are pictures
+for the ages.
+
+In Mr. Ezekiel, another American artist whose almost lifelong home has
+been in Rome, is a sculptor whose touch and technique have won
+recognition. In a recumbent figure of Christ is seen one of the best
+examples of his art. It is pervaded by the classic influences in which
+he has lived. The studios of Mr. Ezekiel, in the ruins of the old Baths
+of Caracalla, are very picturesque and his salon, with its music, its
+wealth of books including many rare and beautiful copies, and its old
+pictures and bric-a-brac, is one of the fascinating interiors of the
+Eternal City.
+
+The visitor who is privileged to see the Story studios in the Via San
+Martino finds Mr. Waldo Story occupying these spacious rooms where the
+flash of a fountain in the court, a view of the garden, green-walled by
+vines, with flowers and shrubs and broken statues, make the place
+alluring to dreamer and poet. In these rooms may be seen many of the
+elder Story's finest statues in cast or marble, the "Libyan Sibyl,"
+"Nemesis," "Sappho," the "Christ," "Into the Silent Land," and others,
+with many portrait busts, among which are those of Browning, Shelley,
+Keats, Theodore Parker, Mrs. Browning, Marchesa Peruzzi de Medici (Edith
+Story), John Lothrop Motley, one of Story's nearer friends, and Lord
+Houghton.
+
+In the work of Mr. Waldo Story one admirable portrait bust is of Cecil
+Rhodes. A decorative work, a fountain for the Rothschild country estate
+in England, is charmingly designed as a Galatea (in bronze), standing in
+a marble shell that is drawn by Nereids and attended by Cupids. The
+happy blending of marble and bronze gives to this work a pleasing
+variety of color. Another decorative design is that of "Nymphs Drinking
+at the Fountain of Love." These studios are among the most interesting
+in Rome.
+
+It was in 1868 that Franklin Simmons, then a young artist from Maine,
+turned to Rome as his artistic Mecca. Since then the Eternal City has
+always been his home, but his frequent and prolonged sojourns in America
+have kept him closely in touch with its national life. Mr. Simmons is
+the idealist who translates his vision into the actuality of the hour
+and who also exalts this actuality of the hour to the universality of
+the vision. In the creation of portrait busts and of the statues and
+monumental memorials of great men he infuses into them the indefinable
+quality of extended relation which relegates his work to the realm of
+the universal and, therefore, to the immortality of art, rather than
+restricting it to the temporal locality. Louis Gorse observes that it is
+not the absence of faults that constitutes a masterpiece, but that it is
+flame, it is life, it is emotion, it is sincerity. Under the touch of
+Mr. Simmons the personal accent speaks; to his creative power flame and
+life respond, and to no sculptor is the truth so admirably stated by M.
+Gorse more applicable.
+
+Mr. Simmons has been singularly fortunate in a wide American
+recognition, having received a liberal share of the more important
+commissions for great public works of sculpture. The splendid statue,
+_al fresco_, of the poet Longfellow for his native city, Portland, was
+appropriately the work of Mr. Simmons as a native of the same state; the
+portrait statues of General Grant, Gov. William King, Roger Williams,
+and Francis H. Pierrepont, all in Statuary Hall in the Capitol in
+Washington; the portrait busts of Grant, Sheridan, Porter, Hooker,
+Thomas, and other heroes of the Civil War; the colossal group of the
+Naval Monument at the head of Pennsylvania Avenue in Washington,--are
+all among the works of Mr. Simmons.
+
+Like all artists who, like the poet, are born and not made, Mr. Simmons
+gave evidence of his artistic bent in his early childhood. After
+graduating from Bates College he modelled a bust of its president, and a
+little later, going to Washington (in the winter of 1865-66), many of
+the noted men of the time gave him sittings, and in a series of portrait
+busts his genius impressed itself by its dignity of conception and an
+unusual power of sympathetic interpretation. He modelled the bust of
+Grant while he was the General's guest in camp, taking advantage of
+whatever spare minutes General Grant could give for sittings in the
+midst of his pressing responsibilities; and it is perhaps due to this
+unusually intimate intercourse with the great hero, and the _rapport_,
+not difficult of establishment, between two men whose natures were akin
+in a certain noble sincerity and lofty devotion to the purest ideals,
+that Mr. Simmons owes the power with which he has absolutely interpreted
+the essential characteristics of General Grant in that immortal portrait
+statue in the Capitol.
+
+Washington is, indeed, the place to especially study the earlier work of
+Franklin Simmons. An important one is the Logan memorial,--an equestrian
+statue which is considered the finest work in sculpture in the capital,
+and which is the only statue in the United States in which both the
+group and the pedestal are of bronze. The visitor in Washington who
+should be ignorant of the relative rank of the great men commemorated by
+the equestrian memorial monuments of the city might be justified in
+believing that General Logan was the most important man of his time, if
+he judged from the relative greatness of his statue. When Congress
+decided upon this group, Mr. Simmons was requested to prepare a model.
+This proving eminently acceptable, Mr. Simmons found himself, quite to
+his own surprise, fairly launched on this arduous work, involving years
+of intense concentration and labor. For this monumental work was to be
+not merely that of the brave and gallant military leader,--a single idea
+embodied, as in those of Generals Scott, Sheridan, Thomas, and
+others,--but it was to be a permanent interpretation of the
+soldier-statesman, mounted on his battle-horse; it was to be, in the
+comprehensive grasp of Mr. Simmons, the vital representation of the
+complex life and individuality of General Logan and, even more, it must
+reflect and suggest the complex spirit of his age. In this martial
+figure was thus embodied a manifold and mysterious relation, as one of
+the potent leaders and directive powers in an age of tumultuous
+activities; an age of strife and carnage, whose goal was peace; of
+adverse conditions and reactions, whose manifest outcome was yet
+prosperity and national greatness and splendid moral triumph. All these
+must be suggested in the atmosphere, so to speak, of the artist's work;
+and no sculptor who was not also an American--not merely by ancestry and
+activity, but one in mind and heart only; one who was an intense
+patriot and identified with national ideas--could ever have produced
+such a work as that of the Logan monument. So unrivalled does it stand,
+unique among all the equestrian art of this country, that it enchants
+the art student and lover with its indefinable spell. When this colossal
+work was cast in bronze, in Rome, the event was considered important.
+The king and the Royal family visited the studio of Mr. Simmons to see
+the great group, and so powerfully did its excellence appeal to King
+Umberto that he knighted Mr. Simmons, making him Cavaliere of the Crown
+of Italy. Nor was Mr. Simmons the prophet who was not without honor save
+in his own country, for his _alma mater_ gave him the degree of M.A. in
+1867; Colby College honored him with the Master's degree in 1885, and in
+1888 Bowdoin bestowed upon this eminent Maine artist the same degree. In
+1892 Mr. Simmons married the Baroness von Jeinsen, a brilliant and
+beautiful woman who, though a lady of foreign title, was an American by
+birth. An accomplished musician, a critical lover of art, and the most
+delightful of hostesses and friends, Mrs. Simmons drew around her a
+remarkable circle of charming people and made their home in the Palazzo
+Tamagno a notable centre of social life. No woman in the American colony
+of the Seven-hilled City was ever more beloved; and it was frequently
+noted by guests at her weekly receptions that Mrs. Simmons was as
+solicitous for the enjoyment of the most unknown stranger as for those
+of rank and title who frequented her house. Her grace and loveliness
+were fully equalled by her graciousness and that charm of personality
+peculiarly her own. Her death in Rome, on Christmas of 1905, left a
+vacant place, indeed, in many a home which had been gladdened by her
+radiant presence. One of the most beautiful works of Mr. Simmons is a
+portrait of his wife in bas-relief, representing her standing just at
+the opening of parted curtains, as if she were about to step behind and
+vanish. It is a very poetic conception. A bust of Mrs. Simmons, also, in
+his studio, is fairly a speaking likeness of this beautiful and
+distinguished woman. It is over her grave in the Protestant cemetery
+that Mr. Simmons has placed one of his noblest ideal statues, "The Angel
+of the Resurrection,"--a memorial monument that is one of the art
+features of Rome to the visitor in the Eternal City.
+
+  [Illustration: "GRIEF AND HISTORY," DETAIL FROM NAVAL MONUMENT,
+                 WASHINGTON
+                 Franklin Simmons
+                 _Page 105_]
+
+The brilliant and impressive Naval Monument, or Monument of Peace, as it
+is known in Washington, placed at the foot of Capitol Hill on
+Pennsylvania Avenue, is eloquent with the power of heroic suggestion
+that Mr. Simmons has imparted to it. The work breathes that exaltation
+of final triumph that follows temporary defeat. Those who died that the
+nation might live, are seen in the perpetual illumination of
+immortality. Not only has Mr. Simmons here perpetuated the suffering,
+the sacrifices of the Civil War, but that sublime and eternal truth of
+victory after defeat, of peace and serene exaltation after conflict, and
+the triumph of life after death, are all immortally embodied in this
+group crowned with those impressive and haunting figures, "Grief" and
+"History," which are considered as among the most classically beautiful
+and significant in the range of modern sculpture.
+
+In the early winter of 1907 Mr. Simmons was invited by the American
+Ambassador to the Court of St. James, Hon. Whitelaw Reid, to send
+for Dorchester House, London, three busts of distinguished
+Americans,--those of Alexander Hamilton, Chief Justice Chase, and Hon.
+James G. Blaine, which Mr. Reid, in visiting the Roman studios of Mr.
+Simmons, had seen and greatly admired. The Ambassador observed that he
+"would like a few Americans, as well as so many Roman Emperors," about
+him.
+
+These portrait busts all reveal an amazing force and mastery of work.
+The fine sculptural effect of the Hamilton and the wonderful blending of
+subtle delicacy of touch and vigor of treatment with which the nobility
+of character is expressed, mark this bust as something exceptional in
+portrait art. It has a matchless dignity and serene poise. The bust of
+Chief Justice Chase is a faithful and speaking reproduction of the very
+presence of its subject, instinct with vitality; and the fire and force
+and brilliancy of the bust of Hon. James G. Blaine fairly sweeps the
+visitor off his feet. The modelling is done with an apparent
+instantaneousness of power that is the highest realization of creative
+art. It is the magnetic Blaine, the impassioned and eloquent statesman,
+that rises before the gazer.
+
+Mr. Simmons has long been a commanding figure in plastic art. No
+American sculptor abroad has, perhaps, received so many important public
+commissions as have been given to him. He has created nearly a score of
+memorial groups; he has modelled over one hundred portrait busts and
+statues. His industry has kept step with his genius. The latest success
+of Mr. Simmons in the line of monumental art is the statue (in bronze)
+of Alexander Hamilton, which was unveiled at Paterson, N. J., in May of
+1907. The splendidly poised figure, the dignity, the serene strength and
+yet the intense energy of the expression and of the entire pose are a
+revelation in the art of the portrait statue.
+
+It is not, however, true that Mr. Simmons has ever resigned himself to
+the necessity of producing portrait and memorial sculpture exclusively.
+In the realm of the purely ideal Mr. Simmons finds his most felicitous
+field for creative work. A bas-relief entitled "The Genius of Progress
+Leading the Nations," with all its splendid fire and action, the _motif_
+being that of the spirits Life and Light beating down and driving out
+the spirits of darkness and evil; "The Angel of the Resurrection," with
+its glad, triumphant assertion of the power of the immortal life; the
+poetry and sacredness of maternity as typified in the "Mother of Moses;"
+the statues of the "Galatea" and the "Medusa," and other ideal
+creations, indicate "the vision and the faculty divine" of Mr. Simmons.
+To a very great degree his art is that which the French describe as the
+grand manner, and to this is added a spiritual quality, a power of
+radiating the intellectual purpose, the profounder thought and the
+aspiration of the subject represented.
+
+  [Illustration: "MOTHER OF MOSES"
+                 Franklin Simmons
+                 _Page 108_]
+
+One of the most charming of these ideal works is a statue of "Penelope,"
+represented seated in the chair, her rich robe falling in graceful
+folds, and the little Greek fillet binding her hair. The face bears a
+meditative expression, into which has entered a hint of pathos and
+wistfulness in the dawning wonder as to whether, after all, Ulysses will
+return. The classic beauty of the pose; the exquisite modelling of the
+bust and arms and hands, every curve and contour so ideally lovely; the
+distinction of the figure in its noble and refined patrician elegance,
+are combined to render this work one that well deserves immortality in
+art, and to rank as a masterpiece in modern sculpture.
+
+  [Illustration: "THE GENIUS OF PROGRESS LEADING THE NATIONS"
+                 Franklin Simmons
+                 _Page 107_]
+
+Another of his ideal figures, "The Promised Land," is a work of great
+spiritual exaltation and beauty. An Israelite woman has just arrived at
+the point when before her vision gleams the "Promised Land"; the face
+tells its own story of all she has passed through,--the trials, the
+sadness, the obstacles to be overcome; but now she sees the fulfilment
+of her hopes and dreams. It is a most interesting creation, and one in
+which is portrayed the artist's spiritual insight and susceptibility to
+poetic exaltation. To one visitor to Mr. Simmons's studio this statue
+suggested the following lines:--
+
+    Fair on her sight it gleams,--the Promised Land!
+      The rose of dawn sifts through the azure air,
+      And all her weariness and toil and care
+    Vanish, as if from her some tender hand
+      Lifted the burden, and transformed the hour
+      To this undreamed-of sense of joy and power!
+    The rapture and the ecstasy divine
+      Are deep realities that only wait
+      Their hour to dawn, nor ever rise too late
+    To draw the soul to its immortal shrine.
+
+    O Sculptor! thy great gift has shaped this clay,
+      To image the profoundest truth, and stand
+    As witness of the spirit power that may
+      Achieve the vision of the Promised Land!
+
+  [Illustration: "VALLEY FORGE"
+                 Franklin Simmons
+                 _Page 110_]
+
+In a statuette in bronze called "Valley Forge," Mr. Simmons has fairly
+incarnated the entire spirit of the Revolutionary period in that
+mysterious way recognized only in its result; all that unparalleled
+epoch of tragic intensity and sublime triumph lives again in this work.
+The fidelity to a lofty ideal which essentially characterizes Mr.
+Simmons is as unswerving as that of Merlin, who followed "The Gleam."
+
+    "Great the Master
+    And sweet the Magic
+    When over the valley
+    In early summers,
+    Over the mountain,
+    On human faces,
+    And all around me
+    Moving to melody,
+    Floated the Gleam."
+
+This American sculptor who, in his early youth, sought the artistic
+atmosphere of Rome as the environment most stimulating to his dawning
+power, who accepted with unfailing courage the incidental privations of
+art life in a foreign land more renowned for beauty than for comfort,
+who
+
+    "... never turned his back, but marched breast forward,
+    Never doubted clouds would break,"
+
+has expressed his message in many purely ideal works,--the message that
+the true artist must always give to the world and that leads humanity to
+the crowning truth of life, that of the ceaseless progress of the soul
+in its immortality.
+
+For the brief and significant assertion of the apostle condenses the
+most profound truth of life when he says:--
+
+     "To be carnally minded is death; but to be spiritually minded is
+     life and peace."
+
+In these words are imaged the supreme purpose of all the experiences of
+the life on earth; and to the artist whose works bear this lofty message
+of the triumph of spirituality, his reward shall appear, not in the
+praise of men, but in the effect on character that his efforts have
+aided to exalt; in the train of nobler influences that his work shall
+perpetually inspire and create.
+
+Mr. Simmons has always found Rome potent in fascination. One may not
+want to go to St. Peter's every day, but one knows it is there, and
+there is some inexplicable satisfaction in being where it is possible to
+easily enter this impressive interior. One may not go near the Forum
+for a month, or even a season, but the knowledge that one may find it
+and the wonderful Palatine Hill any hour of any day is a perpetual
+delight. The Vatican galleries, with their great masterpieces; the
+Sistine Chapel, the stately, splendid impressiveness of San Giovanni
+Laterano; the wanderings in Villa Borghese, and the picturesque climbing
+of the Spanish steps, even all the inconveniences and deprivations,
+become a part of the story of Rome which the artist absorbs and loves.
+
+The studios of Mr. Simmons in the Via San Nicolo da Tolentino are a
+centre of artistic resort, and his personal life is one of distinction
+amid the picturesque beauty and enchantment of the Eternal City.
+
+For many years (until the death of Mrs. Simmons in 1905) the sculptor
+and his wife had their home in the beautiful Palazzo Tamagno in the Via
+Agostino Depretis, where one of those spacious apartments of twenty to
+thirty rooms, only to be found in a Roman palace, was made by them a
+brilliant centre of social life. Mrs. Simmons was herself a musical
+artist, with impassioned devotion to music; and her rare personal charm
+and distinction of presence drew around her a most interesting
+circle. Her receptions were for many years a noted feature of Roman
+society. The social life in Rome is very brilliant, interesting, and
+fascinating. The sight-seeing is a kind of attendant atmosphere,--the
+perpetual environment offering, but not intruding itself. People come to
+Rome for reasons quite disconnected with the Golden House of Nero or the
+latest archaeological discoveries in the Forum. The present, rather than
+the past, calls to them, and the present, too, is resplendent and
+alluring.
+
+Of the foreign painters in Rome, Charles Walter Stetson, whose work
+recalls the glory of the old Italian masters, is especially
+distinguished for his genius as a colorist. No visitor in Rome can
+afford to miss the studio of one of the most imaginative of modern
+artists. A wonderful picture still in process is a genre work with
+several figures, called "Music." An idyllic scene of a festa amid the
+ilex trees--with the Italian sky and the golden sunshine pervading a
+luminous atmosphere, while the joyous abandon of the dancers appeals to
+all who love Italy--is one of the many beautiful pictorial scenes of Mr.
+Stetson which enchant the eye and haunt the imagination. Another
+picture is called "Beggars,"--a name that illy suggests its splendor.
+There is the facade of a church to which a long flight of steps leads
+up, a procession of cardinals and friars in their rich robes, while at
+one side the groups of beggars shrink into the darkness. It is an
+impressive commentary upon life.
+
+For a long period, through the early and middle years of the nineteenth
+century, Rome held her place as the world centre of modern artistic
+activity. Great works of poetic and ideal sculpture elevated the general
+public taste to a high degree of appreciation. The standards were not
+ingeniously adjusted to mere spectacular methods whose sole appeal was
+to the crude fancy of possible patrons. Art held her absolute and
+inviolate ideals, and the spirit of her votaries might well have been
+interpreted in Mrs. Browning's words:--
+
+                    "I, who love my art,
+    Would never wish it lower to suit my stature."
+
+The tone of public appreciation is raised to a high quality only when
+the artist refuses to sell his soul for a mess of pottage. He may, to
+be sure, need the pottage, but the price is too great. Rather will he
+find his attitude expressed in these wonderful lines:--
+
+                              "I can live
+    At least my soul's life without alms from men.
+    And if it be in heaven instead of earth,
+    Let heaven look to it--I am not afraid."
+
+All art that has within itself true vitality must ever be the leader and
+the creator of the popular taste; only when it falls into decadence does
+it become the servile follower.
+
+It is a serious question as to the degree in which the art of to-day
+keeps faith with the eternal ideals. The great expositions of the past
+quarter of a century, while they have contributed immeasurably to the
+popularization of art and to the familiarization of the public with the
+work of individual painters and sculptors, have yet, in many ways, been
+a demoralizing influence in their insidious temptation to produce
+pictures or plastic art calculated to arrest immediate attention, thus
+putting a premium on the spectacular, the sensational, on that which
+makes the most immediate and direct appeal to the senses. The work
+becomes fairly a personal document wrought with perhaps an almost
+amazing finesse, but utterly failing in power to inspire joyous
+sensibility to beauty or to impart to the gazer that glow of radiant
+energy which lofty art invariably communicates to all who respond to its
+infinite exaltation.
+
+All great art is inspired by religious ideals. Painting and sculpture
+give to these a presence. Under their creative power are these ideals
+manifested. To embody them in living form becomes the absolute
+responsibility of the artist. In Greece all the fortunate conditions to
+produce great art were curiously combined and pre-eminently supported by
+the conjunction of events and by the prevailing sentiment of the time.
+The artist drew his inspiration from the most exalted conception of life
+embodied in gods rather than in men. Art, too, was an affair of the
+state. It was the supreme interest and held national importance. The
+temple was erected to form an inclosure for the statue, rather than that
+the statue was created as an adornment for the temple. The greatest
+gifts were consecrated to the service of art, and under these
+stimulating influences it is little wonder that artistic creation
+achieved that vital potency which has thrilled all succeeding
+centuries and has communicated to them something of the divine air of
+that remote period. With the Renaissance in Italy art culminated in the
+immortal work of Raphael and Michael Angelo. In the Sistine Chapel,
+where that sublime grouping of prophets and sibyls speaks of the very
+miracle of art in their impassioned fire and glow; where the figures,
+the pose, the draperies are so grandly noble and infused with dignity
+and presence,--the very atmosphere is vocal with the language of the
+spirit and the expressions of religious reverence. These marvellous
+shapes of grandeur and sublime intimations carry the soul into a
+conscious communion with the divine. In these stupendous works Michael
+Angelo has given to all the ages the message of the highest exaltation
+of art. In the technique, in the marvellous dignity of the sentiment, in
+the depth of the feeling involved, in the grace and power of the
+composition, these works embody the artistic possibilities of painting.
+
+Are such works as those of Canova and Thorwaldsen no longer created?
+
+Can it be that art is no longer of national importance? In our own
+country vast appropriations are made for internal improvements of all
+kinds, while art that kindles and re-enforces life is almost ignored.
+Our government--the government of the richest country in the
+world--appropriated $200,000 for a memorial monument to General Grant to
+be placed in Washington, while Italy--whose resources are so slender in
+comparison--appropriates seven million dollars--thirty-five times the
+amount--for her great monument to Victor Emmanuel which is now being
+erected in Rome to stand near the Capitol and the Palace of the
+Quirinale. Great art has always been closely associated with great
+devotion to religious ideals. The artist was the servant of the Lord,
+and it was his supreme purpose to embody the aspirations of the age and
+render his works a full and complete symbol of those true realities of
+life which have their being in the spiritual universe rather than in the
+changing temporal world of the outer universe. The so-called realism of
+the day is based on a false interpretation. "The things that are seen
+are temporal, while the things that are not seen are eternal." True
+realism is in spiritual qualities, not in physical attributes. True
+realism is found in such works as Canova's sublime group, where the
+figures of Religion and of Death forever impress all who stand before
+this magnificent monument; it is found in Thorwaldsen's "Christ;" in
+Franklin Simmons's "Angel of the Resurrection,"--in such works as those
+that have a language for the soul, rather than in a "Saturnalia."
+
+Again, another fatal rock on which art must inevitably make shipwreck is
+the theory that it is good to perpetuate ugliness, in either painting or
+in sculpture. The permanent reality of life is beauty. So far as any
+person or object departs from this enduring reality, so far it is the
+result of distortion and deformity, and these, being the temporary, the
+accidental, the deficient, should not be perpetuated in ideal creation.
+It is an Apollo who embodies the permanent ideal of manhood--not a
+cripple or a hunchback. Still further: art should not only refuse to
+embody the defective, which is a mere negative; it should not only give
+form to the utmost perfection it beholds in nature or in humanity, but
+beyond this the responsibility is upon the artist to penetrate into
+loftier realms, to catch the vision not revealed to mortals. The artist
+is, by virtue of his high calling, a co-worker with God. An English wit
+has declared that life copies art rather than that art copies life. In
+this he expresses a truth rather than a merely clever epigram. It is the
+artist's business to lead, not to follow. Only as he leads does he
+fulfil his divinely appointed destiny. "I maintain that life is not a
+form of energy," writes Sir Oliver Lodge; "that it is not included in
+our present physical categories; that its explanation is still to be
+sought. And it appears to me to belong to a separate order of existence,
+which interacts with this material frame of things, and while here
+exerts guidance and control on the energy which already here exists; for
+although they alter the quantity of energy no whit, and though they
+merely utilize available energy like any other machine, live things are
+able to direct inorganic terrestrial energy along new and special paths,
+so as to achieve results without which such living agency could not have
+occurred." Does it for an instant seem that a great scientist's
+theoretical speculations of the laws of the universe and of organic life
+have no connection with the province of art? On the contrary. Truly does
+Balzac exclaim: "Is not God the whole of science, the all of love,
+the source of poetry?" The artist is he who enters into the divine
+realm; who discerns the divine creations as the true ideals of humanity,
+and who interprets to the world the sublime significance of the divine
+thought. Shall such an artist degrade his power by portraying
+ugliness--the mere defects of negations and distortions? Shall he
+degrade life by calling these the realities?
+
+  [Illustration: "LA PIETA," ST. PETER'S, ROME
+                 Michael Angelo
+                 _Page 117_]
+
+The painter or sculptor who holds that it is as truly art to represent
+distortion and repulsiveness as it is to represent beauty is as false to
+his high calling as would be the poet who should insist that doggerel
+and mere commonplace truisms expressed in rhyme are poetry. Compare, for
+example, two statues, Cecioni's "_La Madre_," in which a woman's utter
+lack of personal attraction is so complete as to make her fairly
+repulsive to the gazer, and the "Mother of Moses," by Franklin Simmons,
+in which the mystic beauty, the very ideal of maternity, is embodied.
+Which of these statues is calculated to uplift and to exalt all who come
+near? This marvellously beautiful creation of Mr. Simmons shows a woman
+of exquisite delicacy and loveliness sitting, slightly bending forward,
+holding her baby to her breast. The modelling of the draped figure with
+the bare arms and neck revealing the tender curves, the yielding
+delicacy of the flesh and that inscrutable light upon the beautiful
+countenance, whose expression suggests that she is looking far into the
+future of the infant whom she holds in her arms, are a wonderful
+portrayal of the mystery and the sacredness of motherhood. The one
+statue degrades maternity; the other ennobles and exalts. The one
+embodies a pernicious and a false ideal; the other embodies the ideal
+that must appeal to all that is noble and divine in human life, and it
+thus ministers to moral progress by its contribution to the elevation of
+the social tone. For indeed, life follows art. It is art that exerts
+this powerful influence upon life which it may lead to loftier heights
+or drag down to the moral abyss. The artist is not merely the portrayer
+of existing types; he is the inspirer of those ideal types which human
+life should recognize as its pattern, its model to be followed and
+ultimately achieved. The world needs ideal and poetic art to minister to
+the attainment of the true social life and to the full and complete
+expression of man himself.
+
+Do not the visions of Fra Angelico and Botticelli still inspire the
+artist of to-day with the absolute realization of all the deep
+significance of the past?
+
+    "Is there never a retroscope mirror,
+      In the realms and corners of space,
+    That can give us a glimpse of the battle,
+      And the soldiers face to face?"
+
+Religion and art are inseparably united. In its true significance
+religion takes precedence of all else in that its influence is felt in
+every department and in every direction and expression of man's
+activity. It is the inexhaustible fountain of that lofty energy which
+communicates itself to every channel that carries inspiration to life
+and to art. Religion is the influence that redeems the mere shallow,
+surface presentation,--the petty trick to capture popularity, and holds
+art true to its real purpose. The glory of the mediaeval art of Italy
+owed its greatness to religion. Cimabue and Giotto were directly
+inspired by that spring of a diviner life given to Italy and later to
+the world of that "sweet saint," Francis of Assisi. In an age of cruelty
+and terror he brought the new message that man is dear to God; that the
+soul is ceaselessly joyful; that man, created in the divine image, is a
+part of the divine life, and that only when he lives in this response
+and recognition does he truly live at all. In this restatement of the
+truth that Jesus came to proclaim, St. Francis opened the way for a
+revival of art, and opened the gates of that infinite and divine energy
+which has immortally recorded itself for all ages in the "Divina
+Comedia" of Dante. The irresistible wave of power which resulted from
+that liberating of thought, feeling, and emotion by the work of St.
+Francis expressed itself in the sublimest poem of all the ages, and in
+that glorious triumph of art that is still the treasure and the source
+of artistic inspiration.
+
+It is only when the world is lifted out of the limitations of the
+material by a period of great art that humanity is brought into close
+and inspiring relation with the living Christ.
+
+FOOTNOTES:
+
+[1] Henry Wadsworth Longfellow: Houghton, Mifflin & Co.
+
+
+
+
+    _Men and women make the world,
+    As head and heart make human life._
+
+                    MRS. BROWNING.
+
+       *       *       *       *       *
+
+    _Alas, our memories may retrace
+    Each circumstance of time and place;
+    Season and scene come back again,
+    And outward things unchanged remain;
+    The rest we cannot reinstate,
+    Ourselves we cannot re-create,
+    Nor set our souls to the same key
+    Of the remembered harmony._
+
+                    LONGFELLOW.
+
+
+
+
+     _And as, after the lapse of a thousand years, you stand upon that
+     hallowed spot, the yellow Tiber flowing sluggishly beneath you, the
+     ruins of the Eternal City all around you speaking of fallen
+     greatness, the mighty Basilica of St. Peter rising before you like
+     some modern tower of Babel that would monopolize the road to
+     heaven, the eye rests upon the figure of the Archangel sheathing
+     his glittering sword upon the summit of the Castle of St. Angelo,
+     and the heart asks, Why should that be a legend? Why should that be
+     a projection of a morbid and devout imagination? Why should it not
+     have been the clairvoyance of supernatural ecstasy opening the
+     world of spirits? It was no unreality when the angel of God, with
+     his sword drawn in his hand, withstood the prophet Balaam. It was
+     no morbid imagination when the angel of God smote with the edge of
+     the sword the first-born of the land of Egypt. It was no imposture
+     when the shining hosts of the army of the Almighty smote the
+     Assyrians. It was no deception when Gabriel, the King's messenger
+     from the court of heaven, was sent to comfort Daniel by the river
+     Hiddekel; or when he announced to the maiden, whom all generations
+     have called blessed, that she was to be the mother of the Divine
+     Redeemer.... The written Word from first to last is full of the
+     holy angels. It begins with angels, it ends with angels._
+
+                    THE VENERABLE ARCHDEACON WILBERFORCE,
+                                       Westminster Abbey.
+
+
+
+
+II
+
+SOCIAL LIFE IN THE ETERNAL CITY
+
+    And others came,--Desires and Adorations,
+      Winged Persuasions and Veiled Destinies!
+
+                    SHELLEY.
+
+    In what ethereal dances!
+    By what eternal streams!
+
+                    POE.
+
+
+Social life in Rome is no misnomer. From the most stately and beautiful
+ceremonials of balls at the court of the Quirinale, in ducal palaces, or
+at the embassies; of dinners whose every detail suggests stage pictures
+in their magnificence, to the simple afternoon tea, where conversation
+and music enchant the hours; the morning call _en tete-a-tete_, and the
+morning stroll, or the late afternoon drive,--a season in Rome
+prefigures itself, by the necromancy of retrospective vision, as a
+resplendent panorama of pictorial scenes. There rise before one those
+mornings, all gold and azure, of loitering over the stone parapet on
+Monte Pincio, gazing down on the city in her most alluring mood. The
+new bridge that is to connect the Pincio with the Villa Borghese is a
+picturesque feature in its unfinished state; but the vision traverses
+the deep ravine and revels in the scene of the Borghese grounds carpeted
+with flowers. Its picturesque slopes under the great trees, with a view
+of Michael Angelo's dome in the near distance, are the resort of morning
+strollers, who find that lovely picture of Charles Walter Stetson's--a
+stretch of landscape under the ilex trees, the scarlet gowns of the
+divinity students giving vivid accents of color here and there--fairly
+reproduced in nature before their vision. One should never be in haste
+as the bewildering beauty of the Roman spring weaves its emerald
+fantasies on grass and trees, and touches into magical bloom the scarlet
+poppies that flame over all the meadows, and caress roses and hyacinths
+and lilies of the valley into delicate bloom and floating fragrance
+until the Eternal City is no more Rome, but Arcady, instead--one should
+never be in haste to toss his penny into the _Fontane de Trevi_. Yet in
+another way it may work for him an immediate spell that defies all other
+necromancy. Judiciously thrown in, on the very eve of departure, it is
+the conjurer that insures his return; but at any time prior to this it
+may even weave the irresistible enchantment that falls upon him and may
+prevent his leaving at all. Nor can he summon up the moral courage to
+regret even the missing of all other engagements, and the failure to
+keep faith with his plans. For in the May days Rome falls upon him anew,
+like a revelation, and he is ready to confess that he has never seen her
+who sees her not in her springtime loveliness. The Italian winter by no
+means lives up to its reputation. It is not the chill of any one special
+day that discourages one from any further effort to continue in this
+vale of tears, but the cold that has, apparently, the chill and dampness
+and cold of all those two thousand and two hundred and sixty winters
+that have gone before which concentrate themselves in the atmosphere.
+One could presumably endure with some degree of courage, if not
+equanimity, the chill in the air of any _one_ winter; but when all the
+chill and cold that has ever existed in more than the two thousand
+winters of the past concentrates itself in the winter, say, of 1906-7,
+why, patience ceases to be a virtue although one that the sojourner in
+Rome is particularly called upon to practise if he fares forth to visit
+churches and galleries in the winter.
+
+Torrents of rain pour down, rivalling the cloud-bursts of Arizona.
+Virgil's cave of the winds apparently lets loose its sharpest blasts.
+Tramontana and sirocco alternate, and each is more unendurable than the
+other.
+
+The encircling mountains are white with snow. The streets are a sea of
+mud, for they are paved with small stones, and except in the new Villa
+Ludovisi quarter and along the Via Nazionale and a few other of the
+newer thoroughfares there are no sidewalks, the foot passengers (in all
+old Rome) pressing close to the wall to avoid the dangerously near
+proximity of carts and cabs. This rough pavement makes all driving hard
+and walking difficult. The Roman lady, indeed, does not walk; and the
+visitors who cannot forego the joy of daily promenades enter into the
+feelings of that nation which is said to take its pleasures sadly. But
+spring works a transformation scene. The air is filled with the most
+transparent shining haze; the sky lacks little of that intense, melting
+blue that characterizes the ineffable beauty of the skies in Arizona;
+and ruins and fragments and strange relics--ghosts of the historic
+past--are all enshrined in trailing green and riotous blossoms. To drive
+on the terraced roads of Monte Mario with all Rome and the emerald-green
+Campagna before one; through the romantic "Lovers' Lane," walled in by
+roses and myrtle; to enjoy the local life, full of gayety and
+brilliancy, is to know Rome in her most gracious aspects. One goes for
+strolls in the old Colonna Gardens, where still remain the ruins of the
+Temple of the Sun and of the Baths of Constantine. The terraces offer
+lovely views over the city. The old palace is occupied by the present
+Prince Colonna, and it is not unfrequently the scene of most elaborate
+and gorgeous receptions where the traditional Roman splendor is to be
+found. A series of arched bridges over the narrow street of the Via
+della Pilotta connect the Gardens with the Colonna Palace in the Piazza
+San Apostoli. Very fine old sarcophagi are half buried in trailing vines
+on the slope of the hill, dark with magnificent cypress trees. The
+Colonna Gardens are a very dream of the past, in their ruins of old
+temples, their shattered statues, their strange old tablets and
+inscriptions, and their grand view of the Capitol.
+
+In one's retrospective vision of a Roman season all the inconveniences
+and discomforts of the winter disappear, leaving only the beauty and the
+enjoyment to be "developed," as the photographer would say, on the
+sensitive plate of memory.
+
+No one really knows Rome until he has watched the transcendent
+loveliness of spring investing every nook and corner of the Eternal
+City. The picturesque Spanish steps are a very garden of fragrance, the
+lower steps of the terraced flight being taken possession of by the
+flower venders who display their wares,--masses of white lilac,
+flame-colored roses, rose and purple hyacinths and baskets of violets
+and carnations. Did all this fragrance and beauty send up its incense to
+Keats as he lay in the house adjoining, with the musical plash of
+Bernini's fountain under his window? It is pleasant to know that by the
+appreciation of American and English authors, the movement effectively
+directed by Robert Underwood Johnson, this house consecrated to a poet's
+memory has been purchased to be a permanent memorial to Keats and to
+Shelley. A library of their works will be arranged in it; and portraits,
+busts, and all mementos that can be collected of these poets will render
+this memorial one of the beautiful features of Rome.
+
+From the flower venders and the circulating libraries in the Piazza di
+Spagna that allure one in the morning, from the fascinating glitter of
+the little Via Condotti which is, in its way, the rue de la Paix of
+Rome, one leisurely climbs the steps to where the great obelisk looms up
+in front of the Convent Church of the Trinita di Monti and on, across
+the Piazza di Trinita, toward the Pincian, one wanders along the brow of
+the hill surmounted by the low stone parapet. The view is a dream of
+beauty. Over the valley lies Monte Mario, crowned with the Villa Madama,
+silhouetted against the blue Roman sky; and the commanding dome of St.
+Peter's, the splendid new white marble buildings of the Law Courts, the
+domes of other churches, all make up a picturesque panorama, while on
+the Janiculum the great equestrian statue of Garibaldi can be descried.
+Strolling on, one turns into the gardens of the Villa Medici, the
+French Academy of Art, in which the present director, the great Carolus
+Duran, is domiciled and in which twenty-four students--of painting,
+sculpture, music, and architecture--are maintained at the expense of the
+French government for several years, the twenty four being chosen from
+those who have given signal proof of their ability. The Villa Medici
+has, perhaps, a more beautiful site than any other building in Rome.
+Facing the west, with the Janiculum and Monte Mario forever before it,
+while below lies the Piazza di Spagna and the Piazza del Popolo, and all
+the changing splendors of the sunset sky as a perpetual picture gallery,
+the situation is, indeed, magnificent. It is still conceivable, however,
+that Monsieur Carolus Duran must have many quarters of an hour when he
+longs for the brilliancy and the movement and the stimulus of his Paris.
+The gardens of the Villa Medici are large, but they are laid out with
+narrow paths bordered with box, forming a wall as impervious as if of
+stone, and dark and damp by the shade of foliage. These walks are paved
+with gravel, and are always damp. These formal rectangles and alleys are
+utterly shut in, so that in any one part one can see only the two
+dense green walls of box that inclose him and the glimpse of sky
+overhead,--not precisely a cheering promenade. This is the Italian idea
+of a garden. Much broken sculpture, weather-stained and defective, is
+placed all along the way, and the perpetual Roman fountain is always
+gushing somewhere.
+
+  [Illustration: VILLA MEDICI, ROME
+                 _Page 134_]
+
+Another phase of the Roman season may rise before one in the stately
+beauty of any old historic palace, where the hostess, all grace and
+sweetness, receives her guests in the apartment in which Galileo had
+been confined when imprisoned in Rome. The approach to this _piano
+nobile_ was up a flight of easily graded marble stairs, where in
+frequent niches stood old statues. The large windows in the corridor on
+the landing were curtained with pale yellow, thus creating a golden
+light to fall on the old sculptured marbles. One salon was decorated
+with Flaxman's drawings on the wall, in their classical outlines. From a
+steep, dark stone stairway, down which one descended (at the imminent
+risk of a broken neck in the darkness and from the irregular stairs
+rudely carved in the stone), one emerged on a landing, where a little
+door opened into the balcony of the chapel, a curious, gloomy place,
+with tombs and altar and shrine, and some very poor old paintings. One's
+progress to it recalled the lines from Poe's "Ulalume":--
+
+    "By a route, obscure and lonely,
+    Haunted by ill angels only."
+
+Then, sitting in one of the richly decorated salons at afternoon tea in
+this same old palace one day, while an accomplished harpist was
+discoursing delicate music from its vibrating chords, flights of birds
+kept passing a window, making a scene like that of a Wagner opera. The
+groups present, largely of the Roman nobility, the titled aristocracy,
+resembling so closely some of the old portraits in the palazzo that it
+was easy to recognize that they were all one people, descendants of the
+same race.
+
+Many of the guests looked, indeed, as if they had stepped from out the
+sumptuously carved frames on the wall. At these pretty festas one meets
+much of the resident Roman world. The guests assembled seem to be
+speaking in all the romance languages. There are Russian and Spanish as
+well as Italian, French, German, and English at these alluring teas.
+All the salons of the spacious apartments are thrown open, and the men
+in their picturesque court dress or military costume, and the women and
+girls in dainty gowns, make up an alluring scene. The salons are richly
+furnished and abound in works of art, old pictures, inlaid cabinets,
+carvings, rich vases, busts, and statuettes. The library, with its
+wealth of books; the music room; the salon for dancing; the supper room,
+and the quiet rooms where groups gather before the blazing open fires,
+grateful in these lofty rooms whose temperature suggests the frozen
+circles of Dante,--all make up a delightful picture. One meets the most
+varying individualities. A Russian lady of title may confide her
+conviction that her country is ruined, and that she never desires to
+return to it. Italy is the country that attracts not only political
+refugees from other European countries, but many who are out of sympathy
+with conditions elsewhere and who find the cosmopolitan society and the
+varied interests of this land of sunshine their most enjoyable
+environment.
+
+One pleasant feature of a Roman winter is that of the usual course of
+lectures given by Professor Lanciani. The celebrated archaeologist is a
+man of special personal charm, and his conversation, as well as his
+public lectures, is full of interest and value. The lectures are given
+under the auspices of the Societa Archeologica, and a special subject
+recently discussed was the celebration to be held in 1911 in Rome. One
+project for this celebration includes the plan to lay out a carriage
+road around the Forum and the Palatine, and also around the Baths of
+Titus and of Caracalla, extending the drive to all those places included
+between the Appian and the Latin Way, the Villa Celimontana and the
+Circus Maximus.
+
+Professor Lanciani discussed the artistic history of Rome and the
+different appearances the city took on in different periods; the
+regulation plan drawn up by Julius Caesar and accepted and carried out by
+Augustus, by which one-fifth of the total area of the city was reserved
+for public parks. In the third century of the empire the city was
+inclosed by parks and crossed from end to end by delightful portico
+gardens, where valuable works of art were collected. During the period
+of the Renaissance there were the famous villas and the Cesarini Park
+on the slopes of the Esquiline, and after regretting the many
+unnecessary acts of vandalism committed since 1870 in Rome, Professor
+Lanciani suggested that a complete reconstruction of the Baths of
+Caracalla should be made, to serve in 1911 as the Exhibition Building.
+He believed no artistic difficulties would present themselves, as in the
+fifteenth century different architects took plaster casts of the
+decorations of the statues and of every detail of the Baths. The
+archaeological exhibition would be arranged in the two large halls,
+another hall would be for concerts, another for lectures, the others for
+different congresses to be held.
+
+In this way Rome would inaugurate for 1911 the Mediaeval Museum in Castel
+Sant'Angelo, the mediaeval collections in the Torre degli Anguillara, and
+the grand archaeological exhibition in the reconstructed Baths of
+Caracalla.
+
+Italian women are by no means behind the age in their organizations to
+aid in social progress. The most important one in Italy is that of the
+leading women of the nobility and aristocracy, called "The Society for
+Women's Work," which holds annual meetings, over which Lady Aberdeen,
+the president of the International Council, and the Contessa Spalletti,
+the president of the National Council of Italy, preside. Many of the
+prominent women of the Italian nobility are taking active part in the
+larger outlook for women; and in this movement Margherita, _la Regina
+Madre_, leads the way, supported by a large following of the titled
+nobility.
+
+"Margherita holds the hearts of the people," remarked Cora, Contessa di
+Brazza Savorgnan, at a brilliant little dinner one night, and no
+expression could more admirably represent the feeling of the nation
+toward the Queen Mother.
+
+Queen Elena as the reigning sovereign has, of course, her exclusive
+royal prerogatives, and she has youth and initiative and precedence; but
+Margherita is a most attractive woman, with learning and accomplishments
+galore, and she has an art of conversation that allures and fascinates
+visiting foreigners of learning and wit, as well as of rank. Roman
+society is not large numerically, and the same people are constantly
+meeting and consolidating their many points of contact and interest.
+Social life in these Italian cities is the supreme occupation of the
+residents, and one must concede that in proportion as one meets the same
+people constantly does society gain in dramatic interest. With each
+person who is in any sense an individual the play of life begins. It
+gains in dramatic sequence as it proceeds. The Eternal City is a
+wonderful scenic setting for the human drama.
+
+Local gossip suggests perceptible rivalry between the stately palace of
+the King and the pink palace on the hill, in which Margherita holds her
+state with not less ceremony than that observed at the Court of the
+Quirinale. It is a beautiful thing for a country to have in it a woman
+of high position, of leisure and of culture, who is so admirably fitted
+to be the friend of the people as is Margherita. She is a connoisseur in
+art; she has a most intelligent interest in science; she is a critical
+lover of literature; she is a wise and judicious and deeply sympathetic
+leader in all philanthropic work and purposes. One can hardly visit
+painter or poet or artist in any line, or school, institute, or
+association, but that he hears of the personal sympathy and
+encouragement bestowed by this noble and beautiful Italian Queen,--the
+_Regina Madre_.
+
+Practically there are, indeed, two courts in Rome; that of the Palazzo
+Margherita seeming to quite rival that held at the Palazzo Quirinale.
+The palace of the Queen Mother is an imposing three-story structure of
+pink-hued marble, with beautiful gardens and terraces, and adjoining it,
+in the palace grounds, is a marble villa, used for the entertainment of
+royal guests. This palace has been the residence of Margherita when in
+Rome since the tragic death of King Umberto, in 1900. It is in the
+Ludovisi quarter, and stands on the very site of the Gardens of Sallust.
+The Queen Mother receives noted visitors constantly, and entertains
+visiting royalties and members of the aristocracy. No great man of
+science, literature, and art visits Rome without seeking a presentation
+to the liberal-minded and accomplished _Regina Madre_, who is one of the
+most winning and attractive of all the royal women of Europe.
+
+It has become quite a feature in introducing young girls to present them
+first in private audience to Margherita, and then later to Queen Elena
+at the Court of the Quirinale. Surely no girl could be given a lovelier
+idea of womanhood than that embodied in the Dowager Queen. When the poet
+Carducci died in the early months of 1907, Margherita sent beautiful
+messages of consolation to his family, and, later, to his home city of
+Bologna she sent the following letter:--
+
+     "I announce that I make a free gift to the city of Bologna of the
+     house where Giosue Carducci passed the last years of his life, and
+     the library he collected there.
+
+     "Bologna, that showed such affectionate hospitality for Giosue
+     Carducci for so many years, and surrounded him with so much
+     devotion, will know, I feel sure, how to carefully preserve this
+     remembrance of the greatest poet of modern Italy.
+
+                    MARGHERITA."
+
+The Syndic replied in a letter hardly less fine in its expression of
+Bologna's appreciation, and with assurances that the name of the first
+Queen of Italy will in future be forever associated with Italy's
+greatest modern poet.
+
+The Regio Palazzo del Quirinale is near the Capitol, in the older part
+of the city, and only a small part of this is shown to visitors when
+the King and Queen are in residence. The Sala Regia may be seen, the
+chapel in which are preserved a large number of the wreaths and the
+addresses sent from all parts of the civilized world on the occasion of
+the death of Victor Emmanuel II, and a suite of reception rooms, the
+throne room with many historic portraits, the Sala des Ambassadeurs, and
+the audience chamber, containing Thorwaldsen's "Triumphal Procession of
+Alexander the Great," a gift from Napoleon I. In the small chapel of the
+Annunciation is an altar piece by Guido Reni.
+
+To artists the Queen Mother is most generously kind. One of the younger
+Italian sculptors, Turillo Sindoni, Cavaliere of the Crown of Italy,
+whose latest creation is a very beautiful statue of St. Agnes, has his
+studios in the Via del Babuino, and to especially favored visitors he
+sometimes exhibits a beautiful letter that he received from Margherita,
+who purchased two of his statues. With the letter expressing her warm
+appreciation of his art was an exquisite gift of jewelled sleeve-links.
+
+Notwithstanding the fascinating lectures of Professor Lanciani and the
+valuable and interesting work in the Forum that is being accomplished
+under the efficient directorship of Commendatore Boni, yet all the roads
+that traditionally lead to Rome do not converge to the palace on the
+Palatine. Modern Rome is only mildly archaeological, and while it takes
+occasional recognition of the ancient monuments, and drives to the crypt
+of old St. Agnes, to the tomb of Cecilia Metella, and may manage a
+descent into the catacomb of St. Calixtus, it is far more actively
+interested in its dancing and dining and driving. As a scenic background
+for festivities Rome is a success, and as one comes into social touch
+with the titled nobility, and the resident life, by birth or adoption,
+one finds a city of infinite human interest and picturesque
+possibilities.
+
+Between the "Whites" (the loyal followers of the Palazzo Quirinale and
+the King) and the "Blacks" (the devoted followers of the Palazzo
+Vaticano and the Pope) a great gulf is fixed over which no one may
+cross.
+
+Pope Pius X is wonderfully accessible, considering the great
+responsibilities and duties he has on him, and his generous goodness,
+his gracious tact and the beauty of his spirit endear him to all,
+Catholic or Protestant alike, for every one recognizes in him the
+Christian gentleman, whose ideals of gentleness and inspiring
+helpfulness impress themselves on all who are so fortunate as to meet
+him.
+
+The most impressive ceremonial receptions of the "Blacks" are those
+given at the Spanish Embassy in the Piazza di Spagna. At the Embassy or
+in the private palace of any Roman noble which a Cardinal honors by
+accepting an invitation, he is received according to a most picturesque
+old Roman custom. At the foot of the stairs two servants bearing lighted
+torches meet his Eminence, and, making a profound obeisance, escort him
+to the portals of the grand reception salon and await, in the corridor,
+his return. On his departure they escort him in the same way down the
+staircase.
