Chapter 5

Rapallo itself, as you find on your first morning, is beautiful, chiefly by reason of its sea-girt tower. The old castle is a prison, and the town itself, full of modern hotels, is yet brisk with trade in oil and lace; but it is not these things that will hold you there, but that sea-tower and the joy of the woods and gardens. And then there are some surprising things not far away. Portofino, for instance, with its great pine and the ilex woods, its terraced walk and the sea, not the lake of Rapallo, but the sea itself, full of strength and wisdom. Then there is San Fruttuoso, with its convent among the palm trees by the seashore, whither the Doria are still brought by sea for burial. Here they lie, generation on generation, of the race which loved the sea; almost coffined in the deep, for the waves break upon the floor of the crypt that holds them. They could not lie more fitly than on the shore of this sea they won and held for Genoa. San Fruttuoso is difficult to reach save by sea. In the summer the path from Portofino is pleasant enough, but at any other time it is almost impassable. And indeed the voyage by boat from Rapallo to Portofino, and thence to San Fruttuoso, should be chosen, for the beauty of the coast, which, as I think, can nowhere be seen so well and so easily as here. Then, in returning to Portofino, the road along the coast should be followed through Cervara, where Guido, the friend of Petrarch and founder of the convent, lies buried, where Francis I, prisoner of Charles V, was wind-bound, to S. Margherita, the sister-town of Rapallo, and thence through S. Michele di Pagana, where you may see a spoiled Vandyck, to Rapallo. Who may speak of all the splendid valleys and gardens that lie along this shore, for they are gardens within a garden, and where all the world is so fair it is not of any private pleasaunce that one thinks, but of the hills and the wild-flowers and the sea, the garden of God.

And if the road, so far, from Genoa beggars description, so that I have thought to leave it almost without a word, what can I hope to say of the way from Rapallo to Chiavari? Starting early, perhaps in the company of a peasant who is returning to his farm among the olives, you climb, in the genial heat, among the lower slopes between the great hills and the sea, along terraces of olives, through a whole long day of sunshine, with the song of the cicale ever in your ears, the mysterious long-drawn-out melody of the _rispetti_ of the peasant girls reaching you ever. And then from the stillness among the olives, where the shade is delicate and fragile, of silver and gold, and the streams creep softly down to the sea, the evening will come as you pass along the winding ways of Chiavari, for in the golden weather one is minded to go softly. So in the twilight pursuing your way you follow the beautiful road to Sestri-Levante, where again you are within sound of the sea that breaks on the one side on a rocky and lofty shore, and on the other creeps softly into a flat beach, the town itself rising on the promontory between these two bays. There, under the headland among the woods, you may find a chapel of black and white marble, surely the haunt of Stella Maris, who has usurped the place of Aphrodite.

Many days might be spent among the woods of Sestri, but the road calls from the mountains, and it is ever of Tuscany that you think as you set out at last, leaving the sea behind you for the hills, climbing into the Passo di Bracco, that, as it seems, alone divides you from the land you seek. It is a far journey from Sestri to Spezia, but with a good horse, in spite of the hill, you may cover it in a single long day from sunrise to sunset. The climb begins almost at once, and continues really for some eighteen miles, till Baracchino and the Osteria Baracca are reached, in a desolate region of mountains that stretch away for ever, billow on billow. Then you descend only to mount again through the woods, till evening finds you at La Foce, the last height before Spezia; and suddenly at a turning of the way the sunset flames before you, staining all the sea with colour, and there lies Tuscany, those fragile, stainless peaks of Carrara faintly glowing in the evening sun purple and blue and gold, with here a flush as of dawn, there the heart of the sunset. And all before you lies the sea, with Spezia and the great ships in its arms; while yonder, like a jewel on the cusp of a horn, Porto Venere shines; and farther still, Lerici in the shadow of the hills washed by the sea, stained by the blood of the sunset, its great castle seeming like some splendid ship in the midst of the waters. From the bleak height of La Foce, whence all the woods seem to have run down to the shore, slowly one by one the lights of the city appear like great golden night flowers; soon they are answered from the bay, where the ships lie solemnly, sleepily at anchor, and at last the great light of the Pharos throws its warning over sea and seashore; and gathering in the distance on the far horizon, the night splendid with blue and gold, overwhelms the world, bringing coolness and as it were a sort of reconciliation. So it is quite dark when, weary, at last you find yourself in Spezia at the foot of the Tuscan hills.

