Part 7

There are gardens everywhere, gardens of all kinds and classes, from the peasant’s hut hedged with pink geraniums to the villa with its terraced sub-tropical growths; but most wonderful, most unexpected of all, are the famous gardens of the quarries. Time has perhaps never done a more poetic thing than in turning these bare unshaded pits of death, where the Greek captives of Salamis died under the lash of the Sicilian slave-driver and the arrows of the Sicilian sun, into deep cool wells of shade and verdure. Here, where the chivalry of Athens perished of heat and thirst, a damp mantle of foliage pours over the red cliff-sides, fills the depths with the green freshness of twilight, and effaces, like a pitiful hand on a burning brow, the record of that fiery martyrdom. And the quarries are as good to grow flowers in as to torture men. The equable warmth of these sheltered ravines is as propitious to vegetation as it was destructive to human life; and wherever soil has accumulated, on the ledges and in the hollows, the “blood of the martyrs” sends up an exuberant growth.

On the edge of one of these hell-pits a monastery has been built; above another stands a villa; and monastic and secular hands have transformed the sides of the quarries into gardens of fantastic beauty. Paths and rocky stairways fringed with fern wind down steeply from the upper world, now tunnelled through dense growths of cypress and olive, now skirting cliff-walks dripping with cataracts of ivy, or tufted with the glaucous spikes and scarlet rockets of gigantic cactuses. In the depths, where time has amassed a soil incredibly rich, the vegetation becomes prodigious, febrile, like that of the delirious garden in “La Faute de l’Abbé Mouret.” Here the paths wind under groves of orange and lemon trees, over a dense carpeting of violets, stocks, narcissus and honey-scented hyacinths. Trellises of red roses lift their network against the light, and damp clefts of the rock are black with dripping maidenhair. Here are tall hedges of blue rosemary and red-gold abutilon, there shrubby masses of anthemisia, heliotrope and lavender. Overhead, black cypress-shafts spring from the bright sea of foliage, and at the pit’s brink, where the Syracusan citizens, under their white umbrellas, used to lean over and taunt the captives dying in the sun, a great hedge of prickly pear writhes mockingly against the sky.

III

At noon of such another day we set out from Rome for Caprarola.

The still air had a pearly quality and a mauve haze hung upon the hills. Our way lay north-westward, toward the Ciminian mountains. Once free of the gates, our motor started on its steady rush along the white highway, first past the walls of vineyard and garden, and then across the grey waste spaces of the Campagna. The Roman champaign is the type of variety in monotony. Seen from the heights of the city, it reaches in silvery sameness toward all points of the compass; but to a near view it reveals a dozen different physiognomies. Toward Frascati and the Alban hills it wears the ordered garb of fertility: wheat-fields, vineyards and olive-groves. South-eastward, in the direction of the Sabine range, its white volcanic reaches are tufted with a dark _maqui_ of sullen and reluctant growth, while in the west the Agro Romano rolls toward Monterosi and Soracte in sere reaches of pasture-land mottled with hillock and ravine.

Gradually, as we left the outskirts of Rome, the grandeur of this stern landscape declared itself. To the right and left the land stretched out in endless grassy reaches, guarded here and there by a lonely tomb or by the tall gateway of some abandoned vineyard. Presently the road began to rise and dip, giving us, on the ascent, sweeping views over a wider range of downs which rolled away in the north-west to the Ciminian forest, and in the east to the hazy rampart of the Sabine hills. Ahead of us the same undulations swept on interminably, the road undulating with them, now engulfed in the trough of the land, now tossed into view on some farther slope, like a streak of light on a flying sea. There was something strangely inspiriting in the call of this fugitive road. From ever-lengthening distances it seemed to signal us on, luring us up slope after slope, and racing ahead of us down the long declivities where the motor panted after it like a pack on the trail.