+
+In the College of Cardinals and among the many interesting
+individualities of the Vatican, the most marked figure is that of the
+Cardinal Secretary of State, Merry del Val. He occupies the Borgia
+apartments, which are hung with tapestry and ornamented with the most
+unique and valuable articles _de vertu_,--wonderful vases, inlaid
+cabinets, old tapestries, paintings, statues, busts, and ivories. These
+Borgia apartments are one of the most interesting features of the
+Palazzo Vaticano, and may be seen now and then by special permission
+when the Cardinal secretary is out, or when he may be pleased to retire
+into his more private salons in the apartment while the others are
+shown. Cardinal Rafael Merry del Val is an impressive personality, whose
+life seems strangely determined by destiny. His father was an _attache_
+of the Spanish embassy to the Court of St. James when the future
+Cardinal was born in 1865. In 1904, at the early age of thirty-nine, he
+was advanced from the soutane violet of the bishop to the mantelletta
+scarlet of the cardinal, and after the accession of the present Pope,
+Pius X, he was appointed to the highest office in the Vatican, that of
+Secretary of State, the Pope paying him the high tribute because of his
+"devotion to work, his capability and absolute self-negation."
+
+Cardinal Merry del Val has had a wonderful training of experience and
+circumstances. At the early age of twenty-two he was a member of the
+papal embassy commissioned to the jubilee of Queen Victoria in 1887. He
+was also appointed a member of the embassy from the Vatican to attend
+the funeral of Emperor William I; and at the jubilee of Francis Joseph,
+Emperor of Austria, Cardinal (then Bishop) Merry del Val was the sole
+and accredited representative of the Holy See, as he was also at the
+coronation of King Edward. The Spanish Cardinal is the special trusted
+counsellor of the royal family of Spain.
+
+In Rome, Cardinal Merry del Val is an impressive figure. He is always
+attended by his _gentiluomo_, who is gorgeously arrayed in knee
+breeches, military hat and sword. This gentleman in waiting walks behind
+him on a promenade, sits in his carriage and stands near him in all
+religious ceremonies. His equipage is well known in the Eternal City,--a
+stately black carriage drawn by two massive black horses with luxurious
+flowing manes.
+
+It is freely prophesied in Rome that the Cardinal secretary is destined
+to yet exchange the mantelletta scarlet for the zucchetta white, when
+Pius X shall have gone the way of all his predecessors in the papal
+chair. He is the Cardinal especially favored by Austria and Spain.
+Although the conflict with France was at first ascribed to Cardinal
+Merry del Val, he has of late been completely exonerated from blame,
+even by the French prelates and clergy.
+
+Cardinal Merry del Val represents the most advanced and progressive
+thought of the day. He is an enthusiastic admirer of Marconi and the
+marvels of wireless telegraphy; he is an advocate of telephonic service,
+electric motors, electric lights, and of phonographs and typewriters for
+the Vatican service. He is a great linguist, speaking English, French,
+and German as well as Spanish, which is his native tongue, and Italian,
+which has become second nature. He is a good Greek scholar and a
+profound Latin scholar, and he speaks the ancient Latin with the fluency
+and the force of the modern languages. He is, indeed, a remarkable
+twentieth-century personality and one who has apparently a very
+interesting life yet to come in his future.
+
+At the Villa Pamphilia Doria, built by a former Prince Doria, the
+largest villa in the Roman environs and the finest now remaining, the
+Cardinal enjoys his game of golf, of which he is very fond. The Doria
+family rendered the villa magnificent in every respect. Besides the
+spacious avenues, woods, fountains, a lake, and cascades, are various
+edifices, among which is one in the form of a triumphal arch, decorated
+with ancient statues; the casino of the villa in which are preserved
+some ancient marbles and several pictures; the beautiful circular
+chapel, adorned with eight columns of marble and other stately
+ornaments. There is a monument erected by the present Prince Doria to
+the memory of the French soldiers who were killed there during the siege
+of 1849. From the terrace of the palace there is a magnificent view of
+the environs of Rome, as far as the sea. In consequence of excavations,
+some columbaria, sepulchres, inscriptions, and other relics have been
+found, which have attracted much attention from archaeologists.
+
+It is near these grounds that the "Arcadians" still hold their _al
+fresco_ meetings. The society dates back to 1690, and the first _custos_
+(whose duty was to open and close the meetings) was Crescimbeni. The
+"Arcadians" organized themselves to protest against the degeneracy of
+Italian poetry that marked the seventeenth century. To keep their
+meetings a secret from the populace the "Arcadians" held their meetings
+in an open garden on the slope below San Pietro in Montorio,--a terrace
+still known as "Bosco Parrasio degli Arcadi."
+
+One of the enchanting views in Rome is from the Piazza San Giovanni. One
+looks far away past the Coliseum in its ruined grandeur and the _casa_
+where Lucrezia Borgia lived, and in the near distance is the colossal
+pile of San Giovanni di Laterano, its beautiful and impressive facade
+crowned with the statues of the apostles silhouetted against the western
+sky. In the piazza formed by the church, the museums, and the Baptistery
+of San Giovanni and the Scala Santa is one of the most remarkable
+obelisks in Rome, ninety-nine feet in height, formed of red granite and
+carved with hieroglyphics. This shaft is placed on a pedestal which
+makes it in all some 115 feet in height. It was placed in 1568 by Sixtus
+V. The museums of the San Giovanni are the "Museo Sacro" and the "Museo
+Profano,"--the latter founded by Pope Gregory XVI, and very rich in
+sculptures and mosaics. The "Museo Sacro" was founded by Pio Nono, and
+is rich in the antiquities of the Christian era. Within San Giovanni
+the visitor finds himself in a vast interior divided by columns of
+verd-antique into three aisles, each of which is as wide as, and far
+longer than, the interior of an ordinary church. Statues fill the
+niches, and the chapels and confessionals are all beautifully decorated.
+The Corsini Chapel is the richest and was executed by order of Clement
+XII, in honor of St. Andrew Corsini, who is represented in a rich mosaic
+painting copied from Guido. Two sculptured figures, "Innocence" and
+"Penitence," stand before the altar, and above is a relief depicting St.
+Andrew protecting the Florentine army at the battle of Anghiari.
+
+The tomb of Pope Clement XII (who himself belonged to the Corsini family
+and who was an uncle of Cardinal Corsini) is in a niche between two
+columns of porphyry, and there is a bronze statue of the Pope. On the
+opposite side is a statue of Cardinal Corsini, and in the crypt below
+are tombs of the Corsini family. On the altar--always lighted--is a
+"Pieta" by Bernini, of which the face of the Christ is very beautiful.
+
+Near the centre of the Basilica is a rich tabernacle of precious stones,
+defined by four columns of _verde antico_, and it is said that the
+heads of St. Peter and St. Paul are preserved here. The table upon which
+Christ celebrated the Last Supper is placed here, above the altar of the
+Holy Sacrament, a sacred relic that thrills the visitors. In one chapel
+is a curious and grotesque group of sculpture,--a skeleton holding up a
+medallion portrait, while an angel with outstretched wings hovers over
+it.
+
+San Giovanni has the reputation of being absolutely the coldest church
+in all Rome, which--it is needless to remark--means a great deal, for
+they all in winter have the temperature of the arctic regions. In all
+these great churches there is never any heat; no apparatus for heating
+has ever been introduced, and the twentieth century finds them just as
+cold as they were in the centuries of a thousand years ago. This
+colossal Basilica is considered the most important church in the world,
+as it is the cathedral of the Pontiff. It was founded in the third
+century by Constantine, destroyed by fire in 1308, and rebuilt by Pope
+Clement V, and every succeeding Pope has added to it. The facade is of
+travertine, with four gigantic columns and six pilasters, and the
+cornice is decorated with colossal figures of Jesus and a number of the
+saints. There are five balconies, the middle one being always used for
+papal benedictions. In the portico is the colossal statue of Constantine
+the Great. Within the columns are of _verde antico_; the ceiling was
+designed by Michael Angelo; the interior is very rich in sculpture, and
+there are some fine paintings and the chapels are most beautiful, one of
+them containing a tabernacle comprised wholly of precious stones. Above
+the altar of the Holy Sacrament the table upon which Christ celebrated
+the Last Supper with the disciples is preserved. It is wonderful to look
+upon this most sacred and significant relic.
+
+It is in this church that the tomb of Leo XIII has been constructed by
+the eminent Italian sculptor, Tadolini, opposite the tomb of Innocent
+III. The work was completed in the spring of 1907, the design being a
+life-size portrait statue of the Pope with two figures, one on either
+side, representing the church and the workman-pilgrim, forming part of
+the group. This is one of the most memorable monuments of all Rome, and
+the tomb of the great Leo XIII will form a new shrine for Christian
+pilgrimage.
+
+Included in the group of structures that form the great Basilica of San
+Giovanni is the Scala Santa, which offers a strange picture whenever one
+approaches it. These twenty-eight marble steps that belonged to Pilate's
+house in Jerusalem are said to have been once trodden by Jesus and may
+be ascended only on one's knees. At no hour of the day can one visit the
+Scala Santa without finding the most motley and incongruous throng thus
+ascending, pausing on each step for meditation and prayer. These stairs
+were transported from Jerusalem to Rome under the auspices of St.
+Helena, the Empress, about 326 A.D., and in 1589 they were placed by
+Pope Sixtus V in this portico built for them with a chapel at the top of
+the stairs called the "Sancta Sanctorum," formerly the private chapel of
+the Popes. In this sanctuary is preserved a wonderful portrait of the
+Saviour, painted on wood, which is said to have been partly the work of
+St. Luke but finished by unseen hands. The legend runs that St. Luke
+prepared to undertake the work by three days' fasting and prayer, and
+that, having drawn it in outline, the painting was done by angelic
+ministry, the colors being filled in by invisible hands. In ancient
+times--the custom being abolished by Pius V in 1566--this picture was
+borne through Rome on the Feast of the Assumption and the bearer halted
+with it in the Forum, when the "Kyrie Eleison" would be chanted by
+hundreds of voices.
+
+Myth and legend invest every turn and footfall of the Eternal City, and
+there are few that are not founded on what the church has always called
+supernatural manifestations, but which the new age is learning to
+recognize as occurrences under natural law.
+
+The story of Luther's ascent of the Scala Santa is thus told:--
+
+     "Brother Martin Luther went to accomplish the ascent of the Scala
+     Santa--the Holy Staircase--which once, they say, formed part of
+     Pilate's house. He slowly mounted step after step of the hard
+     stone, worn into hollows by the knees of penitents and pilgrims.
+     Patiently he crept halfway up the staircase, when he suddenly stood
+     erect, lifted his face heavenward, and in another moment turned
+     and walked slowly down again.
+
+     "He said that as he was toiling up a voice as if from heaven spoke
+     to him and said, 'The just shall live by faith.' He awoke as if
+     from a nightmare, restored to himself. He dared not creep up
+     another step; but rising from his knees he stood upright like a man
+     suddenly loosed from bonds and fetters, and with the firm step of a
+     free man he descended the staircase and walked from the place."
+
+The entire legendary as well as sacred history is almost made up of
+instances of the interpenetration of the two worlds; the response of
+those in the spiritual world to the needs of those in the natural world.
+Pope Paschal recorded that he fell asleep in his chair at St. Peter's
+(somewhere about 8.20 A.M.) with a prayer on his lips that he might find
+the burial place of St. Cecilia, and in his dream she appeared to him
+and showed him the spot where her body lay, in the catacombs of
+Calixtus. The next day he went to the spot and found all as had been
+revealed to him. The miraculous preservation of St. Agnes is familiar to
+all students of legendary art. Throughout all Rome, shrine and niche
+and sculpture, picture, monument, arch and column, speak perpetually of
+some interposition of unseen forces with events and circumstances in
+this part of life. The Eternal City in its rich and poetic symbolism is
+one great object lesson of the interblending of the two worlds, the
+natural and the spiritual. The first stage regarding all this marvellous
+panorama was entire and unquestioning acceptance; the succeeding stage
+was doubt, disbelief; the third, into which we are now entering, is that
+of an enlightened understanding and a growing knowledge and grasp of the
+laws under which these special interpositions and interventions occur.
+
+For that "according to thy faith be it unto thee," is as true now in the
+twentieth century as it was in the first. The one central truth that is
+the very foundation of all religious philosophy is the continuity of
+life and the persistence of intercourse and communion, spirit to spirit,
+across the gulf we call death. The evidences of this truth have been
+always in the world. The earliest records of the Bible are replete with
+them. The gospels of the New Testament record an unbroken succession
+of occurrences and of testimony to this interpenetration of life in the
+Unseen with that in the Seen. Secular history is full of its narrations
+of instances of clairvoyance, clairaudience, and of communications in a
+variety of ways; and the sacred and legendary art of Rome, largely
+founded on story and myth and legend, when seen in the light of
+latter-day science is judged anew, and the literal truth of much that
+has before been considered purely legendary is revealed and realized.
+One reads new meanings into Rome when testing it by this consciousness.
+It is a city of spiritual symbolism. It is a great object lesson
+extending over all the centuries. Making due allowance for the
+distortion and exaggeration of ages of testimony, there yet remains a
+residuum indisputable. The Past and the Present both teem with record
+and incident and experience proving that life is twofold, even now and
+here; that all the motives and acts of the life which we see are
+variously incited, modified, strengthened, or annulled by those in the
+realm of the Unseen.
+
+  [Illustration: ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME
+                 _Page 159_]
+
+The intelligent recognition of this truth changes the entire conduct of
+life. It entirely alters the point of view. It extends the horizon line
+infinitely. Instead of conceiving of life as a whole, as comprised
+between the cradle and the grave, it will be regarded in its larger and
+truer scope as a series of experiences and achievements, infinite in
+length and in their possibilities and unbroken by the change we call
+death. This will impart to humanity a new motor spring in that greater
+hope which puts man in a working mood, which makes him believe in the
+value of that which he undertakes, which encourages him to press on amid
+all difficulties and against all obstacles. Increasing hope, all
+activity is proportionately increased. It was an event of incalculable
+importance to the progress of humanity when the swift communication by
+cable was established between America and Europe. It is one of
+infinitely greater importance to establish the truth and enlarge the
+possibility of direct communication with the world of higher forces and
+larger attainment and scope than our own. This communication exists and
+has always existed, but it has been regarded as myth and legend and
+phenomenon rather than as a fact of nature whose laws were to be
+ascertained and understood. It must be made clear as an absolute
+scientific demonstration that the change of form by the process we call
+death does not put an end to intelligent and rational intercourse, but
+that, indeed, instead of setting up a barrier, it removes barriers and
+renders mutual comprehension far clearer and more direct than before.
+This realization alters the entire perspective of life, and is the new
+Glad Tidings of great joy.
+
+It is something of all this that the Eternal City suggests to one as he
+makes his pilgrimages to shrine and cloister and chapel and Basilica.
+The mighty Past is eloquent with a thousand voices, and they blend into
+a choral harmony of promise and prophecy for the nobler future of
+humanity.
+
+At the foot of the Scala Santa, on either side, are statues of Christ
+and Judas, and of Christ and Pilate, very interesting groups by
+Jacometti, and there is also a kneeling statue of Pio Nono.
+
+The statue of Judas is considered one of the most notable of the late
+modern Italian sculpture.
+
+The Rome of to-day is in strange contrast even to the city that Page and
+Hawthorne knew, in the comparatively recent past; and the Rome of the
+ancients is traced only in the churches and the ruins. It is a _mot_
+that one hears every language spoken in Rome, except the Italian! So
+largely has the Seven-hilled City become the pleasure ground of foreign
+residents. The contrast between the ordinary breakfast-table talk in
+Rome and in--Boston, for instance, or Washington, is amusing. In the
+Puritan capital it usually includes the topic of weather predictions and
+the news in the morning paper, with whatever other of local or personal
+matters of interest. In Washington, where the very actors and the events
+that make the nation's history are fairly before one's eyes, the
+breakfast-table conversation is apt to turn on matters that have not yet
+got into the papers,--the evening session of the previous night,
+perhaps, when too long prolonged under the vast dome to admit of its
+having been noted in the morning press. But in Rome the breakfast-table
+talk is apt to be of the new excavations just taken from the bed of the
+Tiber; the question as to whether the head of St. Paul could have
+touched (at the tragic scene of his execution) at three places so far
+apart as the tri-fontanes; or a discussion of the marvellous freshness
+of the mosaics in the interior of the Palace of the Caesars; or, again,
+of the last night's balls or dinners, and matters most frankly
+_mondaine_, and of contemporary life.
+
+The American Embassy, whose location depends on the individual choice of
+the Ambassador of the time, is now in the old Palazzo del Drago on the
+corner of the Via Venti Settembre and the Via delle Quattro Fontane. The
+street floor, like all the old palaces, is not used for living purposes.
+The portiere, the guards, the corridors, and approaches to the
+staircases monopolize this space. The piano nobile is the residence of
+the beautiful and lovely Principessa d'Antuni, the youthful widow of the
+Principe who was himself a grandson of Marie Christine, the Queen of
+Spain. The young Princess who was married to him at the age of
+seventeen, ten years ago, is left with three little children, of whom
+the only daughter bears the name of her great-grandmother, the Spanish
+Queen. Perfectly at home in all the romance languages, an accomplished
+musician, a thinker, a scholar, a student, a lovely figure in life, a
+beautiful and sympathetic friend is the Princess d'Antuni. She is "of a
+simplicity," as they say in Italy, investing the dignity of her rank
+with indescribable grace and sweetness. The two long flights of stairs
+that lead up to the secundo piano in the Palazzo del Drago--the floor
+occupied by the American Embassy--have at least a hundred steps to each
+staircase, yet so broad and easy of ascent as hardly to fatigue one.
+These flights are carpeted in glowing red, while along the wall are
+niches in each of which stands an old statue, making the ascent of the
+guest seem a classic progress.
+
+The Palazzo del Drago has an elevator, but elevator service in Rome is a
+thing apart, something considered quite too good for human nature's
+daily food, and the slight power is far too little to permit any number
+of people to be accommodated, so on any ceremonial occasion the elevator
+is closed and the guests walk up the two long flights. The total lack of
+any mastery of mechanical conditions in Italy is very curious.
+
+The grand ball given at the American Embassy just before Ash Wednesday
+in the winter of 1907 was a very pretty affair. Up the rose-red carpeted
+stairs the guests walked, the statues looking silently on, but
+apparently there was no Galatea to step down from her niche and join the
+happy throng. In the antechamber each guest was asked to write his name
+in the large autograph books kept for that purpose, and then, passing
+on, was received by the Ambassador and Ambassadress in the first of the
+splendid series of salons thrown open for the occasion. At this time it
+was Mr. and Mrs. Henry White who represented the United States, and won
+the hearts of all Rome as well, and assisted by their charming daughter,
+Miss Muriel White, they made this ball an affair to leave its lovely
+pictures in memory. The scenic setting of an old Roman palace captivates
+the stranger. It may not impress him as especially comfortable, but it
+is certainly picturesque, and who would not prefer--at least for the
+"one night only" of the traditional _prima donna_ announcements--the
+pictorially picturesque and magnificent to the merely comfortable? The
+lofty ceilings, painted by artists who have long since vanished from
+mortal sight, make it impossible to attain the temperature that the
+American regards as essential to his terrestrial well-being, and as the
+only sources of heat were the open fireplaces the guests hovered around
+these and their radii of comfortable warmth were limited. In one salon
+there was one especially beautiful effect of a great jar of white lilacs
+placed before a vast mirror at sufficient distance to give the mirror
+reflection an individuality as a thing apart, and the effect was that of
+a very garden of paradise. The music was fascinating, the decorations
+all in good taste, and the occasion was most brilliant,--_tres
+charmante_ indeed. The American ambassadress was ablaze with her famous
+diamonds, her corsage being literally covered with them, and her
+coiffure adorned with a coronet, but the temperature soon forced the
+ambassadress to partially eclipse her splendor with the little ermine
+shoulder cape that is an indispensable article for evening dress in
+Rome. The temperature does not admit the possibility of _decollete_
+gowns without some protection, when these resplendent glittering robes
+that seem woven of the stars are worn. Among the more distinguished
+guests, aside from the _corps diplomatique_ and the titled nobility of
+Rome and visiting foreigners, were M. Carolus Duran, the celebrated
+portrait artist of Paris, and among other interesting people were Miss
+Elise Emmons of Leamington, England, a grand-niece of Charlotte Cushman.
+M. Carolus Duran was very magnificent, his breast covered with jewelled
+orders and decorations from the various societies, academies, and
+governments that have honored him. He is a short man and has grown quite
+stout, but he carries himself with inimitable grace and dignity, and in
+his luminous eyes one still surprises that far-away look which Sargent
+so wonderfully caught in his portrait of the great French artist,
+painted in his earlier life.
+
+The number of spacious salons with their easy-chairs and sofas enabled
+all guests who desired to ensconce themselves luxuriously to do so, and
+watch the glittering scene. The supper room and the salon for dancing
+were not more alluring than the salons wherein one could study this
+brilliant throng of diplomates, titled nobility, distinguished artists,
+social celebrities, and those who were, in various ways, each _persona
+grata_ in Rome. Among those at this particular festivity were the
+American novelist, Frank Hamilton Spearman, with Mrs. Spearman. In late
+American fiction Mr. Spearman has made for himself a distinctive place
+as the novelist whose artistic eye has discerned the romance in the new
+phases of life created by the extensive systems of mountain railroading,
+and the great irrigation schemes of the far West, which have not only
+opened up new territory, but have called into evidence new combinations
+of the qualities most potent in human life,--love, sacrifice, heroism,
+devotion to duty, and tragedy and comedy as well. In his novels, "The
+Daughter of a Magnate" and "Whispering Smith," in such vivid and
+delightful short stories as "The Ghost at Point of Rocks," which
+appeared in _Scribner's Magazine_ for August of 1907, Mr. Spearman has
+dramatized the pathos, the wit, the vast and marvellous spirit of
+enterprise, the desolation of isolated regions, the all-pervading
+potency and one may almost say intimacy of modern life made possible by
+the Arabian Nights' dream of wireless telegraphy, "soaring" cars,
+long-distance telephoning, and lightning express train service in cars
+that climb the mountains beyond the clouds, or dash through tunnels with
+ten thousand feet of mountains above them. Mr. Spearman is the novelist
+_par excellence_ of this intense _vie modernite_.
+
+On Washington's Birthday, again, the stately salons of the American
+Embassy in the old Palazzo del Drago were well filled from four to six
+with an assemblage which expressed its patriotism and devotion to
+Washington by appearing in its most faultless raiment and in an apparent
+appreciation of the refreshment tables, from which cake and ices, tea
+and various other delicacies, were served.
+
+The informal weekly receptions at the Embassy are always delightful, and
+the dinners and ceremonial entertainments are given with that faultless
+grace which characterizes the American ambassadress.
+
+The American consulate is always a charming centre in Rome, and in the
+present residence of Consul-General and Mrs. De Castro, who have
+domiciled themselves on a lofty floor of a palace in the Via Venti
+Settembre, commanding beautiful views that make a picture of every
+window, the consulate is one of the favorite social centres for
+Americans and other nationalities as well, who enjoy the charming
+welcome of Mrs. De Castro.
+
+Professor and Mrs. Jesse Benedict Carter, in their lovely home in the
+Via Gregoriana, add another to the pleasant American centres in the
+Eternal City, Professor Carter having succeeded Professor Norton as the
+principal of the American Classical School.
+
+Mrs. Elihu Vedder, assisted by her accomplished daughter, Miss Anita
+Vedder, has a pretty fashion of receiving weekly in Mr. Vedder's studio
+in the Via Flaminia, and these Saturday receptions at the Vedders' are a
+feature of social life in Rome which are greatly sought. The
+distinguished artist reserves these afternoons for leisurely
+conversation, and pictures and sketches are enjoyed the more that they
+may be enjoyed in the presence of their creator. Miss Vedder has called
+to life again the almost lost art of tapestry, and her productions of
+wonderful beauty are considered as among the most desirable in modern
+decorative art. Among these tapestries are "The Lover's Song," "Salome
+Dancing before Herod," "The Annunciation," "The Legend of the Unicorn,"
+"The Lovers' Picnic," and "The Lovers." The tapestries were painted in
+Rome and in the Vedder villa, _Torre Quattro Venti_ on Capri, where the
+artist and his wife and daughter pass their summers. The established
+English Church has two chapels in Rome, one the Holy Trinity, of which
+Rev. Dr. Baldwin is the rector, and the other English chapel in Via del
+Babuino has for its chaplain Rev. Dr. Nutcombe Oxenham, whose ministry
+is one of the most helpful factors in Rome. Dr. and Mrs. Oxenham occupy
+a charming apartment in the Piazza del Popolo, the most picturesque
+piazza in Rome, with the terraced Pincion hillside crowned by the Villa
+di Medici on one side, and the "twin churches" on another; and the
+beautiful salon of Mrs. Oxenham, with its wealth of books and classic
+engravings and gems of pictures, is one of the homelike interiors in
+Rome. Mr. and Mrs. Oxenham receive on Wednesdays, and an hour with them
+and their guests is always a privileged one.
+
+The work of this church, largely through the active co-operation of Mrs.
+Oxenham, extends into wide charities which are without discrimination as
+to sect or race,--the only consideration being the human need to be met
+in the name of Him whose care and love are for each and all.
+
+Among the delightful hostesses of Rome is the American wife of Cavaliere
+Cortesi, an Italian man of letters, and in their apartment, in one of
+the notable palaces in the Corso, some of the most brilliant musicals
+and receptions are given, the "All'Illustrissima Signora" being assisted
+in the informal serving of tea by the two little fairy daughters,
+Annunziata and Elizabetta, whose childish loveliness lingers with the
+_habitues_ of this pleasant home.
+
+In the Palazzo Senni, in the old part of Rome, looking out on Castel San
+Angelo and the Ponte d'Angelo, across to the dome of St. Peter's, the
+Listers had their home; and though Mrs. Lister, one of the most
+distinguished English ladies of Rome, has gone on into the fairer world
+beyond, her daughter, Miss Roma Lister, sustains the charming
+hospitalities for which her mother was famous. Her salons on the piano
+nobile of the palace are rich in souvenirs and rare objects of art. Mrs.
+Lister, who was of a noted English house, was evidently a favorite with
+Queen Victoria and the royal family; and her marriage gifts included two
+drawings by the Queen, both autographed, and a crayon portrait of the
+Empress Frederick with autographic inscription to Mrs. Lister. Another
+personal gift was a portrait of Cardinal Newman, with his autograph. A
+bust of Lady Paget of Florence, the widow of Sir Augustus Paget,
+formerly the English Ambassador to Italy, is another of the interesting
+treasures which include, indeed, gifts and offerings from a large number
+of those eminent in state, in art, in literature, or in the church. The
+gracious hospitality of Miss Lister is dispensed to groups of
+cosmopolitan guests, and her dinners and other entertainments are among
+the most brilliant in Rome.
+
+The Eternal City is not as hospitable to various phases of modern
+thought as is Florence, in which Theosophy, Christian Science, and
+psychic investigation flourish with rapidly increasing ardor; but Rome
+has a Theosophical Society, among whose leaders is the Baroness
+Rosenkrans, the mother of the distinguished young Danish novelist, and
+the aunt of Miss Roma Lister. The society has its rooms in the very
+heart of old Rome, and holds weekly meetings, often with an English
+lecturer as the speaker of the hour. A Theosophical library, in both
+English and Italian, is easily accessible, and the meetings are
+conducted in either language as it chances at the time. The accession of
+Annie Besant to the presidency of the Theosophical Society, succeeding
+Colonel Olcott, whose death occurred early in 1907, was most
+satisfactory to the Roman members. Mrs. Besant is one of the most
+remarkable women of the day. She is in no sense allied with any fads
+or freaks; she is essentially a woman of scholarship and poise, of
+genuine grasp of significant thought and of brilliant eloquence.
+Theosophy, rightly interpreted, is in no sense antagonistic, but,
+rather, supplemental to Christianity. It offers the intellectual
+explanation--the details, so to speak--of the great spiritual truths of
+the Bible.
+
+Rome seems fairly on its way to become an English-speaking city, so
+numerous are the Americans and English who throng to Rome in the winter.
+
+There are now at least a dozen large new hotels on the scale of the best
+modern hotels in New York and Paris, beside the multitude of the older
+ones which are comfortable and retain all their popularity; yet this
+increase in accommodation does not equal the increase in demand. In
+February the tide of travel sets in toward Rome, and from that date
+until after Easter every nook and niche are filled to overflowing. The
+demand for apartments in Rome is greater than the supply, although the
+city is being constantly extended and new buildings are rapidly being
+erected. It would seem as if, with the present increasingly large number
+of Americans and English, it might be an admirable financial enterprise
+for capitalists to come and build comfortable modern apartment hotels.
+There seems to be no adequate reason why, in this age, people should be
+compelled to live in these gloomy, dreary, cold, old stone palaces,
+without elevator service and with no adequate heating, lighting, and
+running-water facilities. There would seem to be no conceivable reason
+why these conveniences should not be at hand in Rome as well as in New
+York. As for the climate, with warm houses to live in, it would be
+charmingly comfortable, for the deadly cold is not in the temperature
+out of doors, but only in the interiors. One is warm in the sunshine in
+the streets, when he is fairly frozen in the house. Mentioning this,
+however, with wonder that some enterprising American did not begin such
+building operations, a friend who has lived for sixteen years in Rome
+replied that the Italians would never permit it; that no foreigner is
+allowed to come in here and initiate business operations. And the
+Italians continue building after the old and clumsy fashion of five
+hundred years ago.
+
+Italy has a curiously pervasive and general suspicion of any latter-day
+comfort. The new apartment houses of from four to seven stories are
+largely without any elevator; if there is one it usually only ascends
+about halfway, and it is so clumsy and slow in its methods, so poorly
+supported by power, that half the time it does not run at all. The
+streets of Rome are paved with rough stones; the sidewalks are very
+narrow; the lighting is inadequate. Bathrooms are rare and insufficient
+in number, and all interior lighting and heating arrangements lack much
+that is desirable according to American ideas of comfort.
+
+Still the Eternal City is so impressive in and of itself that sunshine
+or storm, comfort or the reverse, can hardly affect one's intensity of
+joy and wonder and mysterious, unanalyzable rapture in it. The
+twentieth-century Rome is a very different affair from the Rome on which
+Hawthorne entered one dark, cold, stormy winter night more than half a
+century ago. In the best modern hotels one may be as comfortable as he
+likes, with all the fascinations of life added besides. No wonder that
+Rome is one of the great winter centres, with some of the most
+interesting people in the world always to be found under the spell of
+its enchantment.
+
+The Rome of to-day is a curious mixture of ruins and of modern buildings
+which are neither modern nor mediaeval in their structure, but many of
+which combine the most picturesque features of the latter with the
+latest beauty of French and American architectural art. The classic
+buildings are now largely in unpleasant surroundings; as, for instance,
+the Pantheon, which is surrounded by a fish market, with unspeakable
+odors and other repulsive features. "But the portico, with its sixteen
+Corinthian columns, is forever majestic; the interior, a vast circular
+cell surmounted by a dome through which alone it is lighted, there being
+no windows in the walls, is massive and grim, but the magical
+illumination, the eye constantly revealing the sky above, gives it
+wonderful beauty. Over the outer portals is the inscription of its
+erection by Agrippa twenty-seven years before Christ, so it has stood
+for nearly two thousand years. Colossal statues of Augustus and Agrippa
+fill niches. In diameter the interior of the Pantheon is one hundred and
+thirty-two feet, and it is the same in height, which insures the
+singularly harmonious proportions. The tribune of the High-Altar is cut
+in the thickness of the wall in the form of a semicircle, and is
+ornamented, like the door, with four pilasters and two columns of violet
+marble. The six chapels are also cut in the wall and ornamented by two
+columns and two pilasters. The columns and the pilasters support the
+beautiful cornice of white marble; the frieze is of porphyry, and goes
+round the whole temple. Above this order there is a species of attic
+with fourteen niches, and the great cornice from which rises the
+majestic dome. Eight other niches are between the chapels, and these are
+also with a pediment supported by two Corinthian columns. They are now
+converted into altars. In this temple are buried several artists, among
+whom are Raphael, Giovanni da Udine, Baldassare Peruzzi, and Annibale
+Carracci. Raphael is buried beneath the base of the statue called la
+Madonna del Sasso, sculptured by Lorenzetti. This church is, however,
+without paintings or sculptures of much interest. Victor Emmanuel was
+entombed here on the 20th of January, 1878, and King Umberto on the 9th
+of August, 1900." One of the imposing ceremonies of Rome is that always
+celebrated in the Pantheon on March 14, in memory of King Umberto Primo.
+
+A grand catafalque, surmounted by the royal crown, and surrounded by
+tall candelabra with wax candles, is erected in the centre of the
+temple, draped with black velvet and gold lace, and lighted with
+electric lamps. The mass is for a chorus of voices only. All the civil
+and military authorities, the state dignitaries, and the _corps
+diplomatique_ to the court of Italy are present. The troops, in full
+dress uniform, file in the Piazza of the Collegio Romano, Via Pie di
+Marmo, and the Piazza della Minerva, enclosing thus a large square in
+the Piazza del Pantheon. The spectacle is one of the most imposing of
+all Roman ceremonies.
+
+The King, and Queen Elena, and the Dowager Queen Margherita, accompanied
+by their respective civil and military households, assist at the requiem
+mass celebrated in the Pantheon, and at a commemoration service, on the
+same day, in the Royal Chapel of the Sudario, where also assemble the
+ladies and gentlemen of the Order of the Annunziata.
+
+On the same morning the feast of St. Gregory, Pope and Doctor of the
+church, is celebrated at his church on the Caelian Hill. He was born of a
+noble family, and was Prefect of Rome in 573. Pope Pelagius II made him
+regionary deacon of Rome, and sent him as legate to Constantinople in
+578, where he remained till the death of Pelagius, when he was elected
+Pope (590). He introduced the Gregorian chant. His first great act was
+to send St. Augustine to convert the Saxons of England to the Christian
+faith. An inscription in the Church of San Gregorio Magno states that
+St. Augustine was educated in the abbey which was erected on the site of
+the present church by Gregory, and that many early archbishops of York
+and Canterbury were also educated there. It was on the steps of this
+church that Augustine and his forty monks took leave of Gregory, when
+setting out for England. He died in 604, after a pontificate of thirteen
+years and six months. He was buried in the portico of the Vatican
+Basilica, and his body lies under the altar dedicated to him in this
+same church. His church, on the Caelian Hill, was built on the site of
+the monastery founded by him. In the chapel of the triclinium, near the
+church, the table on which he served the poor is shown. Near the church
+also is seen his cell, where his marble chair and one of his arms are
+exhibited.
+
+During the Lenten season of 1907 one of the privileges of Rome was to
+hear the sermons of Monsignor Vaughn, in the English Catholic Church of
+San Silvestre. Monsignor Vaughn is the private chaplain of the Pope. His
+discourses attracted increasing throngs of both Catholic and Protestant
+hearers. This celebrated prelate is a brother of the late English
+Cardinal. He is a man of great distinction of presence, of beautiful
+voice and fascination of manner. One discourse had for its theme the
+joys of the life that is to come. The spiritual body, he said, has many
+qualities not pertaining to the physical body. It is immured from all
+disease and accidents; it is subtle and can pass through any substance
+which is (apparently) solid to us, as, for instance, when Jesus appeared
+in the midst of his disciples, "the doors being shut." It is not a clog
+on the soul, continued Monsignor Vaughn; the spiritual body is the
+vehicle of the soul and can waft its way through the air; it can walk
+the air as the physical body walks the earth. It is not--as is the
+physical body--the prison of the soul, but the companion of the soul.
+This is all a very enlightened presentation of spiritual truth, and it
+is little wonder that such preaching attracts large congregations. Holy
+Week in Rome bears little resemblance now to that of the past. The Pope
+is not visible in any of the ceremonials in any of the churches; and the
+impressiveness of former Catholic ceremonials is greatly lessened.
+Indeed, with the passing of the temporal power of the Pope, the
+picturesqueness of Rome largely vanished.
+
+Not, assuredly, from any lack of reverence for the colossal cathedral of
+St. Peter's is that Basilica a resort for Sunday afternoons; it suggests
+a social reunion, where every one goes, listens as he will to the music
+of the Papal choir in the Chapel of the Sacrament, and strolls about the
+vast interior where the promenade of the multitude does not yet disturb
+in the least the vesper service in the chapel. Here one meets
+everybody; the general news of the day is exchanged; greeting and
+salutation and pleasant little conversational interludes mark the
+afternoon, while the sun sinks behind the splendid pile of the Palazzo
+Vaticano, and the golden light through the window of the tribune fades
+into dusk. Can one ever lose out of memory the indescribable charm of
+this leisurely sauntering, in social enjoyment, in the wonderful
+interior of St. Peter's?
+
+In the way of the regulation sight-seeing the visitor to Rome compasses
+most of his duty in this respect on his initial sojourn and goes the
+rounds that no one ever need dream of repeating. Once for all the
+visitor to Rome goes down into the Catacombs; makes his appallingly hard
+journey over Castel San Angelo, into its cells and dungeons, and to the
+colossal salon in which is Hadrian's tomb; once for a lifetime he climbs
+St. Peter's dome; drives out to old St. Agnes and descends into the
+crypt; visits the Church of the Capucines and beholds the ghastly
+spectacle of the monks' skulls; drives in the Appian Way; visits the
+Palace of the Caesars, the Baths of Caracalla--a mass of ruins; the
+Forum; the Temples of Vesta and Isis; the Coliseum, and the classic old
+Pantheon. These form a kind of skeleton for the regulation sight-seeing
+of the Eternal City; things which, once done, are checked off with the
+feeling that the entire duty of the tourist has been fulfilled, and
+that, henceforth in Rome, there is laid up for him the crown of
+enjoyment, if not rejoicing; that he may go again and again to study the
+marvellous treasures of the Vatican galleries, the masterpieces of art
+in the Raphael stanze in the Vatican, the interesting pictures and
+sculpture in the many rich churches and galleries. The deadly chill of
+most of these galleries and churches in the winter is beyond words to
+describe. It is as if the gloom and chill and darkness of a thousand
+centuries were there concentrated.
+
+One of the regulation places for the devout sight-seer, who feels
+responsible to his conscience for improving his privileges, is the Museo
+Nazionale, or the Tiberine Museum, a large proportion of whose treasures
+have been excavated in making the new embankments of the Tiber. It is
+located on the site of the Baths of Diocletian, the great ruins of which
+surround it in the most uncanny way. Built around a large court, the
+salons of the museum are entered from the inner cloisters. In the centre
+of the court is a fountain, and around it are antique fragments of
+statues, columns, and statuettes found in many places. The famous
+Ludovisi collection of antique statuary is now permanently placed in
+this museum,--a collection that includes the "Ludovisi Mars;"
+"Hercules," with a cornucopia; the "Hermes of Theseus," the "Discobolus
+Hermes;" the "Venus of Gnidus" as copied by Praxiteles; the "Dying
+Medusa;" the "Ludovisi Juno," which Winckelmann declares to be the
+finest head of Juno extant, a Greek work of the fourth century; a "Cupid
+and Psyche;" the two "Muses of Astronomy" and of "Epic Poetry," "Urania
+and Calliope;" "an Antoninus;" the largest sarcophagus known; a "Tragic
+Mask" (colossal) in rosso antico; a bust of "Marcus Aurelius" in bronze,
+and many other priceless works.
+
+The splendor of scenic setting for art in the magnificent salons of the
+Casino Borghese has never been surpassed. They are, perhaps, the most
+impressive of any Roman interior, with lofty, splendidly decorated
+ceilings and walls, where recess and niche hold priceless sculptures.
+The splendor of these salons, indeed, quite exceeds description. In the
+principal one is a group on one wall--a colossal relief--representing
+Marcus Curtius plunging into the gulf in the Forum. There are busts of
+the twelve Caesars; there are busts of all the Roman Emperors, with
+alabaster draperies, placed on pedestals of red granite. There are
+Bernini's "Apollo and Daphne;" Canova's celebrated statue of Princess
+Pauline Borghese (the sister of Napoleon I); Bernini's "David" and
+"AEneas and Anchises;" Thorwaldsen's "Faun;" "Diana," "Isis," "Juno," and
+many other celebrated classic statues. All the great paintings which
+were formerly in the Palazzo Borghese--over six hundred in all--are now
+in this casino. The great work in this collection is Raphael's
+"Entombment of Christ," painted in his twenty-fourth year. Titian's
+"Divine and Human Love;" Raphael's portrait of "Caesar Borgia;"
+Correggio's "Danae;" Domenichino's "Cumaean Sibyl" and "Diana;" Peruzzi's
+"Venus Leaving the Bath;" Van Dyck's "Crucifixion;" Titian's "Venus and
+Cupid;" and "Annunciation," by Paul Veronese; Vasari's "Lucrezia
+Borgia;" Botticelli's "Holy Family and Angels;" Van Dyck's "Entombment;"
+Carlo Dolce's "Mater Dolorosa," and Sassoferrato's "Three Ages of Man"
+are among the great masterpieces in this museum.
+
+The Villa Borghese (by which is meant the park) is some three miles in
+extent, and was laid out some two hundred years ago by Cardinal
+Borghese. As recently as 1902 it was purchased by the government for
+three million francs, and its official name is now "Villa Comunale
+Umberto Primo." These grounds contain fountains, antique statues,
+tablets, small temples and many inscriptions, with statues of AEsculapius
+and Apollo, and an Egyptian gateway. They are open all day to every one
+freely and are one of the great attractions of Rome.
+
+The great palaces of Rome are of later date than those of Florence.
+There are some eighty principal ones, of which the Palazzos Veneziano,
+Farnese, Doria, Barberini, Colonna, and the Rospigliosi (containing
+Guido's famous "Aurora") are the most important. The Farnesina Palace
+contains some of the most interesting pictures in Rome, and the
+traditions of the residence of Agostino Chigi, during the pontificate
+of Leo X, are still found in Rome,--traditions of the lavish
+magnificence of the entertainments given here to the Pope and the
+Cardinals.
+
+The Monte Pincio is the famous drive of Roman society, and the promenade
+around the brow of the hill offers one of the most enchanting views of
+the world. Near the Trinita di Monti stands the historic Villa Medici,
+the French Academy of which the great Carolus Duran is now the director.
+The view across the valley in which lies the Piazza di Spagna, the river
+to St. Peter's, from the Villa Medici, is one of the finest in Rome.
+
+The architecture of the garden facade is attributed to Michael Angelo.
+These gardens have a circuit of more than a mile, laid out in the formal
+rectangles and densely bordered walks of the Italian custom. All manner
+of old fragments of sculpture are scattered through them,--a torso, a
+broken bust, a ruined statue, an old and partly broken fountain,--and
+entablatures and reliefs are seen in the walls on every hand. No sound
+of the city ever penetrates into this dense foliage which secludes the
+gardens of the famous Villa Medici.
+
+One of the features of Roman life is the fashionable drive on Monte
+Pincio in the late afternoons. An hour or two before sunset the terrace
+of the Piazza Trinita di Monti begins to be thronged with pedestrians,
+who lean over the marble balustrade, gazing at the incomparable pictured
+panorama where the vast dome of St. Peter's, the dense pines of the
+Villa Pamphilia-Doria on the Janiculum, and the dark cypress groves on
+Monte Mario loom up against the golden western sky.
+
+Compared with the extensive parks of modern cities the Monte Pincio
+would prefigure itself as a drive for fairies alone. It comprises a few
+acres only, thickly decorated with trees and shrubbery, with a casino
+for the orchestra that plays every afternoon, and a circular carriage
+drive so limited in extent that the same carriage comes in view every
+few minutes.
+
+The Eternal City has had so many birthdays that one would fancy them to
+have become negligible; but it was announced on April 21 of 1907 that
+the date was a special anniversary, and she took on aspects of
+festivity. The municipal palaces and museums were hung with tapestries,
+flags were flying from the Capitol, the municipal guards were all in
+full dress uniform and the municipal orchestra played in the Piazza
+Colonna. The historic bell began ringing at eight in the morning in
+peals that were well calculated to call the Caesars from their tombs and
+which might, indeed, have been mistaken for the final trumpet calls of
+Gabriel. But the Romans take their pleasures rather sadly and
+sternly,--not like the light-hearted Florentines in song and laughter,
+or with the joyous abandon of the Neapolitans,--so there was no special
+manifestation on the part of the populace, and the day, cold, gloomy,
+and cheerless, did not inspire gayety.
+
+When the Republic of Rome was established (on Feb. 9, 1849) a
+provisional government was appointed. In March of that year Mazzini
+proposed that the assembly should appoint a Committee of War, and it was
+decided to send troops to Piedmont. Later a triumvirate, consisting of
+Mazzini, Saffi, and Armellini, was formed, but disaster was near. In
+April the French troops landed at Civita Vecchia, and the Italians
+prepared to defend their country from the control of Louis Napoleon.
+Mazzini is said to have been "the life and the soul" of this defence.
+But the Republic was doomed, and when it had fallen the Pope returned,
+only under the protection of the French. But the French Empire, too, was
+doomed to fall; and when Garibaldi transferred his successes to Victor
+Emmanuel, the monarchy was consolidated by the union of Rome with Italy,
+and the present "Via Venti Settembre" in Rome--the street named to
+commemorate that 20th of September, 1870, on which the Italian troops
+entered the city and the Papal reign ended--perpetuates the story of
+those eventful days. "Victor Emmanuel, Cavour, and Garibaldi have been
+designated, along with Mazzini, as the founders of the modern Italy,"
+said Dr. William Clarke, "but a broad line divides Mazzini from the
+others." Dr. Clarke sees between Cavour and Mazzini "the everlasting
+conflict between the idealist and the man of the world. The former," he
+continues, "stands by the intellect and the conscience; the latter by
+the limitations of actual fact and the practical difficulties of the
+case," and Dr. Clarke notes further:--
+
+     "It was pre-eminently Mazzini who gave to Italy the breath of a new
+     life, who taught her people constancy in devotion to an ideal
+     good. Prophets are rarely successful in their own day, and so it
+     has been with the prophet of modern Italy. The making of Italy has
+     not proceeded in the way he hoped it would; for the Italians, who
+     are an eminently subtle and diplomatic people, have apparently
+     thought it best to bend to the hard facts by which they have been
+     surrounded. But if, as Emerson teaches, facts are fluid to thought,
+     we may believe that the ideas of Mazzini will yet prevail in the
+     nation of his birth, and that he may yet be regarded as the
+     spiritual father of the future Italian commonwealth. For of him, if
+     of any modern man, we may say that he
+
+    'Saw distant gates of Eden gleam,
+    And did not dream it was a dream.'"
+
+  [Illustration: STATUE OF CHRIST, ANCIENT CHURCH OF SAN MARTINA, ROME
+                 _From the Artist's Original Cast_
+                 Albert Bertel Thorwaldsen
+                 _Page 193_]
+
+Between the period of the establishment of the Roman Republic in 1849
+and the consummation of United Italy in 1870 the years were rich to the
+artist, whatever they may have been to philosopher and patriot. The way
+for the painter and the sculptor seems to have been a flowery and a
+pictorial one,--a very _via buona fortuna_, through a golden,
+artistic atmosphere. The perpetual excursions may lead the serious
+spectator to wonder where working hours come in, but, at all events,
+those days are rich in color. Friends grouped together by the unerring
+law of elective affinities loitered in galleries and churches. San
+Martina, near the Mamertine prisons, was a point of interest because of
+Thorwaldsen's bequest to it of the original cast of his beautiful statue
+of "Christ" which is in Copenhagen. This is, perhaps, the finest work
+ever conceived by the Danish sculptor, and is one that no visitor of
+to-day can behold unmoved. Both Canova and Bernini are also represented
+in this church,--the former by a statue of "Religion" and the latter by
+a bust of Pietro da Cortona. Beneath the present Church of San Martina
+is the ancient one containing the shrine of the martyr, under a superb
+bronze altar. Of this church, Mrs. Jameson says in her "Sacred and
+Legendary Art":--
+
+     "At the foot of the Capitoline Hill, on the left hand as we descend
+     from the Ara Coeli into the Forum, there stood in very ancient
+     times a small chapel, dedicated to St. Martina, a Roman virgin. The
+     veneration paid to her was of very early date, and the Roman people
+     were accustomed to assemble there on the first day of the year.
+     This observance was, however, confined to the people, and was not
+     very general till 1634, an era which connects her in rather an
+     interesting manner with the history of art. In this year, as they
+     were about to repair her chapel, they discovered, walled into the
+     foundations, a sarcophagus of terra cotta, in which was the body of
+     a young female, whose severed head reposed in a separate casket.
+     These remains were very naturally supposed to be those of the saint
+     who had been so long venerated on that spot. The discovery was
+     hailed with the utmost exultation, not by the people only, but by
+     those who led the minds and consciences of the people. The Pope
+     himself, Urban VIII, composed hymns in her praise; and Cardinal
+     Francesco Barberini undertook to rebuild her church."
+
+The painter, Pietro da Cortona, entered into this feeling and at his own
+expense built the chapel and painted for its altar piece the picture
+representing the saint in triumph, while the temple in which she has
+gone to sacrifice falls in ruins from a raging tempest.
+
+In any stray ramble in Rome the sojourner might chance, at any moment,
+upon obelisk, a pedestal or inscription linked with the great names of
+the historic past. Hawthorne has recorded how, by mere chance, he turned
+from the Via delle Quattro Fontane into the Via Quirinale and was thus
+lured on to an obelisk and a fountain on the pedestal of which on one
+side was the inscription, "Opus Phidias," and on the other, "Opus
+Praxiteles," and he exclaims:--
+
+     "What a city is this, when one may stumble, by mere chance--at a
+     street corner as it were--on the works of two such sculptors! I do
+     not know the authority," he continues, "on which these statues
+     (Castor and Pollux I presume) are attributed to Phidias and
+     Praxiteles; but they impressed me as noble and godlike, and I feel
+     inclined to take them for what they purport to be."