Spezia is a modern city which has obliterated the more ancient fortresses, whose ruins still guard the two promontories of her gulf. The chief naval station in Italy, she has crowned all the heights and islands with forts, and in many a little creek hidden away, you continually come upon warships, naval schools, hospitals, and such, while in her streets the sailors and soldiers mingle together, giving the town a curiously modern character, for indeed there is little else to call your attention. The beautiful bay which lies between Porto Venere and Lerici behind the line of islands, that are really fortifications, is, in spite of every violation, a spectacle of extraordinary beauty, and in the old days--not so long ago, after all--when the woods came down to the sea, and Spezia was a tiny village, less even than Lerici is to-day, it must have been one of the loveliest and quietest places in the world. Shut out from Italy by the range of hills that runs in a semicircle from horn to horn of her bay, in those days there were just sun and woods and sea, with a few half pagan peasants and fishermen to break the immense silence. And, as it seems to me, by reason of some magic which still haunts this mysterious seashore, it is ever that world half pagan that you seek, leaving Spezia very gladly every morning for San Terenzo and Lerici for Porto Venere and the enchanted coast.

Leaving Spezia very early in the morning, there is nothing more delightful than the voyage across the land-locked bay, past the beautiful headlands and secret coves, to San Terenzo and Lerici. If you leave the steamer at San Terenzo, you may walk along a sort of seawall, built out of the cliff and boulders of the shore, round more than one little promontory, to Lerici, whose castle seems to guard the Tuscan sea. Walking thus along the shore, you pass the Villa Magni, Shelley's house, standing, not as it used to do, up out of the sea, for the road has been built really in the waves; but in many ways the same still, for instance with the broad balcony on the first storey, which pleased Shelley so much; and though a second storey has been added since, and even the name of the house changed, a piece of vandalism common enough in Italy to-day, where, since they do not even spare their own traditions and ancient landmarks, it would be folly to expect them to preserve ours, still you may visit the rooms in which he lived with Mary, and where he told Claire of the death of Allegra.

The house stands facing the sea in the deepest part of the bay, nearer to San Terenzo than to Lerici. Both Trelawney and Williams had been searching all the spring for a summer villa for the Shelleys, who, a little weary perhaps of Byron's world, had determined to leave Pisa and to spend the summer on the Gulf of Spezia. Byron was about to establish himself just beyond Livorno, on the slopes of Montenero, in a huge and rambling old villa with eighteenth century frescoes on the walls, and a tangled park and garden running down to the dusty Livorno highway. The place to-day is a little dilapidated, and its statues broken, but in the summer months it becomes the paradise of a school of girls, a fact which I think might have pleased Byron.

However, the Shelleys were thinking of no such faded splendour as Villa Dupoy for their summer retreat. "Shelley had no pride or vanity to provide for," says Trelawney, "yet we had the greatest difficulty in finding any house in which the humblest civilised family could exist.

"On the shores of this superb bay, only surpassed in its natural beauty and capability by that of Naples, so effectually had tyranny paralysed the energies and enterprise of man, that the only indication of human habitation was a few most miserable fishing villages scattered along the margin of the bay. Near its centre, between the villages of San Terenzo and Lerici, we came upon a lonely and abandoned building called the Villa Magni, though it looked more like a boat or bathing house than a place to live in. It consisted of a terrace or ground-floor unpaved, and used for storing boat-gear and fishing-tackle, and of a single storey over it, divided into a hall or saloon and four small rooms which had once been white-washed; there was one chimney for cooking. This place we thought the Shelleys might put up with for the summer. The only good thing about it was a verandah facing the sea, and almost over it. So we sought the owner and made arrangements, dependent on Shelley's approval, for taking it for six months."

Shelley at once decided to accept the offer of this house, though it was unfurnished. Mary and Claire presently set out for Spezia, Shelley remaining in Pisa to manage the removal of the furniture. He reached Lerici on 28th April, writing, immediately on his arrival, to Mary in Spezia.

_April 28, 1822_.

"DEAREST MARY,--I am this moment arrived at Lerici, where I am necessarily detained waiting the furniture, which left Pisa last night at midnight; and as the sea has been calm and the wind fair, may expect them every moment.... Now to business--Is the Magni House taken? if not pray occupy yourself instantly in finishing the affair, even if you are obliged to go to Sarzana, and send a messenger to me to tell me of your success. I, of course, cannot leave Lerici, to which place the boats (for we were obliged to take two) are directed. But _you_ can come over in the same boat that brings this letter, and return in the evening.

"I ought to say that I do not think there is accommodation for you all at this inn; and that even if there were, you would be better off at Spezia; but if the Magni House is taken, then there is no possible reason why you should not take a row over in the boat that will bring this, but don't keep the men long. I am anxious to hear from you on every account.--Ever yours, S."

Shelley's fears as to the accommodation of Lerici were by no means without foundation. Within the last two years a decent inn has been open there in the summer, but before that the primitive and not very clean hostelry in which, as I suppose, Shelley lodged, was all that awaited the traveller.[8] It was not for long, however, that Shelley was left in doubt about the house. Villa Magni became his, and, after much trouble with the furniture, for the officials put the customs duty at £300 sterling, they were allowed to bring it ashore, the harbour-master agreeing to consider Villa Magni "as a sort of depôt, until further leave came from the Genoese Government."