For some time the thrill of the chase distracted us from a nearer view of the foreground; but gradually there stole on us a sense of breadth and quietude, of sun-bathed rugged fields with black cattle grazing in their hollows, and here and there a fortified farm-house lifting its bulk against the sky. These fortress-farms of the Campagna, standing sullen and apart among the pacific ruins of pagan Rome--tombs, aqueducts and villas--give a glimpse of that black age which rose on the wreck of the Imperial civilization. All the violence and savagery of the mediæval city, with its great nobles forever in revolt, its popes plotting and trembling within the Lateran walls, or dragging their captive cardinals from point to point as the Emperor or the French King moved his forces--all the mysterious crimes of passion and cupidity, the intrigues, ambushes, massacres with which the pages of the old chronicles reek, seem symbolized in one of those lowering brown piles with its battlemented sky-line, crouched on a knoll of the waste land which its masters helped to devastate.

At length a blue pool, the little lake of Monterosi, broke the expanse of the downs; then we flashed through a poor roadside village of the same name, and so upward into a hill-region where hedgerows and copses began to replace the brown tufting of the Campagna. On and on we fled, ever upward to the town of Ronciglione, perched, like many hill-cities of this region, on the sheer edge of a ravine, and stretching its line of baroque churches and stately crumbling palaces along one steep street to the edge of a lofty down.

Across this plateau, golden with budding broom, we flew on to the next height, and here paused to embrace the spectacle--beneath us, on the left, the blue volcanic lake of Vico in its oak-fringed crater; on the right, far below, the plain of Etruria, scattered with ancient cities and ringed in a mountain-range still touched with snow; and rising from the middle of the plain, Soracte, proud, wrinkled, solitary, with the ruined monastery of Sant’ Oreste just seen on its crest.

From this mount of vision we dropped abruptly downward by a road cut in the red tufa-banks. Presently there began to run along the crest of the tufa on our left a lofty wall gripping the flanks of the rock, and overhung by dark splashes of ivy and clumps of leafless trees--one of those rugged Italian walls which are the custodians of such hidden treasures of scent and verdure. This wall continued to run parallel with us till our steep descent ended in a stone-paved square, with the roofs of a town sliding abruptly away below it on one side, and above, on the other, the great ramps and terraces of a pentagonal palace clenched to the highest ledge of the cliff. Such is the first sight of Caprarola.

Never, surely, did feudal construction so insolently dominate its possessions. The palace of the great Farnese Cardinal seems to lord it not only over the golden-brown town which forms its footstool, but over the far-reaching Etrurian plain, the forests and mountains of the horizon: over Nepi, Sutri, Cività Castellana, and the lonely pride of Soracte. And the grandeur of the site is matched by the arrogance of the building: no villa, but a fortified and moated palace, or rather a fortress planned in accordance with the most advanced military science of the day, but built on the lines of a palace. Yet on such a March day as this, with the foreground of brown oak-woods all slashed and fringed with rosy almond-bloom; with the haze of spring just melting from the horizon, and revealing depth after depth of mountain-blue; with March clouds fleeing overhead, and flinging trails of shadow and showers of silver light across the undulations of the plain--on such a day, the insolent Farnese keep, for all its background of gardens, frescoes, and architectural splendour, seems no longer the lord of the landscape, but a mere point of vantage from which to view the outspread glory at our feet.

IV

The drive from Viterbo to Montefiascone lies across the high plateau between the Monte Cimino and the lake of Bolsena.

For the best part of the way, the landscape is pastoral and agricultural, with patches of oak-wood to which in March the leaves still cling; and on this fitful March morning, with rain in the shifting clouds, the ploughmen move behind their white oxen under umbrellas as vividly green as the young wheat. Here are none of the great bursts of splendour which mark the way from Rome to Caprarola; and it seems fitting that this more prosaic road should be travelled at a sober pace, in a Viterban posting-chaise, behind two plodding horses. The horses are not so plodding, however, but that they swing us briskly enough down the short descents of the rolling country, which now becomes wilder and more diversified, with stretches of woodland interspersed with a heathy growth of low fragrant shrubs. Here the slopes are thick with primroses, and the blue vinca and violet peep through the ivy trails of the hedgerows; but the trees are still leafless, for it is a high wind-swept region, where March practises few of her milder arts. A lonely country too: no villages, and only a few solitary farm-houses, are to be seen as we jog up and down the monotonous undulations of the road to the foot of Montefiascone.