+
+While the Papal ceremonies are neither so frequent nor so magnificent as
+in former days, still any hotel guest in Rome is liable, any morning,
+on coming down to the _salle-a-manger_ for coffee, to find every woman
+(who is taking her Rome seriously) arrayed in a black robe with a black
+lace veil on her head. One would fancy they were all a procession of
+nuns, about to retire from the world into the strict seclusion of the
+cloister. But it is nothing so momentous. It is only that every lady,
+with the devotion to spectacles which every visitor in Rome feels, as a
+matter of course, has secured the pink ticket entitling her to admission
+to the Vatican Palace to see the "passage" of the Pope, as he makes his
+way, attended by the Cardinals of the Sacred College, to the Sistine
+Chapel where his Holiness "creates" new Cardinals. Although rumored that
+the spectacle will be a gorgeous one, that the Pope will be carried
+aloft preceded by the silver trumpeters and attended by the Cardinals
+and the ambassadors and other dignitaries in the full dress of their
+ceremonial costumes and their orders, the reality is less impressive.
+Some feminine enthusiasts fare forth at the heroic hour of eight,
+although the procession is not announced to pass until a quarter after
+ten (which in Italy should be translated as a quarter after eleven, at
+the earliest, if not after twelve, which would be the more probable), in
+order to secure good standing room. For everybody is to stand--of
+course, comfort being a thing conspicuous only by its absence in Italy!
+Those of us too well aware by the experiences of previous visits to
+Italy that no Italian function was ever on time, from the starting of a
+railway train to the crowning of a king, only betake ourselves to the
+glories of the Palazzo Vaticano at the hour named, and we have then--as
+one's prophetic soul or his commonplace memory warned him--to wait more
+than an hour wedged into a dense crowd of all nationalities, none of
+whom seem at this particular juncture, at least, to be at all
+overburdened with good manners. And what went they out for to seek?
+Instead of an impressive spectacle--a thing to remember for a
+lifetime--one merely sees Pius X walking, surrounded by his Cardinals in
+a group,--not a procession,--he alone in the centre with his mitre on
+his head,--the whole scene hardly lasting over a minute, and as his
+Holiness is not as tall as most of his Cardinals, he is almost hidden
+from view. It had been rumored that the Pope was to be borne aloft in
+the Papal chair, preceded by the traditional white fan and the silver
+trumpets; but the present Pope is temperamentally inclined to minimize
+all the ceremonials investing his sacred office.
+
+Yet there is always a thrill in entering the Vatican. To ascend that
+splendid _Scala Regia_ designed by Bernini, with one of the most
+ingeniously treated perspective effects to be found, it may be, in the
+entire world; to cross this _Scala_ with its interesting frescoes by
+Salviati and others; to see at near range the picturesque Swiss
+Guard,--surely any pretext to enjoy such a morning is easily accepted of
+whatever occurrence one may grasp in order to obtain the hour.
+
+One curious feature of the past is to-day equally in evidence in Rome.
+Strolling at any time into the Church of San Agostino one beholds a
+curious spectacle. It is in this church that is placed the beautiful
+bronze statue of the Virgin and Child by Sansovino. It is approached by
+a platform on which is placed a stool that enables one to mount and thus
+reach the foot of the statue, which is kissed and the wish of the
+devotee is offered. This Madonna is believed to have the power to grant
+each wish and prayer; to heal the sick; restore the blind, the deaf, and
+the lame; to grant immunity from loss or illness; to grant success and
+prosperity. The poor Madonna must have her hands full with these
+avalanches of petitions, but she sits calmly in state and, if the
+striking testimony of votive offerings can be credited, she is most
+amiable in granting the prayers of her devotees. For she is hung with
+priceless jewels; necklaces, brooches, bracelets, diamond and ruby and
+sapphire rings on her fingers, she is a blaze of splendor. Around this
+statue there is a perpetual crowd, whatever hour of day one chances to
+wander in, and from prince to beggar the bronze foot is kissed, as each
+waits his turn to mount the stool and prefer his secret wish. The walls
+of the church are covered with the votive offerings to the Madonna for
+her aid,--rich jewels, orders, tablets,--offerings of all kinds. In this
+church is entombed the body of Santa Monica, the mother of St.
+Augustine, placed in an urn of verd-antique, in a special chapel
+beautifully decorated. After preferring one's secret wish to the Virgin
+one must wander on to the Fontane de Trevi and throw his penny into the
+water to insure his return to Rome, and then he may rest, _mens conscia
+recti_!
+
+Although Holy Week in Rome has less ceremonial observance in these
+latter days than those of the impressive scenes so vividly portrayed by
+Mme. de Stael in "Corinne," it still attracts a multitude of visitors
+and offers much to touch and thrill the life of the spirit, quite
+irrespective as to whether the visitor be of the Catholic or Protestant
+faith. In the great essentials of Christianity, all followers of Christ
+unite. The Pope does not now take part in public services on Easter, and
+that scene of the Pontifical blessing from the balcony of St. Peter's
+given to the multitude below who throng the piazza remains only in
+memory and in record. But the stately and solemn services of Good Friday
+in the vast and grand interior of St. Peter's are an experience to
+linger forever in memory. The three hours' service--the chanting of the
+Miserere--was a scene to impress the imagination. This service is held
+in the late afternoon of Good Friday, in the tribune of St. Peter's, the
+extreme end of the church where the vast window of yellow glass gives a
+perpetually golden light. The chair believed to have been that of St.
+Peter's is here placed, enclosed in ivory and supported by statues of
+four Fathers of the church, St. Augustine, St. Ambrose, St. Chrysostom,
+and St. Athanasius, from a design of Bernini.
+
+In the tribune is the tomb of Urban VIII (who was Matteo Barberini), of
+which the redundant decoration tells the story that it is also Bernini's
+work. Opposite this tomb is that of Paul III, by della Porta, under the
+supervision of Michael Angelo, it is said, and the beauty and dignity of
+the bronze figure of the aged Pope, in the act of giving the
+benediction, quite confirm this tradition. On a tablet in the wall of
+the tribune are engraved the names of all the bishops and prelates who,
+in 1854, accepted the belief of the Immaculate Conception,--this tablet
+being placed by the order of Pio Nono.
+
+In this tribune on the late afternoon of the Good Friday of 1907 the
+seats were filled with worshippers to listen to the three hours' chant
+of the Miserere. Princes and peasants sat side by side, and an immense
+throng who could not find seats stood, often wandering away in the dim
+distances of the cathedral and ever and again returning. The high altar,
+where Canova's beautiful figure of the kneeling Pope always enchains the
+visitor, was, as usual, surrounded. The lights burned--these perpetual
+lamps--and the moving throng went and came. The scene grew mystic,
+dream-like, as the solemn music floated on the air.
+
+The Chapel of the Holy Sacrament, on the left of the cathedral, was made
+into the sepulchre that day, and anything more beautiful than the myriad
+altar lights and the flowers could not be imagined. At the altar
+black-robed nuns were kneeling, and all over the chapel, kneeling on the
+floor, were people of all grades and ranks of life, from the duchess and
+princess to the beggar woman with a ragged shawl on her shoulders and
+her baby in her arms. St. Peter's was nearly filled all that day with
+people, not crowded, but apparently thronged in almost every part.
+
+The altar in the Chapel of the Holy Sacrament was one mass of deep red
+roses. The chapel was completely darkened, but the blaze of myriads of
+tall candles illuminated the roses and the black-robed nuns and the
+black-robed devotees. It was a scene never to be forgotten.
+
+Even in the latter-day Rome, historic names are not wanting. One of
+these, the Princess Christina Bonaparte, _nee_ Ruspoli, died in 1907 in
+her Roman villa in Via Venti Settembre. She was the widow of Prince
+Napoleon Charles Bonaparte and a cousin of the Empress Eugenie. With her
+husband in Paris until 1870, she fled (whilst her husband was fighting
+at Metz) as soon as the Commune was proclaimed. The princess was
+considered a beautiful woman and her portrait had been painted by Ernest
+Hebert, but it was lost when the Palace of the Tuileries was destroyed
+in 1870.
+
+With this princess dies the name of the Bonaparte family. Her daughters,
+Donna Maria Gotti-Bonaparte and Princess Maria della Moskowa, were often
+with her in Rome.
+
+The Palazzo Bonaparte is very near Porta Pia. Although called a palace,
+it is simply a plain house of some five stories, with narrow halls and
+stone staircases, no elevator, no electric lights. The princess occupied
+the first floor, while the apartments above were let to various
+families.
+
+With the exception of the royal palaces there are few in which suites
+are not obtainable for residence by any one who desires them.
+
+  [Illustration: CASTEL SAN ANGELO AND ST. PETER'S, ROME
+                 _Page 204_]
+
+It was at a pleasant _dejeuner_ one spring day in Rome that the project
+was launched, that we should go motoring that afternoon to Frascati,
+Albano, Castel Gandolfo, Lago di Nemi, and all that wonderful region. We
+were lunching with a friend who had a charming apartment in one of the
+sumptuous old palaces of Rome, where, in a niche on the marble
+staircase, the statue of Caesar Augustus stood,--a copy of the famous
+statue in the Capitoline,--where lofty, decorated ceilings, old
+paintings and sculptures adorned the rooms, and where from the windows
+we looked out on the tragedy-haunted Castel San Angelo, with the dome of
+San Pietro in the background. Our friend who invited us to fly in his
+motor had brought his touring car over from America. The one note of new
+luxury now is for travellers to journey with their touring cars. In a
+year or two more it will be airships or soaring machines. On this
+wonderful May afternoon, all azure and gold, we started off in the
+great, luxurious touring car which was arranged even to carry two
+trunks, with a safe in it for the deposit of valuables, a hamper for
+refreshments, and, indeed, almost every conceivable convenience. On we
+flew through Rome, past the great Basilica of San Maria Maggiore; past
+the wonderful pile of San Giovanni Laterano, with the colossal statues
+of the apostles surmounting the facade; through the Porta San Giovanni
+into the narrow, walled lane leading out on the Campagna; on, on, to the
+Alban hills. We flew past olive orchards and vineyards, and the vast
+green pasture lands of the Campagna whose vivid green was ablaze with
+scarlet poppies. Far away to the west there was a white shining
+line--the line of the sea.
+
+At Frascati we stopped at the Villa Torlonia, the country place of the
+ducal family, whose grand Roman palazzo is in the Bocca di Leone in the
+old part of Rome. The Torlonia have an only daughter, Donna Teresa,
+whose _debutante_ ball a year ago is said to have been the most
+magnificent entertainment in Rome for fifty years. A writer, in a recent
+article on the nobility of Rome, said of this family:--
+
+     "The Torlonia figure repeatedly in the novels of Thackeray, who
+     was never tired of portraying them. They have been most useful
+     citizens, and since the days of the old army contractor, who
+     founded the house, have augmented the family wealth by judicious
+     investments, especially in connection with the draining and
+     reclaiming of the marsh lands that abound in the former Papal
+     States. They have contracted matrimonial alliances with the
+     Colonna, with the Borghese, the Belmonte, the Doria, and the
+     Sforza."
+
+The Villa Torlonia at Frascati is a very large estate with extensive
+gardens, terraces, and a cascade of three falls on the hillside, which
+is turned on (the water) at pleasure. The house, however, is a
+shabby-looking affair, a two or three story, rambling, yellow structure,
+which, at Newport, would not be considered too good for the gardener.
+
+After the usual fashion of the Italians who seldom travel, the Torlonia,
+wealthy as they are, simply remove from their palace in Rome to their
+villa at Frascati instead of travelling to Switzerland, Germany, or
+elsewhere in the summer.
+
+The Duke and Duchess of Cumberland were the guests of the Torlonia that
+day, the entire party enjoying themselves _al fresco_, and the beautiful
+cascade pouring down within the near distance.
+
+These outlying towns, Frascati, Albano, Castel Gandolfo, and Lago di
+Nemi, the picturesque group in the Alban Mountains, are some sixteen to
+eighteen miles from Rome. These Alban hills rise like an island from the
+vast plain of the Campagna, the highest point being some three thousand
+feet above sea level. They are covered with villages and castles and
+villas, and have in all a population of some fifty thousand. The region
+is volcanic, and the beautiful Lago di Nemi and Lago di Albano were the
+craters of extinct volcanoes. All this region was the haunt of Cicero,
+Virgil, and Livy. At Tusculum, near Frascati, are the remains of
+Cicero's villa, and also of an ancient theatre hewn out of solid rock.
+The view to the west toward Rome is most beautiful. The dome of St.
+Peter's crowns the Eternal City; and the Campagna--a sea of green--is as
+infinite in sight as is the Mediterranean. There are splendid villas and
+estates in these Alban hills that belong to the Roman nobility, and
+here the Pope has his summer palace. "The Alban Mount is also full of
+historical and legendary interest," says a writer on the country around
+Rome. "The Latin tribe, one of the constituent elements of the Roman
+people, had here its seat. Upon the highest peak of the range was the
+temple of Jupiter Latiaris, where all the tribes of Latin blood, the
+Romans included, met every year to worship; and where the victorious
+generals of the Republic repaired to offer praises and acknowledgments.
+In these mountain glens undoubtedly most of that ballad literature of
+Rome, the loss of which Macaulay so eloquently laments and so
+successfully restores, had its origin. Nor need the scholar be reminded
+that this is the scene of the most original and vigorous portions of the
+AEneid of Virgil; nor how the genius of the poet, which rather languidly
+recounts the traditions borrowed from Greece, wakes to new life, when he
+feels his feet upon his own soil and deals with Latin names and Latin
+legends."
+
+The Villa Aldobrandini at Frascati is celebrated for its fantastic
+waterworks in elaborate fountains and cascades. In the gardens a statue
+of Pan with a pipe of reeds and one of a satyr with a trumpet are made
+to play (both the pipe and the trumpet) by water. The hydraulic engineer
+must have found in Frascati his earthly paradise, for he commanded the
+water to leap into foam and spray in the air, to rush down marble
+terraces, and to form itself into obelisks of liquid silver.
+
+At Grotto Ferrata is a vast monastery of monks of the Order of Basilio
+(Greek), a monastery so colossal as to be mistaken for a fortress. The
+chapel has frescoes by Domenichino. At Castel Gandolfo is the summer
+Papal palace, that has not been occupied by a Pope since the
+overthrowing of the temporal power in 1870. It has a beautiful and
+commanding view toward Rome. It was built by Urban VIII.
+
+All the magic of Italy is in this picturesque excursion. In the vast
+grounds of the Villa Barberini are the ruins of the ancient palace and
+gardens of Domitian. On one hillside is a broken wall; a long avenue of
+ilex trees reveals here and there fragments of mosaic pavement.
+Crumbling niches hold fragments of statues. The hill itself is still
+pierced with the long tunnels driven through it by Domitian that he
+might pass unseen,--presumably safe from his enemies,--from the palace
+to the gardens. From the parapet, Rome is seen across the shining
+Campagna and the dome of Michael Angelo gleams against the blue Italian
+sky.
+
+"The wreck is beautiful," writes Mrs. Humphry Ward, in "Eleanor," of
+this romantic spot; "for it is masked in the gloom of the overhanging
+trees; or hidden behind dropping veils of ivy; or lit up by straggling
+patches of broom and cytisus that thrust themselves through the gaps in
+the Roman brickwork and shine golden in the dark. At the foot of the
+wall, along its whole length, runs a low marble conduit that held the
+sweetest, liveliest water. Lilies of the valley grow beside it,
+breathing scent into the shadowed air; while on the outer or garden side
+of the path the grass is purple with long-stalked violets, or pink with
+the sharp heads of the cyclamen. And a little farther, from the same
+grass, there shoots up, in happy neglect, tall camellia trees, ragged
+and laden, strewing the ground red and white beneath them. And above the
+camellias again the famous stone-pines of the villa climb into the high
+air, overlooking the plain and the sea, peering at Rome and Soracte."
+
+One could wander all day in the strange ruins of the old Barberini
+grounds, and in the vast spaces of the gardens and through the Villa
+Doria.
+
+The beauty of the avenue of ilex trees through which we flew from Castel
+Gandolfo to Lago di Nemi surpasses description. This lake, some four
+miles in circumference, lies in a crater hollow, with precipitous hills
+surrounding it, the water so clear that the ancients called it the
+"Mirror of Diana." In it was constructed an artificial island in the
+design of a Roman state barge.
+
+Over the long viaduct at Ariccia we flew; everywhere in the little town
+people, donkeys--an almost indistinguishable mass--filled the narrow
+streets; and thus on to Genzano and the Lago di Nemi, with its fabled
+fleet at the bottom.
+
+The Chigi woods, that fill the deep ravine under the great viaduct at
+Ariccia, were in the most brilliant emerald green. Past these forests
+lay the vast stretch of the Pontine Marshes; and turning toward Rome
+again, the splendor of the sunset flamed in the sky. One could but
+recall Mrs. Humphry Ward's vivid picture of a storm seen over this part
+of the Campagna:--
+
+     "The sunset was rushing to its height through every possible phase
+     of violence and splendor. From the Mediterranean, storm clouds were
+     rising fast to the assault and conquest of the upper sky, which
+     still above the hills shone blue and tranquil. But the northwest
+     wind and the sea were leagued against it. They sent out threatening
+     fingers and long spinning veils of cloud across it--skirmishers
+     that foretold the black and serried lines, the torn and monstrous
+     masses behind. Below these wild tempest shapes again--in long
+     spaces resting on the sea--the heaven was at peace, shining in
+     delicate greens and yellows, infinitely translucent and serene,
+     above the dazzling lines of water. Over Rome itself there was a
+     strange massing and curving of the clouds. Between their blackness
+     and the deep purple of the Campagna rose the city--pale
+     phantom--upholding one great dome, and one only, to view of night
+     and the world. Round and above and behind, beneath the long flat
+     arch of the storm, glowed a furnace of scarlet light. The buildings
+     of the city were faint specks within its fierce intensity, dimly
+     visible through a sea of fire. St. Peter's alone, without visible
+     foundation or support, had consistence, form, identity; and between
+     the city and the hills, waves of blue and purple shade, forerunners
+     of the night, stole over the Campagna towards the higher ground.
+     But the hills themselves were still shining, still clad in rose and
+     amethyst, caught in gentler repetition from the wildness of the
+     west. Pale rose even the olive gardens; rose the rich brown
+     fallows, the emerging farms; while drawn across the Campagna from
+     north to south, as though some mighty brush had just laid it there
+     for sheer lust of color, sheer joy in the mating it with the
+     rose,--one long strip of sharpest, purest green."
+
+The Villa Falconieri, in Frascati, which was built by Cardinal Ruffini,
+with the old ilex tree preserved in the portals, has recently been
+purchased by the Emperor of Germany, who proposes to transform it into
+an Academy for the accommodation of German students in Rome. These
+national academies draw their corresponding numbers of students from the
+nations thus represented, and contribute to the cosmopolitan aspects of
+Rome. The American Academy in Rome is now being transferred from the
+Ludovisi quarter to a large and convenient building outside Porta Pia.
+
+Perhaps the eminently social quality of Roman life may be indirectly due
+to the lack of library privileges which is a conspicuous defect in Rome.
+The Biblioteca Vittorio Emanuele, under the courteous administration of
+Commendatore Conte Guili, has, it is true, a collection of over half a
+million volumes and thousands of very rare and valuable manuscripts. It
+has a large public reading room, and books are loaned on the signature
+of any embassy or consulate; yet this library, while offering peculiar
+advantages to theological and other special students and readers, does
+not afford any extended privileges to the general reader of modern
+English and American publications. It is located in a grim and
+forbidding old stone palace, approached by an obscure lane from the
+Corso, where, as there is no sidewalk, the pedestrian shares the narrow,
+dark, cold, stone-paved little street with carts, donkeys, peasants,
+and beggars.
+
+The great monument to King Victor Emmanuel, of mingled architecture and
+sculpture, a colossal structure of white marble with arches and pillars
+forming beautiful colonnades, the capital of each column heavily carved,
+and the sculpture, which is being done by a number of artists, will be
+of the most artistic and beautiful order. This memorial will occupy an
+entire block, and it is located very near the Capitol. All the old
+buildings in the vicinity will be torn down to give a fine vista for
+this transcendently noble and sumptuous memorial.
+
+The directors of this work aim to have it completed and ready to be
+unveiled in 1911, the jubilee year of Italy's resurrection as a united
+country.
+
+Encircled by the old Aurelian wall and near the great pyramid that marks
+the tomb of Caius Cestius, who died 12 B.C., lies the Protestant
+cemetery of Rome, full of bloom and fragrance and beauty, under the
+dark, solemn cypress trees that stand like ever-watchful sentinels. When
+Keats was buried here (in 1820), Shelley wrote of "the romantic and
+lovely cemetery ... under the pyramid of Caius Cestius, and the mossy
+walls and towers now mouldering and desolate which formed the circuit of
+ancient Rome. The cemetery is an open space among the ruins, covered
+even in winter with violets and daisies. It might make one in love with
+death," he added, "to think of being buried in so sweet a place."
+
+  [Illustration: PORTA SAN PAOLA, PYRAMID OF CAIUS CESTIUS, ROME
+                 _Page 216_]
+
+In the old cemetery (immediately adjoining the pyramid and separated
+from the new one by a wall) is the grave of Keats (who died in 1821)
+with its unique inscription, "Here lies one whose name was writ in
+water." Beside it is that of his friend, Joseph Severn, who died in
+1829, and near these the grave of John Bell, the famous writer on
+surgery and anatomy. In the new or more modern cemetery the visitor
+lingers by the graves of Shelley and his friend, Trelawney; August
+Goethe (the son of the poet); of William and Mary Howitt, who died in
+1879 and 1888. Not merely, however, do the names of Keats and Shelley
+allure the visitor to poetic meditations; but here lie the earthly forms
+of many a poet, painter, and sculptor of our own country, with their
+wives and children, who have sought in the Eternal City the
+atmosphere for art and who, enamoured by the loveliness of Rome,
+continued there for all their remaining years. These graves, these
+sculptured memorials, are eloquent with the joys, the sorrows, the
+achievements and the failures, the success and the defeat, of the
+artistic life in a foreign land. Many of these memorial sculptures are
+the work of the husband or the father, into which is inseparably joined
+the personal tenderness to the artist's skill. Especially noticeable are
+the graves of the wives of three American sculptors,--William Wetmore
+Story, Richard S. Greenough, and Franklin Simmons. Each of these is
+marked by a memorial sculpture created by the husband, and the three
+different conceptions of these sculptors are interesting to contrast.
+That of Mr. Story is of an angel with outspread wings, kneeling, her
+head bowed in the utter despair and desolation of hopeless sorrow. The
+figure has the greatest delicacy of beauty and refinement and
+tenderness; but it is the grief that has no support of faith, the grief
+that has no vision of divine consolation. On the memorial monument is
+simply the name, Emelyn Story, born in Boston, 1820, died in Rome in
+1898, and the note that it is the last work of W. W. Story, in memory of
+his beloved wife. Here, also, is Mr. Story buried, his name and dates of
+birth and death (1819-1901) alone being inscribed.
+
+At the tomb of Sarah B. Greenough, the wife of Richard S. Greenough, the
+monument is designed to represent Psyche escaping from the bondage of
+mortality. This Psyche is emerging from her garments and she holds in
+her hand a lamp. On this is the inscription: "Her loss was that as of a
+keystone to an arch."
+
+Mrs. Greenough was a very accomplished musician, and she had the unique
+honor of having been made a member of the "Arcadians."
+
+The memorial sculpture over the grave of Mrs. Franklin Simmons is, as
+elsewhere noted, the work of her husband, a figure called "The Angel of
+the Resurrection." The angel is represented as a male figure (Gabriel)
+holding in the left hand a golden trumpet while the right is
+outstretched. His wings are spread, his face partly turned to the right.
+The form is partially draped and in every detail is instinct with a
+complete harmony; every fold of the drapery, every curve of the body,
+and the lofty and triumphant expression of the face in its ineffable
+glory of achievement proclaim the triumph of immortality. It stands on a
+pedestal that gives it, from the base of the pedestal to the tip of the
+outstretched wings, a height of some twenty-one feet. This monument,
+seen against a background of dark cypress trees, speaks the word of
+positive and complete faith in the divine promise of eternal life.
+
+    "Then life is--to wake, not sleep,
+      Rise and not rest, but press
+    From earth's level where blindly creep
+      Things perfected, more or less,
+    In the heaven's height--far and steep."
+
+The visitor lingers over the grave of that interesting painter, J.
+Rollin Tilton, whose landscapes from Egypt and Italian scenes were so
+vivid and picturesque.
+
+Richard Henry Dana, the elder, born in Boston in 1815, came to Rome to
+die in 1882.
+
+Very near the tomb of William Wetmore and Emelyn Story is that of
+Constance Fenimore Woolson. Over the graves of William and Mary Howitt
+is the inscription: "Let not your heart be troubled; believe in God,
+believe also in me."
+
+On the wall just back of the new tomb erected over the ashes of Shelley
+by Onslow Ford in 1891 is a memorial tablet placed to Frederick W. H.
+Myers, bearing this inscription:--
+
+     "This tablet is placed to the memory of Frederick William Henry
+     Myers, born at Keswick, Cumberland, Feb. 6, 1843; died in Rome,
+     Jan. 17, 1901. 'He asked life of Thee, and Thou gavest him long
+     life ever and forever.'"
+
+Over the grave of John Addington Symonds, whose best monument is in his
+admirable History of the Renaissance in Italy, is a Latin inscription
+written by Professor Jowett of Oxford, and a stanza from the Greek of
+Cleanthes, translated by Mr. Symonds as follows:--
+
+    "Lead thou, our God, law, reason, motion, life;
+    All names for Thee alike are vain and hollow;
+    Lead me, for I will follow without strife,
+    Or, if I strive, still more I blindly follow."
+
+John Addington Symonds, who certainly ranks as the most gifted
+interpreter of Italy, in her art, her legends and associations, and her
+landscape loveliness, died in the Rome he so loved in 1893. His wife was
+ill in Venice, but his daughter, Margaret,--his inseparable companion
+and his helper in his work,--was with him. It is Miss Symonds who
+prefaced a memorial volume to her father with the exquisite lines:--
+
+    "O Love; we two shall go no longer
+    To lands of summer beyond the sea."
+
+Near the graves of Keats and of his friend, Joseph Severn, are those of
+Augustus William Hare and John Gibson, the sculptor, who died in 1868.
+Some ten years before Hawthorne, meeting Gibson at a dinner given by T.
+Buchanan Read, wrote of him that it was whispered about the table that
+he had been in Rome for forty-two years and that he had a quiet,
+self-contained aspect as of one who had spent a calm life among his clay
+and marble.
+
+Dwight Benton, an American painter and writer, who was for some time in
+the diplomatic service and whose home had been in Rome for more than a
+quarter of a century, lies buried here. For many years he was the
+editor of _The Roman World_, which still sustains the interesting
+character that marked it during his editorship. Of his work in art a
+friend wrote:--
+
+     "In painting, as in literature, Dwight Benton took his inspiration
+     from nature. His paintings of Italian scenery are true and faithful
+     representations of its character and atmospheric effects. His
+     tramps on the Roman Campagna were long and often tiring, but he
+     worked with all an artist's enthusiasm, unmindful of cold, rain,
+     and even hunger. He would delight, as all true artists, in an old
+     convent, a tree, a tower, a cross, which he would reproduce with a
+     peculiar and striking perfection of tone and color. In his
+     paintings of Keats's and Shelley's tombs, not only are the slabs
+     and marble there, but there, also, in all their naturalness, are
+     the stately pines and cypresses above, with the sunshine and
+     shadows alternating between them, and in the background the
+     turreted top of St. Paul's Gateway, the Pyramid of Caius Cestius,
+     all lending effect and picturesqueness to the whole."
+
+The present King of Italy purchased one of Mr. Benton's paintings,
+called "Giornata di tristezza."
+
+While art abounds in Rome, less can be said for literature. There is a
+large and admirable selected Italian library in connection with the
+Collegio Romano; but while these books circulate, under certain
+conditions, to visitors, and the courtesy of the librarian and his staff
+is generously kind, the location and the Italian methods render it a
+matter of some difficulty to avail one's self of its resources. In the
+Piazza di Spagna there are two circulating libraries, but although one
+of these claims twenty-five thousand volumes, the majority are of
+mediocre fiction and almost none, if any, of the important modern works
+are to be found here. The visitor who is a subscriber to this library
+passes into a small, dark room, where one window looking on the street
+hardly does more than make the darkness visible, and he must take the
+catalogue to the window and stand in order to decipher the list, which
+is hardly, indeed, worth the trouble, as there are very few volumes of
+any pretension to importance in the collection, and of late years no
+additions, apparently, have ever been made. The other circulating
+library, while far preferable, is still in crowded rooms and the
+assortment is limited. The visitor in Rome who cares for reading matter
+looks forward with delight to Florence, with its noble circulating
+library, to which access is so easy and whose conduct in all ways is so
+convenient and grateful to the guest.
+
+In Rome, however, one finds his romance embodied in life and his history
+written in the streets and in the marvellous structures. His poetry is
+in her art, her ruins, her magical loveliness of hillside vistas, her
+infinite views over the Campagna, her sapphire skies, and her luminous,
+golden atmosphere.
+
+
+
+
+    "_Here Ischia smiles
+    O'er liquid miles,
+      And yonder, bluest of the isles,
+    Calm Capri waits
+    Her sapphire gates,
+      Beguiling to her bright estates._"
+
+    "_Oh, Signor! thine the amber hand,
+      And mine the distant sea
+    Obedient to the least command
+      Thine eyes impose on me._"
+
+
+
+
+III
+
+DAY-DREAMS IN NAPLES, AMALFI, AND CAPRI
+
+    "With dreamful eyes
+    My spirit lies
+    Where summer sings but never dies."
+
+
+Naples is the paradise of excursions. It is set in the heart of
+incomparable loveliness. Over its sapphire sea one sails away--to the
+Fortunate Isles, or some others equally alluring. Its heights and
+adjacent mountains offer views that one might well cross the ocean to
+enjoy. Its atmosphere is full of classic interest; of song, and story,
+and legend, and romance; of history, too, which in its tragic and
+exciting episodes is not less vivid in color and in strange studies of
+human life than is any romance. Naples is the city of fascination. Rome
+is stately and impressive; Florence is all beauty and enchantment;
+Genoa is picturesque; Venice is a dream city; but Naples is
+simply--fascinating. There is the common life of the streets and the
+populace continually _en scene_; the people who are at home on the sunny
+side in winter, or the shady side in summer; there is the social life of
+the nobility, which is brilliant and vivacious. The excursions, of which
+Naples is the centre, are the chief interest to travellers, and these,
+while possible in winter, are far more enjoyable in the early spring.
+Still even in midwinter the days are sunny, and while the air is crisp
+and cool, it is not cold. The grass is as green as in June; but the
+foliage and flowers are more or less withered. Naples has the high and
+the lower town, the former the more desirable, and the fine hotels
+perched on the terraces, with the view all over the Bay of Naples,
+Capri, Sorrento, and Vesuvius, offer a vista hardly to be duplicated in
+the entire world. The lower town has its fine hotels on the water's
+edge, with a beautiful view over the bay, less enchanting than when seen
+from above. The Bay of Naples is enclosed in two semicircular arms that
+extend far out at sea, the southern reaching nearly to Capri, while near
+the termination of the northern,
+
+    "Fair Ischia smiles
+    O'er liquid miles."
+
+Far out at sea the sun shines dazzlingly on the blue Mediterranean. The
+landscape is full of those curious formations that are always inherent
+in volcanic regions. The region surrounding Naples is abrupt,
+picturesque, with the same irregular outline of hills that characterizes
+the elevations in the Tonto basin in Arizona. The vegetation is of the
+tropical type. The cactus is common, although it grows to no such
+monstrous heights as in Arizona. Orange and lemon groves prevail as far
+as the eye can see. On every height towns and villages crown the crests
+and sweep in winding terraces around the hillsides. Olive orchards
+abound. Castles and ruins gleam white in the sunshine on the ledge of
+rocky precipices. The curved shores shine like broken lines of silver,
+with deep indentations at Naples and at Castellammare. Between these two
+points rises Vesuvius, the thin blue smoke constantly curling from the
+summit that, since the eruption of 1906, has lost much of its elevation.
+In many places there is hardly the width of a roadway between the low
+mountains and the coast, but the cliffs are tropically luxurious in
+vegetation. Everywhere the habitations of the people crowd the space.
+From the monasteries and the castles that crown the heights, both
+distant and near to the clustered villages of the plain and those
+clinging to the hillsides, the scene is one unending panorama of human
+life. For Naples is only the focussing point of these densely populated
+regions of Southern Italy. The city stretches along the coast on both
+sides her semicircular bay; but the terraced hills, the stretches of
+land beyond, and every peak and valley are thickly sown with human
+habitations. Its commanding heights, two of which rise in the middle of
+the town, and its beautiful mirrored expanse of water give to it the
+most unparalleled variety and beauty of landscape loveliness.
+
+"What words can analyze," says George S. Hillard, "the parts and details
+of this matchless panorama, or unravel that magic web of beauty into
+which palaces, villas, forests, gardens, vineyards, the mountains, and
+the sea are woven? What pen can paint the soft curves, the gentle
+undulations, the flowing outlines, the craggy steeps, and the far-seen
+heights, which, in their combination, are so full of grace and, at the
+same time, expression? Words here are imperfect instruments, and must
+yield their place to the pencil and the graver. But no canvas can
+reproduce the light and color which play round this enchanting region.
+No skill can catch the changing hues of the distant mountains, the
+star-points of the playing waves, the films of purple and green which
+spread themselves over the calm waters, the sunsets of gold and orange,
+and the aerial veils of rose and amethyst which drop upon the hills from
+the skies of morning and evening. The author of the book of
+Ecclesiasticus seems to have described Naples, when he speaks of 'the
+pride of the height, the clear firmament, the beauty of heaven, with his
+glorious show.' 'See Naples and then die,' is a well-known Italian
+saying; but it should read, 'See Naples and then live.' One glance at
+such a scene stamps upon the memory an image which, forever after, gives
+a new value to life."
+
+  [Illustration: CASTEL SANT'ELMO, NAPLES
+                 _Page 231_]
+
+Naples gives to the visitor the impression of being a city without a
+past. If she has a history, it is not written in her streets. She is
+poetic and picturesque, not historic. The heights of Capodimonte and
+Sant'Elmo divide her into unequal parts, and there is the old Naples
+which only the antiquarian or the political economist would wish to
+see, and the new and modern city which is such a miracle of beauty that
+one longs to stay forever, and fails to wonder that the siren sought
+these shores. Naples has either been very much misrepresented as to its
+prevailing manners and customs, or else it has changed within the past
+decade, for, as a rule, the gentle courtesy and kindness of the people
+are especially appealing. Augustus often sojourned in Naples, and it was
+an especially poetic haunt of Virgil, whose tomb is here. Although the
+poverty and the primitive life of the great masses of the people have
+been widely discussed, it is yet true that Naples has a very charming
+social life, and that the University is a centre of learning and
+culture. One of the oldest universities in Europe, it has a faculty of
+over one hundred and twenty professors and more than five thousand
+students. A large and valuable library, and a mineralogical collection
+which specialists from all over the world come to study, are among the
+treasures of this University, which was founded in the early part of the
+thirteenth century by Emperor Frederick William II. There is now in
+process of erection a new group of buildings which will embody the
+latest laboratory and library and other privileges. Archaeology is,
+naturally, a special feature of the University of Naples, and the
+proximity to Pompeii, Herculaneum, and to the wonderful Pompeian
+collection in the Museum of Naples affords peculiar and unrivalled
+advantages to students. A bust of Thomas Aquinas, during his life a
+lecturer at this University, is one of the interesting treasures. The
+Archives of the Kingdom of Naples attract many a scholar and savant to
+this city. There are in this collection (which is kept in the monastery
+adjoining the Church of San Severino) over forty thousand Greek
+manuscripts, some of which date back to the year 700. The Naples Museum
+is the great repository of all Pompeian art, and it is rich in
+sculpture; but it is badly arranged and the vast series of galleries and
+the long flights of stairs make any study of its work so fatiguing that
+a visit to it might rank as one of the seven labors of Hercules.
+
+In the royal museum of the Palazzo di Capodimonte, which is located on
+the beautiful height bearing that name, there are some pictures that are
+well worth visiting, not because they are particularly good art, but
+because of the interest attaching to the subjects. This gallery is
+largely the work of modern Neapolitan artists. Here is the celebrated
+picture of Michael Angelo bending over the dead body of Vittoria
+Colonna, kissing only her hand, and haunted by the after-regret that he
+did not kiss her forehead. Virginia Lebrun has here portraits of Maria
+Theresa and of the Duchess of Parma; there is one canvas (by Celentano)
+showing Benvenuto Cellini at the Castel Sant'Angelo; a scene depicting
+the death of Caesar and a few others of some degree of interest.
+
+Curiously, Naples has never produced great art. Salvator Rosa was, to be
+sure, a Neapolitan, but his is almost the only name that has made itself
+immortal in the art of this city. Domenico Morelli, who has recently
+died, made himself felt as an original painter with certain claims that
+arrested attention. He is not a draughtsman, but he is a colorist of
+passionate intensity; he has original power and, more than all, he has a
+curious endowment of what may be called artistic clairvoyance.
+Transporting himself by the magic of thought to places on which his eye
+never rested, he yet sees as in vision their special characteristics.
+In one of his most important works, the motive of which is the
+temptation of Jesus in the wilderness, he has painted the desert with a
+startling reality. Here is a great plain, the stony, parched Judean
+plain, with the very feeling of its desolation pervading the atmosphere.
+The Royal Chapel in Naples was decorated by Morelli, the ceiling painted
+with an "Assumption of the Virgin," which stands alone in all the
+interpretations of this theme; not by virtue of superior artistic
+excellence,--on the contrary its art does not make a strong appeal,--but
+by its originality of treatment. The "Salve Regina" and the "Da Scala
+d'Oro" are among the more interesting works of this artist, whose recent
+death has removed a figure of exceptional character in modern art, one
+who had, pre-eminently, the courage of his convictions. Some few years
+ago Morelli's "Temptation of St. Anthony" was exhibited in both Paris
+and Florence, and was generally condemned, perhaps because not wholly
+understood. The form of the temptation was supposed to be the shapes
+taken by a morbid and diseased imagination; but while as a
+psychological conception it was not without value, it was yet far from
+attractive as a work of art. The finest conception, perhaps, ever
+depicted of the temptation of St. Anthony--a subject that has haunted
+many an artist--is that painted by the late Carl Guthers of Washington,
+a lofty and gifted spirit whose too brief stay on earth ended in the
+early months of 1907. In this picture the temptation of the saint
+appears as a vision of all that is purest and sweetest in life,--wife,
+children, home; it was from all this peace and loveliness that St.
+Anthony turned, sacrificing personal happiness to the duty of
+consecrated service to his Master, in the exquisite conception of Mr.
+Guthers. Edoardo Dalbano is the typical leader of the Neapolitan school
+of painting of the present day, and his fascinating picture, called the
+"Isle of Sirens," representing the sirens singing in the sunlit Bay of
+Naples, might well be held as the keynote to all this enchanting region.
+Surely, if the sirens sing not in those blue waters, it were useless to
+search elsewhere for them. Buono is an artist of the Neapolitan shores,
+who paints its fisher-folk; Brancaccio catches the very spirit and
+animated atmosphere of the street scenes of Naples; Campriani and
+Pratello are landscapists of note; Esposito, too, despite his Spanish
+name, is a Neapolitan marine painter whose work is often most arresting
+in its power to catch the flickering sunshine over blue water that
+bathes the rocks rising out of the sea,--these isles of the sirens from
+which float the melodies that enchanted Odysseus.
+
+The traveller may be surprised to find that in size Naples ranks fourth
+on the European Continent,--Paris, Berlin, and St. Petersburg, only,
+exceeding it. Naples should be, not only a port, a pleasure haunt, and a
+paradise for excursions, but one of the great cities of the world in
+commercial and in social importance. It has one of the finest natural
+harbors of the world; it has a beautiful and attractive adjoining
+country in which to extend, indefinitely, its residence and trade
+districts; it has the most enchanting fairyland of views that ever were
+seen this side the ethereal world; it has an atmosphere of song and
+story and a climate that is far from being objectionable. Naples is
+seldom the possessor of a higher temperature in summer than is New York
+or Boston; the winters are mild, and they offer weeks of sunny
+loveliness when Rome is swept by the icy tramontana from the snow-clad
+Alban hills. Naples offers, too, exceedingly good facilities for living;
+the groups of excellent hotels, both on the terraces and on the water's
+edge in the lower town and along the Villa Nazionale, offer every
+comfort, and the politeness and courtesy of the Neapolitans, as a rule,
+are among the alluring features of this enchanting city.
+
+What shall be said of one hotel, especially, perched on the cliffs, to
+which one ascends by an elevator, finding it the most luxurious
+fairyland that imagination can conjure? Leaving the street one walks
+through a marble tunnel lighted with electricity, wondering if he is,
+indeed, in the grotto of the Muses. Entering a "lift" truly American in
+its comfort and speed, he is wafted up the heights and steps out in--is
+it paradise? Here is a large salon entirely of glass with an
+incomparable view all over the gleaming bay, with Capri and Sorrento
+shining fair on the opposite sides and Vesuvius, a purple peak, in the
+near distance. The great city of Naples lies spread out below, with its
+interior heights of Capodimonte and others. It is a view for which alone
+one might well sail the four thousand miles of sea from the American
+shores. Through open French windows one may step out on the terrace. If
+it is cold he may still enjoy this sublimely wonderful view behind the
+glass walls that reveal all its beauty and protect him from wind or
+chill. Elsewhere adjoining salons stretch away, where sunshine, music,
+reading matter, and dainty writing-desks allure the guest and create for
+him, indeed, an earthly paradise.
+
+Of the drive on the Strada Nuova di Posilipo, skirting the coast while
+following the winding rise of the hill, with the sumptuous villas and
+gardens on one side and the blue sea on the other,--what words can
+suggest its charm? On a jutting promontory on the ruins of the Palazzo
+di Donna Ana are seen the palace whose convenient location made it
+possible for the royal hosts to throw their guests into the sea whenever
+they became tiresome, an accommodation that the modern hostess might, at
+times, appreciate. On this road, winding up the Posilipo, is the villa
+where Garibaldi passed the last winter of his life and which is marked
+by a tablet. And everywhere and at every turn are the beautiful views,
+commanding Bagnoli, Camaldoli, Ischia, Baia and Procida, Capri, Nisida
+and the Neapolitan waters. The hill slopes are overgrown with myrtles
+and orange trees and roses. Here and there a defile is filled with a
+vineyard under careful culture.
+
+In the presence of all this marvel of nature's loveliness the visitor
+hardly remembers the historic interest; yet it was on the little island
+of Nisida that Brutus and Cassius concocted the conspiracy against
+Caesar. The vast Phlegraean Plain before the eye is invested with Hellenic
+traditions and is the region of many scenes in the poems of Virgil and
+Homer. In the years of the first and second centuries this plain was
+dotted with the rich villas of the Roman aristocracy. Here, too, lay the
+celebrated Lacus Avernus, a volcanic lake which the ancients regarded as
+the entrance to Avernus itself. Truly it required little imagination to
+see here the approach to the infernal regions. The air was so poisonous
+that no bird could fly over the lake and live. Virgil's scene of the
+descent of AEneas, guided by the sibyl, into the infernal depths is laid
+here; and near this lake are resorts of the latter-day tourist, known
+as the "Sibyl's Grotto," the "Grotto della Pace," the "Bagni di Sibyl,"
+and the "Inferno."
+
+  [Illustration: ANCIENT TEMPLE, BAIAE
+                 _Page 241_]
+
+Baia, on the coast, was the Newport of Rome in the days of Augustus,
+Hadrian, Cicero, and Nero. It was then the most magnificent summer
+watering-place known to the world. The glory of the Roman Empire was
+reflected in the glory of Baia. In one of the Epistles of Horace a Roman
+noble is made to say: "Nothing in the world can be compared with the
+lovely bay of Baia." Some five hundred years ago this region became so
+malarial that no one could dwell in it. Fragments and ruins still remain
+of the imposing baths and villas of the Roman occupancy. An old crater
+called the Capo Miseno is described by Virgil as the burial place of
+Misenus:--
+
+    "_At pius AEneas ingenti mole sepulcrum
+    Inponit, suaque arma viro remumque tubamque
+    Monte sub aereo, qui nunc Misenus ab illo
+    Dicitur aeternumque tenet per saecula nomen._"
+
+Cumae was the most ancient Greek colony of Italy on the coast, and the
+last survivors of the Tarquinii died here. This is the most classic of
+all these legendary coast towns near Naples, as it was here that the
+Cumaean Sibyl dwelt with the mysterious sibylline leaves,--the books that
+were carried to Rome. A colossal Acropolis was once here, fragments of
+whose walls are now standing; and the rocky foundation is honeycombed
+with secret passages and openings. It is here that Virgil's "Grotto of
+the Sibyl" is supposed to have stood,--the grotto "whence resound as
+many voices, the oracles of the prophetess."
+
+The journey from Naples to Herculaneum is easily made by electric train
+cars within an hour, and while there is not much to see it is still an
+excursion well worth making. Dr. de Petra, of the chair of Archaeology in
+the University of Naples, and formerly the Director of the National
+Museum, is warmly in favor of the proposed excavation of this buried
+city, as is Professor Spinazzola of the San Martino museum, who believes
+that Italy may well become one vast museum of antiquities. "As the
+theatre of Herculaneum is actually at present a subterranean
+excavation," he observed, "why not excavate in a similar way the entire
+city underneath modern Resina? In this way a perfectly unique
+underground museum would be formed, which would have the merit of
+leaving magnificent Roman art treasures exactly in their proper places
+in the villas. Such a work ought to be perfectly practicable, with the
+resources of modern engineering, and would certainly be unique in the
+world.
+
+"There would be no need to build a special museum for the objects
+discovered. Not only would this money be saved, but I feel convinced
+that so many visitors would be attracted as to more than pay for the
+maintenance. A subterraneous Herculaneum--surely a perfectly unique
+place of pilgrimage, just as it was nearly two thousand years ago--might
+be lighted by electric arc lights. I feel certain it would attract
+sight-seers from the ends of the world. At the same time work might go
+on in the open parts of the city.
+
+"Pompeii was more of an industrial town, while Herculaneum was a
+favorite resort of the Roman patricians, who did not bring their
+treasures with them from their northern homes, but had them executed by
+Greek artists in the south."
+
+Under the mighty floods of _lava d'acqua_ that buried Herculaneum
+doubtless lie temples, a splendid forum, magnificent villas, and most
+valuable art and literary treasures. In the eighteenth century
+excavations brought to light rare bronzes, mosaics, and papyri. The
+famous equestrian statue of Balbo, in the Naples Museum, was excavated
+from Herculaneum. Professor Lanciani and Commendatore Boni of Rome--the
+latter the present director of the Forum, succeeding Lanciani--believe
+that some of the richest art of ancient times may be found in
+Herculaneum; as does Professor Dall'Osso, inspector of excavations at
+Pompeii.
+
+Herculaneum is held to have been founded by Hercules when he landed at
+Campania, returning from Iberia, some three hundred years B.C., and it
+was in 63 A.D. that it was destroyed. Of this cataclysm Pliny, the
+Younger, wrote:--
+
+     "The sea seemed to roll back on itself by the convulsions of the
+     earth. On the other side hung a black and dreadful cloud, bursting
+     with fiery and serpentine vapors. Naught was heard in the darkness
+     but the shrieks of women, the screams of children, and the frenzied
+     cries of men calling for children, for wives, for parents,--all
+     lifting hands to the gods, praying and wishing for death."
+
+Dr. Charles Waldstein of Cambridge University, the eminent archaeologist,
+whose efforts toward initiating the excavation of Herculaneum were a
+notable event of 1906, thus writes of this buried city:--
+
+     "It is important to bear in mind that naturally all the best works
+     in the Museum of Naples, especially the bronzes, came from
+     Herculaneum and not from Pompeii.
+
+     "What is most striking is the marvellous preservation of these
+     works. This fact of itself ought to counteract the strange but
+     widespread misapprehension that, while Pompeii was covered with
+     cinders and ashes, Herculaneum was covered with lava, and that the
+     hardness of that material made excavation difficult, if not
+     impossible. All geologists and archaeologists are agreed that no
+     lava issued from the eruption of 79 A.D. Herculaneum was covered by
+     a torrent of mud consisting of ashes and cinders mixed with water.
+     The mass which covers it, so far from being less favorable to the
+     preservation of objects, is much more favorable than that which
+     covers Pompeii. Pompeii was partially covered with hot ashes and
+     pumice stones, which burnt or damaged the works of art. As it was
+     not wholly covered, moreover, the inhabitants returned and dug up
+     some of their greatest treasures. Herculaneum, on the other hand,
+     had its actual life, arrested at the highest point, securely
+     preserved from depredation, to a depth of eighty feet, by a
+     material which preserved intact the most delicate specimens which
+     have come down to us in a state so perfect as to be really
+     remarkable.
+
+     "The most important of these delicate objects are manuscripts, of
+     which that one villa produced 1750. The state of preservation is
+     illustrated by one specimen, giving two pages from the works of the
+     philosopher Philademus. Unfortunately, the possessor of the villa
+     was a specialist, a student of Epicurean philosophy. While his
+     taste in art was fortunately so catholic, his taste in literature
+     was narrowed down by his special bent. Piso was the friend and
+     protector of the philosopher Philo. Already sixty-five copies of
+     that author's works have been found among the papyri.