It was here that, very soon after they had taken possession of the house, Claire learned from Shelley's lips of the death of her child, and on 21st May set out for Florence. A few evenings later, Shelley, walking with Williams on the terrace, and observing the effect of the moonshine on the water, grasped Williams, as he says, "violently by the arm and stared steadfastly on the white surf that broke upon the beach at our feet. Observing him sensibly affected, I demanded of him if he were in pain; but he only answered by saying, 'There it is again--there!' He recovered after some time, and declared that he saw, as plainly as he then saw me, a naked child (Allegra) rise from the sea and clap its hands as in joy, smiling at him." Was this a premonition of his own death, a hint, as it were, that in such a place one like Shelley might well hope for from the gods? Certainly that shore was pagan enough. Sometimes on moonlight nights, in the hot weather, the half savage natives of San Terenzo would dance among the waves, singing in chorus; while Mrs. Shelley tells us that the beauty of the woods made her "weep and shudder." So strong and vehement was her dread that she preferred to go out in the boat which she feared, rather than to walk among the paths and alleys of the trees hung with vines, or in the mysterious silence of the olives.

Thus began that happy last summer of Shelley's life. Day by day, he, with Trelawney and Williams, watched for that fatal plaything, the little boat _Ariel_, which Trelawney had drawn in her actual dimensions for him on the sands of Arno, while he, with a map of the Mediterranean spread before him, sitting in this imaginary ship, had already made wonderful voyages. And one day as he paced the terrace with Williams, they saw her round the headland of Porto Venere. Twenty-eight feet long by eight she was: built in Genoa from an English model that Williams, who had been a sailor, had brought with him. Without a deck, schooner-rigged, it took, says Trelawney, "two tons of iron ballast to bring her down to her bearings, and then she was very crank in a breeze, though not deficient in beam." Truly Shelley was no seaman. "You will do no good with Shelley," Trelawney told Williams, "until you heave his books and papers overboard, shear the wisps of hair that hang over his eyes, and plunge his arms up to the elbows in a tar bucket." But he said, "I can read and steer at the same time." Read and steer! But indeed it was on this very bay, and almost certainly in the _Ariel_, that he wrote those perfect lines: "She left me at the silent time."

It was here too, in Lerici, that Shelley wrote "The Triumph of Life," that splendid fragment in _terza rima_, which is like a pageant suddenly broken by the advent of Death: that ends with the immortal question--

"Then, what is life? I cried,"

which was for ever to remain unanswered, for he had gone, as he said, "to solve the great mystery." Well, the story is an old one, I shall not tell it again; only here in the bay of Lerici, with his words in my ears, his house before me, and the very terrace where he worked, the ghost of that sorrowful and splendid spirit seems to wander even yet. What was it that haunted this shore, full of foreboding, prophesying death?

It was to meet Leigh Hunt that Shelley set out on 1st July with Williams in the _Ariel_ for Leghorn. For weeks the sky had been cloudless, full of the mysterious light, which is, as it seems to me, the most beautiful and the most splendid thing in the world. In all the churches and by the roadsides they were praying for rain. Shelley had been in Pisa with Hunt showing him that most lovely of all cathedrals, and, listening to the organ there, he had been led to agree that a truly divine religion might even yet be established if Love were really made the principle of it instead of Faith. On the afternoon following that serene day at Pisa, he set sail for Lerici from Leghorn with Williams and the boy Charles Vivian. Trelawney was on the _Bolivar_, Byron's yacht, at the time, and saw them start. His Genoese mate, watching too, turned to him and said, "They should have sailed this morning at three or four instead of now; they are standing too much inshore; the current will set them there." Trelawney answered, "They will soon have the land-breeze." "Maybe," continued the mate, "she will soon have too much breeze; that gaff topsail is foolish in a boat with no deck and no sailor on board." Then, pointing to the south-west,--"Look at those black lines and the dirty rags hanging on them out of the sky--they are a warning; look at the smoke on the water; the devil is brewing mischief." Then the mist which had hung all day in the offing swallowed the _Ariel_ for ever.

It was not until many days after this, Trelawney tells us, "that my worst fears were confirmed. Two bodies were found on the shore--one near Viareggio, which I went and examined. The face and hands and parts of the body not protected by the dress were fleshless. The tall, slight figure, the jacket, the volume of Aeschylus in one pocket, and Keats' poems[9] in the other, doubled back, as if the reader, in the act of reading, had hastily thrust it away, were all too familiar to me to leave a doubt in my mind that this mutilated corpse was any other than Shelley's."