The town overhangs us splendidly, on a spur above the lake of Bolsena; and a long ascent between fortified walls leads to the summit on which its buildings are huddled. Through the curtain of rain which the skies have now let down, the crooked streets with their archways and old blackened stone houses present no striking effects, though doubtless a bright day would draw from them some of that latent picturesqueness which is never far to seek when Italian masonry and Italian sunlight meet. Meanwhile, however, the rain persists, and the environment of Montefiascone remains so obstinately shrouded that, for all we know, the town may be situated “Nowhere,” like the famous scene in Festus.

Through this rain-muffled air, led blindfold as it were, we presently descend again by the same windings to the city gates, and thence, following the road to Bagnorea, come on the desolate church of San Flaviano, lying by itself in a hollow beneath the walls of the town. In our hasty dash from the carriage to the door, there is just time to receive the impression of an immensely old brick façade, distorted and scarred with that kind of age which only the Latin sense of antiquity has kept a word to describe--then we are in a low-arched cavernous interior, with spectral frescoes emerging here and there from the universal background of whitewash, and above the choir a spreading gallery or upper church, which makes of the lower building a species of crypt above ground. And here--O irony of fate!--in this old, deserted and damp-dripping church, under a worn slab before the abandoned altar (for it is only in the upper church that mass continues to be said)--here, a castaway as it were from both worlds, lies that genial offshoot of a famous race, the wine-loving Bishop Fugger, whose lust of the palate brought him to this lonely end. It would have been impossible to pass through Montefiascone without dropping a commemorative tear on the classic Est-Est-Est upon which, till so lately, a good cask of Montefiascone has been yearly broached in memory of the prelate’s end; yet one feels a regret, almost, in carrying away such a chill recollection of the poor Bishop’s fate, in leaving him to the solitude of that icy limbo which seems so disproportionate a punishment for his amiable failing.

Leaving San Flaviano, we press on toward Orvieto through an unbroken blur of rain. The weary miles leave no trace in memory, and we are still in an indeterminate region of wood and pasture and mist-muffled hills when gradually the downpour ceases, and streaks of sunset begin to part the clouds. Almost at the same moment a dip of the road brings us out above a long descent, with a wavy plain at its base, and reared up on a cliff above the plain a fierce brown city, walled, towered and pinnacled, which seems to have dropped from the sky like some huge beast of prey and locked its talons in the rock. All about the plain, in the watery evening light, rises a line of hills, with Monte Amiata thrusting its peak above the circle; the nearer slopes are clothed in olive and cypress, with castles and monasteries jutting from their ledges, and just below us the sight of an arched bridge across a ravine, with a clump of trees at its approach, touches a spring of memory and transports us from the actual scene to its pictured presentment--Turner’s “Road to Orvieto.”

It was, in fact, from this point that the picture was painted; and looking forth on the landscape, with its stormy blending of sepia-hues washed in pallid sunlight, one sees in it the vindication of Turner’s art--that true impressionism which consists not in the unimaginative noting of actual “bits,” but in the reconstruction of a scene as it has flowed into the mould of memory, the merging of fragmentary facts into a homogeneous impression. This is what Turner has done to the view of Orvieto from the Bolsena road, so summing up and interpreting the spirit of the scene that the traveller pausing by the arched bridge above the valley loses sense of the boundaries between art and life, and lives for a moment in that mystical region where the two are one.

V

Our friends and counsellors had for many years warned us against visiting Vallombrosa in March--the month which oftenest finds us in Tuscany.