+
+     "Yet the city of Herculaneum contained many such villas, and herein
+     it differed from Pompeii. Pompeii was a commonplace provincial town
+     devoted exclusively to commerce; it was not the resort of wealthy
+     and cultured Romans. It was essentially illiterate. No manuscript
+     can be proved to have been found there. It is true a wax tablet
+     with writing has been found; yet this contains--receipts of
+     auctions. Herculaneum, on the other hand, was the favorite resort
+     of wealthy Romans, who built beautiful villas there as in our times
+     people from modern Rome settle for the summer at Sorrento and
+     Castellammare."
+
+The present descent into the theatre of Herculaneum is made by a flight
+of more than a hundred steps, slippery and cold, in total darkness save
+for the candle that is carried by the guide, and the visitor sees only
+the stone seats of the amphitheatre and the stage with the two vacant
+niches, the statues that filled each being now placed in the Museum in
+Naples.
+
+The journey of thirteen miles from Naples to Pompeii is through a
+succession of densely populated villages that seem to be an integral
+part of Naples itself, for there is no line of demarcation. Portici,
+Torre del Greco, Torre dell'Annunziata, and others all blend with each
+other and with Naples. However familiar one has become with the
+literature of Pompeii, with both archaeological descriptions and
+imaginative interpretations in romance, and however familiar with its
+aspects he may have become from replicas in art museums, and from
+pictures, one can yet hardly approach this silent, phantom city without
+being thrilled by its deep significance. At a distance of a few miles
+over the gently undulating plain rises Vesuvius; one gazes on the paths
+where the rivers of molten fire must have rolled down. George S.
+Hillard, visiting Pompeii in 1853, thus described a house which the
+visitors of to-day study and admire:--
+
+     "The finest house we saw within the walls is one which had been
+     discovered and laid bare about four months previous to the date of
+     our visit, called the house of the Suonatrice, from a painting of a
+     female playing on a pipe, at the entrance. This house was deemed of
+     such peculiar interest that it was under the charge of a special
+     custode, and was only to be seen on payment of an extra fee. It was
+     not of large size, but had evidently been occupied by a person of
+     ample fortune and exquisite taste. The paintings on the walls were
+     numerous, and in the most perfect preservation. In the rear was a
+     minute garden not more than twenty or thirty feet square, with a
+     fairy fountain in the centre; around which were several small
+     statues of children and animals, of white marble, wrought with
+     considerable skill. The whole thing had a very curious effect, like
+     the tasteful baby-house of a grown-up child. Everything in this
+     house was in the most wonderful preservation. The metal pipes which
+     distributed the water, and the cocks by which it was let off,
+     looked perfectly suited for use. Nothing at Pompeii seemed so real
+     as this house, and nowhere else were the embellishments so numerous
+     and so costly.
+
+     "Pompeii, though a Roman city in its political relations, was
+     everywhere strongly marked with the impress of the Greek mind. It
+     stood on the northern edge of that part of Italy which, from the
+     number of Grecian colonies it contained, was called Magna
+     Graecia,--a region of enchanting beauty, in which the genius of
+     Greece attained its most luxurious development. It has been
+     conjectured that Pompeii had an unusually large proportion of men
+     of property, who had been drawn there by the charms of its
+     situation and climate, and that it thus extended a liberal
+     patronage to Greek architects, painters, and sculptors. At any
+     rate, the spirit of Greece still lives and breathes in its ashes.
+     Its temples, as restored by modern architects, are Greek. Its works
+     in marble and bronze claim a place in that cyclus of art of which
+     the metopes of the Parthenon are the highest point of excellence.
+     The pictures that embellish the walls, the unzoned nymphs, the
+     bounding Bacchantes, the grotesque Fauns, the playful arabesques,
+     all are informed with the airy and creative spirit of Greek art.
+
+     "The ruins of Pompeii are not merely an open-air museum of
+     curiosities, but they have great value in the illustration they
+     offer to Roman history and Roman literature. The antiquarian of our
+     times studies the great realm of the past with incomparable
+     advantage, by the help of the torch here lighted."
+
+From Pompeii to Castellammare, the beautiful seaside summer resort of
+the Neapolitans, "a lover of nature could hardly find a spot of more
+varied attractions. Before him spreads the unrivalled bay,--dotted with
+sails and unfolding a broad canvas, on which the most glowing colors and
+the most vivid lights are dashed,--a mirror in which the crimson and
+gold of morning, the blue of noon, and the orange and yellow-green of
+sunset behold a livelier image of themselves,--a gentle and tideless
+sea, whose waves break upon the shore like caresses, and never like
+angry blows. Should he ever become weary of waves and languish for
+woods, he has only to turn his back upon the sea and climb the hills for
+an hour or two, and he will find himself in the depth of sylvan and
+mountain solitudes,--in a region of vines, running streams,
+deep-shadowed valleys, and broad-armed oaks,--where he will hear the
+ringdove coo, and see the sensitive hare dart across the forest aisles.
+A great city is within an hour's reach; and the shadow of Vesuvius hangs
+over the landscape, keeping the imagination awake by touches of mystery
+and terror."
+
+The road to Sorrento, on a cliff a hundred feet or more above the sea,
+with mountains on the other side, towering up hundreds of feet high; a
+road cut in many places out of the solid rock, supported by galleries
+and viaducts from below,--a road that crosses deep gorges and chasms,
+always with the iridescent colors of the sea below,--and from Sorrento
+to Amalfi again, only, if possible, even more wonderful,--is there in
+the world any drive that can rival this picturesque and sublime route?
+Of it George Eliot wrote:--
+
+     "It is an unspeakably grand drive round the mighty rocks with the
+     sea below; and Amalfi itself surpasses all imagination of a
+     romantic site for a city that once made itself famous in the
+     world."
+
+Sorrento, with its memories and associations of Tasso, seems a place in
+which one cares only to sit on the balcony of the hotel overhanging the
+sea and watch the magic spectacle of a panorama unrivalled in all the
+beauty of the world. Flowers grow in riotous profusion; the fairy sail
+of a flitting boat is caught in the deepening dusk; the dark outline of
+Vesuvius is seen against the horizon; and orange orchards gleam against
+gray walls. Here Tasso was born, in 1544, fit haunt for a poet, with
+tangles of gay blossoms and the aerial line of mountain peaks. A low
+parapet borders the precipice, and over it one leans in the air heavy
+with perfume of locust blossoms. Has the lovely town anything beside
+sunsets and stars and poets' dreams? Who could ask for more?
+
+To La Cava,--to Amalfi,--still all a dream world!
+
+    "O summer day, beside the joyous sea!
+    O summer day so wonderful and white,
+    So full of gladness and so full of pain!"
+
+How Amalfi sets itself to song and music! Who can enter it without
+hearing in the air Longfellow's beautiful lines?--
+
+    "Sweet the memory is to me
+    Of a land beyond the sea,
+    Where the waves and mountains meet,
+    Where, amid her mulberry-trees,
+    Sits Amalfi in the heat,
+    Bathing ever her white feet
+    In the tideless summer seas.
+
+           *       *       *       *       *
+
+    'Tis a stairway, not a street,
+    That ascends the deep ravine,
+    Where the torrent leaps between
+    Rocky walls that almost meet.
+
+           *       *       *       *       *
+
+    This is an enchanted land!
+    Round the headlands, far away,
+    Sweeps the blue Salernian bay
+    With its sickle of white sand;
+    Further still and furthermost
+    On the dim discovered coast,
+    Paestum with its ruins lies,
+    And its roses all in bloom."
+
+If ever a region was dropped out of paradise designed, solely, for a
+poet's day-dreams, it is Amalfi, and the even more beautiful Ravello
+just above. One fancies that it must have been in the mystic loveliness
+of this eyrie that the poet lost himself in a day-dream while Jupiter
+was dividing all the goods of the world. When he reproached the god for
+not saving a portion for him, Jupiter replied that all the goods were
+gone, it was true, but that his heaven was always open to the poet.
+
+The ancient Amalfi, the city of activities and merchandise, is gone.
+
+    "Where are now the freighted barks
+    From the marts of east and west?
+    Where the knights in iron sarks
+    Journeying to the Holy Land,
+    Glove of steel upon the hand,
+    Cross of crimson on the breast?
+    Where the pomp of camp and court?
+    Where the pilgrims with their prayers?
+    Where the merchants with their wares?
+
+           *       *       *       *       *
+
+    Vanished like a fleet of cloud,
+    Like a passing trumpet-blast,
+    Are those splendors of the past,
+    And the commerce and the crowd!
+    Fathoms deep beneath the seas
+    Lie the ancient warves and quays,
+    Swallowed by the engulfing waves."
+
+It is impossible to realize that Amalfi was once a flourishing city of
+Oriental trade. One looks in vain for any trace of ruin or shrine that
+still suggests the ancient splendors of activity. The strata of the
+past, so visible in other mediaeval cities, are not apparent here. The
+great cathedral is a most interesting study in the art of
+architecture,--its exquisite arcades, its delicate, lofty campanile
+glittering in the sun. The green-roofed cupola is a distinctive feature,
+and up the many flights of stairs the old Capuccini convent lies,--the
+unique, romantic hotel where the cells of the monks are now the rooms of
+the perpetual procession of guests. Does the wraith of Cardinal
+Capuano, who founded this convent, still wander in midnight hours
+through the dim cloisters? Does he still keep watch by the body of St.
+Andrew, the apostle, which he is said to have found and brought to the
+cathedral where the saint lies, as a saint should lie, gloriously
+entombed. St. Andrew was the patron saint of Amalfi, but at his death
+his body was carried from Patras to the Bosphorus, where it was placed
+in a church in Constantinople. The legend runs that Cardinal Capuano,
+being in Constantinople, entered the Church of the Holy Apostles to
+pray, and knowing that the body of the saint was in that city, he
+besought the heavenly powers to guide him to it. Rising from his
+devotions he was approached by an aged priest, who announced to the
+Cardinal that the object of his search was in that very church in which
+he was praying for guidance; and, aided by unseen powers, he was able to
+recover it and convey it to Amalfi. All Italian towns that respect
+themselves offer the allurement of an entombed saint and if,
+occasionally, the same identical saint does duty for more than one city,
+who is to decide the local genuineness of the claim? Nothing in all
+Italy is so curious as is this town of staircases instead of streets; of
+houses perched on the angles of impossible eyries suggesting that, as
+the Venetians go about in gondolas, so the Amalfians must have airships,
+or the wings of Icarus, with which to circle in air from their dwellings
+to the beach.
+
+The precipitous gorges and dark ravines have on their crests low
+parapets of stone walls over which the visitor lingers and leans
+watching the bluest of seas lying fair under the bluest of skies. The
+main road,--there is only one,--descending from the hill to the water's
+edge, makes its progress through a tunnel.
+
+The old Amalfi, with its palaces, its arches and colonnades, lies under
+the sea. Just as the Pensione Caterina with its rose walks and terraces
+slipped into the sea in December of 1899, when two guests and several
+fishermen lost their lives, so the ancient Amalfi fell, its cliffs
+swallowed up in the waters below.
+
+    "Hidden from all mortal eyes,
+    Deep the sunken city lies;
+    Silent streets and vacant halls,
+    Ruined roofs and towers and walls;
+    Even cities have their graves!"
+
+When, on a May evening, the white moonlight falls in cascades of silver
+sheen over terraces and sea, with Amalfi all alabaster and pearl like a
+dream city in the ethereal air; when the stars hang low in the skies and
+the fairy lights of the fishermen's boats twinkle far out at sea; when
+the summer silence is suddenly thrilled by the melody of Neapolitan
+songs on the air, as if it were a veritable _chant d'amour_ of
+sirens,--then does one believe in the buried city. These rich baritone
+voices are surely those of some singers of the buried ages. They are
+floating across the centuries since Amalfi had its pride and place among
+the great centres of activity. Atrani, Amalfi's twin city, lies in the
+adjoining defile of the mountains which arch above them. The strange old
+houses are all dazzlingly white, transfigured under the moon to an
+unearthly loveliness.
+
+The tragedy of the ruin of Amalfi is related by Petrarca, who was then
+living in Naples. It was in 1343 that a terrible cataclysm--an
+earthquake accompanied by a tempest--caused the destruction and the
+submergence of the city in the sea.
+
+The believers in astrology will find their faith re-enforced by the fact
+that a bishop, who was also an astrologist, had read in the stars that
+in December of 1343 a terrible disaster would occur on the Naples coast.
+It arrived on schedule time. Petrarca, writing of it to Giovanni
+Colonna, states that in consequence of the prediction of the bishop, the
+people were in a condition of wild terror, endeavoring to repent of
+their sins and aspiring to a purer moral life. In this tide of religious
+emotion, ordinary occupations were neglected. On the very day of the
+calamity people were crowding the churches and kneeling in prayer. At
+night, after the people were in bed, the shock came. The sunset had been
+fair, the evening quiet, and the people were reassured. But they were
+awakened from sleep by the violence of falling walls and the terror of
+the tempest. Petrarcha was lodging in a convent, and he heard the monks
+calling to one another as they rushed from cell to cell. They hastily
+gathered crosses and sacred relics in their hands, and, preceded by the
+prior, sought the chapel, where they passed the night in prayer while
+the tempest raged outside. The sea broke against the rocks with a fury
+that seemed to tear the very foundations of the earth. The thunder
+pealed, and mingled with it were the shrieks of the frightened
+populace. The rain fell in torrents, deluging the city as if the sea
+itself were pouring on it. When the morning came the darkness still
+continued. In the harbor broken ships crashed helplessly together. The
+sands were strewn with mutilated dead bodies. Between Capri and the
+shore the sea ran mountains high. Amalfi was completely destroyed, and
+has never regained her prestige.
+
+The cathedral at Ravello has traces of the rich art it once enshrined,
+and the rose gardens of the Palazzo Rufolo might enchant Hafiz himself.
+The terrace on the very crest of the mountain commands one of the
+wonderful views of the world. The cloistered colonnades of this old
+Saracenic palace reveal views even to the plains of Paestum. There are
+rare mosaics and fragments of bronzes and marbles yet remaining.
+
+The noble Greek ruins at Paestum--the three temples--stand in all the
+majesty of utter desolation. They are overgrown with flowers, however,
+and they stand "dewy in the light of the rising dawn-star."
+
+    "The shrine is ruined now, and far away
+    To east and west stretch olive groves, whose shade,
+    Even at the height of summer noon, is gray.
+
+           *       *       *       *       *
+
+    "Yet this was once a hero's temple, crowned
+    With myrtle boughs by lovers, and with palm
+    By wrestlers, resonant with sweetest sound
+    Of flute and fife in summer evening's calm,
+    And odorous with incense all the year,
+    With nard and spice and galbanum and balm."
+
+The detour to Paestum is full of significance. The massive columns of the
+temples stand like giants of the ages. "It is difficult," writes John
+Addington Symonds, "not to return again and again to the beauty of
+coloring at Paestum. Lying basking in the sun on a flat slab of stone,
+and gazing eastward, we overlook a foreground of dappled light and
+shadow; then come two stationary columns built, it seems, of solid gold,
+where the sunbeams strike along their russet surface. Between them lies
+the landscape, a medley first of brakefern and asphodel and feathering
+acanthus and blue spikes; while beyond and above is a glimpse of
+mountains, purple almost to indigo with cloud shadows, and flecked with
+snow."
+
+The sail from Amalfi to Paestum is one incomparable in loveliness. The
+sunshine is all lurid gold. The faint, transparent blue haze fills all
+the defiles of the mountains; the cliffs disclose yawning caverns where
+vast clusters of stalactites hang; and as the boat floats toward Capri
+from the Sorrento promontory its rocky headlands rise and flame into
+purple and rose against the glowing sky. Across the Bay of Naples rises
+the great city. It stands in some subtle way reminding one of the scene
+where one
+
+    "... rowing hard against the stream,
+    Saw distant gates of Eden gleam."
+
+Capri is the idyllic island of prismatic light and shade, of gay and
+joyous life. Here Tiberius had his summer palace, and it was from these
+shores that he sent the historic letter which revolutionized the life of
+Sejanus. The letter--_verbosa et grandis epistola_--is still vivid in
+the historic associations of Rome. Capri is one of the favorite resorts
+both for winter and summer. Its former modest prices are now greatly
+increased, like all the latter-day expenses of Italy; but its beauty is
+perennial, and the artist and poet can still command there a seclusion
+almost impossible to secure elsewhere in Italy. The distinguished
+artist, Elihu Vedder of Rome, has a country house on Capri, and another
+well-known artist, Charles Caryl Coleman, makes this island his home.
+There are days--sometimes several days in succession--that the sea is
+high and the boats cannot run between Naples, Sorrento, and Capri; and
+the enforced seclusion is still the seclusion of the poet's dream. For
+he shares it with Mithras, the "unconquered god of the sun," whose cult
+influenced all the monarchs of Europe and who holds his court in the
+Grotto de Matrimonia. Into this grotto one descends by a flight of
+nearly two hundred feet; he strolls among the ruins of the villa of
+Tiberius, where the very air is still vital and vocal with those strange
+and tragic chapters of Roman life. The Emperor Augustus first founded
+here palaces and aqueducts. Tiberius, who retired to Capri in the year
+27 A.D., had his architects build twelve villas, in honor of the gods,
+the largest of these being for Jupiter and known as the Villa Jovis. In
+31 A.D. occurred that dramatic episode in Roman history, the fall of
+Sejanus, and six years later Tiberius died. The vast white marble baths
+he had built for him are now submerged on the coast, and boats glide
+over the spot where they stood. The Villa Jovis stood on a cliff seven
+hundred feet above the sea, and the traditions of the barbarities and
+atrocities that took place there still haunt the island. The natives
+apparently regard them as a certain title to fame, but the wise tourists
+persistently ignore horrors; life is made for joy, sweetness, and charm;
+it is far wiser to think on these things.
+
+And there is charm and joy to spare on lovely Capri. "Sea-mists are
+frequent in the early summer mornings, swathing the cliffs of Capri and
+brooding on the smooth water till the day wind rises," says John
+Addington Symonds. "Then they disappear like magic, rolling in
+smoke-wreaths from the surface of the sea, condensing into clouds and
+climbing the hills like Oceanides in quest of Prometheus, or taking
+their station on the watch towers of the world as in the chorus of the
+Nephelai. Such a morning may be chosen for the _giro_ of the island. The
+Blue Grotto loses nothing of its beauty, but rather gains by contrast,
+when passing from dense fog you find yourself transported to a world of
+wavering subaqueous sheen. It is only through the very topmost arch that
+a boat can glide into this cavern; the arch itself spreads downward
+through the water so that all the light is transmitted from beneath and
+colored by the sea. Outside the magic world of pantomime there is
+nothing to equal these effects of blue and silver.... Numberless are the
+caves at Capri. The so-called Green Grotto has the beauty of moss agate
+in its liquid floor; the Red Grotto shows a warmer chord of color; and
+where there is no other charm to notice, endless beauty may be found in
+the play of sunlight upon roofs of limestone, tinted with yellow,
+orange, and pale pink, mossed over, hung with fern, and catching tones
+of blue or green from the still deeps beneath.... After a day upon the
+water it is pleasant to rest at sunset in the loggia above the sea. The
+Bay of Naples stretches far and wide in front, beautiful by reason of
+the long fine line descending from Vesuvius, dipping almost to a level,
+and then gliding up to join the highlands of the north. Now sun and moon
+begin to mingle: waning and waxing splendors. The cliffs above our heads
+are still blushing like the heart of some tea-rose; when lo, the touch
+of the huntress is laid upon those eastern pinnacles, and the horizon
+glimmers with her rising. Was it on such a night that Ferdinand of
+Aragon fled from his capital before the French, with eyes turned ever to
+the land he loved, chanting, as he leaned from his galley's stern, that
+melancholy psalm, 'Except the Lord keep the city, the watchman waketh
+but in vain,' and seeing Naples dwindle to a white blot on the purple
+shore?"
+
+The roses of Capri would form a chapter alone. What walks there are
+where the air is all fragrance of acacia and rose and orange blossoms!
+Cascades of roses in riotous luxuriance festoon the old gray stone
+walls; the pale pink of the early dawn or of a shell by the seashore,
+the amber of the Banskeia rose, the great golden masses of the Marechal
+Niel, their faint yellow gleaming against the deep green leaves of
+myrtle and frond. The intense glowing scarlet of the gladiolus flames
+from rocks and roadside, and rosemary and the purple stars of hyacinths
+garland the ways, until one feels like journeying only in his singing
+robes. The deep, solemn green of stone pines forms canopies under the
+sapphire skies, and through their trunks one gazes on the sapphire sea.
+Is Capri the isle of Epipsychidion?
+
+                               "Is there now any one that knows
+    What a world of mystery lies deep down in the heart of a rose?"
+
+One walks among these rose-lined lanes, hearing in the very air that
+exquisite lyric by Louise Chandler Moulton:--
+
+    "Roses that briefly live,
+      Joy is your dower;
+    Blest be the Fates that give
+      One perfect hour.
+    And, though too soon you die,
+      In your dust glows
+    Something the passer-by
+      Knows was a Rose."
+
+Monte Cassino is one of the most interesting inland points in Southern
+Italy,--the monastery lying on the crest of a hill nearly two thousand
+feet above the sea. Dante alludes to this in his Paradiso (XXII,
+XXXVII), and in the prose translation made by that eminent Dantean
+scholar, Professor Charles Eliot Norton, this assurance of Beatrice to
+Dante is thus rendered:--
+
+     "That mountain on whose slope Cassino is, was of old frequented on
+     its summit by the deluded and ill-disposed people, and I am he who
+     first carried up thither the name of Him who brought to earth the
+     truth which so high exalts us; and such grace shone upon me that I
+     drew away the surrounding villages from the impious worship which
+     seduced the world. Those other fires were all contemplative men,
+     kindled by that heat which brings to birth holy flowers and fruits.
+     Here is Macarius, here is Romuald, here are my brothers, who within
+     the cloisters fixed their feet, and held a steadfast heart. And I
+     to him, 'The affection which thou displayest in speaking with me,
+     and the good semblance which I see and note in all your ardors,
+     have so expanded my confidence as the sun does the rose, when she
+     becomes open so much as she has power to be. Therefore I pray thee,
+     and do thou, father, assure me if I have power to receive so much
+     grace, that I may see thee with uncovered shape.' Whereon he,
+     'Brother, thy high desire shall be fulfilled in the last sphere,
+     where are fulfilled all others and my own. There perfect, mature,
+     and whole is every desire; in that alone is every part there where
+     it always was: for it is not in space, and hath not poles; and our
+     stairway reaches up to it, wherefore thus from thy sight it
+     conceals itself. Far up as there the patriarch Jacob saw it stretch
+     its topmost part when it appeared to him so laden with Angels. But
+     now no one lifts his feet from earth to ascend it; and my rule is
+     remaining as waste of paper. The walls, which used to be an abbey,
+     have become caves; and the cowls are sacks full of bad meal. But
+     heavy usury is not gathered in so greatly against the pleasure of
+     God, as that fruit which makes the heart of monks so foolish. For
+     whatsoever the Church guards is all for the folk that ask it in
+     God's name, not for one's kindred, or for another more vile. The
+     flesh of mortals is so soft that a good beginning suffices not
+     below from the springing of the oak to the forming of the acorn.
+     Peter began without gold and without silver, and I with prayers and
+     with fasting, and Francis in humility his convent; and if thou
+     lookest at the source of each, and then lookest again whither it
+     has run, thou wilt see dark made of the white. Truly, Jordan turned
+     back, and the sea fleeing when God willed, were more marvellous to
+     behold than succor here."
+
+Dante adds that the company "like a whirlwind gathered itself upward,"
+and that "the sweet lady urged me behind them, with only a sign, up over
+that stairway; so did her virtue overcome my nature. But never here
+below, where one mounts and descends naturally, was there motion so
+rapid that it could be compared unto my wing."
+
+The time was when Dante and Beatrice met, and he "was standing as one
+who within himself represses the point of his desire, and attempts not
+to ask, he so fears the too-much." And then he heard: "If thou couldst
+see, as I do, the charity which burns among us thy thoughts would be
+expressed. But that thou through waiting mayst not delay thy high end, I
+will make answer to thee, even to the thought concerning which thou art
+so regardful."
+
+The vast monastery of Monte Cassino, lying on the crest of a hill nearly
+two thousand feet above the sea, has one of the most magnificent
+locations in all Italy. This monastery was founded (in 529 A.D.) by St.
+Benedict, on the site of an ancient temple to Apollo. Dante alludes to
+this also in the Paradiso (Canto XX, 11). As seen from below this
+monastery has the appearance of a vast castle, or fortress. Its
+location is one of the most magnificent in all Italy. The old entrance
+was a curious passage cut through solid rock and it is still used for
+princes and cardinals--no lesser dignitaries being allowed to pass
+through it--and within the past thirty years a new entrance has been
+constructed. In the passageway of the mediaeval entrance St. Benedict is
+said to have had his cell, and of recent years the German Benedictines,
+believing they had located the original cell, had it located, restored,
+and decorated with Egyptian frescoes. Several of the courts of this
+convent are connected by beautiful arcades with lofty arches, and
+adorned with statues, among which are those of St. Benedict and his
+sister, St. Scholastica. Still farther up the hill, upon the monastery,
+stands the church which is built on the site of the ancient one that was
+erected by St. Benedict himself--this present edifice dating back to
+1637. Above the portals there is a long inscription in Latin relating
+the history of the monastery and the church. These portals are solid
+bronze, beautifully carved, with inlaid tablets of silver on which are
+inscribed a list of all the treasures of the abbey in the year 1006. The
+church is very rich in interior decoration of mosaics, rare marbles,
+and wonderful monumental memorials. Either side of the high altar are
+monuments to the Prince of Mignano (Guidone Fieramosca) and also to
+Piero de Medico. Both St. Benedict and his sister, St. Scholastica, are
+entombed under the high altar, which is one of the most elaborately
+sculptured in all the churches of Italy.
+
+Among the pictorial decorations of this church are a series of fresco
+paintings by Luca Giordano, painted in the seventeenth century,
+representing the miracles wrought by St. Benedict. In the refectory is
+the "Miracle of the Loaves," by Bassano; and in the chapel below are
+paintings by Mazzaroppi and Marco da Siena. Nothing can exceed the
+richness and beauty of the carvings of the choir stalls. These were
+executed in the seventeenth century by Coliccio.
+
+The library of this monastery is renowned all over Europe--indeed, it is
+famous all over the world--for its preservation of ancient manuscripts
+done by the monks. These are carefully treasured in the archives. Among
+them is the record of a vision that came to the monk Alferic, in the
+twelfth century, on which it is believed that Dante founded his
+immortal "Divina Commedia;" there is also a fourteenth-century edition
+of Dante with margined notes; and the Commentary of Origen (on the
+Epistle to the Romans), dating back to the sixteenth century; there is
+the complete series of Papal bulls that were sent to the monastery of
+Monte Cassino from the eleventh century to the present time, many of
+them being richly illuminated and decorated with curiously elaborate
+seals. There is an autograph letter of the Sultan Mohammed II to Pope
+Nicholas IV, with the Pope's reply,--the theme of the correspondence
+being the Pope's threat of war. The imperial Mohammed seems to have been
+in terror of this, and in his epistle he expresses his willingness, and,
+indeed, his intention, to be converted as soon as he shall visit Rome!
+Apparently the Holy Father of that day laid little stress on the
+sincerity of this offer on the part of the Sultan. Here, too, is a
+wonderful correspondence between Don Erasmo Gattola, the historian of
+the abbey, and a great number of the celebrated men of his time; and
+there are hundreds of other letters, manuscripts, and documents relating
+to kings, nobles, emperors, and many of the nobility of the age.
+
+In this monastery there is a most interesting collection of relics, in
+bronze, silver, gold, and _rosso antico_. The library proper contains
+some eleven thousand volumes, dating back to the very dawn of the
+discovery of the art of printing.
+
+Mr. Longfellow, whose poet's pen has pictured so many of the Italian
+landscapes and ancient monuments, thus set Monte Cassino to music,
+picturing the entire landscape of the Terra di Lavoro region:--
+
+    "The Land of Labor and the Land of Rest,
+      Where mediaeval towns are white on all
+    The hillsides, and where every mountain's crest
+      Is an Etrurian or a Roman wall.
+
+           *       *       *       *       *
+
+    "There is Aquinum, the old Volscian town,
+      Where Juvenal was born, whose lurid light
+    Still hovers o'er his birthplace like the crown
+      Of splendor seen o'er cities in the night.
+
+    "Doubled the splendor is, that in its streets
+      The Angelic Doctor as a school-boy played,
+    And dreamed perhaps the dreams that he repeats
+      In ponderous folios for scholastics made.
+
+    "And there, uplifted, like a passing cloud
+      That pauses on a mountain summit high,
+    Monte Cassino's convent rears its proud
+      And venerable walls against the sky.
+
+    "Well I remember how on foot I climbed
+      The stony pathway leading to its gate;
+    Above, the convent bells for vespers chimed,
+      Below, the darkening town grew desolate.
+
+           *       *       *       *       *
+
+    "The silence of the place was like a sleep,
+      So full of rest it seemed; each passing tread
+    Was a reverberation from the deep
+      Recesses of the ages that are dead.
+
+    "For, more than thirteen centuries ago,
+      Benedict fleeing from the gates of Rome,
+    A youth disgusted with its vice and woe,
+      Sought in these mountain solitudes a home.
+
+    "He founded here his Convent and his Rule
+      Of prayer and work, and counted work as prayer;
+    The pen became a clarion, and his school
+      Flamed like a beacon in the midnight air.
+
+           *       *       *       *       *
+
+    "From the high window, I beheld the scene
+      On which Saint Benedict so oft had gazed,--
+    The mountains and the valley in the sheen
+      Of the bright sun,--and stood as one amazed.
+
+           *       *       *       *       *
+
+    "The conflict of the Present and the Past,
+      The ideal and the actual in our life,
+    As on a field of battle held me fast,
+      Where this world and the next world were at strife."
+
+The monastery of Monte Cassino entertains, as its guests, for dinner or
+for a night, all gentlemen who visit it; but there is an alms box on the
+ancient gate into which the guest is supposed to place whatever
+contribution he pleases for the poor of the place. The Italian
+government, in 1866, declared this monastery to be a "Monumento
+Nazionale," and it is now a famous ecclesiastical school with some two
+hundred students and a resplendent faculty of fifty learned monks under
+the direction of the Abbot. Some of the most celebrated prelates in
+Europe have been educated at Monte Cassino.
+
+Quite near Monte Cassino, as Longfellow depicts in his lines, is Monte
+Aquino, a picturesque hillside where the "Doctor Angelicus," Thomas
+Aquinas, was born (in 1224), the son of Count Landulf, in the Castel
+Roccasecca. He was educated in the monastery, and one finds himself
+recalling here these lines of Thomas William Parsons, entitled "Turning
+from Darwin to Thomas Aquinas:"--
+
+    "Unless in thought with thee I often live,
+    Angelic doctor! life seems poor to me.
+    What are these bounties, if they only be
+    Such boon as farmers to their servants give?
+    That I am fed, and that mine oxen thrive,
+    That my lambs fatten, that mine hours are free--
+    These ask my nightly thanks on bended knee;
+    And I do thank Him who hath blest my hive,
+    And made content my herd, my flock, my bee.
+    But, Father! nobler things I ask from Thee.
+    Fishes have sunshine, worms have everything!
+    Are we but apes? Oh! give me, God, to know
+    I am death's master; not a scaffolding,
+    But a true temple where Christ's word could grow."
+
+It was at Aquinum, too, at the foot of Monte Aquino, Juvenal was born.
+Near the peaks of Monte Cassino and Monte Aquino is that of Monte Cairo,
+five thousand five hundred feet high, from whose summit one of the
+finest views of all southern Europe is attained. The Gulf of Gaeta, the
+valley of San Germano, the wild and romantic mountain region of the
+Abruzzi and a view, too, of the blue sea are in the panorama, bathed in
+the opalescent, gleaming lights that often invest the Italian landscape
+with jewelled splendor.
+
+    "I ask myself, Is this a dream?
+      Will it all vanish into air?
+    Is there a land of such supreme
+      And perfect beauty, anywhere?"
+
+It might have been in this pictured dream-region that Hercules came to
+rest.
+
+    "When Heracles, the twelve great labors done,
+      To Calpe came, and there his journey stayed,
+    He raised two pillars toward the evening sun,
+      And carved them by a goddess' subtle aid.
+    Upon their shafts were sacred legends traced,
+    And round the twain a serpent cincture placed:
+    'T was at this bound the primal world stood still,
+    And of Atlantis dreamed, with baffled will."
+
+But still in unmeasured space, still beyond and afar and unattained,
+still lost in the unpenetrated realms of the poet's fancy,--
+
+    "Atlantis lies beyond the pillars yet!"
+
+
+
+
+    _"Here Ischia smiles
+    O'er liquid miles."_
+
+           *       *       *       *       *
+
+    _High o'er the sea-surge and the sands,
+      Like a great galleon wrecked and cast
+    Ashore by storms, thy Castle stands
+      A mouldering landmark of the Past._
+
+    _Upon its terrace-walk, I see
+      A phantom gliding to and fro;
+    It is Colonna,--it is she
+      Who lived and loved so long ago._
+
+                    LONGFELLOW.
+
+
+
+
+    _We are the only two that, face to face,
+    Do know each other, as God doth know us both.
+    --O fearless friendship, that held nothing back!
+    O absolute trust, that yielded every key,
+    And flung each curtain up, and drew me on
+    To enter the white temple of thy soul,
+    So vast, so cold, so waste!--and give thee sense
+    Of living warmth, of throbbing tenderness,
+    Of soft dependencies! O faith that made
+    Thee free to seek the spot where my dead hopes
+    Have sepulture, and read above the crypt
+    Deep graven, the tearful legend of my life!
+    There, gloomed with the memorials of my past,
+    Thou once for all didst learn what man accepts
+    Lothly--(how should he else?)--that never woman,
+    Fashioned a woman,--heart, brain, body, soul,--
+    Ever twice loved._
+
+          "_Vittoria Colonna to Michael Angelo._"
+
+                    MARGARET J. PRESTON.
+
+
+
+
+IV
+
+A PAGE DE CONTI FROM ISCHIA
+
+    "Unto my buried lord I give myself."
+
+       *       *       *       *       *
+
+                        Michael Angelo!
+    A man that all men honor, and the model
+    That all should follow; one who works and prays,
+    For work is prayer, and consecrates his life
+    To the sublime ideal of his art
+    Till art and life are one.
+
+                    LONGFELLOW, from "_Michael Angelo; A Fragment_."
+
+
+In that poetic sail along the Italian coast between Naples and Genoa the
+voyager feels that it is
+
+    "On no earthly sea with transient roar"
+
+that his bark is floating; that
+
+    "Unto no earthly airs he trims his sail,"
+
+as he flits along this coast when violet waves dash against a brilliant
+background of sky. Ischia reveals herself through the blue, transparent
+air, gleaming with opalescent lights, quivering, fading and flaming
+again as the afterglow in the east rivals in its coloring the sunset
+splendors of the west. Is there in the air a faint, lingering echo of
+the _chant d'amour_ of sirens on the rocky shores? Is Parthenope still
+to be descried? Gazing upon Ischia there is a rush of romantic
+impressions as if one were transported into ideal regions of song,
+before this impression begins to resolve itself into definite
+remembrance of fact and incident. Surely some exquisite associations in
+the past had enchanted this island in memory and invested it with the
+magic light that never was on sea or land. Traditions of beauty; of the
+lives of scholar and savant and princes of the church; of a court of
+nobility enriched and adorned by prelate and by poet; traditions, too,
+of a woman's consecration to an immortal love and the solace of grief by
+poetic genius and exalted friendships,--all these seem to cling about
+Ischia in a vague, atmospheric way till memory, still groping backward
+in the twilight of the richly historic past, suddenly crystallized into
+recognition that it was Ischia which was the home of Vittoria Colonna,
+the greatest woman poet of the Italian Renaissance. Lines, long since
+read, arose like an incantation; and like bars of music, each note of
+which vibrated in the air, came this fragment of one of her songs:--
+
+    "If in these rude and artless songs of mine
+    I never take the file in hand, nor try
+    With curious care and nice, fastidious eye
+    To deck and polish each uncultured line,
+    'T is that it makes small merit of my name
+    To merit praise....
+
+           *       *       *       *       *
+
+    But it must be that heaven's own gracious gift
+    Which, with its breath, divine, inspires my soul,
+    Strikes forth these sparks unbidden by my will."
+
+  [Illustration: ISCHIA, FROM THE SEA
+                 _Page 282_]
+
+Vittoria Colonna was called the most beautiful and gifted woman of her
+time in all Italy. Her life of nearly sixty years (1490-1547) lay
+entirely in that period when the apathy of ten centuries was broken,
+when the darkness fled before the dawning of a glorious day. New methods
+of thought, revised taste in poetry, new discoveries of science, a
+nobler progress in criticism, great discoveries, and a lofty and
+unprecedented freedom of conviction marked the century between 1450 and
+1550, stamping it as the marvellous time which we know as the
+Renaissance, "that solemn fifteenth century which can hardly be studied
+too much, not merely for its positive results in the things of the
+intellect and the imagination, its concrete works of art, its special
+and prominent personalities, with their profound aesthetic charm, but for
+its general spirit and character, for the ethical qualities of which it
+is a consummate type."
+
+It was peculiarly fitting that Italy should take the initiative in
+inaugurating this _vita nuova_. Italy had a language and literature and
+art. Dante had delivered his solemn message and Petrarca his impassioned
+song. Boccaccio had taught the gospel of gladness. Who shall analyze the
+secret springs of their inspiration and reveal to what degree Ovid and
+Horace and Virgil influenced the later literature? A new solar system
+was established by Copernicus. America was discovered. Science entered
+on her definite and ceaseless progress, and religion and art became
+significant forces in human life. Printing had been invented and the
+compass discovered.
+
+Into this time of new forces, when everything was throbbing and
+pulsating with life, was Vittoria Colonna born into social prestige and
+splendor. Her father, Fabrizio Colonna, and her mother, Agnesina di
+Montefeltro, a daughter of the Duke of Urbino, were then domiciled in
+the castle of Marino, on the Lago d'Albano, a magnificent palace some
+twelve miles from Rome, in which the Duke d'Amalfi (the father of
+Fabrizio Colonna) lived, and which is still standing, filled with
+memorials and relics of historic interest. Urbino, the seat of the
+Montefeltro, is renowned as having been the birthplace of Raphael, who
+
+    "Only drank the precious wine of youth,"
+
+but who
+
+    "... lives immortal in the hearts of men,
+    ... and the world is fairer
+    That he lived in it."
+
+The Colonna date back to the eleventh century, and they gave many
+princes and cardinals to the country. At the close of the thirteenth
+century they were arrayed against Boniface VIII, the Pope, who accused
+them of crime, while they disputed the validity of his election to the
+holy office. In retaliation, the Pope excommunicated the entire family,
+anathematized them as heretics and declared their estates forfeited to
+the church. The Colonna, far from being intimidated, commanded three
+hundred armed horsemen, attacked the papal palace, which they plundered,
+and made him a prisoner,--an incident referred to by Dante in the
+"Inferno." The Colonna and the Orsini were also at warfare, and when a
+member of the former family was elevated to the papacy under the name of
+Martin V, they despoiled property of the Orsini.
+
+Gay excursionists to-day, who fly over the Campagna in their
+twentieth-century touring cars to the lovely towns of the Alban hills,
+may look down from Castel Gandolfo on the gloomy, mediaeval little town
+of Marino, part way up a steep hillside, whose summit is crowned by the
+castle once belonging to the Colonna and in which Vittoria passed her
+early childhood. "Nothing," in his "Roba di Roma," says Story, "can be
+more rich and varied than this magnificent amphitheatre of the Campagna
+of Rome, ... sometimes drear, mysterious, and melancholy in desolate
+stretches; sometimes rolling like an inland sea whose waves have
+suddenly become green with grass, golden with grain, and gracious with
+myriads of wild flowers, where scarlet poppies blaze and pink daisies
+cover vast meadows and vines shroud the picturesque ruins of antique
+villas, aqueducts, and tombs, or drop from mediaeval towers and
+fortresses."
+
+Flying in the swift motor-car of the time toward the Alban hills, Marino
+may be easily reached in less than an hour from the Porta San Giovanni,
+and in the near distance Monte Albani, rising into the cone of Monte
+Cavi, is a picture before the eye, while on the lower slopes gleam the
+white villages of Albani, Marino, Castel Gandolfo, and Frascati, with
+the campanile of a cathedral, a fortress-like ruin, or gardens and olive
+orchards clambering up the heights. The Papal town of Rocca di Papa
+crowns one summit where once Tarquin's temple to Jupiter stood and on
+whose ruins now gleam afar in the Italian sunshine the white walls of
+the Passionist convent of Monte Cavi, built by Cardinal York. From this
+height Juno gazed upon the great conflict of contending armies, if
+Virgil's topography be entitled to authority. And here, through a defile
+in the hills, one may look toward Naples, "and then rising abruptly
+with sheer limestone cliffs and crevasses, where transparent purple
+shadows sleep all day long, towers the grand range of the Sabine
+mountains, whose lofty peaks surround the Campagna to the east and north
+like a curved amphitheatre.... Again, skirting the Pontine Marshes on
+the east, are the Volscian mountains, closing up the Campagna at
+Terracina, where they overhang the road and affront the sea with their
+great barrier. Following along the Sabine hills, you will see at
+intervals the towns of Palestrina and Tivoli, where the Anio tumbles in
+foam, and other little mountain towns nestled here and there among the
+soft airy hollows, or perched on the cliffs."
+
+In this landscape there are three ruined villages--Colonna, Gallicano,
+and Zagarda--perched on their respective hills. The castle of the
+Colonna family is now restored and modernized to a degree that leaves
+little trace of that former stately grandeur which is transmuted into
+modern convenience and comfort.
+
+In this scene of romantic beauty, with the vista of beauty almost
+incomparable in any inland view in Italy, Vittoria passed her infancy,
+until, at the age of four, her childhood was transplanted to fairy
+Ischia. In all this chain of Alban towns, including Marino, Viterbo,
+Ariccia, and Rocca di Papa, the great family of the Colonna owned
+extensive estates, each crowning some height, while the defiles between
+were filled, then as now, with the foam and blossom of riotous greenery.
+Then, as now, across the mystic Campagna, the dome of St. Peter's
+silhouetted itself against a golden background of western sky.
+
+One needs not to have had privileged access to the sibylline leaves of
+the Cumaean soothsayer to recognize that Vittoria Colonna was born under
+the star of destiny. Her horoscope seemed to be inextricably entwined
+with that of Italy; and the events which created and determined the
+conditions of her life and its panoramic series of circumstances were
+the events of Italy and of Europe as well--in political aspects and in
+the influence on general progress, brought to bear by strong and
+prominent individualities whose gifts, genius, or force dominated the
+movements of the day.
+
+To her father's change of political allegiance, from the French to the
+Spanish side, in the war raging between those countries in 1494,
+Vittoria owed all her life in Ischia; and her marriage, and all that
+resulted from her becoming a member of the d'Avalos family, was due to
+this espousal of a new political faith on the part of Fabrizio Colonna.
+To the fact that in 1425 the war with France again broke out was due the
+loss of her husband and the conditions that consecrated her life to
+poetry, to learning, and that made possible the beautiful and
+sympathetic friendship between herself and Michael Angelo. Her life
+presents the most forcible illustration of the overruling power on human
+life and destiny.
+
+It was the political change of faith on the part of Fabrizio Colonna
+that initiated an unforeseen and undreamed-of drama of life for his
+infant daughter, the first act of which included the command of the King
+of Naples that the little Vittoria should be betrothed to Francesco
+d'Avalos, the son of Alphonso, Marchese di Pescara, of Ischia, one of
+the nobles who stood nearest to the king in those troubled days.
+Francesco was born in the castle on Ischia in 1489, and was one year
+older than Vittoria. Fabrizio exchanged his castle at Marino for one in
+Naples, which city made him the Grand Constable. The d'Avalos castle in
+Ischia had at this time for its chatelaine the Duchessa di Francavilla,
+who is said by some authorities to have been the elder sister and by
+others to have been the aunt of Francesco. Donna Constanza d'Avalos,
+later the Duchessa di Francavilla, had been made the Castellana of the
+island for her courage in refusing to capitulate to the French troops
+when, after the death of her father, she was left in sole charge of the
+d'Avalos estates, and Emperor Charles V elevated her rank to that of
+Principessa. The Duchessa was one of the most remarkable women of the
+day. She was a classical scholar, and herself a writer, the author of a
+book entitled "_Degli Infortuni e Travagli del Mondo_." To the care of
+this learned and brilliant woman, a great lady in the social life of the
+time, the care of the little Vittoria was committed, and she studied and
+played and grew up with Francesco, her future husband. The d'Avalos
+family ranked among the highest nobility of the Court of Naples, and the
+Principessa reigned as a queen of letters and society in her island
+kingdom. It was under her care that the two children, Francesco and
+Vittoria, pursued their studies together and acquired every grace of
+scholarship and accomplishment of society. The circles which the
+Duchessa drew around her included many gentlewomen from Sicily and from
+Naples; and "the life at Castel d'Ischia was synonymous with everything
+glorious and elegant," recorded Visconti, "and its fame has been
+immortalized." Although Francesco (the future Marchese di Pescara) was
+born in Italian dominions, yet the d'Avalos family were of Spanish
+ancestry and traditions. The musical Castilian was the language of the
+household. The race ideals of Spain--the poetic, the impassioned, the
+joy in color and movement--pervaded the very atmosphere of Castel
+d'Ischia. Vittoria's earliest girlhood revealed her exceptional beauty
+and charm, and gave evidence that the gods loved her and had dowered her
+with their immortal gifts and genius, which flowered, under the
+sympathetic guidance and stimulus of such a woman as the Principessa
+(the Duchessa di Francavilla) and the society she drew around her, as
+the orange and the myrtle flower under the southern sunshine.
+
+The literature of biography presents no chapter that can rival this in
+the idyllic beauty of the lives of those two children on the lovely
+island in the violet sea. The perpetual conflicts that were waged in
+both Rome and Naples awakened no echoes in this romantic and isolated
+spot, whose atmosphere was that of the peace of scholarly pursuits and
+lofty thought that is found where the arts and the muses hold their
+sway.
+
+But in 1496 came the tragedy of the death of the young king and queen of
+Naples; four years later Rome celebrated a jubilee in which Naples took
+part, sending a splendid procession as escort to the famous Madonna that
+was carried from Naples to Rome and back, working miracles, it is said,
+on both journeys, as a Madonna should. A year later Frederick of Naples
+and the queen, and two of the king's sisters,--ladies of high
+nobility,--came as guests to the castle in Ischia,--royal exiles seeking
+shelter. Five years later the new king and queen were welcomed with
+gorgeous parade and acclamation. A pier was thrown out over one hundred
+feet into the sea; on this a tent of gold was erected, and all the
+nobility of Naples, in the richest costumes of velvet and jewels,
+thronged to meet the royal guests. Over the sunlit Bay of Naples
+resounded the thunder of the guns in military salute and the cheers of
+the people. Among the distinguished nobility present, Costanza, Duchessa
+and Principessa di Francavilla, was a marked figure with her young
+charge, Vittoria Colonna, at her side. She made a deep reverence and
+kissed the hand of the king as he passed, as did many of the ladies of
+highest rank, and at the fete of that evening Vittoria's beauty charmed
+all eyes. Although it was well understood that she had been betrothed
+since childhood to Francesco d'Avalos, yet many princes and nobles sued
+for her hand and were refused by her father, who was at this time
+established magnificently in Naples. Pope Julius II refused the
+pleadings of two dukes, both of whom wished to seek Vittoria in
+marriage, as he considered the love of the young girl for her betrothed
+a matter to be held sacred. Three years later, when Vittoria was
+nineteen and Francesco twenty, their marriage was celebrated in Castel
+d'Ischia with the richest state and beauty of ceremonial observance. A
+few months previous to this time she had returned to her father's
+country home in the family castle at Marino, whither both Fabrizio
+and Agnese Colonna accompanied their daughter. When the time appointed
+for her bridal came, Vittoria was escorted to Ischia by princes, and
+dukes, and ladies of honor, and the marriage gifts to the bride included
+a chain of rubies, diamonds, and emeralds, linked with gold; a writing
+desk of solid gold; wonderful bracelets; costumes of velvets, and
+brocades and rich embroideries, and a portion of fourteen thousand
+ducats.
+
+  [Illustration: LA ROCCA, ISCHIA
+                 _Page 294_]
+
+"The noted pair had not their equals in Italy at this time," writes a
+contemporary historian. "Their life in Naples was all magnificence and
+festivity, and when they desired to exchange it for the country they
+left Naples for Pietralba on Monte Emo, where they assembled pleasant
+parties of ladies and gentlemen. Much time was passed in their beloved
+Ischia, where the Duchessa, as Castellana, was obliged to receive much
+company. And here were found the flower of chivalry and the men most
+noted in letters.... They listened to the poets Sanazzaro, il Rota, and
+Bernardo Tasso; or they heard the admirable discourses on letters of
+Musefico, il Giovio, and il Minturno. It was an agreeable school for the
+youthful minds of Vittoria and Pescara. Thus passed in great happiness
+the first three years of their married life."
+
+It is not strange that to the young Marchesa di Pescara, Ischia had
+become an enchanted island. The scene of her happy childhood, of her
+studies, of her first efforts in lyric art, of her stately and
+resplendent bridal; the home, too, of her early married life,--it is
+little wonder that in after years she translated into song its scenic
+loveliness and the thoughts and visions it had inspired.