A certain light has been thrown on the manner in which Shelley and his friend met their death in a letter which Mr. Eyre wrote to the _Times_ in 1875.[10] Trelawney had always believed that the Livorno sailors knew more than they cared to tell of that tragedy. For one thing, he had seen an English oar in one of their boats just after the storm; for another the laws were such in Tuscany, that had a fishing-boat gone to the rescue of the _Ariel_ and brought off the poet and his companions, she would with her crew have been sent into quarantine for fear of cholera. It is not, however, to the Duchy of Tuscany that Shelley owes his death, but to the cupidity of the Tuscan sailors, one of them having confessed to the crime of running down the boat, seeing her in danger, in the hope of finding gold on "the milord Inglese." There seems but little reason for doubting this story, which Vincent Eyre communicated to the _Times_ in 1875: Trelawney eagerly accepts it, and though Dr. Garnett and Professor Dowden politely forbear to accuse the Italians, such crimes appear to have been sufficiently common in those days to confirm us, however reluctantly, in this explanation. Thus died perhaps the greatest lyric poet that even England had ever borne, an exile, and yet not an exile, for he died in Italy, the fatherland of us all. Ah! "'tis Death is dead, not he," for in the west wind you may hear his song, and in the tender night his rare mysterious music; when the skylark sings it is as it were his melody, and in the clouds you may find something of the refreshment of his spirit.

"Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange."

FOOTNOTES:

[8] For the identity of this inn see Leigh Hunt, _Autobiography_. Constable, 1903, vol. ii. p. 123.

[9] The Keats was doubled open at the "Lamia."

[10] _Trelawney Records_. Pickering, 1878, pp. 197-200, accepts this story, as clearing up what for fifty years had been a mystery to him.

III. PORTO VENERE

It is perhaps a more joyful day that may be spent at Porto Venere, the little harbour on the northern shores of the gulf. Starting early you come, still before the sea is altogether subject to the sun, to a little bay of blue clear still water flanked by gardens of vines, of agaves and olives. Here, in silence save for the lapping of the water, the early song of the cicale, the far-away notes of a reed blown by a boy in the shadow by the sea, you land, and, following the path by the hillside, come suddenly on the little port with its few fishing-boats and litter of ropes and nets, above which rises the little town, house piled on house, from the ruined church rising high, sheer out of the sea to the church of marble that crowns the hill. Before you stands the gate of Porto Venere, a little Eastern in its dilapidation, its colour of faded gold, its tower, and broken battlement. Passing under the ancient arch past a shrine of Madonna, you enter the long shadowy street, where red and green vegetables and fruits, purple grapes, and honey-coloured _nespoli_ and yellow oranges are piled in the cool doorways, and the old women sit knitting behind their stalls. Climbing thus between the houses under that vivid strip of soft blue sky, the dazzling rosy beauty of the ruined ramparts suddenly bursts upon you, and beyond and above them the golden ruined church, and farther still, the glistening shining splendour of the sea and the sun that has suddenly blotted out the soft sky. A flight of broken steps leads to a ruined wall, along which you pass to the old church, or temple is it, you ask yourself, so fair it looks, and without the humility of a Christian building. To your right, across a tossing strip of blue water, full of green and gold, rises the island of Palmaria, and beyond that two other smaller islands, Tisso and Tissetto, while to your left lies the whole splendid coast shouting with waves, laughing in the sunshine and the wind of early morning, and all before you spreads the sea. As I stood leaning on the ruined wall looking on all this miracle of joy, a little child, who had hidden among the wind-blown cornflowers and golden broom on the slope of the cliffs, slowly crept towards me with many hesitations and shy peerings; then, no longer afraid, almost naked as he was, he ran to me and took my hand.

"Will the Signore see the church?" said he, pulling me that way.

The Signore was willing. Thus it was, hand in hand with Eros, that I mounted the broken steps of the tower of Venus, his mother.

How may I describe the wonder of that place? For at last, he before, I following, though he still held my hand, we came out of the stairway on to a platform on the top of the tower surrounded by a broken battlement. It was as though I had suddenly entered the last hiding-place of Aphrodite herself. On the floor sat an old and lame man sharpening a scythe, and beside him a little child lay among the broken corn that was strewn over the whole platform. Where the battlements had once frowned, now stood sheaves of smiling corn, golden and nodding in the wind and the sun. Suddenly the lad who had led me hither seized the flail and began to beat the corn and stalks strewn over the floor, while the old man, quavering a little, sang a long-drawn-out gay melody, and the little girl beat her tiny hands in time to the work and the music. Then, unheard, into this miracle came a young woman,--ah, was it not Persephone,--slim as an osier in the shadow, walking like a bright peacock straight above herself, climbing the steps, and her hands were on her hips and on her black head was a sheaf of corn. Then she breathed deep, gazed over the blue sea, and set her burden down with its fellows on the parapet, smiling and beating her hands at the little girl.