“Wait till June,” they advised--and knowing the complexity of influences which go to make up an Italian “sensation,” and how, for lack of one ingredient, the whole mixture may lose its savour, we had obediently waited for June. But June in Florence never seemed to come--“the time and the place” were no more to meet in our horoscope than in the poet’s; and so, one year when March was playing at April, we decided to take advantage of her mood and risk the adventure.

We set out early, in that burnished morning air which seems, as with a fine burin, to retrace overnight every line of the Tuscan landscape. The railway runs southward along the Arno valley to Sant’ Ellero; and we might have been travelling through some delicately-etched background of Mantegna’s or Robetta’s, in which the clear pale colours of early spring were but an effect of subtle blendings of line. This Tuscan hill scenery, which for purity of modelling has no match short of Greece, is seen to the best advantage in March, when the conformation of the land is still unveiled by foliage, and every line tells like the threads of silver in a _niello_.

From Sant’ Ellero, where the train is exchanged for a little funicular car of primitive construction, we were pushed jerkily uphill by a gasping engine which had to be constantly refreshed by long draughts of water from wayside tanks. On such a day, however, it was impossible to grudge the slowness of the ascent. As we mounted higher, the country developed beneath us with that far-reaching precision of detail which gives to extended views in mid-Italy a curiously pre-Raphaelite look--as though they had been wrought out by a hand enamoured of definition and unskilled in the creation of general effects. The new wheat springing under the olives was the only high note of colour: all else was sepia-brown of new-turned earth, grey-brown of weather-mottled farm-houses and village belfries, golden-black of rusty cypresses climbing the hill-sides in straight interminable lines, and faint blush of peach-blossoms floating against grey olives.

Then we gained a new height, and the details of the foreground were lost in a vast unfolding of distances--hill on hill, blurred with olive-groves, or bare and keen-cut, with a sprinkling of farm-houses on their slopes, and here and there a watch-tower on a jutting spur; and beyond these again, a tossing sunlit sea of peaks, its farthest waves still crested with snow. Half way up, the abrupt slopes of oak-forest which we had skirted gave way to a plateau clothed with vines and budding fruit orchards; then another sharp climb through oak-scrub, across the dry beds of mountain-streams and up slopes of broom and heather, brought us to the topmost ledge, where the railway ends. On this ledge stands the dreary village of Saltina--a cluster of raw-looking houses set like boxes on a shelf (with a Hôtel Milton among them), and a background of Swiss chalets dotted forlornly on a treeless slope. Saltina must be arid even in midsummer, and in March it was a place to fly from. Our flight, however, was regulated by the leisurely gait of a small white donkey who was the only _bête de somme_ to be had at that early season, and behind whom we slowly turned the shoulder of the cliff, and entered the pillared twilight of a great fir-wood. The road ran through this wood for a mile or two, carrying us straight to the heart of the Etrurian shades. As we advanced, byways branched off to the right and left, climbing the hill-sides through deep-perspectives of verdure; and presently we came to a wide turfy hollow, where the great trees recede, leaving a space for the monastery and its adjacent buildings.

The principal _corps-de-bâtiment_ faces on a walled entrance-court with box-bordered paths leading to the fine arcaded portico of the church. These buildings are backed by a hanging wood with a hermitage on its crest--the Paradiso--but before them lies an open expanse studded with ancient trees, with a stone-bordered fish-pond, and grass walks leading down to mossy glens with the sound of streams in their depths. Facing the monastery stands the low building where pilgrims were formerly lodged, and which now, without farther modification than the change of name, has become the Albergo della Foresta; while the monastery itself has been turned into a government school of forestry.

Since change was inevitable, it is a fortunate accident which has housed a sylvan college in these venerable shades, and sent the green-accoutred foresters to carry on the husbandry of the monks. Never, surely, were the inevitable modifications of time more gently tempered to the survivor of earlier conditions. The monastery of Vallombrosa has neither the examinate air of a _monument historique_, nor that look of desecration and decadency that too often comes with altered uses. It has preserved its high atmosphere of meditative peace, and the bands of students flitting through the forest with surveying-implements and agricultural tools seem the lawful successors of the monks.