+
+Again, the ever-recurring war came on, and in the spring of 1512 the
+King of Naples conferred the doubtful privilege on the Marchesa di
+Pescara of serving as the royal representative. It is said that Vittoria
+personally superintended her young husband's outfit,--in horses,
+attendants, armor, and other details belonging to a gentleman of rank.
+Her father and her uncle, Prospero Colonna, were also among the military
+who led Italian troops. In the terrible battle of Ravenna (which was
+fought on the Easter Sunday, April 11, of 1512), Pescara was wounded,
+taken prisoner, and carried to the fortress of Porta Gobbia. A messenger
+was sent to Ischia, where Vittoria lived between her books and the
+orange groves; and the twentieth-century cynic of 1907 will smile at the
+form in which she expressed her sorrow,--that of a poem of some forty
+stanzas, which began:--
+
+    "_Eccelso Mio Signor! Questa ti scrivo
+    Per te narrar tra quante dubbie voglie,
+    Fra quanti aspri martir, dogliosa io vivo!_"
+
+A translation of this lyric epistle, made in prose, gives it more fully
+as follows:--
+
+     "Eccelso Mio Signor: I write this to thee to tell thee amid what
+     bitter anxieties I live.... I believed that so many prayers and
+     tears, and love without measure, would not have been displeasing to
+     God.... Thy great valor has shone as in a Hector or an Achilles."
+
+In this letter Vittoria tells him that when the messenger reached her,
+she was lying on a point of the island ("_I_, in the _body_, my _mind_
+always with _thee_," she says), and that the whole atmosphere had been
+to her that day "like a cavern of black fog," and that "the marine gods
+seemed to say to Ischia, 'To-day, Vittoria, thou shalt hear of disgrace
+from the confines: thou now in health and honor, thou shalt be turned
+to grief; but thy father and husband are saved, though taken
+prisoners.'"
+
+This presentiment she related to her husband's aunt, the Duchessa
+Francavilla, the Castellana of Ischia, who begged her not to think of it
+and said, "It would be strange for such a force to be conquered."
+
+Just after this conversation between the youthful Marchesa and the
+Duchessa, the messenger arrived. The psychic science of to-day would see
+in this occurrence a striking instance of telepathy. In her poetic
+epistle to her husband, Vittoria also says:--
+
+     "A wife ought to follow her husband at home and abroad; if he
+     suffers trouble, she suffers; if he is happy, she is; if he dies,
+     she dies. What happens to one happens to both; equals in life, they
+     are equals in death. His fate is her fate."
+
+These letters--in keeping with the times--were, on both sides, expressed
+in literary rather than in personal form. Pescara, from his captivity,
+wrote to her a "Dialogue on Love,"--a manuscript for which Visconti
+notes that he has searched in vain.
+
+The Marchesa di Pescara went from Ischia to Naples, after learning of
+the misfortunes that had overtaken her husband, in order that she might
+be able constantly to receive direct communication regarding his fate. A
+few months later the Marchese returned, making the day "brilliant with
+joy" to Vittoria, but after a year of happiness he was again called to
+service, and the Marchesa returned to her beloved Ischia. She gave
+herself to the study of the ancient classics; she wrote poems, and
+"considered no time of value but so spent," says Rota. The age was one
+of a general revival of learning. Royalty, the Pope, the princes and
+nobility were all giving themselves with ardor to this higher culture.
+Under Dante the Italian language assumed new perfection. This period was
+to Vittoria one of intense stimulus, and it must have had a formative
+influence on her gifts and her mental power. Having no children, she
+adopted a young cousin of her husband, the Marchese del Vasto, to
+educate and to be the heir of their estates. In 1515, Pescara again
+returned and the entire island of Ischia was "aflame with bonfires, and
+the borders of the beautiful shore bright and warm with lights," in
+honor of the event. Of this event, Vittoria wrote:--
+
+     "... My beloved returns to us ... his countenance radiant with
+     piety to God, with deeds born of inward faith."
+
+At a magnificent wedding festival in the d'Avalos family about this
+time, it is recorded that the Marchesa di Pescara "wore a robe of
+brocaded crimson velvet, with large branches of beaten gold wrought on
+it, with a headdress of wrought gold and a girdle of beaten gold around
+her waist."
+
+When the coronation of Charles V was to be celebrated at Aix-la-Chapelle
+the Marchese di Pescara was appointed ambassador to represent the House
+of Aragon on this brilliant occasion, when the new emperor was to be
+invested with the crown and the sceptre of Charlemagne. Charles had
+decided to journey by sea and to visit Henry VIII on the way, an
+arrangement of which Cardinal Wolsey was aware, although he had kept
+Henry in ignorance of it, according to those curious mental processes
+of his mind where his young monarch was concerned. Shakespeare, in the
+play of "King Henry VIII," describes the meeting of the two kings, which
+occurred at Canterbury, "at a grand jubilee in honor of the shrine of
+Thomas a Becket." One historian thus describes this scene:--
+
+     "The two handsome young sovereigns rode into Canterbury under the
+     same canopy, the great Cardinal riding directly in front of them,
+     and on the right and left were the proud nobles of Spain and
+     England, among whom was Pescara. The kings alighted from their
+     horses at the west door of the cathedral and together paid their
+     devotions before that rich shrine blazing with jewels. They humbly
+     knelt on the steps worn by the knees of tens of thousands of
+     pilgrims."
+
+On the return to Naples of the Marchese di Pescara he told the story of
+his regal journey to an assemblage of nobles in the Church of Santa
+Maria di Monte Oliveto, and he then joined the Marchesa in Rome, where
+she had gone to visit her family and to pay her devotions to Leo X, who
+had just created Pompeo Colonna a cardinal.
+
+Pope Leo aspired to draw around him a court distinguished for its
+culture and brilliancy in both art and literature. In this court the
+Marchesa di Pescara shone resplendent. "She was at the height of her
+beauty, and her charms were sung by the poets of the day," says a
+contemporary.
+
+A year later Leo X died, succeeded by Adrian (who had been tutor to
+Charles V), to the intense and bitter disappointment of Cardinal Wolsey,
+who had made the widest--and wiliest--efforts to gratify his own
+ambition of reigning in the Papal chair. Again the war between France
+and Italy, that which seemed to be a perpetually smouldering feud, and
+the Marchese di Pescara, again summoned to battle, was wounded at Pavia.
+For some time he lay between life and death at Milan, and a messenger
+was sent to beg Vittoria to come to him. She set out on this journey,
+leaving Naples in great haste; but on reaching Viterbo another messenger
+met her with the tidings of the death of the Marchese, which had
+occurred on Nov. 25, 1525. Overcome with grief, Vittoria was carried
+back to Rome and for the solace of entire seclusion she sought the
+cloistered silence of the convent of San Silvestre, which lay at the
+foot of the Monte Cavallo in Rome, almost adjoining the gardens of the
+Colonna palace. To the Marchese di Pescara, who had the military rank of
+general, was given a funeral of great pomp and splendor in Milan, and
+his body was brought to the famous Naples church of Santa Domenica
+Maggiore, where it was entombed with the princes and nobles of his
+house.
+
+Before the death of the Marchese there had been a political plot to join
+the Papal, Venetian, and Milanese forces and rescue Italy from the
+Emperor's rule, and the Pope himself had sent a messenger to Pescara
+asking him to unite with the league. The Marchese, Spanish by ancestry
+and by sympathies, used this knowledge to frustrate the Italian designs
+and to warn Spain. The Italian historians have execrated him for this
+act, which they regard as that of a traitor. Vittoria, however, did not
+take this view apparently, as in a letter to her husband she wrote:--
+
+     "Titles and kingdoms do not add to true honor.... I do not desire
+     to be the wife of a king, but I glory in being the wife of that
+     great general who shows his bravery in war and, still more, by
+     magnanimity in peace, surpasses the greatest kings."
+
+The inducement of the throne of Naples had been held out to Marchese di
+Pescara. He evidently regarded this in the nature of a dishonorable
+bribe, and it is this view which the Marchesa plainly shared.
+
+After his death her first impulse was to take the vows of a cloistered
+nun. The Pope himself intervened to dissuade her, and she consented to
+enter, only temporarily, the convent of San Silvestre on the Monte
+Cavallo.
+
+In the will of the Marchese di Pescara there was a clause directing that
+anything in his estate unlawfully acquired should be restored to the
+owner; and under this, Vittoria gave back to the monastery of Monte
+Cassino the Monte San Magno that had formerly been its property.
+
+From the cloistered shades of the convent Vittoria removed to the family
+castle of the Colonna at Marino, where, on the shore of this beautiful
+lake (which was the scenery of Virgil's AEneid), she passed some months,
+engaged in writing sonnets. Of one of these a translation runs in
+part:--
+
+     "I write solely to assuage my inward grief, which destroys in my
+     heart the light of this world's sun; and not to add light to _mio
+     bel sole_, to his glorified spirit. It is fit that other tongues
+     should preserve his great name from oblivion."
+
+In another, perhaps her most perfect sonnet, she beseeches the winds to
+convey to her beloved the message she sends:--
+
+     "_Ch'io di lui sempre pensi; o pianga, o parli_,"--That I always
+     think of him, or weep for him, or speak of him.
+
+Again, a year later, Vittoria returned to lovely Ischia, which, as one
+writer has described, "rises out of the blue billows of the
+Mediterranean like giant towers. The immense blocks of stone are heaped
+one upon another, in such a supernatural manner as to give a coloring to
+the legend, that beneath them, in those vast volcanic caverns, dwells
+the giant Tifeo." The castle where the Duchessa Francavilla and the
+Marchesa Pescara lived is built on a towering mass of rock joined to the
+island by a causeway. The castle includes the palace, a church, and
+other buildings for the family and their guests and dependants.
+
+For some three years the Marchesa did not again leave Ischia. In the
+mean time volumes of her poems were published. She received the
+acclamation of all the writers of her time. The crown of immortelles,
+often laid but on a tomb, was continually pressed upon her brow. She was
+the most famous woman of her time. Her beauty, her genius, her noble
+majesty of character impressed the contemporary world. Her days were
+filled with correspondence with the most distinguished men of the day.
+Ariosto, Castiglione, Ludovico Dolce, Cardinal Bembo, Cardinal
+Contarini, and Paolo Giovio were among her nearer circle of friends.
+
+  [Illustration: CASTELLO DI ALFONSO, ISCHIA
+                 _Page 306_]
+
+Stormy times fell upon Italy, in all of which the Colonna family bore
+prominent part, and all of which affected the life of Vittoria Colonna
+in many ways. Her biography, if written with fulness and accuracy, would
+be largely a history of the Italy of that time, for her life seemed
+always inseparably united with great events.
+
+In the year 1530 (Clement VII being the Pope) a full Papal pardon had
+been extended to all the Colonna, and their castles and estates had also
+been restored to them. For years past Rome had been in a state of
+conflict. Benvenuto Cellini, who had watched the terrible scenes from
+Castel San Angelo where he was immured, has described the terrors. The
+Eternal City, whose population under Leo X had been 90,000, was now--in
+1530--reduced to half that number. Palaces and temples had been the
+scenes of riot and destruction, yet to this very lawlessness of the time
+the Roman galleries of the present owe their ancient statues, which were
+uncovered by these assaults. The Coliseum was left in the ruined state
+in which it is now seen, and by the sale of the stones taken from it the
+Palazzo Barberini was erected.
+
+Vittoria, coming again to Rome and revisiting its classic greatness,
+exclaimed that happy were they who lived in times so full of grandeur;
+to which the poet Molza gallantly replied that they were less happy, as
+they had not known her! Everywhere was she received with the highest
+honors. She made a tour, visiting Bagni di Lucca, Bologna, and Ferrara,
+where she was the guest of the Duca and Duchessa Ercole in the ducal
+palace. The Duchessa was the Princesse Renee, the daughter of Louis XII
+of France, and an ardent friend of Calvin, who visited her in Ferrara.
+It was to this visit that Longfellow refers in his poem entitled
+"Michael Angelo," when he pictures Vittoria as sitting for her portrait
+to the artist and conversing with her friend Giulia, the Duchess of
+Trajetto, Michael Angelo begs them to resume the conversation
+interrupted by his entrance, and Vittoria says:--
+
+    "Well, first, then, of Duke Ercole, a man
+    Cold in his manners, and reserved and silent,
+    And yet magnificent in all his ways."
+
+To which the Duchessa replies:--
+
+    "How could the daughter of a king of France
+    Wed such a duke?"
+
+    MICHAEL ANGELO.
+
+                      "The men that women marry,
+    And why they marry them, will always be
+    A marvel and a mystery to the world."
+
+    VITTORIA.
+
+    "And then the Duchess,--how shall I describe her,
+    Or tell the merits of that happy nature
+    Which pleases most when least it thinks of pleasing?
+    Not beautiful, perhaps, in form and feature,
+    Yet with an inward beauty, that shines through
+    Each look and attitude and word and gesture;
+    A kindly grace of manner and behavior,
+    A something in her presence and her ways
+    That makes her beautiful beyond the reach
+    Of mere external beauty; and in heart
+    So noble and devoted to the truth,
+    And so in sympathy with all who strive
+    After the higher life."
+
+    JULIA.
+
+                            "She draws me to her
+    As much as her Duke Ercole repels me."
+
+    VITTORIA.
+
+    "Then the devout and honorable women
+    That grace her court, and make it good to be there;
+    Francesca Bucyronia, the true-hearted,
+    Lavinia della Rovere and the Orsini,
+    The Magdalena and the Cherubina,
+    And Anne de Parthenai, who sings so sweetly;
+    All lovely women, full of noble thoughts
+    And aspirations after noble things.
+
+           *       *       *       *       *
+
+                            With these ladies
+    Was a young girl, Olympia Morata,
+    Daughter of Fulvio, the learned scholar,
+    Famous in all the universities:
+    A marvellous child, who at the spinning-wheel,
+    And in the daily round of household cares,
+    Hath learned both Greek and Latin; and is now
+    A favorite of the Duchess and companion
+    Of Princess Anne. This beautiful young Sappho
+    Sometimes recited to us Grecian odes
+    That she had written, with a voice whose sadness
+    Thrilled and o'ermastered me, and made me look
+    Into the future time, and ask myself
+    What destiny will be hers."
+
+    JULIA.
+
+                                "And what poets
+    Were there to sing you madrigals, and praise
+    Olympia's eyes?" ...
+
+    VITTORIA.
+
+    "None; for great Ariosto is no more."
+
+           *       *       *       *       *
+
+    JULIA.
+
+    "He spake of you."
+
+    VITTORIA.
+
+                      "And of yourself, no less,
+    And of our master, Michael Angelo."
+
+    MICHAEL ANGELO.
+
+    "Of me?"
+
+    VITTORIA.
+
+              "Have you forgotten that he calls you
+    Michael, less man than angel, and divine?
+    You are ungrateful."
+
+    MICHAEL ANGELO.
+
+                          "A mere play on words."
+
+The Duca and Duchessa of Ferrara invited the most distinguished persons
+in Venice and Bologna and Lombardy to meet their honored guest. Bishop
+Ghiberto of Verona besought her to visit that city. Vittoria accepted
+and was for some time the Bishop's guest in his palace, and she took
+great interest in the historic city. With the Bishop she visited the
+ancient Duomo, which in 1160 had been restored by Pope Urban II, and
+reconsecrated. It was a strong desire of the Marchesa at this time to
+make a pilgrimage to Jerusalem; but the journey was then so perilous and
+so long--none too easy, indeed, at the present time--that she was
+dissuaded from the attempt.
+
+Verona, to do her honor, had a medal struck bearing her portrait. The
+group of great artists--Titian, Tintoretto, and Giorgione in Venice; Fra
+Angelico, Bartolommeo, and others of that day--were creating their
+wonderful works which Vittoria must have seen and enjoyed during this
+tour. Raphael, whose death had occurred in 1520, Vittoria had,
+doubtless, known; but whether it was she who was the original of the
+Muse in his great picture of "Parnassus," as is alleged, is not fully
+established.
+
+  [Illustration: DETAIL FROM "PARNASSUS," RAPHAEL STANZE,
+                 PALAZZO VATICANO, ROME
+                 Raphael Sanzio
+                 _Page 311_]
+
+    "Unto my buried lord I give myself,"
+
+wrote Vittoria Colonna in one of the sonnets to her husband's memory,
+and this line is the keynote to her entire life, both as woman and poet.
+It was no translation of her life into another key, no reckoning by
+stars that flashed from different skies, when there fell upon her the
+baptism and crown of that immortal friendship with Michael Angelo.
+
+The Marchesa di Pescara returned to Rome, from this notable tour in
+Northern Italy, in 1538. She was received with the honors that her fame
+inspired. Michael Angelo was then deeply absorbed in painting his "Last
+Judgment," in the Capella Sistina.
+
+"Every one in Rome took an interest in the progress of this magnificent
+fresco, from the Pope (who continually visited the artist) down to the
+humblest of the people. We may imagine Vittoria standing by the great
+painter to view his sublime work; but Michael Angelo did not require the
+patronage, even of a Colonna, and it is possible that Vittoria herself
+first sought out his friendship."
+
+In the Casa Buonarroti, in Florence, hangs that exquisite picture
+painted of Italy's greatest woman poet, in her early youth; and in its
+rare and precious collection of manuscripts are the letters of Vittoria
+to the poet and sculptor. Her influence is said to have produced a great
+change in his religious views, influencing his mind to a more lofty and
+more spiritual comprehension of the divine laws that govern the
+universe.
+
+Condivi, in referring to this chapter in their lives, has said:--
+
+     "In particular he was most deeply attached to the Marchesa di
+     Pescara, of whose divine spirit he was enamoured, and he was
+     beloved by her in return with much affection."
+
+It was about 1535 when Michael Angelo left Florence for Rome, appointed
+by the Pope, Paul III, as the chief architect, sculptor, and painter of
+the Vatican. He was enrolled in the Pontifical household, and he at once
+began his work in the Sistine Chapel. Mr. Symonds believes that he must
+have been engaged upon the "Last Judgment" through 1536, 1537. The great
+artist was not without a keen wit of his own as well; for on receipt of
+a letter from Pietro Aretino, from Venice, in September of 1537, with
+praises of his work that Michael Angelo deemed extravagant, he replied
+that while he rejoiced in Aretino's commendation, he also grieved; "as
+having finished a large part of the fresco," he said, "I cannot realize
+your conception which is so complete that if the Day of Judgment had
+come and you had been present and seen it with your eyes, your words
+could not have described it better."
+
+Vittoria Colonna now passed some years between Rome and Orvieto, that
+picturesque town with its magnificent cathedral rich in mediaeval art,
+where she lived in the convent of St. Paolo d'Orvieto. She varied this
+residence by remaining at times in the convent of San Caterina di
+Viterbo, in that city. In Rome she had lived both at the convent of
+Santa Anna and also at the Palazzo Cesarini, which was the home of
+members of the Colonna family. A sonnet of Michael Angelo's written to
+Vittoria reflects the feeling that she inspired in him:--
+
+    "Da che concetto ha l'arte intera e diva
+      La forma e gli atti d'alcun, poi di quello
+      D'umil materia un semplice modello
+    E 'l primo parto che da quel deriva.
+    Ma nel secondo poi di pietra viva
+      S'adempion le promesse del martello;
+      E si rinasce tal concetto e bello,
+    Che ma' non e chi suo eterno prescriva.
+    Simil, di me model, nacqu'io da prima;
+      Di me model, per cosa piu perfetta
+      Da voi rinascer poi, donna alta e degna.
+    Se 'l poco accresce, 'l mio superchio lima
+      Vostra pieta; qual penitenzia aspetta
+      Mio fiero ardor, se mi gastiga e insegna?"
+
+Of this sonnet the following beautiful translation is made by John
+Addington Symonds:--
+
+    "When divine Art conceives a form and face,
+      She bids the craftsman for his first essay
+      To shape a simple model in mere clay:
+    This is the earliest birth of Art's embrace.
+    From the live marble in the second place
+      His mallet brings into the light of day
+      A thing so beautiful that who can say
+    When time shall conquer that immortal grace?
+    Thus my own model I was born to be--
+      The model of that nobler self, whereto
+      Schooled by your pity, lady, I shall grow.
+    Each overplus and each deficiency
+      You will make good. What penance then is due
+      For my fierce heat, chastened and taught by you?"
+
+The correspondence between Vittoria and Michael Angelo was undated, and
+all that now remains is fragmentary.
+
+The great artist, writing to his nephew, Sionardo, in 1554, says:--
+
+     "Messer Giovan Francisco Fattucci asked me about a month ago if I
+     possessed any writings of the marchioness. I have a little book
+     bound in parchment which she gave me some ten years ago. It has one
+     hundred and three sonnets, not counting another forty she afterward
+     sent on paper from Viterbo. I had these bound into the same book,
+     and at that time I used to lend them about to many persons so that
+     they are all of them now in print. In addition to these poems I
+     have many letters which she wrote from Orvieto and Viterbo. These,
+     then, are the writings I possess of the marchioness."
+
+In Rome, 1545, Michael Angelo thus writes to Vittoria:--
+
+     "I desired, lady, before I accepted the things which your ladyship
+     has often expressed the will to give me--I desired to produce
+     something for you with my own hand in order to be as little as
+     possible unworthy of this kindness. I have now come to recognize
+     that the grace of God is not to be bought, and that to keep it
+     waiting is a grievous sin. Therefore I acknowledge my error and
+     willingly accept your favors. When I possess them--not, indeed,
+     because I shall have them in my house, but for that I myself shall
+     dwell in them--the place will seem to encircle me with paradise.
+     For which felicity I shall remain ever more obliged to your
+     ladyship than I am already, if that is possible.
+
+     "The bearer of this letter will be Urbino, who lives in my service.
+     Your ladyship may inform him when you would like me to come and see
+     the head you promised to show me."
+
+With this letter Michael Angelo sent to Vittoria a sonnet which, in the
+translation made by John Addington Symonds, is as follows:--
+
+    "Seeking at least to be not all unfit
+    For thy sublime and boundless courtesy,
+    My lowly thoughts at first were fain to try
+    What they could yield for grace so infinite.
+    But now I know my unassisted wit
+    Is all too weak to make me soar so high,
+    For pardon, lady, for this fault I cry,
+    And wiser still I grow remembering it.
+    Yea, will I see what folly 't were to think
+    That largess dropped from thee like dews from heaven,
+    Could e'er be paid by work so frail as mine!
+    To nothingness my art and talent sink;
+    He fails who from his mental stores hath given
+    A thousandfold to match one gift divine."
+
+As a gift to Vittoria Colonna, Michael Angelo designed an episode from
+the Passion of our Lord, which Condivi describes as "a naked Christ at
+the moment when, taken from the cross, our Lord would have fallen at the
+feet of His most holy mother if two angels did not support Him in their
+arms. She sits below the cross with a face full of tears and sorrow,
+lifting both her widespread arms to heaven while on the stem of the tree
+above is written this legend: '_Non vi si pensa quanto sangue costa._'
+The cross is of the same kind as that which was carried by the White
+Friars at the time of the plague of 1348, and afterward deposited in the
+Church of Santa Croce at Florence."
+
+In presenting this cross to her he wrote:--
+
+     "Lady Marchioness, being myself in Rome, I thought it hardly
+     fitting to give the Crucified Christ to Messer Tommaso, and to make
+     him an intermediary between your ladyship and me, especially
+     because it has been my earnest wish to perform more for you than
+     for any one I ever knew upon the world. But absorbing occupations,
+     which still engage me, have prevented my informing your ladyship of
+     this. Moreover, knowing that you know love needs no taskmaster, and
+     that he who loves doth not sleep, I thought the less of using
+     go-betweens. And though I seemed to have forgotten, I was doing
+     what I did not talk about, in order to effect a thing that was not
+     looked for, my purpose has been spoiled. He sins who faith like
+     this so soon forgets."
+
+  [Illustration: VITTORIA COLONNA, GALLERIA BUONARROTI, FLORENCE
+                 _Page 312_]
+
+In reply Vittoria Colonna wrote:--
+
+     "Unique Master Angelo and my most singular friend: I have received
+     your letter and examined the crucifix which truly hath crucified in
+     my memory every other picture I ever saw. Nowhere could one find
+     another figure of our Lord so well executed, so living, and so
+     exquisitely finished. I cannot express in words how subtly and
+     marvellously it is designed. Wherefore I am resolved to take the
+     work as coming from no other hand but yours.... I have examined it
+     minutely in full light and by the lens and mirror, and never saw
+     anything more perfect."
+
+She added:--
+
+     "... Your works forcibly stimulate the judgment of all who would
+     look at them. My study of them made me speak of adding goodness to
+     things perfect in themselves, and I have seen now that 'all is
+     possible to him who believes.' I had the greatest faith in God that
+     He would bestow upon you supernatural grace for the making of this
+     Christ. When I came to examine it I found it so marvellous that it
+     surpasses all my expectations. Wherefore, emboldened by your
+     miracles I conceived a great desire for that which I now see
+     marvellously accomplished: I mean that the design is in all parts
+     perfect and consummate. I tell you that I am pleased that the angel
+     on the right hand is by far the fairer, since Michael will place
+     you, with all angels, upon the right hand of the Lord some day.
+     Meanwhile I do not know how else to serve you, than by making
+     orisons to this sweet Christ, whom you have drawn so well and
+     exquisitely, and praying you to hold me yours to command as yours
+     in all and for all."
+
+Again Vittoria wrote to him:--
+
+     "I beg you to let me have the crucifix a short while in my keeping,
+     even though it be unfinished. I want to show it to some gentlemen
+     who have come from the most reverend, the Cardinal of Mantua. If
+     you are not working will you not come at your leisure to-day and
+     talk with me?"
+
+It is an interesting fact to the visitor in the Rome of to-day that the
+convent of San Silvestre where Vittoria Colonna lived was attached to
+the church of San Silvestre in Capite, now used as the English-speaking
+Catholic church in the Eternal City. The wing which was formerly the
+convent (founded in 1318) is now converted into the central post office.
+
+It was in the sacristy of San Silvestre, decorated with frescoes by
+Domenichino, that a memorable meeting and conversation took place, one
+Sunday afternoon in those far-away days of nearly five hundred years
+ago, between Michael Angelo and Francesco d'Ollanda, a Spanish miniature
+artist,--the meeting brought about by Vittoria Colonna. The Spanish
+artist was a worshipper of Michael Angelo, who "awakened such a feeling
+of love," that if d'Ollanda met him in the street "the stars would come
+out in the sky," he says, "before I would let him go again." This
+fervent worship was hardly enjoyed by its object, who avoided the
+Spanish enthusiast. One Sunday, however, d'Ollanda had gone to San
+Silvestre finding there Tolomei, to whom he was also devoted, and
+Vittoria Colonna, both of whom had gone to hear the celebrated Fra
+Ambrosia of Siena expound the Epistles of St. Paul. The Marchesa di
+Pescara observed that she felt sure their Spanish friend would far
+rather hear Michael Angelo discuss painting than to hear Fra Ambrosia on
+the wisdom of St. Paul. Summoning an attendant she directed him to find
+Michael Angelo and tell him how cool and delightful was the church that
+morning and to beg him to join Messer Tolomei and herself; but to make
+no mention of the presence of d'Ollanda. Her woman's tact and her
+faultless courtesy were successful in procuring this inestimable
+privilege for the Spanish painter. Michael Angelo came, and began the
+conversation--which was a monologue, rather, as all three of the friends
+wished only to listen to the master--by defending artists from the
+charge of eccentric and difficult methods. With somewhat startling
+candor Michael Angelo proceeded:--
+
+     "I dare affirm that any artist who tries to satisfy the better
+     vulgar rather than men of his own craft will never become a
+     superior talent. For my part, I am bound to confess that even his
+     Holiness wearies and annoys me by begging for too much of my
+     company. I am most anxious to serve him, ... but I think I can do
+     so better by studying at home than by dancing attendance on my legs
+     in his reception room."
+
+Another meeting of this little group was appointed for the next Sunday
+in the Colonna gardens behind the convent, under the shadow of the
+laurel trees in the air fragrant with roses and orange blossoms, where
+they sat with Rome spread out like a picture at their feet. That
+beautiful terrace of the Colonna gardens, to which the visitor in Rome
+to-day always makes his pilgrimage, with the ruined statues and the
+broken marble flights of steps, is the scene of this meeting of Vittoria
+Colonna, Michael Angelo, and Francesco d'Ollanda. On this second
+occasion the sculptor asserted his belief that while all things are
+worthy the artist's attention, the real test of his art is in the
+representation of the human form. He extolled the art of design. He
+emphasized the essential nature of nobleness in the artist, and added:--
+
+     "In order to represent in some degree the adored image of our Lord,
+     it is not enough that a master should be great and able. I maintain
+     that he must also be a man of good conduct and morals, if possible
+     a saint, in order that the Holy Ghost may rain down inspiration on
+     his understanding."
+
+Of the relative degree of swiftness in work Michael Angelo said:--
+
+     "We must regard it as a special gift from God to be able to do that
+     in a few hours which other men can only perform in many days of
+     labor. But should this rapidity cause a man to fail in his best
+     realization it would be better to proceed slowly. No artist should
+     allow his eagerness to hinder him from the supreme end of
+     art--perfection."
+
+Mr. Longfellow, in his unfinished dramatic poem, "Michael Angelo" (to
+which reference has already been made), has one scene laid in the
+convent chapel of San Silvestre, in which these passages occur:--
+
+    VITTORIA.
+
+    "Here let us rest awhile, until the crowd
+    Has left the church. I have already sent
+    For Michael Angelo to join us here."
+
+    MESSER CLAUDIO.
+
+    "After Fra Bernardino's wise discourse
+    On the Pauline Epistles, certainly
+    Some words of Michael Angelo on Art
+    Were not amiss, to bring us back to earth."
+
+           *       *       *       *       *
+
+    MICHAEL ANGELO, _at the door_.
+
+    "How like a Saint or Goddess she appears!
+    Diana or Madonna, which I know not,
+    In attitude and aspect formed to be
+    At once the artist's worship and despair!"
+
+    VITTORIA.
+
+    "Welcome, Maestro. We were waiting for you."
+
+    MICHAEL ANGELO.
+
+    "I met your messenger upon the way.
+    And hastened hither."
+
+    VITTORIA.
+
+                          "It is kind of you
+    To come to us, who linger here like gossips
+    Wasting the afternoon in idle talk.
+    These are all friends of mine and friends of yours."
+
+    MICHAEL ANGELO.
+
+    "If friends of yours, then are they friends of mine.
+    Pardon me, gentlemen. But when I entered
+    I saw but the Marchesa."
+
+Vittoria tells the master that the Pope has granted her permission to
+build a convent, and Michael Angelo replies:--
+
+                       "Ah, to build, to build!
+    That is the noblest art of all the arts.
+    Painting and sculpture are but images,
+    Are merely shadows cast by outward things
+    On stone or canvas, having in themselves
+    No separate existence. Architecture,
+    Existing in itself, and not in seeming
+    A something it is not, surpasses them
+    As substance shadow....
+
+                   ... Yet he beholds
+    Far nobler works who looks upon the ruins
+    Of temples in the Forum here in Rome.
+    If God should give me power in my old age
+    To build for Him a temple half as grand
+    As those were in their glory, I should count
+    My age more excellent than youth itself,
+    And all that I have hitherto accomplished
+    As only vanity."
+
+To which Vittoria responds:--
+
+                       "I understand you.
+    Art is the gift of God, and must be used
+    Unto His glory. That in art is highest
+    Which aims at this."
+
+The poet, with his characteristically delicate divination, has entered
+into the inner spirit of these two immortal friends.
+
+Walter Pater, writing of Michael Angelo, truly says:--
+
+     "Michael Angelo is always pressing forward from the outward
+     beauty--_il bel del fuor che agli occhi piace_--to apprehend the
+     unseen beauty; _trascenda nella forma universale_--that abstract
+     form of beauty about which the Platonists reason. And this gives
+     the impression in him of something flitting and unfixed, of the
+     houseless and complaining spirit, almost clairvoyant through the
+     frail and yielding flesh."
+
+Again we find Pater saying:--
+
+     "Though it is quite possible that Michael Angelo had seen Vittoria,
+     that somewhat shadowy figure, as early as 1537, yet their closer
+     intimacy did not begin till about the year 1542, when Michael
+     Angelo was nearly seventy years old. Vittoria herself, an ardent
+     Neo-Catholic, vowed to perpetual widowhood since the news had
+     reached her, seventeen years before, that her husband, the youthful
+     and princely Marquess of Pescara, lay dead of the wounds he had
+     received in the battle of Pavia, was then no longer an object of
+     great passion. In a dialogue written by the painter, Francesco
+     d'Ollanda, we catch a glimpse of them together in an empty church
+     at Rome, one Sunday afternoon, discussing indeed the
+     characteristics of various schools of art, but still more the
+     writings of St. Paul, already following the ways and tasting the
+     sunless pleasures of weary people, whose hold on outward things is
+     slackening. In a letter still extant he regrets that when he
+     visited her after death he had kissed her hands only. He made, or
+     set to work to make, a crucifix for her use, and two drawings,
+     perhaps in preparation for it, are now in Oxford.... In many ways
+     no sentiment could have been less like Dante's love for Beatrice
+     than Michael Angelo's for Vittoria Colonna. Dante's comes in early
+     youth; Beatrice is a child, with the wistful, ambiguous vision of a
+     child, with a character still unaccentuated by the influence of
+     outward circumstances, almost expressionless. Vittoria is a woman
+     already weary, in advanced age, of grave intellectual qualities.
+     Dante's story is a piece of figured work inlaid with lovely
+     incidents. In Michael Angelo's poems frost and fire are almost the
+     only images--the refining fire of the goldsmith; once or twice the
+     phoenix; ice melting at the fire; fire struck from the rock which
+     it afterwards consumes."
+
+Visconti notes that among Italian poets, Vittoria Colonna was the first
+to make religion a subject of poetic treatment, and the first to
+introduce nature's ministry to man into poetry. Rota, her Italian
+biographer, states that she died in February of 1547, in the Palazzo
+Cesarini. This palace is in Genzano, on Lago di Nemi, and has been one
+of the Colonna estates; but from Visconti and other authorities it is
+evident that she died in Rome, either in the convent of Santa Anna or in
+the palace of Cesarini, the husband of her kinswoman, Giulio Colonna,
+which must have been near the convent in Trastevere, the old portion of
+Rome across the Tiber. Visconti records that on the last evening of her
+life when Michael Angelo was beside her, she said: "I die. Help me to
+repeat my last prayer. I do not now remember the words." He clasped her
+hand and repeated it to her, while her own lips moved, she gazed
+intently on him, smiled and passed away. This translation has been made
+of Vittoria Colonna's last prayer:--
+
+     "Grant, I beseech Thee, O Lord, that I may ever worship Thee with
+     such humility of mind as becometh my lowliness and such elevation
+     of mind as Thy loftiness demandeth.... I entreat, O Most Holy
+     Father, that Thy most living flame may so urge me forward that, not
+     being hindered by any mortal imperfections, I may happily and
+     safely again return to Thee."
+
+It is recorded by an authority that her body, "enclosed in a casket of
+cypress wood, lined with embroidered velvet," was placed in the chapel
+of Santa Anna which has since been destroyed. Visconti says: "She
+desired, with Christian humility, to be buried in the manner in which
+the sisters were buried when they died. And, as I suppose, her body was
+placed in the common sepulchre of the nuns of Santa Anna." Grimm
+declares that he cannot discover the place of her burial, and Visconti
+declares that her tomb remains unknown.
+
+But it is apparently a fact that the body of Vittoria Colonna is
+entombed in the sacristy of Santa Domenica Maggiore in Naples, the
+sarcophagus containing it resting by the side of the one containing the
+body of her husband, Francesco d'Avalos, Marchese of Pescara. This
+church is one of the finest in Naples, with twenty-seven chapels and
+twelve altars, and it is here that nearly all the great nobles of the
+kingdom of Naples are entombed. Here is the tomb of the learned Thomas
+Aquinas and here is shown, in relief, the miracle of the crucifix by
+Tommaso de Stefani, which--as the legend runs--thus addressed the
+learned doctor:--
+
+"_Bene scripsisti de me, Thoma; quam ergo mercedem recipies?_"
+
+To which he replied: "_Non aliam nisi te._"
+
+It is in the sacristy in which lie all the Princes of the House of
+Aragon that the sarcophagi of the Marchese and the Marchesa di Pescara
+are placed side by side in the high gallery near the ceiling. The altar
+has a fine Annunciation ascribed to Andrea da Salerno. The ceiling
+(whose coloring is as fresh and vivid as if painted yesterday) is by
+Solimena. Around the walls near the ceiling are two balconies or
+galleries, filled with very large wooden sarcophagi, whose scarlet
+velvet covers have faded into yellow browns with pink shades, many of
+which are tattered and are falling to pieces. The casket containing the
+body of Fernando Francesco d'Avalos, Marchese of Pescara (the husband of
+Vittoria Colonna), has on it an inscription by Ariosto; and his portrait
+(showing in profile a young face with blonde hair and a full reddish
+brown beard) and a banner, also, is suspended above the casket. That
+containing the body of the Marchesa, his wife (Vittoria Colonna), has an
+aperture at the top where the wood is worn away and the embalmed form,
+partly crumbled, may be seen. This seems strange to the verge of
+fantasy, but it is, apparently, true. The writer of this volume visited
+the Church of Santa Domenica Maggiore in Naples in December of 1906, and
+was assured by the sacristan that this sarcophagus contains the body of
+the Marchesa. Inquiries were then made of other prelates and of the
+Archbishop, who gave the same assurance. Later, learned archaeologists in
+Rome were appealed to, regarding this assertion made in Naples, and the
+consensus of opinion obtained declares their assertion true. Professor
+Lanciani has himself publicly expressed this conviction. Still, it
+remains a curious question as to when this sarcophagus was placed in the
+sacristy, for the date goes back into long-buried centuries.
+
+Adjoining Santa Domenica Maggiore is the monastery in which Thomas
+Aquinas lived and lectured (in 1272), and the cell of the great doctor
+of philosophy is now made into a chapel. His lectures called together
+men of the highest rank and learning and were attended by the king and
+the members of the royal family. The entire locality of this church is
+replete with historic association. The most distinguished of the
+nobility of Naples have, for centuries, held their chapels in this
+church, and in these are many notable examples of Renaissance sculpture.
+
+The Accademia des Arcades of Rome, founded in the seventeenth century to
+do honor to lyric art, celebrated the placing of a bust of Vittoria
+Colonna in a gallery of the Capitoline, in May of 1865, by a resplendent
+poetic festa. According to the gentle, leisurely customs of the land,
+where it is always afternoon and time has no value, thirty-two poets
+read their songs, written in Latin or in Italian, for this occasion,
+which were published in a sumptuous volume to be preserved in the
+archives of the Arcadians, who take themselves more seriously than the
+world outside quite realizes. This bust of Vittoria Colonna was the gift
+of the Duca and Duchessa of Torlonia of that period. It was crowned with
+laurel, as that of Petrarca had been, and the government took official
+recognition of the event.
+
+Goethe was made a member of this Accademia that regarded itself as
+reflecting the glories of the Golden Age of Greece, and which was a
+century old at the time of his visit to Italy. "No stranger of any
+consequence was readily permitted to leave Rome without being invited to
+join this body," he recorded, and he wrote a humorous description of the
+formalities of his initiation.
+
+Mrs. Horatio Greenough was honored by being made a member of this
+Accademia in recognition of her musical accomplishments, and the record
+of it is placed on the memorial marble over her grave in the Protestant
+cemetery in Rome. Every year, on Tasso's birthday (April 25), the
+Accademia holds a festa in a little amphitheatre near "Tasso's oak," on
+the Janiculum, at which his bust is crowned with laurel. The gardens in
+which the seventeenth-century Arcadians disported themselves are now
+known among the Romans as _il Bosco Parrasio degli Arcadi_.
+
+Throughout Italy the fame of Vittoria Colonna only deepens with every
+succeeding century. Her nobility of character, her lofty spirituality of
+life, fitly crowned and perfected her intellectual force and brilliant
+gifts. Although from the customs of the time the Marchesa lived much in
+convents, she never, in any sense, save that of her fervent piety, lived
+the conventual life. Her noble gifts linked her always to the larger
+activities, and her gifts and rank invested her with certain demands and
+responsibilities that she could not evade. She was one of the messengers
+of life, and her place as a brilliant and distinguished figure in the
+contemporary world was one that the line of destiny, which pervades all
+circumstances and which, in her case, was so marked, absolutely
+constrained her to fill. She had that supreme gift of the lofty nature,
+the power of personal influence. Her exquisite courtesy and graciousness
+of manner, her simple dignity and unaffected sincerity, her delicacy of
+divination and her power of tender sympathy and liberal comprehension
+all combined to make her the ideal companion, counsellor, and friend, as
+well as the celebrity of letters and lyric art.
+
+No poet has more exquisitely touched the friendship between Vittoria
+Colonna and Michael Angelo than has Margaret J. Preston, in a poem
+supposed to be addressed to the sculptor by Vittoria, in which occur the
+lines:--
+
+    "We twain--one lingering on the violet verge,
+    And one with eyes raised to the twilight peaks--
+    Shall meet in the morn again.
+
+           *       *       *       *       *
+
+                  ... Supremest truth I gave;
+    Quick comprehension of thine unsaid thought,
+    Reverence, whose crystal sheen was never blurred
+    By faintest film of over-breathing doubt;
+                              ... helpfulness
+    Such as thou hadst not known of womanly hands;
+    And sympathies so urgent, they made bold
+    To press their way where never mortal yet
+    Entrance had gained,--even to thy soul."
+
+This is the _Page de Conti_ that one reads in the air as he sails past
+Ischia on the violet sea; and the _chant d'amour_ of the sirens catches
+the echo of lines far down the centuries:--
+
+    "I understood not, when the angel stooped,
+    Whispering, 'Live on! for yet one joyless soul,
+    Void of true faith in human happiness,
+    Waits to be won by thee, from unbelief.'
+
+    "Now, all is clear. For _thy_ sake I am glad
+    I waited. Not that some far age may say,--
+    '_God's benison on her, since she was the friend
+    Of Michael Angelo!_'"
+
+
+
+
+    _So sometimes comes to soul and sense
+    The feeling which is evidence
+    That very near about us lies
+    The realm of spiritual mysteries.
+    The sphere of the supernal powers
+    Impinges on this world of ours.
+    The low and dark horizon lifts,
+    To light the scenic terror shifts;
+    The breath of a diviner air
+    Blows down the answer of a prayer:--
+    That all our sorrow, pain, and doubt
+    A great compassion clasps about,
+    And law and goodness, love and force,
+    Are wedded fast beyond divorce.
+    Then duty leaves to love its task,
+    The beggar Self forgets to ask;
+    With smile of trust and folded hands,
+    The passive soul in waiting stands
+    To feel, as flowers the sun and dew,
+    The One true Life its own renew._
+
+                    WHITTIER.
+
+     "_For Thou only art holy. Thou only art the Lord. Thou only, O
+     Christ, with the Holy Ghost, art most high in the Glory of God the
+     Father._"
+
+
+
+
+    _Sometimes in heaven-sent dreams I do behold
+      A city with its turrets high in air,
+      Its gates that gleam with jewels strange and rare,
+    And streets that glow with burning of red gold;
+    And happy souls, through blessedness grown bold,
+      Thrill with their praises all the radiant air,
+      And God himself is light, and shineth there
+    On glories tongue of man hath never told._
+
+    _And in my dreams I thither march, nor stay
+      To heed earth's voices, howsoe'er they call,
+    Or proffers of the joys of this brief day,
+      On which so soon the sunset shadows fall;
+    I see the Gleaming Gates, and toward them press--
+    What though my path lead through the Wilderness?_
+
+                    LOUISE CHANDLER MOULTON.
+
+
+
+
+V
+
+VOICES OF ST. FRANCIS OF ASSISI
+
+    Oh, Italy! thy strength, thy power, thy crown
+    Lie in the life that in Assisi stirs
+    The heart, with impulse of self-sacrifice;
+    Where still St. Francis gathers weary souls
+    In his great love, which reaches out to all.
+                       ... His blessing falls
+    In clear sweet tones: "_Benedicat tibi
+    Convertat vultum suum ad te et
+    Det Pacem!_" Hushed and holy silence breathes
+    About the wanderer who lifts his heart
+    To catch the echo of that voice of love.
+
+                    CELIA RICHMOND.
+
+
+The mystic pilgrimage to Assisi, the "Seraphic City," prefigures itself
+almost as a journey to the Mount of Vision. "Any line of truth that
+leads us above materialism," says Dr. Wilberforce, Venerable Archdeacon
+of Westminster Abbey, "that forces us to think, that encourages the
+imagination to pierce the world's cobwebs, that forces us to remember
+that we are enwrapped by the supernatural, is helpful and stimulating. A
+human life lived only in the seen and felt, with no sense of the
+invisible, is a fatally impoverished life, a poor, blind, wingless life,
+but to believe that ever around us is a whole world full of spiritual
+beings; that this life, with its burdens, is but the shadow which
+precedes the reality; that here we are but God's children at school, is
+an invigorating conviction, full of hope, productive of patience and
+fruitful in self-control."
+
+To an age imprisoned in the fear of God the "sweet saint," Francis,
+brought the message of the love of God. To an age crushed under the
+abuses of religion as an organization of feudal bishops and
+ecclesiastics, St. Francis brought the message of hope and of joy. He
+revealed to his age the absolute reality of the spiritual world that
+surrounds us. He was born into a time when there existed on the one
+hand, poverty and misery; on the other, selfish and debasing
+self-indulgence of wealth and its corresponding oppression of the poor.
+The Church itself was a power for conquest and greed. Its kingdom was of
+this world. St. Bernard and others had nobly aimed to effect a reform
+and had illustrated by their own lives the beautiful example of
+simplicity and unselfishness, but their work failed in effectiveness
+and permanent impress.
+
+    "Oh, beauty of holiness!
+    Of self-forgetfulness, of lowliness."
+
+Not only in beauty, but in power does it stand. St. Francis brought to
+the sad and problematic conditions of his time that resistless energy of
+infinite patience, of a self-control based on insight into the divine
+relationships of life, and of unfailing fidelity to his high purpose.
+Through good report or through evil report he kept the faith, and
+pressed onward to the high calling of God. The twelfth and the
+thirteenth centuries had been a period of religious unrest and chaos. As
+Archdeacon Wilberforce has so impressively said in the words quoted from
+him, a life lived with no sense of the invisible is blind and
+impoverished. The movement initiated by St. Francis proclaimed anew the
+divine grace and love.
+
+    "Tokens are dead if the things live not. The light everlasting
+    Unto the blind is not, but is born of the eye that has vision."
+
+Something not unlike this trend of thought must drift through the mind
+of every one who journeys through the lovely Umbrian country to Assisi,
+one of those picturesquely beautiful hill towns of Italy whose romantic
+situation impresses the visitor. Seen from a little distance, one could
+hardly imagine how it could be reached unless he were the fortunate
+possessor of an airship. The entire region is most picturesque in
+character. Journeying from Rome to Assisi there is a constant ascent
+from the Campagna to the Apennines, and the road passes through wild
+defile and valley with amethyst peaks shining fair against the sky, with
+precipitous rocks, and the dense growth of oak and pine trees. In some
+places the valley is so narrow that the hills, on either side, rise
+almost within touch of the hand from the car window. The hill towns are
+frequent, and the apex of these towns is invariably crowned with a
+castle, a cathedral, or a ruin, and around it, circling in terraces, is
+built the town. The charm largely vanishes when fairly in these circling
+roads, for on either side are high walls, so that one's view is
+completely bounded by them; but from the summit and from the upper
+floors of the houses the most beautiful views are obtained. The Umbrian
+region, in which are located Perugia, Assisi, Spello, Foligno, Spoleto,
+Terni, Narni, and others, is simply the gem region of all Italy. The
+Umbrians are the most ancient of the Italian people, and Assisi claims
+to have been founded eight hundred and sixty-five years before the
+founding of Rome. It was the scene of constant warfare, and the streets
+are all underlaid by subterranean passages, in which the inhabitants
+could disappear from their enemies.
+
+To this ancient Umbrian city, from which went out the life and light
+that carried wonderful currents of vitality and illumination to all
+Italy and into almost all parts of the world, one comes as to a special
+and a sacred pilgrimage. For this mediaeval town, perched on the top of a
+rocky hill, is the birthplace of St. Francis, the founder of the
+Franciscan order; in it were the scenes of his early life, and here, in
+1226, at the age of forty-four years, he died. The convent-church of San
+Francesco, built to his memory in 1230; the lower church, completed at
+that date, while the upper was finished in 1253; the magnificent
+Cathedral of Santa Maria Degli Angeli, completed in 1640; the Church of
+Santa Chiara and the Duomo, are the points of interest.
+
+  [Illustration: SAN FRANCESCAN CONVENT-CHURCH, ASSISI
+                 _Page 346_]
+
+The purple Apennines, on one spur of which Assisi is built, are a
+picturesque feature of lovely Umbria. The old houses of Assisi rise
+white in the sunshine. The ancient walls still surround the city, and
+its towers stand as they stood before the eyes of St. Francis, almost
+seven centuries ago. The peak of Mt. Subasio, a neighboring peak of the
+Apennines, looms above the colossal rock that crowns the hill around
+whose top Assisi clusters in winding terraces. The massive pile of the
+Francescan church and monastery--the two churches, one above the
+other--forms an architectural group whose imposing aspect arrests the
+eye of every traveller for miles around. The pointed arches of the
+cloisters and the square campanile contrast rather than blend in an
+effective and harmonious manner and resemble military fortifications
+rather than an edifice of the church. The old walls still surround
+Assisi, and the houses all rise white under the blue Italian sky. The
+narrow streets, hardly wide enough for one carriage to pass another, are
+so intricate in their curves as they climb the steep hill, that it
+requires a faith hardly less than the traditional degree said to move
+mountains to lead the visitor to suppose that he will ever emerge
+from one that he has entered. Many of the houses along these curious
+thoroughfares have no windows, the only light and air coming through the
+open door. The bells from the campanile of the Francescan
+convent-church, from the Duomo and from the Church of Santa Chiara ring
+every quarter of an hour; and this constant clash of bells is almost the
+only sound that breaks the silence of the mediaeval town, which lends
+itself to visions and to dreams. On the very air is stamped the impress
+of St. Francis. His personality, his teachings, his faith pervaded the
+atmosphere in a way that no one could believe until he had himself
+entered into the experience. In narration it cannot but seem like a
+pleasing and half-poetic fancy; but the lingerer in this shrine of
+religion and art will realize that the actual personality of the man who
+trod these streets nearly seven hundred years ago is strangely before
+him. Canon Knox Little, in a series of lectures on St. Francis of Assisi
+delivered in the Ladye Chapel of Worcester Cathedral a few years since,
+says of the panorama of the town:--
+
+     "The scene which from Assisi presented itself daily to his youthful
+     eyes must have had, did have, as we know, a lasting effect upon his
+     mind. From thence the eye surveys a noble coronet of stately
+     mountains. You look from Radicofani, above Trena, to Monte Catria,
+     famous as the scene of some of Dante's saddest times of solitude,
+     and ever is the eye satisfied with the grace and grandeur of the
+     curves of mountain outline, and the changing hues of an
+     incomparable sky. There are rivers and cities and lakes,--from
+     Thrasymene, just hidden by a line of crests, to the Paglia and
+     Tiber beneath, where Orvieto crowns its severe and lonely rock.
+     With the changing lights and shadows always beautiful in the vivid
+     spring or burning summer, tender-tinted autumn or clear and
+     sparkling winter, with the bright and pure and buoyant atmosphere
+     always giving life and vigor, what spot on earth more fitted as the
+     birthplace of the saint who was, above all things, bright and
+     tender and strong?"
+
+Assisi was an important town in the twelfth century when Francis, the
+son of Pietro Bernardone di Mercanti, wandered over its hills, and after
+severe fasting and prayer communed with God. Born in the midst of the
+constant warfare between Assisi and Perugia, he was first a soldier. He
+was captured and thrown into prison, and it was a remarkable dream, or
+vision, that came to him before he was set free, that determined his
+life of consecration. Tradition invested his birth with legends, one of
+which is, that in his infancy an aged man came to the door and begged to
+be permitted to take the child in his arms, prophesying that he was
+destined to accomplish a great work. Pietro Bernardone was a wealthy
+merchant of Assisi. Pica, the mother of Francis, is said to have been of
+noble origin and of a deeply religious nature. The early youth of
+Francis was given to games, festivals, and pleasures that degenerated
+into dissipation, but the mother continually affirmed her assurance
+that, if it pleased God, her son would become a Christian. In this
+atmosphere was nurtured "the sweet-souled saint of mediaeval Italy," who
+is described as a figure of magical power, whose ardent temperament and
+mystic loveliness attracted to him all men.
+
+There is also a legend that Pica went to pray at the Portiuncula and
+that, for seven years, she prayed for a son. Her prayer was answered in
+the coming of the infant who was to be the great saint of all the ages.
+Francis, in his childhood, also knelt and prayed at this shrine. In the
+year 1211, when Francis was twenty-nine years of age and had entered on
+his ministry, this chapel was given to him, "and no sooner had they come
+to live here," it is said, "than the Lord multiplied their number from
+day to day." At one time he had gone to his devotions in great
+depression of spirits, "when, suddenly, an unspeakable ecstasy filled
+his breast. 'Be comforted, my dearest,' he said, 'and rejoice in the
+Lord, and let us not be sad that we are few; for it has been shown to me
+by God that you shall increase to a great multitude and shall go on
+increasing to the end of the world. I see a multitude of men coming to
+me from every quarter--French, Spaniards, Germans, English--each in
+their different tongues encouraging the others.'"
+
+At a distance of perhaps a mile and a half from Assisi, down in the
+valley near the railroad station, four holy pilgrims founded a shrine in
+the fourth century. Later, on this site, St. Benedict erected a tiny
+chapel, called "St. Maria della Portiuncula" (St. Mary of the Little
+Patron), and once, when praying in the chapel, Benedict had a vision of
+a vast crowd of people kneeling in ecstasy, chanting hymns of praise,
+while outside greater multitudes waited to kneel before the shrine, and
+he took this to mean that a great saint would one day be honored there.
+
+So the legends, still conversationally told in Assisi, run on and are
+locally current. Undoubtedly the dwellers in this curious old town,
+whose streets have hardly one level spot but climb up and down the steep
+hillside, realize that their saint is their title to fame and their
+revenue as well; yet through all the tales there breathes a certain
+sincerity and simplicity of worship. The little dark primitive shops
+teem with relics, which make, it is true, a great draft on imagination,
+and by what miracle modern photography has contrived to present the
+saint of Assisi in various impressive attitudes and groups it would be
+as well not to inquire too closely. It is a part of the philosophy of
+travel to take the goods the gods provide, and the blending of amused
+tolerance and unsuspected depths of reverential devotion by which the
+visitor will find himself moved, while in Assisi, can hardly be
+described. For, surely, here
+
+                     "... there trod
+    The whitest of the saints of God,"
+
+and Catholic or Protestant, one equally enters into the beauty of his
+memory. The double and triple arches of the convent church enclose
+cloistered walls continually filled with visitors. No shrine in Italy
+holds such mysterious power. Simplicity and joy were the two keynotes of
+the life taught by St. Francis. "Poverty," he asserted, "is the happy
+state of life in which men are set free from the trammels of
+conventionalism, and can breathe the pure air of God's love. The richest
+inward life is enjoyed when life is poorest outwardly. Be poor," he
+continued, "try a new principle; be careless of having and getting; try
+_being_, for a change. Our life in the world ought to be such that any
+one on meeting us should be constrained to praise the heavenly Father.
+Be not an occasion of wrath to any one," he often said, "but by your
+gentleness may all be led to press onward to good works."
+
+The supreme aim of Francis was that of service to humanity. He gave
+himself with impassioned fervor to this one work. For him there were no
+ideals of cloistered seclusion or of devotion to learning and art, but
+the ideal alone to uplift humanity. It was literally and simply, indeed,
+the Christ ideal. Of the "Rule" made, one of his biographers says:--
+
+     "Amid all these encouragements the Rule was made. It consists, like
+     other monastic rules, of the three great vows of poverty, chastity,
+     and obedience, differing only in so far that the poverty ordained
+     by Francis was absolute. In other rules, though the individual was
+     allowed to possess nothing, the community had often rich
+     possessions, and there was no reason why the monks should not fare
+     sumptuously and secure to themselves many earthly enjoyments,
+     notwithstanding their individual destitution and their vow. But
+     among the Brothers Minor there was not to be so much as a provision
+     secured for the merest daily necessities. Day by day they were to
+     live by God's providence, eating what was given to them, taking no
+     thought how they were to be fed, or wherewithal clothed; 'neither
+     gold nor silver in your purses;' not even the scrip to collect
+     fragments in--as if God could not provide for every returning
+     necessity. There had been monasteries in Italy for centuries, and
+     the Benedictines were already a great and flourishing community;
+     but this absolute renunciation of all things struck a certain chill
+     to the hearts of all who heard of it, except the devoted band who
+     had no will but that of Francis. His friend, the Bishop of Assisi,
+     was one of those who stumbled at this novel and wonderful
+     self-devotion. 'Your life, without a possession in the world, seems
+     to me most hard and terrible,' said the compassionate prelate. 'My
+     lord,' said Francis, 'if we had possessions, arms and protection
+     would be necessary to us.' There was a force in this response which
+     perhaps we can scarcely realize, but the Assisan bishop, who knew
+     something of the temper of the lords of Umbria, and knew how lonely
+     were the brethren dwelling on the church lands--the little plot
+     (Portiuncula) a whole half league from the city gates--understood
+     and perceived the justice of the reply.
+
+     "Another grand distinction of the Rule drawn up by Francis was the
+     occupation it prescribed to its members. They were not to shut
+     themselves up, or to care first for their own salvation. They were
+     to preach--this was their special work; they were to proclaim
+     repentance and the remission of sins; they were to be heralds of
+     God to the world, and proclaim the coming of His kingdom. It is not
+     possible to suppose that when he thus began to organize the mind of
+     Francis did not make a survey of the establishments already in
+     existence--the convents bound by the same three great vows, where
+     life at this moment was going on so placidly, with flocks and herds
+     and vineyards to supply the communities, and studious monks in
+     their retirement, safe from all secular anxieties, fostering all
+     the arts in their beginning, and carrying on the traditions of
+     learning; while all around them the great unquiet, violent world
+     heaved and struggled, yet within the convent walls there was
+     leisure and peace. Blessed peace and leisure it was often, let us
+     allow, preserving for us the germs of many good things we now
+     enjoy, and raising little centres of safety and charity and
+     brotherly kindness through the country in which they were placed.
+     But such quiet was not in the nature of Francis. So far as we can
+     make out, he had thought little of himself--even of his own soul to
+     be saved--all his life. The trouble on his mind had been what to
+     do, how sufficiently to work for God and to help men. His fellow
+     creatures were dear to him; he gave them his cloak from his
+     shoulders many a day, and the morsel from his own lips, and would
+     have given them the heart from his bosom had that been possible."
+
+These are the "voices" that still echo in the air of Assisi. In the
+suburbs is still shown the spot where the chapel of St. Damian stood up
+a rocky path on the hillside in an olive grove. It was here that the
+scene of the miracle of the crucifix is laid. Before the altar Francis
+knelt, praying: "Great and Glorious Father, and thou, Lord Jesus, I pray
+ye, shed abroad your light in the darkness of my mind. May I in all
+things act in accordance with thy holy will."
+
+It is recorded that while he thus knelt in deep prayer, he was unable to
+turn his eyes from the cross, conscious that something marvellous was
+taking place. The image of the Saviour assumed life; the eyes turned
+attentively on him; a voice spoke accepting his service and he felt at
+once endowed with the most marvellous tide of vitality, of joy, and of
+exhilaration. At this moment he entered on that life whose impress is
+left on the ages. Of the character and the peculiar quality of its
+influence Mrs. Oliphant well says:--
+
+     "It is not always possible to follow with our sympathy that
+     literal, childlike rendering of every incident in the life of the
+     Master, which sometimes looks fantastical and often unmeaning. He
+     was a man of his time, and could live only under the conditions
+     which that time allowed. He made visible to a literal, practical,
+     unquestioning age the undeniable and astounding fact that the
+     highest of all beings chose a life of poverty, hardship, and
+     humbleness; that He chose submission instead of resistance, love
+     instead of oppression, peace and forgiveness instead of revenge and
+     war. Christ had died in their hearts, as said the legend of that
+     Christmas at Greccia; and, as in one of the bold and artless
+     pictures just then beginning to yield to a more refined and subtle
+     art, Francis set forth before the world the image of his Master.
+     The Son of man was lifted up, as on another cross, before the eyes
+     of Umbria, before all Italy, warlike and wily, priest and baron,
+     peasant and Pope. In this world Francis knew nothing, acknowledged
+     nothing, cared for nothing save Christ and Him crucified--except,
+     indeed, Christ's world, the universe redeemed, the souls to be
+     saved, the poor to be comforted, the friends to be cherished, the
+     singing birds and bubbling fountains, the fair earth and the sweet
+     sky. Courteous, tender, and gentle as any paladin, sweet-tongued
+     and harmonious as any poet, liberal as any prince, was the
+     barefooted beggar and herald of God. We ask no visionary reverence
+     for the Stigmata, no wondering belief in any miracle. As he stood,
+     he was as great a miracle as any then existing under God's
+     abundant, miraculous heavens; more wonderful than are the day and
+     night, the sun and the dew; only less wonderful than that great
+     Love which saves the world, and which it was his aim and destiny to
+     reflect and show forth."
+
+That mystic union to which all the ages attest, the union that may, at
+any moment, be formed between the soul and God, that mystery which the
+church calls conversion and which finds its perfect interpretation in
+the words of St. Paul, when he said, that if any man be in Christ he is
+a new creation, had been accomplished in the life of Francis. He
+realized the fulness of the knowledge of God's will; he longed only for
+wisdom and for spiritual understanding. Nor is this experience one to be
+relegated to the realm of miracle. It is simply entering into the
+supreme completeness of life. It is not alone St. Paul, but every man,
+who may truly say, "I can do all things through Christ, who
+strengtheneth me." Nor does this experience, when translated aright into
+daily life and action, require any abnormal form of expression. It does
+not, in its truest significance, mean a life apart from the ordinary
+duties, but rather it means that these duties shall be fulfilled in the
+larger and nobler way. The exceptional man may be called to be the
+standard bearer; to renounce all domestic ties and give his service to
+the world; but such a life as this differs only in degree from that
+which in the ordinary home and social relations finds ample means for
+its best expression. The persistent aim after perfection should be the
+keynote of every life. No one should be satisfied to hold as his
+supreme ideal any lesser standard of ultimate achievement than is
+involved in the divine command, "Be ye therefore perfect, even as your
+Father in heaven is perfect." This is the soul's ideal, whatever ages
+and eternities it may require for it to recognize this trackless path.
+
+St. Francis recognized joy as a factor of the nobler life. "It was his
+constant effort," writes one biographer, "that there should be bright
+looks and cheerful tones about him. To one of his brethren, who had the
+habit of walking about sadly with his head drooping, he said,--it is
+evident, with a spark of the impatience natural to his own vivacious
+spirit,--'You may surely repent of your sins, my brother, without
+showing your grief so openly. Let your sorrow be between God and you:
+pray to Him to pardon you by His mercy, and to restore to your soul the
+joy of His salvation. But before me and the others be always cheerful,
+for it does not become a servant of God to have an air of melancholy and
+a face full of trouble.'"
+
+An incident in the early life of St. Francis, which had determining
+significance, was his meeting with Dominic. The story is told "that
+Dominic, praying in a church in Rome, saw, in a vision, our Lord rise
+from the right hand of the Father in wrath, wearied at last with the
+contradiction of sinners, with a terrible aspect and three lances in his
+hand, each one of which was to destroy from the face of the earth a
+distinct class of offenders. But while the dreamer gazed at this awful
+spectacle, the Virgin Mother arose and pleaded for the world, declaring
+that she had two faithful servants whom she was about to send into it to
+bring sinners to the feet of the Saviour; one of these was Dominic
+himself, the other was a poor man, meanly clad, whom he had never seen
+before. This vision came to the devout Spaniard, according to the
+legend, during the night, which he spent, as he was wont, in a church,
+in prayer. Next morning, while he mused on the dream which had been sent
+to him, his eye fell all at once upon a stranger in a brown tunic, of
+aspect as humble and modest as his garb, coming into the same church to
+pray. Dominic at once ran to him, fell on his neck, and, saluting him
+with a kiss, cried, 'Thou art my companion: thy work and mine is the
+same. If we stand by each other, nothing can prevail against us.'"
+
+No magic mirror, however, revealed to Francis the wonderful panorama of
+his future. No sibyl turned the leaves of the records yet to unfold. "He
+was preparing himself for a life of penitence rather than a life of
+activity," in the opinion of Paul Sabatier, and he had dreamed no dream
+of becoming a religious founder. He was so entirely without any personal
+ambition, save that of being obedient to the Heavenly Vision, that this
+absolute consecration of purpose enabled the divine power to work
+through him without obstruction. He became a very perfect instrument, so
+to speak, in the divine hand. After repairing the little chapel called
+the Portiuncula, on the level ground at the foot of the hill, some two
+miles from Assisi, his plan was to there pass his time in meditation and
+prayer. But the legend runs that on the feast of St. Mathias (February
+24), in the winter of 1209, a Benedictine monk was celebrating mass and
+on his turning to read, "Wherever ye go preach, saying, The kingdom of
+heaven is at hand," Francis was profoundly and peculiarly impressed, and
+he exclaimed: "This is what I desire, O Father; from this day forth I
+set myself to put this command in practice." He felt that Jesus himself
+had spoken to him through the priest. Love and sacrifice became to him
+the supreme ideals, and in this moment, in that poor and bare little
+chapel, was inaugurated one of the greatest and most far-reaching
+religious movements of the entire world.
+
+    "Not always as the whirlwind's rush
+      On Horeb's mount of fear,
+    Not always as the burning bush
+      To Midian's shepherd seer,
+    Not as the awful voice which came
+      To Israel's prophet bards,
+    Nor as the tongues of cloven flame,
+      Nor gift of fearful words,--
+
+    "Not always thus with outward sign
+      Of fire or voice from Heaven
+    The message of a truth divine,
+      The call of God is given!"
+
+That great ministry of St. Francis, whose influence pervades all
+time,--that lies between the opening years of the thirteenth and the
+opening years of the twentieth centuries,--was initiated the next
+morning in Assisi, when Francis preached for the first time. He spoke
+simply, emphasizing the truths he had learned to realize through his own
+experience: the absolute duty of following after perfection; the
+importance of realizing the shortness of life and the need of
+repentance. The first disciple of Francis was a wealthy resident of
+Assisi, named Bernardo. He was impressed with the conviction that he
+should distribute his possessions and unite with Francis in all his aims
+and work. Without definite organization, others joined them. They passed
+that spring and summer going up and down the country, sometimes
+assisting the harvesters and haymakers, and everywhere entering into the
+common life of the people. The Bishop of Assisi, however, remonstrated
+with Francis, saying that to him it seemed very harsh and unwise to try
+to live without owning anything. To which Francis replied that he did
+not desire temporal possessions, as these required arms for their
+defence and were an obstacle to the love of God and one's neighbor. It
+has remained for later years to discern the still truer significance of
+the teachings of Jesus, that neither possessions nor the lack of
+possessions form the real test, but the use which is made of them. As
+spiritual insight is developed it is more and more clearly realized that
+the quality of the life lived is the sole matter of importance, and not
+the conditions that surround it.
+
+The brotherhood increased. The abbot of the Benedictines on Monte
+Subasio ceded to Francis and his order the little chapel called the
+Portiuncula, now enclosed within the vast and magnificent church of
+Santa Maria degli Angeli. M. Paul Sabatier, in his admirable biography
+of St. Francis, points out clearly that the founder of the Franciscans
+contemplated a laboring and not a mendicant order. During the decade
+1211 to 1221, which Francis and his followers passed at the Portiuncula,
+a portion of the time was constantly passed in industrial pursuits.
+"With all his gentleness, Francis knew how to show an inflexible
+severity toward the idle," says Sabatier, "and he even went so far as to
+dismiss a friar who refused to work." Although Francis espoused poverty,
+declaring that she was his bride, he was unfalteringly loyal to the
+ideals of honest industry and integrity.
+
+  [Illustration: ST. FRANCIS D'ASSISI, THE DUOMO, ASSISI
+                 Giovanni Dupre
+                 _Page 366_]
+
+The mystic legends of the life of their saint that abound in Assisi are
+touched with poetic romance in that a companion figure is always seen by
+his side, that of Santa Chiara. Not more inseparable in popular thought
+are Dante and Beatrice, or Petrarca and Laura, than are Francis and
+Clara. Their statues stand side by side in the Duomo; they are
+represented together by both painter and sculptor in the churches of
+Santa Chiara and Santa Maria degli Angeli in the old hill town. Chiara
+was the daughter of a noble family, and as a girl of sixteen, coming
+under the influence of Francis from hearing one of his sermons, she,
+too, became one of his followers and left her father's palace in Assisi
+to take the vows of perpetual and voluntary poverty at the altar of the
+Portiuncula. Followed by two women, she passed swiftly through the town
+in the dead of the night, and through dark woods, her hurrying figure
+seeming like some spirit driven by winds towards an unknown future. One
+thing alone was clear before her--that she was nearing the abode of
+Francis Bernardone whose preaching at San Giorgio only a month before
+had thrilled her, inspiring her in this strange way to seek the life he
+had described in fiery words. Just as she came in sight of the
+Portiuncula the chanting of the brethren, which had reached her in the
+wood, suddenly ceased, and they came out with lighted torches in
+expectation of her coming. Swiftly and without a word she passed in
+to attend the midnight mass which Francis was to serve, and the scene is
+thus described:--
+
+     "The ceremony was simple, wherein lies the charm of all things
+     Franciscan. The service over and the last blessing given, St.
+     Francis led Clare toward the altar, and with his own hands cut off
+     her long, fair hair and unclasped the jewels from her neck. But a
+     few minutes more and a daughter of the proud house of Scifi stood
+     clothed in the brown habit of the order, the black veil of religion
+     falling about her shoulders, lovelier far in this nun-like severity
+     than she had been when decked out in all her former luxury of
+     silken gowns and precious gems.
+
+     "It was arranged that Clare was to go afterward to the Benedictine
+     nuns of San Paolo, near Bastia, about an hour's walk farther on in
+     the plain. So when the final vows had been taken, St. Francis took
+     her by the hand and they passed out of the chapel together just as
+     dawn was breaking, while the brethren returned to their cells
+     gazing half sadly, as they passed, at the coils of golden hair and
+     the little heap of jewels which still lay upon the altar cloth."
+
+Clara founded a convent and lived as its abbess, and the great church of
+Santa Chiara is built on the site of this convent. She was born in
+Assisi in 1194, and died in 1253, surviving Francis by twenty-seven
+years. Her father was the Count Favorini Scifi, and he had destined his
+daughter--who had great beauty--to a rich and brilliant marriage. He
+violently opposed her choice of the religious life, but no earthly
+power, she declared, should sever her from it.
+
+The beauty of the lifelong friendship between Francis and Clara is thus
+touched upon by Mrs. Oliphant:--
+
+     "It was one of those tender and touching friendships which are to
+     the student of history like green spots in the desert; and which
+     gave to the man and the woman thus voluntarily separated from all
+     the joys of life a certain human consolation in the midst of their
+     hardships. They can have seen each other but seldom, for it was one
+     of the express stipulations of the Franciscan Rule that the friars
+     should refrain from all society with women, and have only the most
+     sparing and reserved intercourse even with their sisters in
+     religion. And Francis was no priest, nor had he the privilege of
+     hearing confession and directing the spiritual life of his daughter
+     in the faith. But he sent to her to ask enlightenment from her
+     prayers, when any difficulty was in his way. He went to see her
+     when he was in trouble; especially once on his way to Rieti to have
+     an operation performed on his eyes. Once the two friends ate
+     together at a sacramental meal, the pledge and almost the
+     conclusion on earth of that tenderest, most disinterested, and
+     unworldly love which existed between them. That he was sure of her
+     sympathy in all things, of her prayers and spiritual aid,
+     whatsoever he might be doing, wheresoever he might be, no doubt was
+     sweet to Francis in all his labors and trials. As he walked many a
+     weary day past that church of St. Damian, every stone of which was
+     familiar to him, and many laid with his own hands, must not his
+     heart have warmed at thought of the sister within, safe from all
+     conflict with the world, upon whose fellow-feeling he could rely
+     absolutely as man can rely only on woman? The world has jeered at
+     the possibility of such friendships from its earliest age; and yet
+     they have always existed,--one of the most exquisite and delicate
+     of earthly ties. Gazing back into that far distance over the
+     graves, not only of those two friends, but of a hundred succeeding
+     generations, a tear of grateful sympathy comes into the student's
+     eye. He is glad to believe that, all those years, Francis could see
+     in his comings and goings the cloister of Clara; and that this
+     sacred gleam of human fellowship,--love purified of all
+     self-seeking,--tender, visionary, celestial affection, sweetened
+     their solitary lives."
+
+Legends innumerable, attesting supernormal manifestations regarding
+Francis, sprang up and have been perpetuated through the ages. One is as
+follows:--
+
+     "Hardly more than three years from the moment when the pale
+     penitent was hooted through Assisi amid the derisive shouts of the
+     people, and driven with blows and curses into confinement in his
+     own father's house, we find that it has already become his custom
+     on Sunday to preach in the cathedral; and that, from his little
+     convent at the Portiuncula, Francis has risen into influence in the
+     whole country, which no doubt by this time was full of stories of
+     his visit to Rome and intercourse with the Pope, and all the
+     miraculous dreams and parables with which that intercourse was
+     attended. Already the mind of the people, so slow to adopt, but so
+     ready to become habituated to, anything novel, had used itself to
+     the sight of the brethren in their brown gowns, and, leaping from
+     one extreme to the other, instead of madmen, learned to consider
+     them saints. The air about the little cloister began to breathe of
+     miracles,--miracles which must have been a matter of common report
+     among the contemporaries of the saint, for Celano wrote within
+     three years of Francis's death. Once, when their leader was absent,
+     a sudden wonder startled the brethren. It was midnight between
+     Saturday and Sunday, and Francis, who had gone to preach at Assisi,
+     was at the moment praying in the canon's garden. A chariot of fire,
+     all radiant and shining, suddenly entered the house, awaking those
+     who lay asleep, and moving to wonder and awe those who watched, or
+     labored, or prayed. It was the heart and thoughts of their leader
+     returning to them in the midst of his prayer, which were figured by
+     this appearance."
+
+When Francis died a pathetic scene is thus described:--
+
+     "All the clergy of Assisi, chanting solemn hymns, came out to meet
+     the bier, and thus they climbed the hill to the birthplace of the
+     saint, the city of his toils and tears and blessing. When they came
+     to St. Damian an affecting pause was made. Clara within, with all
+     her maidens, waited the last visit of their father and friend.
+     Slowly the triumphant crowd defiled into the church of the nuns,
+     hushing, let us hope, their songs of joy, their transports of
+     gratulations, out of respect to the grief which dwelt there, and
+     could scarcely, by all the arguments of family pride, or the
+     excitement of this universal triumph, be brought to rejoice. The
+     bier was set down within the chancel, the coffin opened, and opened
+     also was the little window through which the nuns received the
+     sacrament on ordinary occasions. To this little opening the pale
+     group of nuns, ten of them, with Clara at their head, came marching
+     silently, with tears and suppressed cries. Clara herself, even in
+     face of that multitude, could not restrain her grief. 'Father,
+     father, what will become of us?' she cried out; 'who will care for
+     us now, or console us in our troubles?' 'Virgin modesty,' says
+     Celano, stopped her lamentations, and with a miserable attempt at
+     thanksgiving, reminding herself that the angels were rejoicing at
+     his coming, and all was gladness on his arrival in the city of God,
+     the woman who had been his closest friend in this world, whose
+     sympathy he had sought so often, kissed the pale hands--'splendid
+     hands,' says Celano, in his enthusiasm, 'adorned with precious gems
+     and shining pearls'--and disappeared from the little window with
+     her tears into the dim convent behind, where nobody could reprove
+     her sorrow."
+
+The personality of Chiara comes down to us through the ages invested
+with untold charm. It is said that when she was dying there came "a long
+procession of white-robed virgins, led by the Queen of Heaven, whose
+head was crowned with a diadem of shining gold, each of the celestial
+visitors stooped to kiss Chiara as her soul passed to its home."
+
+During all the life of Francis, whenever any new movement or work was to
+be undertaken, he invariably sent to ask the counsel and the prayers of
+Chiara.
+
+The miraculous preservation of the body of Santa Chiara is one of the
+articles of faith in Assisi. In 1850--six hundred years after her
+death--a tomb believed to be hers was found and opened in the presence
+of a distinguished group of ecclesiastics, among whom was Cardinal
+Pecci, later Pope Leo XIII. In this tomb a form is said to have been
+found, and it has been placed in a reliquary of alabaster and Carrara
+marble especially constructed for it. This sanctuary is placed in the
+church of Santa Chiara, in the crypt, behind a glass screen, where
+candles are kept perpetually burning. Lina Gordon Duff, writing the
+history of Assisi, says of this curious spectacle:--
+
+     "As pilgrims stand before a grating in the dimly lighted crypt, the
+     gentle rustle of a nun's dress is heard; slowly invisible hands
+     draw the curtain aside, and the body of Santa Chiara is seen
+     lying in a glass case upon a satin bed, her face clearly outlined
+     against her black and white veils, whilst her brown habit is drawn
+     in straight folds about her body. She clasps the book of her Rule
+     in one hand, and in the other holds a lily with small diamonds
+     shining on the streamers."
+
+  [Illustration: SANTA CHIARA, THE DUOMO, ASSISI
+                 Amalia Dupre
+                 _Page 375_]
+
+In all these churches--the great convent church, upper and lower, of the
+Franciscans elaborately adorned with frescoes by Cimabue and by Giotto;
+in the ancient Duomo; in Santa Chiara and in Santa Maria degli
+Angeli--statues of the two saints, Francis and Chiara, are placed side
+by side. She shares all the exaltation of his memory and the fulness of
+his fame.
+
+The strange problem of the stigmata has, perhaps, never been absolutely
+solved. Canon Knox Little says that as to the miracles of St. Francis
+generally speaking, there is no intrinsic improbability; that "his holy
+life, his constant communion with God, the abundant blessings with which
+it pleased God to mark his ministry, all point in the same direction."
+Latter-day revelations of psychic science disclose contemporary facts
+of the power of mental influence on the physical form that are, in many
+instances, hardly less wonderful than this alleged miracle of St.
+Francis. Whether the story is accepted literally or only in a figurative
+sense does not affect the transcendent power of his influence. His
+entire life and work illustrate the beauty of holiness. "Art in its
+widest sense gained a marvellous impulse from his work and effort," says
+Canon Knox Little. The French and Provencal literature and the schools
+of Byzantine art preceded the life of Francis; but his influence
+imparted a powerful wave of sympathetic and vital insight and awakened a
+world of new sensibilities of feeling. Indeed, it is a proverb of Italy,
+"Without Francis, no Dante." Certainly the life of Francis was the
+inspiration of the early Italian art. Cimabue and Giotto drew from the
+inspiration of that unique and lovely life the pictorial conceptions
+that have made Assisi the cradle of Italian painting. The great works of
+Giotto are in the lower church of the Franciscan monastery. One of these
+frescoes represents chastity as a maiden kneeling in a shrine, while
+angels bring to her branches of palm. Obedience is depicted as placing
+a yoke upon the bowed figure of a priest, while St. Francis, attended by
+two angels, looks on; Poverty, whom Francis declared to be his bride, is
+pictured as accompanied by Hope and Charity, who give her in marriage to
+St. Francis, the union being blessed by Christ, while the heavenly
+Father and throngs of angels gaze through the clouds on this nuptial
+scene. The fresco called Gloriosus Franciscus is perhaps the crowning
+work of Giotto. Francis is seen in a beatitude of glory, with a richly
+decorated banner bearing the cross and seven stars floating above his
+head and bands of angels in the air surrounding him. Canon Knox Little,
+alluding to these interesting works of Giotto, says that "even in their
+faded glories they give an immense interest to the lower church of
+Assisi. No one can look at them now unmoved, or wander on the hillside
+to the west of the little city, with the rugged rocks above one's head,
+and beneath one's feet the rich carpets of cyclamen, and before one's
+eyes long dreamy stretches of the landscape of Umbria, without being
+touched by the feeling of that beautiful and loving life devoted to God
+and man and nature, in utter truth, which therefore left such an
+impress on Christian art."
+
+The Madonna and saints painted by Cimabue are faded almost to the point
+of obliteration, yet there still lingers about them a certain grace and
+charm. The visitor to this Franciscan monastery church realizes that he
+is beholding the art which was the very pledge and prophecy of the
+Renaissance, and he realizes, too, that the Renaissance itself was the
+outgrowth of the new vitality communicated to the world by the life and
+character of St. Francis. He gave to the world the realization of the
+living Christ; he taught that religion was in action, not in theology.
+He liberated the spirit; and when this colossal church was being built
+(1228-53) the artists who had felt the new thrill of life opened by his
+teaching hastened to Assisi to express their appreciation by their
+pictorial work on its walls. The qualities of spiritual life--faith,
+sacrifice, sympathy, and love--began, for the first time, to be
+interpreted into artistic expression.
+
+The tomb of St. Francis is in the crypt of the church. The stone
+sarcophagus containing his body was discovered in 1818, and then placed
+here in a little chamber especially prepared, surrounded by an iron
+latticework with candles perpetually burning.
+
+From the sacristy of the lower church, stairs ascend to the upper, with
+its beautiful nave and transept with a high altar, and the choir stalls.
+While the lower church with its great arches is always dark, the upper
+is flooded with light from vast windows. There is a series of frescoed
+panels on either side, accredited to pupils of Giotto, full of forcible
+action and a glow of color. But the upper church, while it is
+magnificent, lacks somewhat of that mystic atmosphere one is so swiftly
+conscious of in the gloom and mystery of the lower church.
+
+Stretching behind the churches, along the crest of the high hill, is the
+colossal monastery itself, with that double row of arches and colonnades
+that makes it so conspicuous a feature of all the Umbrian valley.
+Formerly hundreds of monks dwelt here; but the Italian government
+suppressed this monastery in 1866, and since that time it has been used
+as a school for boys.
+
+The ancient Duomo, whose facade is of the twelfth century, has three
+exquisite rose windows, and on either side, as one approaches the high
+altar, stand the statues of St. Francis and of Santa Chiara. In the
+little piazza in front of the church is a bronze copy of Dupre's famous
+statue of St. Francis.
+
+The colossal church of Santa Maria degli Angeli, with its magnificent
+dome, is a contrast, indeed, to the primitive little Portiuncula where
+Francis knelt in prayer, and which is now preserved in the centre of
+this vast cathedral,--the rude structure encased in marble, and
+decorated, above the entrance, with a picture by Overbeck, whose motive
+is St. Francis as he stands, hushed and reverent, listening to the voice
+that tells him to embrace poverty. There is a fine Perugino in the
+church, representing the Saviour. The cell in which St. Francis died,
+enclosed in the little chapel which St. Bonaventura built over it, is
+preserved in this great cathedral.
+
+"And who was he that opened that door in heaven?" questions Canon Knox
+Little in reference to St. Francis. "Who was he that gave that fresh
+life and thought? Who but the man who had brought down in his own person
+the living Christ into his century, who had taught men again the love of
+God, and then the love of man and the love of nature; who had lifted
+the people out of their misery and degradation, and awakened the church
+out of its stiffness and worldliness; it was he, too, who inspired, who
+may at most be said to have created, Italian art,--the great St.
+Francis! Such are the deep, such are the penetrating, such are the
+far-reaching effects of sanctity. If a soul is, by divine grace, given
+wholly to God, it is impossible for us to say to what heights it may
+attain, or what good, in every region of human effort, it may do."
+
+  [Illustration: BAIAE AND ISCHIA, FROM CAMALDOLI
+                 _Page 382_]
+
+Perugia, the neighboring city only fifteen miles from Assisi, is the
+metropolis of all this Umbrian region. Like Assisi, it is a "hill town,"
+built on an acropolis of rock, its foundations laid by the Etruscans
+more than three thousand years before the Christian era, and its
+atmosphere is freighted with the records of artists and scholars. The
+Perugians were the forerunners. They held the secret of artifice in
+metals and gems; they were architects and sculptors. The only traces of
+their painting that have come down to us are their works on sarcophagi,
+on vases or funeral urns,--traces that indicate their gifts for line and
+form. It was about 310 B.C. that all Umbria became a Roman province.
+The colossal porta of Augustus--a gateway apparently designed for the
+Cyclops--still retains its inscription, "Augustus Perusia." The
+imperishable impress of the great Roman conqueror is still seen in many
+places. Perugia was a firm citadel, as is attested by the fact that
+Totila and his army of Goths spent seven years in besieging it. The
+centuries from the thirteenth to the fifteenth inclusive, when it was
+under the sway of the Guelphs and the Ghibellines, were years of tragic
+violence. Even the cathedral became the scene of riot, and its interior
+was entirely washed with wine, and it was reconsecrated before it could
+be again used for holy offices. The little piazza in front of the
+cathedral, now dreaming in the sun, has been the scene of strange and
+contrasting crises of life. Strife and warfare have desolated it; the
+footsteps of Bernardino of Siena have consecrated it, as he passed
+within the great portals to preach the gospel of peace. He was one of
+the most potent of the Francescan disciples, and Bernardino (born of the
+noble family of the Albizzeschi, in 1380, in Siena, the year after St.
+Catherine's death) for forty years wandered over Italy, preaching
+peace and repentance. Vespasiano da Bisticci, a contemporary historian,
+records that Bernardino "converted and changed the minds and spirits of
+men marvellously and had a wondrous power in persuading men to lay aside
+their mortal hatreds." Bernardino died at the age of sixty-four in
+Aquila, and the towns in which he had faithfully carried on his
+apostolic work placed the sacred sign of the divine name (I.H.S.) upon
+their gates and palaces, in his memory. In the Sienese gallery is a
+portrait of San Bernardino by Sano, painted in 1460, representing the
+saint as the champion of the Holy Name, with the inscription, "I have
+manifested Thy name to men." In one of his impressive and wonderful
+sermons San Bernardino said:--
+
+     "There still remain many places for us to make. Ah! for the love of
+     God, love one another. Alas! see you not that, if you love the
+     destruction one of the other you are ruining your very selves? Ah!
+     put this thing right for the love of God. Love one another! What I
+     have done to make peace among you and to make you like brothers, I
+     have done with that zeal I should wish my own soul to receive. I
+     have done it all to the glory of God. And let no one think that I
+     have set myself to do anything at any person's request. I am only
+     moved by the bidding of God for His honor and glory."
+
+Opposite the Duomo of Perugia, on the other side of the piazza, is the
+Palazzo Municipio, with a Gothic facade, a beautiful example of
+thirteenth-century architecture. Here also is the colossal fountain with
+three basins, decorated with pictorial designs from the Bible by Niccolo
+Pisano and Arnolfo of Florence, and in the shadow of this fountain St.
+Dominic, St. Francis, and St. Bernardino often met and held converse.
+
+Perugia easily reads her title clear to artistic immortality in having
+been the home of Perugino, the master of Raphael. Here he lived for
+several years working with Pinturicchio in the frescoes that adorn the
+Collegio del Cambio, now held as a priceless treasure hall of art. They
+still glow with rich coloring,--the Christ seen on the Mount of
+Transfiguration; the Mother and Child with the adoring magi; and the
+chariot of the dawn driven by Apollo a century before Guido painted his
+"Aurora" in the Palazzo Rospigliosi in Rome.
+
+From the parapets of Perugia are views of supreme poetic beauty. The
+play of light and color on the picturesque hills and mountains of the
+Umbrian country; the gray-green gleam of olive orchards and the silver
+threads of winding streams; the towers and ruins and castles of a dozen
+towns and villages that crown the slopes, and the violet shadows of
+deepening twilight, with Assisi bathed in a splendor of rose and
+gold,--all combine to make this an ever-changing panorama for the poet
+and painter.
+
+No journey in Italy is quite like that to the lovely Umbrian valley and
+its Jerusalem, Assisi, the shrine which, with the single exception of
+Rome, is the special place of pilgrimage for the entire religious world.
+Perugia offers the charm of art, and attracts the visitor, also, by an
+exceptional degree of modern comfort and convenience; but Assisi is the
+shrine before which he kneels, where the footsteps of saints who have
+knelt in prayer make holy ground, and where he realizes anew the
+consecration of faith and sacrifice. The very air is filled with divine
+messages, and in lowly listening he will hear, again, those wonderful
+and thrilling words of St. Francis:--
+
+     "By the holy love which is in God I pray all to put aside every
+     obstacle, every care, every anxiety, that they may be able to
+     consecrate themselves entirely to serve, love, and honor the Lord
+     God, with a pure heart and a sincere purpose, which is what He asks
+     above all things."
+
+
+
+
+    _White phantom city, whose untrodden streets
+      Are rivers, and whose pavements are the shifting
+        Shadows of palaces and strips of sky;
+    I wait to see thee vanish like the fleets
+      Seen in mirage, or towers of clouds uplifting
+        In air their unsubstantial masonry._
+
+                    LONGFELLOW.
+
+
+    _Fair as the palace builded for Aladdin,
+    Yonder St. Mark uplifts its sculptured splendor--
+    Intricate fretwork, Byzantine mosaic,
+    Color on color, column upon column,
+    Barbaric, wonderful, a thing to kneel to!
+    Over the portal stand the four gilt horses,
+    Gilt hoof in air, and wide distended nostril,
+    Fiery, untamed, as in the days of Nero.
+    Skyward, a cloud of domes and spires and crosses;
+    Earthward, black shadows flung from jutting stonework.
+    High over all the slender Campanile
+    Quivers, and seems a falling shaft of silver._
+
+                    THOMAS BAILEY ALDRICH.
+
+
+
+
+    _As one who parts from Life's familiar shore,
+      Looks his last look in long-beloved eyes,
+      And sees in their dear depths new meanings rise
+    And strange light shine he never knew before;
+    As then he fain would snatch from Death his hand
+      And linger still, if haply he may see
+      A little more of this Soul's mystery
+    Which year by year he seemed to understand;
+    So, Venice, when thy wondrous beauty grew
+      Dim in the clouds which clothed the wintry sea
+    I saw thou wert more beauteous than I knew,
+      And long to turn and be again with thee.
+    But what I could not then I trust to see
+    In that next life which we call memory._
+
+                    PHILLIPS BROOKS.[2]
+
+FOOTNOTES:
+
+[2] From "Life of Phillips Brooks," by kind permission of Messrs. E. P.
+Dutton & Co.
+
+
+
+
+VI
+
+THE GLORY OF A VENETIAN JUNE
+
+     I have been between Heaven and Earth since our arrival at Venice.
+     The Heaven of it is ineffable--never had I touched the skirts of so
+     celestial a place. The beauty of the architecture, the silver
+     trails of water up between all that gorgeous color and carving, the
+     enchanting silence, the music, the gondolas,--I mix it all up
+     together, and maintain that nothing is like it, nothing equal to
+     it, no second Venice in the world.
+
+                    MRS. BROWNING, in the June of 1850.
+
+
+
+
+The first glimpse of enchanted Venice, as her towers and marble palaces
+rise wraith-like from the sea, is an experience that can never fade from
+memory. Like a mirage, like a vision invoked by some incantation or
+magician's spell, the scene prefigures itself, bringing a thrill of some
+vague and undefined memory, as if a breath floated by,--
+
+    "An odor from Dreamland sent,
+    That makes the ghost seem nigh me,
+      Of a splendor that came and went;
+    Of a life lived somewhere,--I know not
+      In what diviner sphere,--
+    Of memories that stay not and go not,"
+
+which eludes all translation into words. Nor does the spell dissolve and
+vanish when put to the test of one's actual sojourn in the Dream City.
+It is an experience outside the boundaries of the ordinary day and
+daylight world, as if one were caught up into the ethereal realm to find
+a city
+
+    "... of gliding and wide-wayed silence
+    With room in the streets for the soul."
+
+The sense of remoteness from common life could hardly be greater if one
+were suddenly swept away to some far star, blazing in the firmament; or
+if Charon had rowed him over the mystic river and he had entered the
+abodes of life on the plane beyond. Even the hotel becomes an enchanted
+palace whose salons, luxuriously decorated, open by long windows on
+marble balconies overhanging the Grand Canal. Dainty little tables piled
+with current reading matter, in French, English, and Italian, stand
+around; the writing-desks are sumptuous, filled with every convenience
+of stationery; and the matutinal coffee and rolls are served the guest
+in any idyllic niche wherein he chooses to ensconce himself, regardless
+of the regulation _salle-a-manger_. One looks across the Grand Canal to
+the beautiful Church of Santa Maria della Salute. The water plashes
+against the marble steps as gondolas glide past; the blue sky of Italy
+reflects itself in the waters below, until one feels as if he were
+floating in the air between sea and sky. In the heart of the city, with
+throngs of people moving to and fro, all is yet silence, save the cry of
+the gondolier, the confused echo of voices from the people who pass, and
+here and there the faint call of a bird. No whir and rush of electric
+cars and motors; no click of the horses' feet on the asphalt
+pavement--no pavement, indeed, and no horses, no twentieth-century rush
+of life. It is Venice, it is June, and the two combine to make an
+illuminated chapter. To live in Venice is like being domesticated in the
+heart of an opal. How wonderful it is to drift--a sky above and a sky
+below--on still waters at sunset, with the Dream City mirrored in the
+depths, every shade of gold and rose and amber mirrored back,--the very
+atmosphere a sea of color, recalling to one Ruskin's words that "none of
+us appreciate the nobleness and the sacredness of color. Of all God's
+gifts to man," he continues, "color is the holiest, the most divine,
+the most solemn. Color is the sacred and saving element." If the
+enthusiasm in these words savor of exaggeration, Venice is the place
+that will lure one to forgetfulness of it. One is simply conscious of
+being steeped in color and revelling in a strange loveliness. One no
+longer marvels at the glory of Tintoretto and Paolo Veronese. They but
+interpreted on canvas the shining reality. A charming writer on Venice
+has well said:--
+
+     "The aspects of Venice are as various, as manifold, as the hues
+     held in solution upon her waters beneath a sirocco sky. There is a
+     perpetual miracle of change; one day is not like another, one hour
+     varies from the next; there is no stable outline such as one finds
+     among the mountains, no permanent vista, as in a view across a
+     plain. The two great constituents of the Venetian landscape, the
+     sea and the sky, are precisely the two features in nature which
+     undergo most incessant change. The cloud-wreaths of this evening's
+     sunset will never be repeated again; the bold and buttressed piles
+     of those cloud-mountains will never be built again just so for us;
+     the grain of orange and crimson that stains the water before our
+     prow, we cannot be sure that we shall look upon its like again....
+     One day is less like another in Venice than anywhere else. The
+     revolution of the seasons will repeat certain effects; spring will
+     chill the waters to a cold, hard green; summer will spread its
+     breadth of golden light on palace front and water way; autumn will
+     come with its pearly-gray sirocco days, and sunsets flaming a
+     sombre death; the stars of a cloudless winter night, the whole vast
+     dome of heaven, will be reflected in the mirror of the still
+     lagoon. But in spite of this general order of the seasons, one day
+     is less like another in Venice than anywhere else; the lagoon wears
+     a different aspect each morning when you rise, the sky offers a
+     varied composition of cloud each evening as the sun sets. Words
+     cannot describe Venice, nor brush portray her ever-fleeting,
+     ever-varying charm. Venice is to be felt, not reproduced; to live
+     there is to live a poem, to be daily surfeited with a wealth of
+     beauty enough to madden an artist to despair."
+
+It was in the autumn of 1882 that the Rev. Dr. Phillips Brooks, later
+Bishop of Massachusetts, visited Venice and wrote of San Marco:--
+
+     "Strange how there is nothing like St. Mark's in Venice, nothing of
+     the same kind as the great church. It would have seemed as if,
+     standing here for so many centuries, and always profoundly loved
+     and honored, it would almost of necessity have influenced the minds
+     of the generations of architects, and shown its power in their
+     works. But there seems to be no sign of any such influence. It
+     stands alone."
+
+Dr. Brooks noted that Venice had "two aspects, one sensuous and
+self-indulgent, the other lofty, spiritual, and even severe. Both
+aspects," he continues, "are in its history and both are also in its
+art. Titian often represents the former. The loftier, nobler Tintoretto
+gives us the second. There is something in his greatest pictures, as,
+for instance, in the Crucifixion, at St. Rocco, which no other artist
+approaches. The lordly composition gives us an impression of
+intellectual grasp and vigor. The foreground group of prostrate women is
+full of a tenderness. The rich pearly light, which floods the centre,
+glows with a solemn picturesqueness, and the great Christ, who hangs
+like a benediction over the whole, is vocal with a piety which no other
+picture in the world displays. And the Presentation of the Virgin, in
+Santa Maria dell'Orto, is the consummate presentation of that beautiful
+subject, its beauty not lost in its majesty."
+
+Of other pictures Dr. Brooks said:--
+
+     "In the Academia there is the sunshine of three hundred years ago.
+     Paris Bordone's glowing picture of the Fisherman who brings the
+     Ring of St. Mark to the Doge, burned like a ray of sunlight on the
+     wall. Carpaccio's delightful story of St. Ursula brought the old
+     false standards of other days back to one's mind, but brought them
+     back lustrous with the splendor of summers that seemed forever
+     passed, but are perpetually here. Tintoretto's Adam and Eve was, as
+     it always is, the most delightful picture in the gallery, and
+     Pordenone's great St. Augustine seemed a very presence in the vast
+     illuminated room."
+
+Tennyson loved best, of all the pictures in Venice, a Bellini,--a
+beautiful work, in the Church of Il Redentore; and he was deeply
+impressed by the "Presentation of the Virgin," from Tintoretto, in the
+Church of the Madonna dell'Orto. "He was fascinated by St. Mark's,"
+writes the poet's son, "by the Doge's Palace and the Piazza, and by the
+blaze of color in water and sky. He climbed the Campanile, and walked to
+the library where he could scarcely tear himself away from the Grimani
+Breviary."
+
+Venice, though not containing any single gallery comparable with the
+Pitti and the Uffizi, is still singularly rich in treasures of art, and
+rich in legend and story. The school of encrusted architecture is
+nowhere so wonderfully represented as here, and it is only in this
+architecture that a perfect scheme of color decoration is possible. In
+all the world there is no such example of encrusted architecture as that
+revealed in St. Mark's. It is a gleaming mass of gold, opal, ruby, and
+pearl; with alabaster pillars carved in designs of palm and pomegranate
+and lily; with legions of sculptured angels looking down; with altars of
+gold ablaze with scarlet flowers and snowy lilies, while clouds of
+mystic incense fill the air. One most impressive place is the
+baptistery, where is the tomb of St. Mark and also that of the Doge
+Andrea Dandolo, who died at the age of forty-six, having been chosen
+Doge ten years before. His tomb is under a window in the baptistery, and
+the design is that of his statue in bronze, lying on a couch, while two
+angels at the head and the feet hold back the curtains.