We had been told in Florence that winter still held the mountains, that we should find snow in the shady hollows and a glacial wind from the peaks. But spring airs followed us to the heights. Through the aromatic fir-boughs the sunlight slanted as warmly as down the ilex-walks of the Boboli gardens, and over the open slopes about the monastery there ran a rosy-purple flush of crocuses--not here and there in scattered drifts, or starring the grass as in the foregrounds of Mantegna and Botticelli, but so close-set that they formed a continuous sheet of colour, a tide of lilac which submerged the turf and, flowing between the ancient tree-boles, invaded even the dark edges of the forest. It was probably the one moment of the year at which the forest flushes into colour; its hour of transfiguration--we might have tried every other season, and missed the miracle of March in Vallombrosa. At first the eye was dazzled by this vast field of the cloth-of-purple, and could take in none of the more delicate indications of spring; but presently we found our way to the lower glens, where the crocuses ceased, and pale-yellow primroses poured over ivy-banks to the brink of agate-coloured brooks. In the forest, too, ferns were uncurling and violets thrusting themselves through the close matting of fir-needles; while the terraces of the monks’ garden, which climbs the hill-side near the monastery, were fragrant with budding box and beds of tulip and narcissus.

It was an air to idle in, breathing deep the stored warmth of immemorial springs; but the little donkey waited between the shafts of his _calessina_, and on the ledge of Saltina we knew that our engine was taking a last draught before the descent. Reluctantly we jogged back through the forest, and, regaining our seats in the train, plunged downward into a sea of translucent mountains, and valleys bathed in haze, a great reach of irradiated heights flowing by imperceptible gradations into amber depths of air, while below us the shadows fell, and the Arno gleamed white in the indistinctness of evening.

PICTURESQUE MILAN

I

It is hard to say whether the stock phrase of the stock tourist--“there is so little to see in Milan”--redounds most to the derision of the speaker or to the glory of Italy. That such a judgment should be possible, even to the least instructed traveller, implies a surfeit of impressions procurable in no other land; since, to the hastiest observation, Milan could hardly seem lacking in interest when compared to any but Italian cities. From comparison with the latter, even, it suffers only on a superficial estimate, for it is rich in all that makes the indigenous beauty of Italy, as opposed to the pseudo-Gothicisms, the trans-Alpine points and pinnacles, which Ruskin taught a submissive generation of art critics to regard as the typical expression of the Italian spirit. The guide-books, long accustomed to draw their Liebig’s extract of art from the pages of this school of critics, have kept the tradition alive by dwelling only on the monuments which conform to perpendicular ideals, and by apologetic allusions to the “monotony” and “regularity” of Milan--as though endeavouring in advance to placate the traveller for its not looking like Florence or Siena!

Of late, indeed, a new school of writers, among whom Mr. J. W. Anderson, and the German authors, Messrs. Ebe and Gurlitt, deserve the first mention, have broken through this conspiracy of silence, and called attention to the intrinsically Italian art of the post-Renaissance period; the period which, from Michael Angelo to Juvara, has been marked in sculpture and architecture (though more rarely in painting) by a series of memorable names. Signor Franchetti’s admirable monograph on Bernini, and the recent volume on Tiepolo in the Knackfuss series of Künstler-Monographien have done their part in this redistribution of values; and it is now possible for the traveller to survey the course of Italian art with the impartiality needful for its due enjoyment, and to admire, for instance, the tower of the Mangia without scorning the palace of the Consulta.

II

But, it may be asked, though Milan will seem more interesting to the emancipated judgment, will it appear more picturesque? Picturesqueness is, after all, what the Italian pilgrim chiefly seeks; and the current notion of the picturesque is a purely Germanic one, connoting Gothic steeples, pepper-pot turrets, and the huddled steepness of the northern burgh.