+
+The sarcophagus that is said to contain the body of St. Mark is of the
+richest description, encrusted with gold and jewels on polished ebony
+and marble. There is a legend that after St. Mark had seen the people of
+Aguilia well grounded in religion he was called to Rome by St. Peter;
+but before setting off he took with him in a boat the holy Bishop
+Hennagoras and sailed to the marshes of Venice. The boat was driven by
+wind to a small island called Rialto, on which were some houses, and St.
+Mark was suddenly snatched into ecstasy and heard the voice of an angel
+saying, "Peace be to thee, Mark; here shall thy body rest."
+
+There is also a legend that in the great conflagration which destroyed
+Venice in 976 A.D., the body of St. Mark was lost and no one knew where
+to find it. Then the pious Doge and the people gave themselves to
+fasting and prayer, and assembled in the church, asking that the place
+be revealed them. It was on the 25th of June that the assemblage took
+place. Suddenly one of the pillars of the church trembled, and opened to
+disclose the sarcophagus,--a chest of bronze. The legend goes on to say
+that St. Mark stretched his hand out through the side and that a noble,
+Dolfini by name, drew a gold ring off the finger.
+
+The place where this miracle is said to have been wrought is now marked
+by the Altar of the Cross.
+
+Ruskin declares that "a complete understanding of the sanctity of color
+is the key to European art." Nowhere is this sanctity of color so felt
+as at San Marco. The church is like the temple of the New Jerusalem.
+
+The origin of Venice is steeped in sacred history. It is pre-eminently
+the city founded in religious enthusiasm. The chronicles of De Monici,
+written in 421, give this passage: "God, who punishes the sins of men by
+war, sorrow, and whose ways are past finding out, willing both to save
+the innocent blood, and that a great power, beneficial to the whole
+world, should arise in a place strange beyond belief, moved the chief
+men of the cities of the Venetian province both in memory of the past,
+and in dread of future distress, to establish states upon the nearer
+islands of the Adriatic, to which, in the last extremity, they might
+retreat for refuge.... They laid the foundation of the new city under
+good auspices on the island of the Rialto, the highest and nearest to
+the mouth of the Brenta, on March 25, 471."
+
+The first Doge of Venice was Paolo Lucio Anafesto, elected by the
+tribunal of commonalty, tribunals, and clergy, at Heraclea, in 697. The
+period of the subjection of the ecclesiastical to the ducal and
+patrician powers followed. The "Council of Ten" was established in 1335,
+and the last Doge elected was Lodovico Manin in 1789, who exclaimed,
+"_Tole questo: no la dopero piu_," as the French Revolution destroyed
+the Republic of Venice.
+
+The finest example of Renaissance architecture in Venice is that of the
+_Libreria Vecchia_, the work of Jacobo Sansovino, completed in the
+sixteenth century. Never were the creations of poet and philosopher more
+fittingly enshrined. The rich Doric frieze, the Ionic columns, the
+stately balustrade, with statues and obelisks, the resplendent richness
+of ornamentation, offer a majesty and beauty seldom found even in the
+best classical architecture of Europe. On the ceiling of one sala is a
+picture by Titian representing "Wisdom" as a woman, reclining on a
+cloud, her right hand outstretched to take a book that Genius is
+offering her. There are two beautiful caryatides by Vittoria and rich
+mural work by Battista Franco and De Moro.
+
+Petrarca, returning from his wanderings in 1362, pleaded with the Senate
+of Venezia to give him a house, in return for which he offered the
+inheritance of his library. This was the nucleus of the fine collection
+which since 1812 has been included in the Palace of the Doges. In it are
+some magnificent works by Paolo Veronese, one portrait by Tintoretto,
+and others by Salviati and Telotti.
+
+The Doge's Palace is a treasure house of history. One enters the Porta
+della Carta, which dates back to 1638, erected by Bartolomeo Buon. The
+portal is very rich in sculpture, and among the reliefs is a heroic one
+of Francesco Foscari, kneeling before the lion at St. Mark's. One
+recalls his tragic fate and passes on. Perhaps, _en passant_, one may
+say that his pilgrimage through Venice and Florence is so constantly in
+the scenes of tragedy that he is prone to sink almost into utter
+sadness, even, rather than seriousness. The air is full of ghosts. One
+feels the oppression of all the life that has there been lived, all the
+tragedies that have been enacted in these scenes.
+
+In Renaissance nothing more wonderful in Europe can be found than the
+court of the Palace of the Doges. Antonio Rizzo began the east facade of
+the building in 1480, and it was continued by Lombardo, and completed by
+Scarpagnino. "Words cannot be found to praise the beauty of these
+sculptures," says Salvatico, "as well as of the single ornaments of the
+walls and of the ogres which have been carved so delicately and richly
+that they cannot be excelled by the Roman antique friezes."
+
+By the golden staircase one goes to the council chambers,--the hall of
+the Senate, the Council of Ten, and the Council of Three. In the great
+council chamber is that most celebrated mural painting in the world,
+"The Glory of Venice," by Paolo Veronese, which covers the ceiling. In a
+frieze are the portraits of seventy-six of the Doges, but in one space
+is a black tablet only, with the inscription: "This in place of M. F.,
+who was executed for his crimes."
+
+The "Sala del Maggior Consiglio" (hall of the grand council) is very
+rich in paintings. Above the throne is Tintoretto's "The Glory of
+Paradise," and the walls are covered with battle pieces and symbolic and
+allegorical paintings. There is "Venice Crowned by Fame," by Paolo
+Veronese, "Doge Niccolo da Ponte Presenting the Senate and Envoys of
+Conquered Cities to Venice," by Tintoretto; "Venice Crowned by the
+Goddess of Victory," by Palma Giovane, and many another of the richest
+and most wonderful beauty.
+
+Descending into the prisons and dungeons brings one into a vivid
+realization of the grim history of which these were the scenes. The
+Bridge of Sighs has two covered passages, one for the political and one
+for the criminal prisoners. Here is shown a narrow ledge on which the
+condemned man stood, with a slanting stone passageway before him, which,
+when the guillotine had done its swift and deadly work, conveyed the
+crimson flood into the dark waters of the canal below, while the body
+was thrown in the water on the other side. There are the "Chambers of
+Lead," where prisoners were confined, intensely hot in the summer, and
+as intensely cold in the winter. Many of these dark, close, narrow
+cells--in which the one article of furniture allowed was the wooden
+slanting rack, that served as a bed--still remain. In many of these are
+inscriptions that were written by the prisoners. One reads (in
+translation): "May God protect me against him whom I trust; I will
+protect myself against him whom I do not trust."
+
+The murderer, Giovanni M. Borni, wrote in his cell: "G. M. B. was
+confined very unjustly in this prison; if God does not help it will be
+the last desolation of a poor, numerous, and honest family."
+
+All visitors to these gloomy dungeons recall the lines of Byron:--
+
+    "I stood in Venice on the Bridge of Sighs,
+    A palace and a prison on each hand."
+
+The piazza of St. Mark's is a distinctive feature, even in all Europe.
+It is not large; it is surrounded on three sides with shops, which are
+merely glittering bazaars of jewels and bric-a-brac; the sidewalk is
+blockaded with cafes _al fresco_, the ground is half covered with the
+dense flocks of white doves, but here all lingers and loiters. The
+facade of St. Mark's fills one end--a mass of gleaming color. At one
+corner is the tall clock tower (Torre dell'Orologio) in the Renaissance
+style of 1400, crowned with the gilded lion of St. Mark. On the festa
+days three figures, the Three Wise Men, preceded by an angel, come forth
+on the tower and bow before the Madonna, in a niche above,--a very
+ingenious piece of mechanism. With its rich architecture and sculptures
+and masses of color, the piazza of San Marco is really an open-air hall,
+where all the town congregates from morning till midnight.
+
+To study the art of the Venetian school is a work of months, and one
+that would richly repay the student. The churches and galleries of
+Venice give a truly unique opportunity. In the Church of San Sebastiano
+lies Paolo Veronese, the church in which he painted his celebrated
+frescoes, now transformed into a temple for himself. Here one finds his
+"Coronation of the Virgin," "The Virgin in the Gloria," "Adoration of
+the Magi," "Martyrdom of San Sebastian," and many others. In the Scuola
+di San Rocco are the great works of Tintoretto, "St. Magdalene in the
+Wilderness," the "Visitation," and the "Murder of the Innocents."
+
+In the San Maria dei Frari is the tomb of Titian,--an exquisite grouping
+of sculpture in Carrara marble, erected in 1878-80 by the command of the
+Emperor of Austria, the work of Zandomenighi. In this church is Titian's
+most famous painting, the "Madonna of the Pessaro," the work of which is
+probably, too, the greatest in all Venetian art. The Hall of Heaven is
+shown, supported by colossal columns. St. Peter, Francis, and Antoninus
+are commending the Pessaro family to the Virgin, who is enthroned on
+high. The beauty of line, the splendor of color, and the marvellous
+composition render this immortal masterpiece something whose sight marks
+an epoch in life. Canova's tomb in San Maria dei Frari is a wonderful
+thing. It is a pyramid of purest marble, with a door opening for the
+sarcophagus, above which is a portrait of Canova in relief, and on
+either side the door angels and symbolic figures are sculptured.
+
+The Church of Santa Maria della Salute, to which one is always
+returning, is a wonderful example of artistic architecture, as its snowy
+towers and dome seem to rise out of the water and float in the air.
+
+The fall of the Campanile in 1904 was regarded as a calamity by all the
+civilized world. For a thousand years it had stood at the side of St.
+Mark's; but the disaster aroused the attention of experts to the
+condition of the great cathedral itself, and it was found that the vast
+area of over fifty thousand square feet of matchless mosaic needed
+restoration in order that they should be preserved.
+
+The Palazzo Rezzonico, which dates to Clement XIII, usually known as the
+"Browning Palace," has been for many years one of the special interests
+to the visitor in Venice. In the early months of 1907 it passed out of
+the hands of Robert Barrett Browning, who had purchased it in 1888, and
+had held it sacredly, with its poetic and personal associations, since
+the death of his father, the poet, in 1889. To Mr. Barrett Browning is
+due the grateful appreciation of a multitude of tourists for his
+generous and never-failing courtesy in permitting them the privilege of
+visiting this palace in which his father had passed many months of
+enjoyment. It was from this residence that the poet Browning wrote, in
+October of 1880, to a friend:--
+
+     "Every morning at six I see the sun rise; far more wonderfully, to
+     my mind, than his famous setting which everybody glorifies. My
+     bedroom window commands a perfect view; the still, gray lagune, the
+     few sea-gulls flying, the islet of San Giorgio in deep shadow and
+     the clouds in a long purple rock behind which a sort of spirit of
+     rose burns up till presently all the rims are on fire with gold,
+     and last of all the orb sends before it a long column of its own
+     essence apparently; so my day begins."
+
+Later, of his son's palace, Mr. Browning wrote:--
+
+     "Have I told you that there is a chapel which he has restored in
+     honor of his mother--putting up there the inscription by
+     Tommaseo,[3] now above Casa Guidi in Florence?"
+
+
+In this palace Mr. Browning wrote some of his later poems, and it may
+well be that it was when he was clad in his singing robes that he
+perhaps most deeply felt the ineffable charm of Venice:--
+
+    "For the stars help me, and the sea bears part;
+      The very night is clinging
+    Closer to Venice' streets to leave one space
+      Above me...."
+
+It was from these lofty salons in the Browning Palace that the poet
+passed to the "life more abundant" on that December day of 1889, on the
+very day that his last volume, "Asolando," was published and also the
+last volume of Tennyson's. Regarding these Mr. Gladstone said, in a
+letter to Lord Tennyson: "The death of Browning on the day of the
+appearance of your volume, and we hear of one of his own, is a touching
+event."
+
+From the time of Mrs. Browning's death in Florence (in June of 1861) Mr.
+Browning never felt that he could see Italy again, until the autumn of
+1878, when he, with his sister, Miss Sarianna Browning, came to Venice
+by way of the Italian lakes and Verona. At this time they only remained
+for a fortnight, domiciled in the old Palazzo Brandolin-Rota, which was
+transformed into the Albergo dell'Universo. This palace was on the Grand
+Canal below the Accademia, and here he returned through two or three
+subsequent years. Mr. Browning became very fond of Venice, and he
+explored its winding ways and gardens and knew it, not merely from the
+gondola view, but from the point of view of the curious little dark and
+narrow byways, the bridges, and the piazzas.
+
+It was in 1880 that Mr. Browning first met, through the kind offices of
+Mr. Story, a most charming and notable American lady, Mrs. Arthur
+Bronson (Katherine DeKay), who had domiciled herself in Casa Alvisi, an
+old palace on the Grand Canal opposite the Church of Santa Maria della
+Salute. She was a woman of very interesting personality, and had drawn
+about her a circle including many of the most distinguished people of
+her time, authors, artists, poets, and notable figures in the social
+world. She was eminently _simpatica_ and her lovely impulses of generous
+kindness were rendered possible to translate into the world of the
+actual by the freedom which a large fortune confers on its possessor.
+Between Mrs. Bronson and Mr. Browning there sprang up one of those rare
+and beautiful friendships that lasted during his lifetime, and to her
+appreciation and many courtesies he owed much of the happiness of his
+later years. In the autumn of 1880 Mrs. Bronson made Mr. Browning and
+his sister her guests, placing at their disposal a suite of rooms in the
+Palazzo Giustiniani Recanati--a palace adjoining her own--and each night
+they dined and passed the evening with her, with music and conversation
+to enchant the hours. After Mr. Browning's death, Mrs. Bronson was the
+friend whom all pilgrims to his shrine in Venice felt it a special
+privilege to meet and to hear speak of him. In her palace was a large
+easy-chair, with a ribbon tied across the arms, in which Browning was
+accustomed to sit, and which was held sacred to him. Mrs. Bronson was an
+accomplished linguist, and the _habitues_ of her salon represented many
+nationalities. Among these was the Princess Montenegro, the mother of
+the present Queen of Italy.
+
+It is little wonder that the Browning Palace was for so many years a
+focus for all who revered and loved the wedded poets, Robert and
+Elizabeth Barrett Browning.
+
+In the marble court, roofed only by the blue Venetian sky, stood Mr.
+Barrett Browning's statue of "Dryope" in bronze, on its marble
+pedestal,--a beautiful conception of the Dryope of Keats,--the dweller
+in forest solitudes whom the Hamadryads transformed into a poplar. Here
+a fountain makes music all day long, and the court is also adorned in
+summer by great Venetian jars of pink hydrangeas in full bloom. The
+grand staircase, with its carved balustrade and the wide landing where a
+rose window decorates the wall, leads to the lofty salons which were yet
+as homelike as they were artistic during the residence of the Brownings.
+Mr. Story's bust of Mrs. Browning, other portrait busts of both the
+poets, sculptured by their artist son, and by others, and other
+memorials abound. In the library were gathered many interesting volumes,
+autographed from their authors, and many rare and choice editions, among
+which was one of the "Sonnets from the Portuguese" in a sumptuous volume
+whose artistic beauty found a fitting setting to Mrs. Browning's
+immortal sonnets. Among other volumes were a collection of signed
+"Etchings" by Sir Laurence Alma-Tadema; presentation copies from
+Tennyson, Matthew Arnold, Aubrey De Vere, Walter Savage Landor, and many
+another known to fame; and a copy, also, of a study of Mrs. Browning's
+poetry[4] by an American writer.
+
+There is one memento over which the visitor always smiled--a souvenir of
+a London evening in 1855 when the Brownings had invited Dante Gabriel
+Rossetti and his brother and Lord Madox Brown to meet Tennyson and
+listen to his reading of his new poem, "Maud," then still unpublished.
+During the reading Rossetti drew a caricature representing Tennyson with
+his hair standing on end, his eyes glowering and his hand theatrically
+extended, as he held a manuscript inscribed,
+
+    "I hate the dreadful hollow behind the little wood."
+
+A reproduction of John Singer Sargent's painting, "The Gypsy Dance,"
+bore the inscription, "To _mon ami_, Browning." From the library is a
+niche, decorated in gold, with memorial entablatures to the memory of
+Mrs. Browning. On the outer wall of the palace is an inscription that
+runs:--
+
+     "Robert Browning died in this house 12th December, 1889.
+
+    "Open my heart and you will see
+    Graven inside it 'Italy.'"
+
+There is a sadness in the fact that this palace, consecrated to the
+memory of the immortal poets, husband and wife, has passed into the
+hands of strangers; but that is a part of the play in a world in which
+we have no continuing city. In the spring of 1905, Miss Sarianna
+Browning died in the home of her nephew, near Florence, and her body was
+buried in the new Protestant cemetery in that city; the old one, where
+all that was mortal of Elizabeth Barrett Browning was laid to rest,
+being now closed. Mr. Barrett Browning, in his Tuscan villa, is again
+dwelling near Florence, his native city, which must forever hold to him
+its atmosphere of consecrated beauty as the beloved home of his
+mother,--the noblest and greatest of all woman poets.
+
+The centenary of Carlo Goldoni was celebrated in Venice in the spring
+of 1907 by the publication of all his works and a monograph on his life;
+an exhibition of personal relics; the presentation of one of his dramas
+set to music by Baldassare Galuppi, the great Venetian composer of his
+time, and by a procession to lay a wreath of laurel on his monument in
+the Campo San Bartolommeo. The drama given, entitled the "Buranello,"
+was the last work of the author, and it was presented in the theatre
+Goldoni. The Municipal Council of Venice voted the sum of fifty thousand
+lire for the _edition de luxe_, which consists of twenty volumes, in
+octavo. In each volume is a different portrait of Goldoni, facsimile of
+manuscripts, and the reproduction of literary curiosities.
+
+The monograph of Goldoni was issued by the press of the Venetian
+Institute of Graphic Art in a limited number of copies.
+
+It contains more than three hundred printed pages and a series of very
+interesting illustrations. Among these are the reproductions of ancient
+engravings which are most rare (such as the view of the Grimani Theatre
+at San Giovanni Crisostomo, a famous theatre existing in the days of the
+Venetian republic, but now demolished), frontispieces of destroyed
+editions, and other personal memorials. The revival of the splendid work
+of the famous artist was one of the attractions of the festa of
+celebration. The art exhibition of Venice in this spring of 1907 was
+very picturesque. One special salon was allotted to the artists of Great
+Britain, and there was a fine loan collection of the portraits of
+English noblemen painted by Mr. Sargent. This salon was decorated with
+panels by Frank Brangwyn.
+
+Venice forever remains a dream, a mirage, an enchantment. Has it a
+recognized social life, with "seasons" that come and go? Has it trade,
+commerce, traffic? Has it any existence save on the artist's canvas, in
+the poet's vision? Has it a resident population to whom it is a home,
+and not the pilgrimage of passionate pilgrims?
+
+There are those who find this Venice of all the year round a society of
+stately nobles whose ancestral claims are identified with the history of
+the city and who are at home in its palaces and gondolas, but of this
+resident life the visitor is less aware than of that in any other city
+in Italy. For him it remains forever in his memory as the crowning
+glory of June evenings when the full, golden moon hangs over towers and
+walls, when gondolas freighted with Venetian singers loom up out of the
+shadows and fill the air with melody that echoes as in dreams, and that
+vanishes--one knows not when or where. Mr. Howells, in his delightful
+"Venetian Days," has interpreted much of that life that the tourist
+never recognizes, that eludes his sight; and the Dream City still, to
+the visitor who comes and goes, shrouds itself in myth and mystery. One
+of the poetic visions of Venice is that given in Robert Underwood
+Johnson's "Browning at Asolo" (inscribed to Mrs. Arthur Bronson), of
+which the opening stanzas run:--
+
+    "This is the loggia Browning loved,
+      High on the flank of the friendly town;
+    These are the hills that his keen eye roved,
+      The green like a cataract leaping down
+      To the plain that his pen gave new renown.
+
+    "There to the West what a range of blue!--
+    The very background Titian drew
+      To his peerless Loves. O tranquil scene!
+    Who than thy poet fondlier knew
+      The peaks and the shore and the lore between?
+
+    "See! yonder's his Venice--the valiant Spire,
+      Highest one of the perfect three,
+    Guarding the others: the Palace choir,
+    The Temple flashing with opal fire--
+      Bubble and foam of the sunlit sea."
+
+Edgar Fawcett, always enchanted with his Venetian days, pictures the
+northern lagoon, some six miles from Venice, as "a revel of pastoral
+greenness, with briery hedges, numberless wild flowers and the most
+captivating of sinuous creeks, overarched by an occasional bridge, so
+old that you greet with respect every moss-grown inch of its drowsy and
+sagging brickwork. The cathedral, the ineludible cathedral of all
+Italian settlements, is reached after a short ramble, and you enter it
+with mingled awe and amusement," he continues. "Some of its mosaics,
+representing martyrs being devoured by flames and evidently enjoying
+themselves a great deal during this mortuary process, challenge the
+disrespectful smile. But others are vested with a rude yet sacred
+poetry, and certain semi-Oriental marble sculptures, adjacent to the
+altar, would make an infidel feel like crossing himself for the crime of
+having yielded to a humorous twinge. This duomo dates far back beyond
+the Middle Ages, and so does the small Church of Santa Fosca, only a
+step away. What renders Torcello so individual among all the islands and
+islets of the lagoon, I should say, is her continual contrast between
+the ever-recurrent idyllicism of open meadows or wilding clusters of
+simple rustic thickets, and the enormous antiquity of these two hoary
+ecclesiastic fanes. History is in the air, and you feel that the very
+daisies you crush underfoot, the very copses from which you pluck a
+scented spray, have their delicate rustic ancestries, dating back to
+Attila, who is said once to have brought his destructive presence where
+now such sweet solemnity of desertion and quietude unmolestedly rules."
+
+History and legend and art and romance meet and mingle to create that
+indefinable sorcery of Venice. It is like nothing on earth except a
+poet's dream, and his poetic dream is of the ethereal realm. The
+wonderful music that floats over the "silver trail" of still waters; the
+mystic silences; the resplendence of color,--all, indeed, weave
+themselves into an incantation of the gods; it is the ineffable
+loveliness of Paradise where the rose of morning glows "and the June is
+always June," and it is no more earth, but a celestial atmosphere,--this
+glory of June in Venice.
+
+FOOTNOTES:
+
+[3] This inscription and a description in detail of all the memorials of
+Elizabeth Barrett Browning are given in full in a volume entitled "A
+Study of Elizabeth Barrett Browning." Boston: Little, Brown, & Co.
+
+[4] "A Study of Elizabeth Barrett Browning." Little, Brown, & Co.
+
+
+
+
+      _Dear Italy! The sound of thy soft name
+        Soothes me with balm of Memory and Hope.
+        Mine, for the moment, height and sweep and slope
+      That once were mine. Supreme is still the aim
+                    To flee the cold and gray
+                    Of our December day,
+    And rest where thy clear spirit burns with unconsuming flame._
+
+    _Thou human-hearted land, whose revels hold
+        Man in communion with the antique days,
+        And summon him from prosy greed to ways
+      Where Youth is beckoning to the Age of Gold;
+                    How thou dost hold him near
+                    And whisper in his ear
+      Of the lost Paradise that lies beyond the alluring haze!_
+
+                    ROBERT UNDERWOOD JOHNSON.
+
+
+
+
+     _Great ideas create great peoples. Let your life be the living
+     summary of one sole organic idea. Enlarge the horizon of the
+     peoples. Liberate their conscience from the materialism by which it
+     is weighed down. Set a vast mission before them. Rebaptize them._
+
+                    MAZZINI.
+
+
+     _All parts array for the progress of souls: all religion, all solid
+     things, arts, governments,--all that was or is apparent upon this
+     globe, or any globe, falls into niches and comes before the
+     procession of Souls along the grand roads of the universe.... Of
+     the progress of the souls of men and women along the grand roads of
+     the universe, all other progress is the needed emblem and
+     sustenance._
+
+                    WALT WHITMAN.
+
+
+
+
+VII
+
+THE MAGIC LAND
+
+     More than five hundred years have passed over the country of Dante
+     since the death of his mortal part--years of glory and of shame, of
+     genius and intolerable mediocrity, of turbulent liberty and mortal
+     servitude; but the name of Dante has remained, and the severe image
+     of the poet still rules the destinies of Italian generations, now
+     an encouragement and now a reproach. The splendor of no other
+     genius has been able to eclipse or dim the grandeur of Dante; never
+     has there been a darkness so profound that it could conceal this
+     star of promise from Italian eyes; neither the profanations of
+     tyrants and Jesuits, nor the violations of foreign invaders, have
+     been able to efface it. "_Sanctum Poetae nomen quod nunquam
+     barbaries violavit._"
+
+                    MAZZINI.
+
+
+The true life of Italy is not read in any record of contemporary facts
+or statistics. Mazzini once said of Dante, in an essay on the immortal
+poet, that "the life, the true life of Dante does not lie in the series
+of the material facts of his existence. The life of Dante consists in
+the sufferings and aspirations of his soul; in its dominant impulses; in
+the ceaseless development of the idea which was at once his guide,
+inspiration, and consolation; in his belief as a man and as an Italian."
+The real life of Italy is, by analogy, to be read in that atmosphere
+of aspiration and of noble purpose which characterizes the nation rather
+than in the material facts of its general progress at the present time.
+As a country Italy is young. It is still less than forty years since her
+unity was declared, and to merge the large number of separate States
+into one harmonious whole is a task requiring the evolutionary progress
+of time; for a nation, like a university, cannot be a matter of
+instantaneous creation. It must germinate and grow. The country that,
+previous to so comparatively a recent date as the year 1870, was, in the
+phrasing of Prince Metternich, "a geographical expression," can hardly
+be judged by present national standards after an existence of only
+thirty-seven years, although it need be said in no spirit of apology;
+for Italy is advancing in scientific development, in manufactures, and
+in the problems involved in civil and hydraulic engineering to a notable
+degree in the northern part. Milan and Naples are separated by far more
+than geographical distance. In modern progress Milan is divided by
+centuries from all Southern Italy.
+
+Between Italy and the United States the _entente cordiale_ is not
+merely that of diplomatic and ceremonial courtesy, but of an exceptional
+degree of mutually sympathetic comprehensions. In noble ambitions and
+lofty purposes Americans and Italians are closely akin. In zeal for
+contemporary scientific progress, in an intense susceptibility to the
+glories of art, and in hospitality to all that makes for progress, both
+nations meet in mutual recognition. Of no people is it more deeply true
+than of Americans that "each man has two countries: his own and Italy."
+The average traveller sees this fair land with a breadth and
+thoroughness seldom called into requisition elsewhere. In England he is
+usually content with London, the tour of the cathedral towns and the
+lake region of the poets. France is summed up to him in Paris and in the
+chateaux of outlying districts. But Italy beguiles the traveller into
+every lonely foot-trail in the mountains; to every "piazza grande" of
+lonely hamlets, isolated on a rocky hillside; to every "fortezza" that
+crowns a mountain summit. The unexplored byways of Italy are magnetic in
+their fascination, and one special source of congratulation on the part
+of those fortunate tourists who travel with their own motor car is that
+they are thus enabled to penetrate into untrodden byways in Italy in a
+manner impossible to those who must depend entirely on the regulation
+railroad service. All lovers of Italy are devoted to these original
+tours of private exploration. A recent trip to Saracinesco, in the
+region of Tivoli, was made by Mrs. Stetson (Grace Ellery Channing) with
+her husband, and in a descriptive record of the little journey into an
+unfrequented mountain region this paragraph occurs:--
+
+     "Roused by 'an awful rose of dawn' which turned every solemn slope
+     to strange amber and amethyst, we left that rocky eyrie next day,
+     returning by way of Anticoli--beloved of artists. And if the ascent
+     had qualified us for Alpine climbers, the descent qualified us as
+     members of the Italian cavalry corps. Pictures of officers riding
+     down the face of cliffs will never impress us again; we know now it
+     is the very simplest of 'stunts.' Our way down was diversified by
+     the tinkling of thousands of sheep-bells, by the far too close
+     proximity of bulls to Maria's crimson headdress, which nothing in
+     the world would induce her to remove, and by sundry meetings with
+     relations, long-unseen friends, and strangers, from whom we culled
+     the whole register of deaths, births, marriages, and happenings for
+     a month past. At last, beside a little bridge near the railroad
+     station, Leonardo addressed his ten-thousandth adjuration to
+     Beppino, whose poor little legs trembled under him. It was no
+     longer, 'Ah, sacred one!--don't you see Anticoli!'--or 'the rock,'
+     or whatever it might be; now he said, 'Ah, sacred one!--don't you
+     comprehend?--the Signora descends'--and Beppino looked distinctly
+     pleased.
+
+     "Here we demanded the reckoning, skilfully evaded hitherto.
+
+     "'Well--a franc for each beast,--and half a franc for the
+     room,--the rest was nothing--a _sciocchezza_.'
+
+     "A franc apiece!--half a franc!--were _we_ brigands that we should
+     do this thing?"
+
+This typical picture of idyllic days in Italy, enjoyed in the impromptu
+excursion and trip, reveals the delicacy of feeling and the sunny
+kindness that characterize the _contadini_ and which imparts to any
+social contact with them a grace and sweetness peculiar to Italian
+life. There are parts of Italy where it is still the Middle Ages and no
+hint of the twentieth century has yet penetrated. The modern spirit has
+almost taken possession of Rome; it is largely in evidence in Florence
+and even Venice, and it dominates Milan; but in most of the "hill towns"
+and in the little hamlets and lonely haunts where a house is perhaps
+improvised out of the primeval rock, the prevailing life is still
+mediaeval, and only awakens on festa days into any semblance of activity.
+
+Somewhere, away up in the hills, several miles from Pegli,--on the
+Mediterranean coast near Genoa,--is one of these sequestered little hill
+towns called _Acqua Sacra_. The name is obvious, indeed, for the sound
+of the "sacred water" fills the air, falling from every hillside and
+from the fountain of the _acqua sacra_ by the church. Pilgrims come from
+miles around to drink of these waters. Each house in this remote little
+hamlet is of solid stone, resembling a fortress on a small scale, and
+the houses cling to the hillsides like mosses to a rock. Though far up
+in the mountains, the hills rise around the hamlet like city walls,
+as if the life of all the world were kept outside. The unforeseen visit
+to these remote hamlets, suddenly chancing upon some small centre of
+happy and half-idyllic life, is one of the charms of tourist travel in
+this land of ineffable loveliness.
+
+  [Illustration: RUINS OF THE GREEK THEATRE, TAORMINA, SICILY
+                 _Page 429_]
+
+The approach to Italy, by whatever direction, by land or by sea, one
+enters, is one of magical beauty. Whether one enters from the
+Mediterranean or from the Adriatic, or by means of the Mont Cenis, the
+Simplon, or the St. Gothard pass, through the sublime mountain wall,
+each gateway is marvellous in attraction. Approaching from the seas that
+completely surround Italy except on one side, the almost undreamed-of
+splendor of Naples, Genoa, and Venice, as seen from off the shore,
+exceeds all power of painter or poet to reproduce. The precipitous coast
+of Sicily; the picturesque city of Palermo; the wonderful ruins of the
+Greek theatre on the heights in Taormina,--all enchant the tourist. To
+anchor off Naples, in the beautiful bay, serves the purpose of an hotel
+out at sea. It is like living in Venice--only more so! By the little
+rowboats one may go, at any moment, to Naples, and it is more delightful
+than passing the days in the city itself. For at night as one strolls
+or sits on deck what a picture is before the eye! All Naples, on her
+semicircular shores, with her terraced heights rising above, defined in
+a blaze of electric lights! Genoa, _la Superba_, is still more
+magnificent when seen from the sea; and Venice, rising dream-enchanted,
+completes the wonders of the approach by water.
+
+As the new Italy has not yet achieved any homogeneous unity, Naples,
+Rome, Florence, Venice, and Milan differ in their characteristics to
+such a degree that no general interpretation of the residents of any one
+would appropriately describe those of another. Paris and Vienna hardly
+differ as much as do Milan and Rome; and Venice, Florence, and Rome,
+each rich in art treasures, have little else in common. Certain
+characteristics of each of the large cities reveal themselves
+prominently, even to a superficial observer. Milan, as has been said, is
+a centre of activity, as Florence is of culture and accomplishments.
+Florence has the largest and the most choice circulating library in all
+Italy and one that ranks among the best on the Continent. Her galleries
+are treasure stores of art, and her social life is unsurpassed--one
+might almost say unrivalled--in its fine quality. Music, philosophic
+culture, learning in all lines of research characterize Florentine
+society. Education has always been regarded in Florence as a matter of
+prime importance, and when the government grant of funds is insufficient
+the sum is made up by private contributions, so that the _Scuola del
+Popolo_ gives free instruction, yearly, to eighteen hundred pupils, in
+every branch of technical and art education. This fact alone offers its
+own explanation of that general intelligence of the people which so
+impresses the visitor in Florence. But this is a municipal rather than
+national fact. Every special development in any direction in Italy will
+always be found to be the characteristic of the city or locality, not of
+the country as a whole; and thus the unity of Italy is still a political
+expression rather than a political fact. It is a theory which is not yet
+developed into an experience. Italy is in the making. Practically, she
+is the youngest of countries, with less than forty years of experimental
+attempt at _national_ life behind her. Not until 1919 will she have
+attained the first half century of her united life. Educational
+facilities, inclusive of schools, libraries, and museums; railroads,
+telegraph and telephone service, electric lighting and electric
+trams,--all the ways and means of the modern mechanism of life are,
+inevitably, in a nebulous state in Italy. The political situation is
+extremely interesting at the present time. That the "Blacks" and the
+"Whites" are diametrically opposed to each other is in the nature of
+history rather than that of contemporary record or of prophecy; and that
+this is a traditional attitude in this city of the Caesars is not a fact
+by any means unknown; but the situation is complicated by the third
+party--the Socialists--who, by allying themselves with either, would
+easily turn the scales and command the situation. If they were ardent
+Catholics and were advocates of the Papal supremacy, the temporal power
+of the Pope would be restored in less time almost than could be
+recorded, and Pius X would be in residence in the Palazzo Quirinale
+rather than Victor Emanuele III. But this great modern uprising in
+Italy--a movement that is gathering force and numbers so rapidly that no
+one can venture to prophesy results even in the comparatively immediate
+future--this great modern movement is neither for church nor state. The
+Socialist uprising is very strong in Milan and through Northern Italy.
+It is much in evidence in the Umbrian region--in Foligno, Spoleto,
+Nervi, and those towns; and from Frascati to Genzano and in the Lake
+Nemi chain of villages--Rocca di Papa, Castel Gandolpho, Ariccia,
+Albano--these villages within some fifteen miles of Rome. In these there
+is a veritable stronghold of Socialism, where its purposes and policy
+are entrenched. Yet when one alludes to its policy, the term is rather
+too definite. If it had a settled and well-formulated policy on which
+all its adherents were in absolute accord they would carry all before
+them. But Socialism is still a very elastic term and covers, if not a
+multitude of sins, at least a multitude of ideas and ideals. There is
+now a rumor that the situation is forcing the absolutely inconceivable
+union of church and state--of the Vatican and the Quirinale--that they
+may thus withstand their common foe. A more amazing and extraordinary
+turn of affairs could not be imagined; and if the rumor (which is now
+becoming more coherent in Rome) should prove to be the forerunner of
+any truth, the situation will be one of the most amazing in all history.
+
+  [Illustration: PONTE VECCHIO, FLORENCE
+                 _Page 430_]
+
+Epoch-making events in the course of progress are always preceded by
+circumstances that form to them a natural approach and chain of
+causation. They are the results of which the causes stretch backward in
+the past. One of the things that has an incalculably determining
+influence on the present situation is that of the character of the
+present Pope. His Holiness, Pius X, brings to the Papacy an entirely new
+element. He is no ascetic or exclusive ecclesiastic; he is no diplomat
+or intriguant, but rather a simple, kindly man, of a simplicity totally
+unprecedented in the annals of the Palazzo Vaticano. Instead of clinging
+with unswerving intensity of devotion to the idea of the restoration of
+the temporal power of the church, Pope Pius X would not be disinclined
+to the uniting of church and state as in England; the Vatican to remain,
+like the See of Canterbury, the acknowledged head of the spiritual
+power, while the Quirinale remained the head of the government to which
+the church should give its political adherence, the Quirinale in return
+giving to the Vatican its religious adherence. Perhaps it is not too
+much to say that something not unlike this might easily become--if it is
+not already--the dream of Pius X. But in the mean time there is another
+factor with which to reckon, and that is the present Papal Secretary of
+State, Cardinal Merry del Val. He it is who really holds the mystic key
+of St. Peter's. He is a diplomatist, an ecclesiastic, an embodiment of
+all that is severe and archaic in authority. The Pope is by no means
+able to set his course by his own watch-lights. The College of Cardinals
+surrounds him, and the College of Cardinals is practically one Cardinal,
+the keen scholar and the all determining Cardinal Merry del Val, whose
+personality dominates the court of the Vatican. This remarkable prelate
+represents the most advanced and progressive thought of the day in many
+ways,--as has been noted in preceding pages,--but as a Jesuit he is
+unalterably devoted to what he considers the only ideal,--the
+restoration of the temporal power of the Pope. Spain revealed her
+attitude when King Alphonso asked of all the monarchs of Europe that the
+name of each should be borne by his infant son, the heir-apparent; and
+for Italy he asked the name of the Pope and not of the King, thus
+recognizing Pius X rather than Victor Emmanuel III as the head of the
+nation.
+
+That the Socialists have very logical and serious grounds for complaint
+is true. That their leader, Signor Enrico Ferri, an Italian journalist
+and a Senator, is one of the most able men in Italy since the time of
+Cavour is equally undeniable. The Socialists are fortunate, too, in
+other leading men. Turati, the editor of the _Critica Sociale_,
+Pantaleoni, Colajanni, and others are absolutely the hope of Italy at
+the present time in the struggle for better conditions. For the
+conditions of life in Italy, as regards taxation, the problems of
+transit, the government restrictions on agricultural production and on
+manufactures, are absolutely intolerable and should not be endured for a
+day. The taxation is so exorbitant that it is a marvel Italy is not
+depopulated. On land the tax rate is from thirty to fifty per cent; the
+income tax is not merely, as one would suppose, levied on a legitimate
+income derived from a man's possessions, but is levied on salaries,
+ranging from ten to twenty per cent of these, and also, not content with
+this unheard-of extortion, the tax is levied on the nature and source
+of his salary, and even the smallest wage is thus subject to an income
+tax. Again, there is a most absurd tax on salt, which, like sugar and
+tobacco, is held as a government monopoly. No poor person living on the
+seacoast in Italy is allowed to take even a pail of water from the sea
+to his house, as the government assumes that, by evaporation, it might
+yield a few grains of salt. The tax on sugar effectually checks an
+industry that might be made most profitable, that of putting up fruit in
+jams, jellies, and compote, and renders the price of these commodities
+absurdly high. Again, when taxes are paid the process is even worse than
+the unjust and exorbitant tax itself. No one is allowed to send a check
+or postal order; no tax gatherer calls at the home or the office. Each
+person must go himself or send a personal representative to a given
+place between certain hours. Here stand a long procession, each person
+in town going up, filling out pages of written formalities; talking of
+each item and discussing it according to the national custom, until the
+office hours are over for that day, and often not one-fourth of the
+persons waiting have been served. All then must take their chances the
+next day, and perhaps even a third or a fourth day,--a loss of time and
+energy that in no other country would be tolerated for a moment. But
+time has not yet any recognizable value in Italy. Every enterprise and
+manufacture is taxed in Italy, and as the returns of these are
+inevitably revealed so that no evasion is possible, and as the exactions
+of the government consume nearly all the profits, the result is that all
+business enterprises are discouraged and that Italy swarms with a great
+idle population, while nearly all articles and supplies are imported
+from other countries, with the payment of enormous duties, making their
+cost far greater, proportionately, than their value.
+
+There are great tracts of country in Southern Italy suitable for tobacco
+raising, but (as it is one of the government monopolies) people are
+forbidden to raise it; and in private gardens only three plants are
+permitted. Again, all industries are crippled, if not paralyzed, by the
+tax at the frontier, and also by the tax at every gate of every city. At
+every _porta_ in Rome are stationed government officers who scrutinize
+every box, basket, and package; and all fruit, eggs, garden stuff,
+milk, and commodities of every kind are taxed as they are brought inside
+the walls.
+
+The railroads of Italy are, at present, very poor in all facilities of
+transit. Within a year the Italian government has "taken over" these
+roads and better conditions are promised, which are, alas! not yet in
+sight. There are many "counts" to the indictment against the Italian
+railroads which are only suitable to adorn the very lowest circles of
+the Inferno described by Dante. They are uncleanly; the roadbeds are so
+rough that the miserably built compartments jolt and jostle over the
+tracks; the seats are so high that the feet can hardly touch the floor,
+and the facilities for light and air are as badly managed as is possible
+to conceive. As is well known, these are divided into first, second, and
+third class, these compartments all being in the same train, and between
+the first and second there is little difference save that of price.
+Curiously, the price of even second-class travelling in Italy is over
+half a cent a mile higher than that of the splendid trains in America,
+with their swift time, their smooth roadbeds, their admirable
+conveniences in every way. Again, no luggage is carried free, and the
+prices asked for it are extortionate beyond words. One may check all his
+impedimenta from San Francisco to New York without extra charge; but in
+going from Rome to Naples, or from Florence to Genoa to sail, the same
+luggage will cost from six to eight dollars to convey it to the steamer.
+Again, these railroads pay their employes so poorly that only the most
+inefficient service can be retained at all; only those persons who are
+the absolute prisoners of poverty will consent to accept such meagrely
+paid service.
+
+The Italian government consists, like that of most countries, of an
+upper and lower house, the Senate and the House of Deputies. But the
+former is rather a matter of miscellaneous honors than one of political
+initiative. There is no limit to the number of Senators; they are
+created by being named by the King, and the office is for life. If a man
+attracts the favorable notice of the King,--because he is a good artist,
+engineer, archaeologist, chemist, or financier,--presto, he is liable to
+be made a Senator. Canova, the celebrated sculptor, was made a Senator
+because, indeed, he was a great artist! There is one condition,
+however, that a Senator must be one who pays annually not less than
+three thousand lire in taxes. The Senators receive no salary, and their
+times of meeting are uncertain and no man's presence is obligatory. The
+House of Deputies has five hundred and eight members, all of whom must
+be Italian subjects over thirty years of age. They have no salary, but
+are given the entire freedom of the realm in all transit on railroads
+and steamers. The Chamber of Deputies is largely made up of professional
+men, and it is little wonder that the Socialists are demanding an entire
+reform in the government of the country. There was never in any country
+more defective conditions than now prevail in Italy. The very fact that
+the young King is an estimable gentleman, who is personally not in the
+least to blame for the prevailing status of unfortunate conditions, is
+in one way an added misfortune, as the personal loyalty he justly
+inspires militates by so much against the revolution in government which
+is so deeply a necessity of Italy before her better and more prosperous
+life can begin. It is now a country of stagnation. All Southern and
+Central Italy simply lives off its tourists; and every year prices and
+fees and extortion in general from the visitors to Italy become greater.
+
+Senator Enrico Ferri, the leader of Socialism in Italy, was born in 1856
+in Mantua. He had a university education, was admitted to the bar, and
+in 1881 was called to the chair of penal law in the University of
+Bologna. The Senator is a scientific Socialist,--a man of the most
+exceptional gifts and qualities, and the author of a noted work,
+entitled "Criminal Sociology," which is translated into several
+languages. Senators Ferri and Lombroso are special friends and also
+co-workers.
+
+On taking his seat in the University of Bologna, Professor Ferri
+delivered a lecture, entitled "New Horizons in Penal Law," which was a
+most impressive effort. In it he said:--
+
+     "It was in this inaugural discourse that I affirmed the existence
+     of the positivist school of criminal law, and assigned to it these
+     two fundamental rules: First, while the classical schools of
+     criminal law have always studied the crime and neglected the
+     criminal, the object of the positivist school was, in the first
+     place, to study the criminal, so that, instead of the crime being
+     regarded merely as a juridical fact, it must be studied with the
+     aid of biology, of psychology, and of criminal statistics as a
+     natural and social fact, transforming the old criminal law into a
+     criminal sociology. Secondly, while the classical schools, since
+     Beccaria and Howard, have fulfilled the historic mission of
+     decreasing the punishments as a reaction from the severity of the
+     mediaeval laws, the object of the positivist school is to decrease
+     the offence by investigating its natural and social causes in order
+     to apply social remedies more efficacious and more humane than the
+     penal counteraction, always slow in its effects, especially in its
+     cellular system, which I have called one of the aberrations of the
+     nineteenth century."
+
+Such is the man to whom it is no extravagance to allude as one of the
+present leaders of progress in Italy. He is in the early prime of mature
+life; he is a man of education, culture, great original gifts, and of
+sympathies with humanity as wise and judicious as they are liberal and
+all-embracing. Scientific Socialism tolerates no lawlessness, no
+violence, nor does it, like the so-called Christian Socialism, attempt
+to graft impossible conditions on society. It regards the laws of
+economics, and it is practicable and possible as well as considerate and
+just. And the great inspirer, proclaimer, and leader of scientific
+Socialism is Enrico Ferri.
+
+Italy not only inspires the enthusiasm of the lover of beauty in nature
+and art, she inspires a vital and abiding interest in all that shall
+make for her true progress, and she inspires, as well, absolute faith in
+her ultimate future. At present her monarchy is among the most liberal
+and progressive of Europe. King Victor Emmanuel is a man of integrity,
+of intelligence, and of devotion to the best interests of his country as
+he understands these interests to be. If they might be better served by
+a more democratic form of government, it is hardly to be asked or
+expected that such a view should present itself to an hereditary
+monarch. Among the most liberal element there are not wanting men who
+believe that for the immediate future the present form of government is
+the most feasible. In their conviction Italy is by no means prepared to
+be a republic. The masses of the people are uneducated; and a great
+work, requiring time, must be effected in the popularization of
+intelligence and of instruction, before democratic government could be
+adopted. Yet there is no faltering in the outlook on a glorious future.
+The noble words of Mazzini still ring in the Italian air: "Walk in
+faith, and fear not. Believe, and you will conquer." By way of enforcing
+his convictions Mazzini said:--
+
+     "Upon a day in the sixteenth century, at Rome, some men bearing the
+     title of _Inquisitors_, who assumed to derive wisdom and authority
+     from God himself, were assembled to decree the immobility of the
+     earth. A prisoner stood before them. His brow was illumined by
+     genius. He had outstripped time and mankind, and revealed the
+     secret of a world.
+
+     "It was Galileo.
+
+     "The old man shook his bold and venerable head. His soul revolted
+     against the absurd violence of those who sought to force him to
+     deny the truths revealed to him by God. But his pristine energy was
+     worn down by long suffering and sorrow; the monkish menace crushed
+     him. He strove to submit. He raised his hand, he too, to declare
+     the immobility of the earth. But as he raised his hand, he raised
+     his weary eyes to that heaven they had searched throughout long
+     nights to read thereon one line of the universal law; they
+     encountered a ray of that sun which he so well knew motionless amid
+     the moving spheres. Remorse entered his heart: an involuntary cry
+     burst from the believer's soul: _Eppur si muove!_ and yet it moves.
+
+     "Three centuries have passed away.
+     Inquisitors,--inquisition,--absurd theses imposed by force,--all
+     these have disappeared. Naught remains but the well-established
+     movement of the earth, and the sublime cry of Galileo floating
+     above the ages.
+
+     "Child of Humanity, raise thy brow to the sun of God, and read upon
+     the heavens: _It moves._ Faith and action! The future is ours."
+
+"Poetry," added Mazzini, "will teach the young the nobleness of
+sacrifice, of constancy, and silence; of feeling one's self alone
+without despairing, in an existence of suffering unknown or
+misunderstood; in long years of bitterness, wounds, and delusion,
+endured without murmur or lament; it will teach them to have faith in
+things to come, and to labor unceasingly to hasten their coming, even
+though without hope of living to witness their triumph;" and his final
+word in this great invocation to the new potencies of the opening future
+is an exhortation to believe in all greatness and goodness. "Faith," he
+said, "which is intellect, energy, and love, will put an end to the
+discords existing in a society which has neither church nor leaders;
+which invokes a new world, but forgets to ask its secret, its Word, from
+God." In universal education must lie the first national aid to the
+development of Italy. "_L'anima del gran mondo e l'allegria._"
+
+As Florence is pre-eminently the city of culture, so is Milan of
+activities. Her keynote is _modernite_. The visitor is at once impressed
+by her energy, her enterprise, and her commercial prosperity. Milan has
+the best municipal facilities and conveniences in all Italy. The
+electric lighting of streets, public buildings, and residences, the
+street transit, the arrangement and conduct of shops and all industrial
+matters, are in such contrast to any other city in Italy as to lead the
+sojourner to ask himself whether he can still be on the southern side of
+the Alpine range. In the Galleria Vittorio Emanuele Milan has the most
+wonderful structure in all Europe. This arcade was built in 1865, and
+under the magnificent glass dome it includes nearly one hundred of the
+most attractive and well-stocked shops, bazaars, and establishments. The
+dome is decorated with frescoes and caryatides, and with the statues of
+numbers of eminent men, among whom are Dante, Raphael, Savonarola, and
+Cavour. The offices and banks in Milan are centres of incessant energy.
+
+For all this stress of activity the visitor does not, however, forget
+the art features; the visit to the antique Church of St. Ambrosio; to
+the old convent where Leonardo da Vinci's celebrated fresco, "The Last
+Supper," is to be seen, though so faded that it is now difficult to
+discern all the figures. Nor does he fail to climb the wonderful
+cathedral that lifts its airy grace, as if about to float upward in the
+skies. Every flight of the steps, in the ascent, brings one to a new
+vision of beauty. On the roof of this cathedral one wanders as in a very
+forest of sculpture. Its scheme of decoration includes more than two
+thousand statues, two of which are by Canova. From the summit, when the
+air is clear, there are beautiful views of the Alps.
+
+To the savant and scholar the Ambrosian library in Milan is one of the
+special treasures of Europe. It contains some of the most rare and
+valuable manuscripts in the entire world,--some of Virgil's with
+annotations from Petrarcha; a manuscript of Dante's; drawings by
+Leonardo da Vinci, and other interesting matters of which no other
+copies exist.
+
+The Magic Land is seen under its most bewitching spell in the region of
+the Italian lakes. The palace of Isola Bella; the charming gardens; the
+lake of Como, green-walled in hills whose luxuriant foliage and bloom
+form a framework for the white villas that cluster on their terraced
+slopes,--all form a very fairyland of ethereal, rose-embowered beauty.
+At night the lakes are a strange, unreal world of silver lights and
+shadows.
+
+The completion of the Simplon tunnel has opened between Italy and Paris
+a route not only offering swifter facilities for transit, but adding
+another to the regions of beauty. This route has also still further
+increased the commercial importance of Milan, the portal and metropolis
+of Northern Italy. Milan has become the national centre of all
+scientific and technical pursuits, and it is fairly the Mecca for young
+men of Central and Southern Italy who are entering into the professions,
+or into civil and electrical engineering and other of the technical arts
+and industries.
+
+Bologna, with her historic University, with the long covered arcades of
+the streets, the fountain, which is the work of Giovanni di Bologna, and
+the gallery where many of Guido's best works are placed, has its
+individual interest for the tourist; and Verona, Pavia, Modena, Parma,
+and Turin all repay a visit from the leisurely saunterer in Italy.
+
+Pisa offers to the visitor four interesting architectural monuments in
+the Duomo, the Baptistery, the Leaning Tower, and the Campo Santo, all
+of which are unique. The cathedral has unique designs in its black and
+white marbles that render it almost as much an object of artistic study
+as is the cathedral in Siena. The view from the summit of the Leaning
+Tower reveals the Mediterranean six miles in the distance, gleaming like
+a sea of silver. The Campo Santo dates from the thirteenth century,
+when the earth of which it is composed was brought (in 1228) from the
+holy places in Jerusalem, conveyed to the city (then a seaport) by fifty
+galleys sent out by the Republic of Pisa. The interior walls of the
+Campo Santo are covered with fresco paintings by Orcagna which are one
+of the artistic spectacles of the country in their extravagant portrayal
+of theological beliefs, so realistically presented in their dramatic
+scenes from Paradise and from Hades, as to leave nothing to the
+imagination. The fantasies in this emblematic sculpture of memorial
+monuments over a period of seven hundred years can be seen in the Campo
+Santo of Pisa,--a strange and often a most grotesque medley.
+
+Genoa is well named La Superba. Her thoroughfares are streets of
+palaces. Her terraced gardens and villas, reached by the subterranean
+funicular street railway, are regions of unique and incomparable beauty,
+with the blue Mediterranean at their feet. Genoa is the paradise for
+walking. The streets are largely inaccessible to carriages, but the
+admirable street electric railway penetrates every locality. It passes
+in dark tunnels under the hills, reappears on the high terraces, and
+climbs every height. From the crest of one of these Corsica can often be
+seen. All the hill-slopes are a dream of pictorial grandeur, with their
+terraces, their palaces, their sculpture, fountains, and flowers. On the
+summit of almost every hill there is a fortress, and often ramparts
+which are silhouetted, in dark masses, against the sky. Orange groves
+abound on the terraces, often showing the golden fruit, buds, and
+blossoms all at the same time.
+
+Genoa is fairly a metropolis of sculpture. The great families have
+themselves perpetuated in portrait statues rather than in painted
+portraits. In one of the grand ducal palaces in the Via Balbi the
+visitor may see, not only the life-size statues and the busts of the
+family ancestry, but one group comprising nine figures, where three
+generations are represented, in both sitting and standing poses,
+ingeniously combined.
+
+The churches of Genoa are among the richest in Europe. That of the
+Annunziata, the special monument of the Lomellini family, glitters and
+gleams with its gold ceilings and rich frescoes. The cathedral has the
+special allurement of the emerald dish which King Solomon received as
+a gift from the Queen of Sheba. The little "street of the jewellers" is
+an alluring place,--so narrow that one can almost stand in the centre of
+the road and touch the shop windows on either hand, and these windows
+dazzle the eye with their fascinating glitter of gold and silver
+filigree work and their rich jewels.
+
+  [Illustration: CAMPO SANTO, GENOA
+                 _Page 453_]
+
+Beyond all other curious excursions that even a Magic Land can offer is
+that to the Campo Santo of Genoa. A cloistered promenade encloses a
+square, and above are terraced colonnades, each and all revealing
+statues, and monuments, and groups of sculpture whose varied beauty,
+oddity, or bizarre effects are a curious study. Some memorials--as one
+of an angel with outstretched wings; another of a flight of angels
+bearing the soul away; another combining the figure of Christ with the
+cross, and angels hovering near--are full of beauty. Others are a marvel
+of ingenious and incongruous combination. One of the latter represents
+the man whose memory it commemorates as lying on his bed in his last
+illness; the physician stands by, his fingers on the patient's pulse;
+on the opposite side a maid is approaching with a dish holding some
+article of food, and near the physician are grouped the wife, with a
+little child clinging to her skirts; the son, holding his hat with both
+hands and looking down on it, and the daughter, a young girl, with her
+eyes raised to heaven. Each of these figures is in life size; the bed is
+reproduced in marble, with the pillows and all the coverings in the most
+absolute realism, and the entire effect is so startling in its bizarre
+aspect that one could hardly believe in its existence until by personal
+observation he had verified so singular a monument.
+
+Yet there is beauty and symbolic loveliness, too, in many of the
+memorial sculptures of this Campo Santo, and turning away from this
+cemetery in which lies the body of the noble Mazzini, one hears on the
+air the refrain of his words on Dante:--
+
+     "It appeared to him of more importance to hasten to accomplish his
+     mission upon earth, than to meditate upon the inevitable hour which
+     marks for all men the beginning of a new task. And if at times he
+     speaks of weariness of life, it is only because he sees evil more
+     and more triumphant in the places where his mission was appointed.
+     He concerned himself, not about the length or the shortness of
+     life, but about the end for which life was given; for he felt God
+     in life, and knew the creative virtue there is in action."
+
+Eighty thousand people followed Mazzini to his tomb, and his name lives
+in the Italy of to-day as one to be associated with that of Dante as
+prophet and inspirer.
+
+The enchantment of approaching Genoa from the sea at night is an
+experience to remain as one of the pictorial treasures of memory. The
+magnificent _lanterna_, the lighthouse with its revolving light, that
+can be seen for fifty miles out from the coast; the brilliant
+illumination defining the _fortezza_ on the summit of one hill; the
+curving lights of the terraced residential district and the illumination
+of the very forest of shipping clustered in the bay,--all combine into a
+scene not easily effaced from the memories of foreign scenes.
+
+It is only in close relations with Italian literature that Italy can be
+adequately enjoyed and that the sojourner may enter into sympathetic
+associations with contemporary Italian life. Dr. Richard Garnett
+believes that the literature of Italy "is a less exhaustive
+manifestation than elsewhere of the intellect of the nation," and that
+"the best energies of the country are employed in artistic production.
+It is, indeed, remarkable," he continues, "that out of the nine Italians
+most brilliantly conspicuous in the first rank of genius and
+achievement,--Aquinas, Dante, Columbus, Leonardo, Michael Angelo,
+Raphael, Titian, Galileo, Napoleon,--only one should have been a man of
+letters."
+
+Contemporary Italian literature follows the trend of the day in
+reflecting the life of the people. The novels of Fogazzaro, the poems of
+Carducci, the biography and history written by Villari, to say nothing
+of several other writers who, while not approaching these authors, have
+still a definite place in the literature of the present, offer
+illumination on the outer scenery of life, and offer interpretation of
+the life itself. Art has declined; literature has advanced in Italy,
+even within the past decade. The law of progress is as inevitable as is
+the law of gravitation.
+
+    "Onward the chariot of the Unvarying moves;
+      Nor day divulges him nor night conceals;
+    Thou hear'st the echo of unreturning hooves,
+      And thunder of irrevocable wheels."
+
+The future of Italy inspires faith in the renewal of its noblest ideals
+of achievement. Its ineffable beauty is a heritage of joy to every
+visitor who comes under the indescribable spell of its attraction and
+finds that, in all the panorama of foreign life which haunts his memory,
+it is Italy which shines resplendent as the Magic Land!
+
+
+
+
+INDEX
+
+
+  Accademia des Arcades, Rome, 334.
+
+  Accademia di San Luca, oldest art school, 44;
+    location of, 45;
+    galleries of, 46, 47, 48.
+
+  Acqua Sacra, 428.
+
+  Akers, Paul, in Rome, 10;
+    early death of, 53;
+    work of, 54, 55;
+    quoted, 56;
+    Hawthorne's estimate of, 57.
+
+  Aldrich, Thomas Bailey, quoted, 387.
+
+  Allen, Elizabeth Akers, quoted, 53.
+
+  Amalfi, 253-257;
+    destruction of, 258, 259.
+
+  Ambrosian library, Milan, 449.
+
+  American Academy, Rome, 214.
+
+  American Embassy, Rome, location of, 153;
+    ball at, 164-167;
+    receptions at, 169.
+
+  Anderson, Hendrick Christian, in Rome, 10.
+
+  Angelo, Michael, work of, 22, 23, 312;
+    message of, 117;
+    friendship with Vittoria Colonna, 290;
+    Longfellow's poem on, 308-310;
+    art of, 313, 314;
+    quoted, 314, 316, 317, 318, 323;
+    gift to Vittoria Colonna, 318;
+    meeting with Francesco d'Ollanda, 322, 323, 324;
+    Walter Pater's estimate of, 327, 328, 329.
+
+  Annunziata Cathedral, Genoa, 452.
+
+  Aquinas, Thomas, birthplace of, 276;
+    tomb of, 331;
+    monastery of, 333.
+
+  Aquinum, 277.
+
+  "Arcadians," meetings of, 150.
+
+  Ariosto, 306.
+
+  Art, as leader of popular taste, 115;
+    inspired by religious ideals, 116;
+    Renaissance in, 117;
+    national importance of, 117;
+    ignored, 118;
+    relation to ugliness, 119;
+    falseness of, 121;
+    influence on life, 122;
+    united with religion, 123.
+
+  Assisi, pilgrimage to, 341, 344;
+    founding of, 345;
+    points of interest in, 345, 346;
+    Canon Knox Little's description of, 348;
+    as a shrine, 385.
+
+  Assisi, Bishop of, 354, 364.
+
+  Assisi, St. Francis of, 123, 124;
+    message of, 342;
+    birthplace of, 345;
+    impress of, 347;
+    parents of, 348, 349;
+    early life of, 350;
+    legends regarding, 351;
+    quoted, 352, 354, 356;
+    supreme aim of, 353;
+    Rule of, 353, 354;
+    prayer of, 356;
+    character of, 357;
+    incident in early life of, 360;
+    first ministry of, 363;
+    first disciple of, 364;
+    at the Portiuncula, 365;
+    friendship with Clara, 365, 367, 368;
+    legends regarding, 370;
+    death of, 372;
+    miracles of, 375;
+    tomb of, 378.
+
+
+  Bagot, Richard, in Rome, 11, 13.
+
+  Baia, 241.
+
+  Baldwin, Rev. Dr., in Rome, 10, 171.
+
+  Ball, Thomas, work of, 52.
+
+  Balzac, quoted, 120.
+
+  Barberini, Cardinal, 72.
+
+  Baths of Caracalla, 139.
+
+  Baths of Diocletian, 184.
+
+  Bell, John, grave of, 216.
+
+  Bembo, Cardinal, 306.
+
+  Benedictines, 354, 365.
+
+  Benton, Dwight, grave of, 221;
+    estimate of, 221.
+
+  Bernardino of Siena, 382, 383;
+    quoted, 383.
+
+  Bernini, Lorenzo, work of, 22.
+
+  Besant, Mrs. Annie, 174.
+
+  Biblioteca Sarti, 48.
+
+  "Blacks," 145, 146.
+
+  Bologna, 450.
+
+  Bonaparte, Princess Christina, death of, 203.
+
+  Boni, Commendatore, opinion of, 244.
+
+  Boni, Giovanni M., 403.
+
+  Bronson, Mrs. Arthur, 409, 410.
+
+  Brooks, Rev. Phillips, in Rome, 15;
+    quoted, 16, 39, 388, 394, 395.
+
+  Brownell, W. C., quoted, 96.
+
+  Browning, Elizabeth B., in Rome, 11;
+    quoted, 60, 114, 125, 389;
+    death of, 80, 408;
+    meeting with Mrs. Bronson, 410, 411.
+
+  Browning Palace, 406, 410, 411, 412, 413.
+
+  Browning, Robert, quoted, 3, 407, 408;
+    in Rome, 11, 70;
+    in Venice, 406;
+    death of, 408.
+
+  Browning, Miss Sarianna, 408, 413.
+
+  Buono, 236.
+
+  Byron, Lord, in Rome, 22;
+    quoted, 22, 403.
+
+
+  Campagna, 73, 205.
+
+  Campanile, fall of, 406.
+
+  Campo Verano, 76.
+
+  Campo Santo of Pisa, 450, 451, 453.
+
+  Campidoglio, buildings on, 25.
+
+  Campriani, 237.
+
+  Canova, in Rome, 7;
+    his genius, 33;
+    masterpiece of, 42;
+    realism of, 118.
+
+  Capella Sistina, 27.
+
+  Capo Miseno, 241.
+
+  Capri, island of, 262, 263, 264;
+    roses of, 266.
+
+  Capuano, Cardinal, legends of, 256.
+
+  Capuccini, convent of, 255.
+
+  Carducci, 143.
+
+  Carter, Professor Jesse Benedict, in Rome, 169.
+
+  Carter, Mrs. Jesse Benedict, 34, 37, 169.
+
+  Casa Buonarroti, 312.
+
+  Casino Borghese, 185.
+
+  Castel d'Ischia, 292, 293, 294.
+
+  Castellammare, 250.
+
+  Castle Gandolfo, 286.
+
+  Castiglione, 306.
+
+  Cecioni's "La Madre," 121.
+
+  Cestius, Caius, tomb of, 215.
+
+  Channing, Grace Ellery, 10, 91.
+
+  Chapel of Holy Sacrament, 202.
+
+  Chateaubriand, in Rome, 21;
+    quoted, 21.
+
+  Cicero's villa, remains of, 207.
+
+  Cimabue, 376, 378.
+
+  Cole, Thomas, in Rome, 9.
+
+  Coleman, Charles Caryl, home of, 263.
+
+  College of Cardinals, 435.
+
+  Colonna, Fabrizio, 290.
+
+  Colonna family, 285, 288, 289, 306, 307.
+
+  Colonna palace and gardens, 131.
+
+  Colonna, Vittoria, home of, 282;
+    quoted, 283, 303;
+    parents of, 285;
+    early childhood of, 286, 288;
+    horoscope of, 289;
+    destiny of, 290;
+    betrothal of, 290;
+    marriage of, 294, 295;
+    early married life of, 295, 296;
+    quoted, 297, 298, 300, 303, 305, 319, 320, 321;
+    in Pope Leo's court, 302;
+    her husband's death, 302;
+    removal of, 304;
+    fame of, 306;
+    return to Rome of, 307;
+    Longfellow's picture of, 308, 309, 310, 325, 326, 327;
+    travels of, 308, 311;
+    her influence with Michael Angelo, 313;
+    life in Rome and Orvieto, 314;
+    receives letters and sonnet from Michael Angelo, 317;
+    receives present from Michael Angelo, 318;
+    arranges meeting of Michael Angelo and Francesco d'Ollanda,
+        322, 323, 324;
+    Walter Pater's comments on, 328;
+    death of, 329;
+    last prayer of, 330;
+    burial of, 331;
+    tomb of, 332;
+    bust of, 334;
+    fame of, 335, 336;
+    Margaret J. Preston's poem on, 337.
+
+  Condivi, quoted, 313.
+
+  Contarini, Cardinal, 306.
+
+  Corsini chapel, 152.
+
+  Crawford, Marion, in Rome, 11, 13.
+
+  Crawford, Thomas, in Rome, 49;
+    career of, 51;
+    poem on, 52.
+
+  Crow, Hon. Wayman, 61.
+
+  Cumae, 241.
+
+  Cumaean Sibyl, 242.
+
+
+  da Bisticci, Vespasiano, 383.
+
+  Dalbano, Edoardo, 236.
+
+  Dana, Richard Henry, 219.
+
+  Dante, quoted, 267-270;
+    Mazzini's estimate of, 454.
+
+  d'Avalos, Donna Constanza, 291.
+
+  d'Avalos, Francesco, 290, 294, 295.
+
+  De Castro, Consul General, in Rome, 169.
+
+  Decline of art, 31.
+
+  d'Ollanda, Francesco, 322-324.
+
+  del Val, Cardinal Merry, 146-149, 435.
+
+  del Vasto, Marchese, 299.
+
+  De Monici, chronicles of, 398.
+
+  de Stael, Mme., in Rome, 11, 22.
+
+  Dietsch, C. Percival, in Rome, 10.
+
+  di Francavilla, Duchess, 291-293.
+
+  di Mercanti, Pica, 349, 350.
+
+  di Mercanti, Pietro Bernardone, 348, 349.
+
+  di Pescara, Marchesa, 296, 298, 299, 300, 301, 302, 306, 311, 312,
+      322, 331, 332, 335.
+
+  di Pescara, Marchese, 292, 296, 299, 300, 301, 302, 303, 304, 331,
+      332.
+
+  Doges, Palace of, 400-403.
+
+  Dolce, Ludovico, 306.
+
+  Don Erasmo Gattola, 273.
+
+  Duca de Torlonia, family of, 205.
+
+  Duff, Lina Gordon, quoted, 374.
+
+  Dupaty, quoted, 16.
+
+  Duran, M. Carolus, in Rome, 166, 167.
+
+
+  Elena, Queen, 140, 142, 179.
+
+  Eliot, George, quoted, 252.
+
+  Emerson, Mary Moody, letters to, 12.
+
+  Emerson, Ralph Waldo, in Rome, 12;
+    quoted, 85.
+
+  Emmons, Miss Elise, in Rome, 167.
+
+  Esposito, 237.
+
+  Ezekiel, Moses, in Rome, 10;
+    studios of, 97.
+
+
+  Fawcett, Edgar, quoted, 417.
+
+  Ferrara, Duca and Duchessa of, 311.
+
+  Ferri, Signor Enrico, 436, 442;
+    quoted, 442.
+
+  Festus, quoted, 30.
+
+  Field, Kate, in Rome, 12.
+
+  Florence, culture of, 430, 431.
+
+  Fra Ambrosia, 322.
+
+  Franciscan, 367.
+
+  Frascati, visited, 205.
+
+
+  Galileo, in Rome, 139, 445.
+
+  Galleria Vittorio Emanuele, 448.
+
+  Garibaldi, villa of, 239.
+
+  Garnett, Dr. Richard, quoted, 456.
+
+  Genoa, 430;
+    features of, 451;
+    as a metropolis of sculpture, 452;
+    churches of, 452;
+    enchantment of, 455.
+
+  Ghiberto, Bishop, 311.
+
+  Gibson, John, in Rome, 10, 36;
+    quoted, 34, 37, 59;
+    grave of, 221.
+
+  Giotto, 376, 377, 379.
+
+  Giovio, Paolo, 306.
+
+  Gladstone, in Rome, 11.
+
+  Goethe, in Rome, 11, 20;
+    quoted, 20.
+
+  Goethe, August, grave of, 216.
+
+  Goldoni, Carlo, centenary of, 413;
+    memorial of, 414.
+
+  Good Friday, service in Rome, 200, 201.
+
+  Greenough, Horatio, in Rome, 10;
+    work of, 49;
+    death, 50.
+
+  Greenough, Mrs. Horatio, 335.
+
+  Greenough, Richard, in Rome, 10, 58;
+    grave of, 217.
+
+  Greenough, Sarah B., tomb of, 218.
+
+  Grotto de Matrimonia, 263.
+
+  Grotto Ferrata, 209.
+
+  Guili, Commendatore Conte, 214.
+
+  Guthers, Carl, work of, 236.
+
+
+  Hare, Augustus William, grave of, 221.
+
+  Hawthorne, Nathaniel, quoted, 45, 57, 67, 195.
+
+  Healy, Mr., in Rome, 19.
+
+  Herculaneum, 242;
+    excavations in, 244;
+    Professor Spinazzola on, 242, 243;
+    destruction of, 244;
+    theatre in, 247.
+
+  Hillard, George Stillman, in Rome, 12;
+    quoted, 23, 24, 51, 230, 248.
+
+  Holy Week, in Rome, 200.
+
+  Hosmer, Harriet, in Rome, 10, 59, 60, 61;
+    work of, 62.
+
+  Howe, Dr. Samuel Gridley, in Rome, 12.
+
+  Howe, Julia Ward, in Rome, 12.
+
+  Howells, William Dean, in Rome, 13, 416.
+
+  Howitt, William and Mary, graves of, 216.
+
+  Hugo, Victor, 41.
+
+
+  Ischia, 281;
+    romantic impressions of, 282;
+    home of Vittoria Colonna, 282;
+    the d'Avalos castle in, 291;
+    as an enchanted island, 296;
+    Vittoria's return to, 299, 305.
+
+  Italy, land of romance and song, 6;
+    Mazzini's opinion of, 65;
+    true life of, 423;
+    as a youthful country, 424;
+    relation with United States, 425;
+    traveller in, 425;
+    picture of idyllic days in, 427;
+    approach to, 429;
+    cities of, 429, 430;
+    in the making, 431;
+    politics of, 432;
+    Socialistic uprising in, 433;
+    taxation in, 436-438;
+    railroads in, 439, 440;
+    government of, 440, 441;
+    future of, 444, 457;
+    lakes of, 449;
+    contemporary literature of, 456.
+
+
+  James, Henry, in Rome, 11, 13.
+
+  Jameson, Mrs., in Rome, 67;
+    quoted, 193.
+
+  Johnson, Robert Underwood, quoted, 416, 421.
+
+  Juvenal, birthplace of, 277.
+
+
+  Keats, in Rome, 11, 132;
+    memorial, 133;
+    grave of, 216.
+
+  Kemble, Adelaide, in Rome, 68.
+
+  Kemble, Fanny, in Rome, 68.
+
+  Keynote of life, 359.
+
+  Khayyam, Omar, quoted, 1, 94.
+
+
+  Lacus Avernus, 240.
+
+  Lanciani, Professor, lectures by, 138, 139;
+    opinion of, 244, 333.
+
+  Leaning Tower of Pisa, 450.
+
+  Libraries of Rome, 214, 223.
+
+  Lister, Mrs., in Rome, 172.
+
+  Liszt, Abbe, in Rome, 18, 19.
+
+  Little, Canon Knox, quoted, 347, 348, 376, 377, 380.
+
+  Lodge, Sir Oliver, quoted, 120.
+
+  Longfellow, Henry Wadsworth, in Rome, 12;
+    quoted, 16, 17, 125, 253, 274, 279, 281, 308, 309, 310, 325, 327, 387.
+
+  Longfellow, Rev. Samuel, quoted, 18.
+
+  Lowell, James Russell, in Rome, 12.
+
+  Ludovisi collection, 185.
+
+  Luther, in Rome, 80;
+    ascent of the Scala Santa, 156.
+
+
+  Margherita, Queen Mother, 140, 141;
+    palace of, 142;
+    quoted, 143;
+    relations with artists, 144;
+    at requiem mass, 179.
+
+  Marino, 286, 287.
+
+  Mazzini, 191, 192; quoted, 64, 422, 423, 444, 446;
+    works of, 190, 191;
+    estimate of, 191;
+    tomb of, 454.
+
+  Mead, Larkin G., in Rome, 10;
+    work of, 53.
+
+  Mediaeval Museum of Rome, 139.
+
+  Meredith, Owen, quoted, 2.
+
+  Metella, Cecilia, tomb of, 145.
+
+  Milan, activity of, 430, 447;
+    structures of, 448;
+    Ambrosian library of, 449;
+    as scientific centre, 450.
+
+  Mills, Clark, in Rome, 10.
+
+  Milton, in Rome, 11, 19.
+
+  Misenus, burial place of, 241.
+
+  Monte Aquino, 276.
+
+  Monte Cairo, 277.
+
+  Monte Cassino, 304.
+
+  Monte Catria, 348.
+
+  Monte Mario, 21, 133.
+
+  Monte Pincio, 188.
+
+  Monte San Mano, 304.
+
+  Morelli, Domenico, work of, 234, 235.
+
+  Moulton, Louise Chandler, in Rome, 13;
+    quoted, 13, 14, 95, 267, 340.
+
+  Myers, Frederick W. H., memorial tablet to, 220.
+
+
+  Naples, described, 227-231;
+    University of, 232;
+    Museum, 233;
+    natural attractions of, 237;
+    hotels of, 238;
+    Bay of, 265.
+
+  Nardi, Monsignore, in Rome, 18.
+
+  Nero's tomb, 78, 80.
+
+  Nisida, island of, 240.
+
+  Norton, Charles Eliot, quoted, 267.
+
+
+  Obelisk in Piazza del Popolo, 77.
+
+  Oldest art school, 44.
+
+  Oliphant, Mrs., quoted, 357, 368.
+
+  Orvieto, 314.
+
+  Osso, Professor Dall', opinion of, 244.
+
+  Oxenham, Rev. Dr. and Mrs. Nutcombe, in Rome, 171.
+
+
+  Paestum, 260, 261.
+
+  Page de Conti, 337.
+
+  Page, William, in Rome, 66.
+
+  Palatine Hill, 13, 112.
+
+  Palazzo Barberini, 72, 90.
+
+  Palazzo Bernini, 32.
+
+  Palazzo Bonaparte, 203.
+
+  Palazzo Brandolin-Rota, 409.
+
+  Palazzo Cesarini, 314, 329.
+
+  Palazzo del Drago, 163, 164.
+
+  Palazzo di Capodimonte, 233.
+
+  Palazzo di Donna Ana, 239.
+
+  Palazzo Margherita, 142.
+
+  Palazzo Municipio, 384.
+
+  Palazzo Quirinale, 142, 143, 432.
+
+  Palazzo Rezzonico, 406.
+
+  Palazzo Senni, 172.
+
+  Palazzo Tamagno, 104.
+
+  Palazzo Vaticano, 27.
+
+  Pantheon, 177;
+    ceremonies at, 179.
+
+  Papal supremacy, 432.
+
+  Parsons, Thomas William, quoted, 52, 276.
+
+  Pater, Walter, quoted, 327, 328.
+
+  Perugia, town of, 381-384.
+
+  Perugino, 384.
+
+  Petrarcha, 258, 259, 400.
+
+  Phlegraean Plain, 240.
+
+  Piazza Barberini, 18.
+
+  Piazza del Popolo, 76, 80, 134.
+
+  Piazza di Spagna, 70, 133, 146.
+
+  Piazza di Trinita, 133.
+
+  Piazza San Giovanni, 151.
+
+  Pietro da Cortona, work of, 194.
+
+  Pisa, architectural monuments of, 450.
+
+  Pistolesi, quoted, 43.
+
+  Pliny, the Younger, quoted, 244.
+
+  Poe, quoted, 136.
+
+  Pompeii, 243, 245, 248.
+
+  Pope Adrian, 302.
+
+  Pope Clement XII, tomb of, 152.
+
+  Pope Julius II, 23, 27, 28.
+
+  Pope Leo XII, 302.
+
+  Pope Leo XIII, tomb of, 154.
+
+  Pope Paschal, dream of, 157.
+
+  Pope Paul III, 313.
+
+  Pope Pio Nono, 64, 75.
+
+  Pope Pius X, 145, 147;
+    "passage" of, 196, 197;
+    ceremonial receptions of, 146;
+    residence of, 432;
+    character of, 434;
+    dream of, 435.
+
+  Portiuncula, 365, 366.
+
+  Posilipo, 239.
+
+  Powers, Hiram, in Rome, 10;
+    America's first sculptor, 49;
+    work, 50.
+
+  Pratello, 237.
+
+  Preston, Margaret J., quoted, 280, 337.
+
+  Principessa d'Antuni, 163, 164.
+
+
+  Quattro Fontane, Via delle, 72.
+
+
+  Raphael, work of, 22, 46, 47, 79;
+    genius of, 26;
+    masterpieces of, 27;
+    Franklin Simmons, opinion of, 29;
+    inspiration of, 30;
+    decline of art after, 31.
+
+  Ravello, Cathedral at, 260.
+
+  Ravenna, battle of, 296.
+
+  Read, Thomas Buchanan, in Rome, 67.
+
+  Realism, kinds of, 118.
+
+  _Regina Madre_, 140, 142.
+
+  Regio Palazzo del Quirinale, 143, 144.
+
+  Reid, Hon. Whitelaw, 105.
+
+  Reinhart, William, in Rome, 10.
+
+  Religion united with art, 123.
+
+  Renaissance in Italy, 117.
+
+  Richmond, Celia, 341.
+
+  Rocca di Papa, 287.
+
+  Rogers, Randolph, in Rome, 10;
+    early death of, 53.
+
+  Roman environment, 93.
+
+  Rome, features of, 1;
+    as artistic centre, 6, 10, 114;
+    under Pontifical regime, 8;
+    Longfellow's love for, 16;
+    Goethe's impressions of, 20;
+    work of Michael Angelo and Raphael in, 22;
+    oldest art school of, 44;
+    latter-day artists in, 49;
+    Brownings in, 67;
+    social life in, 113, 127;
+    new bridge of, 128;
+    in May, 129;
+    in winter, 129, 130;
+    in spring, 130, 132;
+    festas in, 136;
+    discussed by Professor Lanciani, 138;
+    society in, 140, 141, 170;
+    two courts of, 142;
+    modern features of, 145;
+    enchanting views in, 151;
+    poetic symbolism in, 158-160;
+    of the present day, breakfast-table talk in, 162;
+    American Embassy in, 163;
+    elevator service in, 164;
+    American consulate in, 169;
+    delightful hostesses in, 171, 172;
+    attitude toward modern thought in, 173;
+    Theosophical Society of, 173, 174;
+    demand for apartments in, 175;
+    sight-seeing in, 183;
+    great palaces in, 187;
+    famous drive of, 188;
+    birthday celebrations of, 189;
+    Republic of, 190;
+    rich years to artists in, 192, 193;
+    Papal ceremonies in, 195;
+    curious spectacle in, 198;
+    Holy Week in, 200;
+    Good Friday service in, 200, 201;
+    motoring from, 204, 205;
+    outlying towns of, 207;
+    American Academy in, 214;
+    libraries of, 214;
+    Protestant cemetery of, 215;
+    literature of, 223;
+    modern spirit in, 428.
+
+  Rosa, Salvator, 234.
+
+  Rosenkrans, Baroness, 173.
+
+  Rota, 329.
+
+  Ruskin, in Rome, 12;
+    quoted, 398.
+
+
+  Sabatier, Paul, quoted, 362, 365.
+
+  Sallust, Gardens of, 140.
+
+  Salvatico, quoted, 401.
+
+  San Agostino, church of, 198.
+
+  San Caterina di Viterbo, 314.
+
+  San Francesco, church of, 345.
+
+  San Giovanni, 153.
+
+  San Marco, 394.
+
+  San Maria della Pace, 27.
+
+  San Maria dei Frari, 405.
+
+  San Silvestre, 32.
+
+  Sansovino, Jacob, work of, 399.
+
+  Santa Anna, convent of, 314.
+
+  Santa Chiara (Clara), 365;
+    takes vows, 366, 367;
+    founds convent, 368;
+    family history of, 368;
+    friendship with St. Francis of Assisi, 368;
+    at death of Francis, 372;
+    personality of, 373;
+    preservation of body of, 374.
+
+  Santa Domenica Maggiore, church of, 303, 331, 333.
+
+  Santa Maria Degli Angeli, 345, 365, 380.
+
+  Santa Maria del Popolo, 78-80.
+
+  Santa Maria della Salute, 405.
+
+  Santa Monica, tomb of, 199.
+
+  Scala di Spagna, 72.
+
+  Scala Santa, 155;
+    Luther's ascent of, 156.
+
+  Scifi, Count Favorini, 368.
+
+  Scott, Sir Walter, in Rome, 20.
+
+  Sejanus, fall of, 263.
+
+  Sermoneta, Duke of, in Rome, 18.
+
+  Severn, Joseph, grave of, 216.
+
+  Shelley, in Rome, 22;
+    memorial, 133;
+    quoted, 215;
+    grave of, 216.
+
+  Simmons, Franklin, in Rome, 10, 15, 91, 98;
+    quoted, 29;
+    works of, 98-112;
+    early life, 100;
+    degrees conferred upon, 103;
+    marriage of, 103;
+    latest success of, 107;
+    studios of, 112;
+    realism of, 119;
+    beautiful creation of, 121;
+    grave of, 217.
+
+  Simmons, Mrs. Franklin, in Rome, 104;
+    death of, 112;
+    estimate of, 112;
+    grave of, 218.
+
+  Sindoni, Turillo, 144.
+
+  Sistine Chapel, art in, 177.
+
+  Sorrento, 251, 252.
+
+  Spearman, Frank Hamilton, in Rome, 167;
+    work of, 168.
+
+  Spinazzola, Professor, quoted, 242, 243.
+
+  St. Ambrosio, church of, 448.
+
+  St. Andrew, 256.
+
+  St. Benedict, work of, 270, 271;
+    tomb of, 272;
+    chapel of, 350.
+
+  St. Damian, chapel of, 356.
+
+  St. Gaudens, Augustus, in Rome, 10.
+
+  St. Gregory, feast of, 180.
+
+  St. Maria della Portiuncula, 351.
+
+  St. Mark's, Venice, 396, 397, 404.
+
+  St. Mark, tomb of, 397;
+    legend regarding, 397.
+
+  St. Paola d'Orvieto, 314.
+
+  Stebbins, Emma, in Rome, 58.
+
+  Stetson, Charles Walker, in Rome, 10, 91;
+    work of, 113.
+
+  Stetson, Mrs. Charles Walker, in Rome, 11;
+    quoted, 426.
+
+  Stillman, Mr., quoted, 39.
+
+  Story, Julian, in Rome, 91;
+    studio of, 97.
+
+  Story, Waldo, in Rome, 91;
+    studio of, 97;
+    works of, 98.
+
+  Story, William Wetmore, in Rome, 10;
+    first visit to Italy of, 62;
+    in Florence, 65;
+    quoted, 70, 80, 89, 90, 286;
+    in Palazzo Barberini, Rome, 71;
+    works of, 81-86;
+    estimate of, 82-90;
+    literary work of, 90;
+    grave of, 217.
+
+  Stowe, Harriet Beecher, in Rome, 11.
+
+  Strada Nuova di Posilipo, 239.
+
+  Symonds, John Addington, grave of, 220;
+    estimate of, 220;
+    quoted, 261, 264, 315, 316.
+
+
+  Tasso, 252, 253, 335.
+
+  Tennyson's choice of pictures in Venice, 395.
+
+  Thackeray, in Rome, 69.
+
+  Theocritus, quoted, 85.
+
+  Theosophical Society of Rome, 173.
+
+  Thomas, Edith, quoted, 82.
+
+  Thompson, Launt, in Rome, 10.
+
+  Thorwaldsen, in Rome, 7, 10;
+    quoted, 35;
+    realism of, 119.
+
+  Tiberius, summer palace of, 262;
+    baths of, 263.
+
+  Tilton, J. Rollin, in Rome, 10;
+    grave of, 219.
+
+  Titian, tomb of, 405.
+
+  Torlonia, Duca and Duchessa of, 334.
+
+  Trelawney, grave of, 216.
+
+  Trinita di Monti, church of, 133.
+
+  Tusculum, 207.
+
+
+  Umberto, King, 142.
+
+  Umbrians, 345.
+
+  Urbino, 285.
+
+
+  Vanderlyn, in Rome, 10.
+
+  Vaughn, Monsignor, 181.
+
+  Vatican, galleries of, 112.
+
+  Vatican palace, 196, 198.
+
+  Vedder, Anita, in Rome, 171.
+
+  Vedder, Elihu, in Rome, 10;
+    art of, 91-95;
+    appreciation of, 96;
+    works of, 96, 97;
+    country house of, 262.
+
+  Vedder, Mrs. Elihu, in Rome, 170.
+
+  Venice, first glimpses of, 389;
+    Grand Canal of, 390;
+    in June, 391;
+    color and loveliness of, 392;
+    art of, 395, 396;
+    origin of, 398;
+    first Doge of, 399;
+    Renaissance architecture in, 399;
+    Doge's Palace, 400-404;
+    art in, 404;
+    fall of Campanile in, 406;
+    Browning Palace in, 408-413;
+    centenary of Carlo Goldoni celebrated in, 413, 414;
+    art exhibition in, 415;
+    June evening in, 416;
+    as a poet's dream, 418.
+
+  Vernet, Horace, in Rome, 10.
+
+  Verona, 311.
+
+  Veronese, Paolo, 404.
+
+  Vesuvius, 229.
+
+  Via Bonella, 45.
+
+  Victor Emmanuel III, 118, 215, 432, 444.
+
+  Villa Aldobrandini, 208.
+
+  Villa Barberini, 209.
+
+  Villa Borghese, 14, 187.
+
+  Villa Doria, 211.
+
+  Villa Falconieri, 213.
+
+  Villa Jovis, 263.
+
+  Villa Medici, 4, 134.
+
+  Villa Nazionale, 238.
+
+  Villa Pamphilia Doria, 149.
+
+  Villa Torlonia, 206.
+
+  Virgil, quoted, 241;
+    grotto of, 242.
+
+  Visconti, 329, 330.
+
+  Vittorio Emanuele, 214.
+
+
+  Waldstein, Dr. Charles, quoted, 245.
+
+  Ward, Mrs. Humphry, quoted, 210, 212.
+
+  Watson, William, quoted, 9, 25, 86, 87.
+
+  Wellman, Walter, 9.
+
+  West, Benjamin, in Rome, 10.
+
+  White, Mr. and Mrs. Henry, in Rome, 165.
+
+  "Whites," 145.
+
+  Whitman, Walt, quoted, 422.
+
+  Whitney, Anne, in Rome, 10, 58.
+
+  Whittier, quoted, 339.
+
+  Wilberforce, Rev. Basil, quoted, 125, 341.
+
+  Woolson, Constance Fenimore, tomb of, 219.
+
+
+  Zuccaro, Federigo, 44.
+
+
+
+
+WORKS BY LILIAN WHITING
+
+
+     THE WORLD BEAUTIFUL. First, Second, and Third Series. 3 vols. 16mo.
+     $1.00 per vol. Decorated cloth, $1.25 per vol.
+
+Cannot help being uplifting and inspiring.--_New Church Messenger._
+
+
+     AFTER HER DEATH, 16mo. $1.00. Decorated cloth, $1.25.
+
+Should bring positive aid in sorrow.--_Hartford Post._
+
+
+     FROM DREAMLAND SENT. Verses of the Life to Come. 16mo. $1.00.
+     Decorated cloth, $1.25.
+
+Graceful, tender, true, appealing to what is best in the human
+heart.--_The Independent._
+
+
+     THE SPIRITUAL SIGNIFICANCE; or, Death as an Event in Life. 16mo.
+     $1.00. Decorated cloth, $1.25.
+
+It suggests and hints at the ultimate significance of scientific
+investigation with relation to the totality of thought in a very fresh
+and suggestive way.--_The Outlook._
+
+
+     KATE FIELD: A RECORD. With portraits, including one by Elihu
+     Vedder. 12mo. Decorated cloth, $2.00.
+
+A wonderfully vivid portrait.--_San Francisco Chronicle._
+
+
+     A STUDY OF ELIZABETH BARRETT BROWNING, 16mo. Decorated cloth,
+     $1.25.
+
+The most virile picture of Mrs. Browning in all our literature.--_New
+York Times._
+
+
+     THE WORLD BEAUTIFUL IN BOOKS, 16mo. $1.00 net. Decorated cloth,
+     $1.25 net.
+
+Great thoughts of great writers are touched upon with rare
+discrimination and critical power.--_Boston Transcript._
+
+
+     BOSTON DAYS. Illustrated. 12mo. $1.50 net.
+
+All the famous names associated with Boston pass in review.--_Boston
+Herald._
+
+
+     THE LIFE RADIANT, 16mo. $1.00 net. Decorated cloth, $1.25 net.
+
+No one can read it without having a clearer perception of the meaning of
+life and of the infinite possibilities of the human soul in its process
+of advancement.--_Chicago Chronicle._
+
+
+     THE OUTLOOK BEAUTIFUL, 16mo. $1.00 net. White and gold, $1.25 net.
+
+A fitting crown to "The World Beautiful."--_Philadelphia Ledger._
+
+
+     THE FLORENCE OF LANDOR. Fully illustrated. 8vo. In box, $2.50 net.
+
+A striking picture of Florence, doubly interesting because so many
+eminent persons appear in it.--_Philadelphia Ledger._
+
+
+     THE JOY THAT NO MAN TAKETH FROM YOU. 18 mo. 50 cents net.
+
+Emphasizes the reality of spiritual things with an intense
+conviction.--_Living Age._
+
+
+     FROM DREAM TO VISION OF LIFE. 16mo. $1.00 net. White and gold,
+     $1.25 net. Uniform with "The World Beautiful."
+
+A study of life from the mere transient dream to the radiant eternal
+vision.
+
+
+     THE LAND OF ENCHANTMENT. From Pike's Peak to the Pacific. Fully
+     illustrated. 8vo. $2.50 net.
+
+A vivid presentation of the scenic marvels and resources of the
+Southwest.
+
+
+LITTLE, BROWN, & CO., Publishers, BOSTON
+
+
+
+
+       *       *       *       *       *
+
+
+                         TRANSCRIBER'S NOTE
+
+
+  The original language, spelling, language and punctuation have been
+  preserved.
+  The following corrections were made to the original text:
+
+  Page xii: Vittoria Colonna, Galleria Buonarotti, Florence
+            Vittoria Colonna, Galleria Buonarroti, Florence
+
+  Page 6: artistic centre of the ninteenth century and
+          artistic centre of the nineteenth century and
+
+  Page 19: on the wall of the _casa_ in the Via delle Quattre Fontane
+           on the wall of the _casa_ in the Via delle Quattro Fontane
+
+  page 26: the Palazzo Sentoriale and the Palazzo dei Conservatore.
+           the Palazzo Senatoriale and the Palazzo dei Conservatori.
+
+  page 27: the Stanza della Incendio and the Sala di Constantino.
+           the Stanza dell'Incendio and the Sala di Constantino.
+
+  page 32: winds on the Pont San Angelo, and in the vast
+           winds on the Ponte San Angelo, and in the vast
+
+  page 32: the Music Nazionale--is the group of "Pluto
+           the Museo Nazionale--is the group of "Pluto
+
+  page 55: during hs stay in Rome are 'St. Elizabeth of
+           during his stay in Rome are 'St. Elizabeth of
+
+  page 72: The Via delle Quatre Fontane, on which the
+           The Via delle Quattro Fontane, on which the
+
+  page 138: given under the auspices of the Societa Archeologica,
+            given under the auspices of the Societa Archeologica,
+
+  page 148: _gentilinomo_, who is gorgeously arrayed in knee
+            _gentiluomo_, who is gorgeously arrayed in knee
+
+  page 161: Jacomletti, and there is also a kneeling statue
+            Jacometti, and there is also a kneeling statue
+
+  page 163: and the Via dell Quattro Fontane. The
+            and the Via delle Quattro Fontane. The
+
+  page 163: for living purposes. The portere, the guards,
+            for living purposes. The portiere, the guards,
+
+  page 170: and in the Vedder villa, _Torre Quatro Venti_
+            and in the Vedder villa, _Torre Quattro Venti_
+
+  page 171: the American wife of Caviliere Cortesi, an
+            the American wife of Cavaliere Cortesi, an
+
+  page 178: Peruzzi, and Annibale Caracci. Raphael is
+            Peruzzi, and Annibale Carracci. Raphael is
+
+  page 185: that includes the "Ludovisi Mars;" Hercules,"
+            that includes the "Ludovisi Mars;" "Hercules,"
+
+  page 200: he may rest, _mens conscia recta_!
+            he may rest, _mens conscia recti_!
+
+  page 205: whose grand Roman palazzo is in the Boca di
+            whose grand Roman palazzo is in the Bocca di
+
+  page 213: The Villa Falconicri, in Frascati, which was
+            The Villa Falconieri, in Frascati, which was
+
+  page 234: Benvenuto Cellini at the Castel Sant Angelo;
+            Benvenuto Cellini at the Castel Sant'Angelo;
+
+  page 237: of the street scenes of Naples; Camprani and
+            of the street scenes of Naples; Campriani and
+
+  page 244: Forum, succeding Lanciani--believe that some
+            Forum, succeeding Lanciani--believe that some
+
+  page 244: equestrian statue of Bulbi, in the Naples Museum,
+            equestrian statue of Balbo, in the Naples Museum,
+
+  page 260: The cathedral at Revello has traces of the
+            The cathedral at Ravello has traces of the
+
+  page 260: of the Palazzo Rufelo might enchant Hafiz himself.
+            of the Palazzo Rufolo might enchant Hafiz himself.
+
+  page 272: Mignano (Ginodone Trieramosca) and also to
+            Mignano (Guidone Fieramosca) and also to
+
+  page 272: are a series of fresco paintings by Luca Gindano,
+            are a series of fresco paintings by Luca Giordano,
+
+  page 272: by Mazzarappi and Marco da Siena. Nothing
+            by Mazzaroppi and Marco da Siena. Nothing
+
+  page 274: Terre di Lavorno region:--
+            Terra di Lavoro region:--
+
+  page 276: to be a "Monumento Nazionali," and it is now
+            to be a "Monumento Nazionale," and it is now
+
+  page 286: in the "Inferno." The Colonna and the Orsino
+            in the "Inferno." The Colonna and the Orsini
+
+  page 286: look down from Castel Gondolfo on the gloomy,
+            look down from Castel Gandolfo on the gloomy,
+
+  page 287: Marino, Castel Gondolfo, and Frascati, with
+            Marino, Castel Gandolfo, and Frascati, with
+
+  page 295: for the country they left Naples for Pietzalba
+            for the country they left Naples for Pietralba
+
+  page 295: Musefico, il Givoio, and il Minturo. It was an
+            Musefico, il Giovio, and il Minturno. It was an
+
+  page 297: Per te narrar tre quante dubbie voglie,
+            Per te narrar tra quante dubbie voglie,
+
+  page 297: Fra quanti aspri martir, degliosa io vivo!_"
+            Fra quanti aspri martir, dogliosa io vivo!_"
+
+  page 304: San Mano that had formerly been its property.
+            San Magno that had formerly been its property.
+
+  page 305: world's sun; and not to add light to _mio vel solo_,
+            world's sun; and not to add light to _mio bel sole_,
+
+  page 332: "_Bene scripsisti de me, Thoma; quam ergo mercedem recipris?_"
+            "_Bene scripsisti de me, Thoma; quam ergo mercedem recipies?_"
+
+  page 380: Bonaventuri built over it, is preserved in this
+            Bonaventura built over it, is preserved in this
+
+  page 385: the Palazzo Rospigliosa in Rome.
+            the Palazzo Rospigliosi in Rome.
+
+  page 399: Anopeste, elected by the tribunal of commonalty,
+            Anafesto, elected by the tribunal of commonalty,
+
+  page 400: mural work by Battesta Franco and De Moro.
+            mural work by Battista Franco and De Moro.
+
+  page 400: One enters the Porta delta Carta, which
+            One enters the Porta della Carta, which
+
+  page 405: Peter, Maucis, and Antoninus are commending
+            Peter, Francis, and Antoninus are commending
+
+  page 426: Saricinesco, in the region of Tivoli, was made
+            Saracinesco, in the region of Tivoli, was made
+
+  page 436: too, in other leading men. Zurati, the
+            too, in other leading men. Turati, the
+
+  page 452: in Europe. That of the Annunziati, the
+            in Europe. That of the Annunziata, the
+
+  page 461: Annunziati Cathedral, Genoa, 452.
+            Annunziata Cathedral, Genoa, 452.
+
+  page 462: Camprani, 237.
+            Campriani, 237.
+
+  page 463: del Vall, Cardinal Merry, 146-149, 435.
+            del Val, Cardinal Merry, 146-149, 435.
+
+  page 466: Ossi, Professor Dall, opinion of, 244.
+            Osso, Professor Dall', opinion of, 244.
+
+  page 467: Quatre Fontane, Via delle, 72.
+            Quattro Fontane, Via delle, 72.
+
+  page 467: Revello, Cathedral at, 260.
+            Ravello, Cathedral at, 260.
+
+  page 470: Villa Falconicri, 213.
+            Villa Falconieri, 213.
+
+On page 235: "Da Scala d'Oro" should be "La Scala d'Oro" or
+"Madonna della Scala d'Oro".
+
+       *       *       *       *       *
+
+
+
+
+
+End of the Project Gutenberg EBook of Italy, the Magic Land, by Lilian Whiting
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