Part 4

The seats consisted of a few hard wooden benches without any backs, and the one reserved place in the entire theater--which was a room perhaps thirty feet square with two galleries some five feet above the floor on both sides--was a single broken-backed kitchen chair perched upon one of the benches in the middle of the house. The only well dressed man in the room, who occupied it, gallantly sprang down at once, and with a delightfully courtly bow and smile assisted the protesting Signora to his place. The audience numbered about forty or fifty fisherman, peddlers, a cabman or two and a miscellaneous collection of as jovial looking pirates as ever scuttled a ship or slit a throat. But for all their appearance, they behaved exactly like American opera-goers, and the stir that our entrance made set every tongue chattering at a lively pace.

The stage stretched across the end of the pit at a height of perhaps three or four feet above the floor, and on a rack of some kind at the left of the place where the footlights should have been, was a quantity of wilted green vegetables. Thinking of what happens to inferior actors in the rural districts here, I inquired with some anxiety if the vegetables had been laid aside for that purpose. But the man to whom I spoke, missing the joke entirely, replied with the utmost simplicity: “Oh, no, Giuseppe laid his pack there because it was too big to place between the seats.”

How homelike it would seem to the weary street hawker in New York, could he but stop at the theater on his way home, and occasion no remark by leaving his left-over stock in trade at the feet of the actors for the time being.

As soon as La Signora was ensconced upon her uncertain “reserved seat,” the men who sat beside me on either hand began to explain the play in what they probably considered words of one syllable. The fancily dressed young man at my right seemed impatient at the remarks of my white-haired left-hand neighbor, who smelled strongly of tar, and whose sixty years and showerbath dialect made him both attractive and unintelligible to me. Both men talked at once and at high speed. In the meantime everyone else all over the house was talking cheerfully; and the play was proceeding as calmly as though there were no interruption. Between the two explanations, neither of which I could understand, I had considerable difficulty in catching the words of the play, which was being read by a gentleman whose lungs must have been rubber and whose throat brass. He stood back of the proscenium somewhere and bellowed or whispered in fine frenzy at every dramatic point, as the marionettes performed their astonishing evolutions.

The puppets were handsome armored figures about three feet high, clothed in glittering plate and chain armor, accoutered cap-à-pie, their shields properly blazoned and their surcoats faithful models of the garments worn by the ancient knights. Marching, filing and counter-filing, they made addresses to the accompaniment of stiff, clattering gestures, fought duels of deadly outcome with clashing weapons and rasping wires in the glare of half a dozen smoky oil lamps, and moved about easily, manipulated by the expert hands of operators who were standing in the wings. Every little while a human hand would burst into view, grotesquely gigantic compared with the puppet whose fate was in its keeping.

The play was one of the familiar favorites, representing the endeavors of invading Moors to convert Christian Sicilians to Mohammedanism, but the author was somewhat mixed in his history. Beside the Sicilians and Moors he worked in Frenchmen, and before the play was over, the story was that of a struggle between the two Christian nations, the Mohammedans obviously forgotten. The wicked, wicked Frenchmen were, of course, defeated, and their bloody schemes met with the noisy condemnation of the little crowd, while their opponents, the ancestors of these same street boys and hucksters and fishermen, won as hearty approval.

In the interval between the fourth and the last acts I had a chance to inquire of my neighbors why there were no women present. Both men regarded me with astonishment, and the younger answered first.

“Women? Women in the theater? Why, the theater is not good for them. I never bring my woman!”

Evidently a foreign woman was different, and none of the audience seemed to regard it as strange that one should be among them. As we came out into the fresh night air, Gualterio was apologetically solicitous, a little nervous as to the success of his experiment in bringing us to this particular theater. But our manifest satisfaction with our night of dissipation speedily reassured him, and all the way back to the hotel he sang _canzone_ to his chunky little Arab out of pure joy and thankfulness.

IV

CATHEDRALS

It has already been pointed out that the Easter season is an especially good time to be in Palermo. On Easter morning the great Court of the Lord before the Cathedral is a surprising picture. Upon the heavy stone balustrade enclosing it sixteen massive saints meditate benignly in the scented air. The great gray cement yard, flowers all colors of the rainbow, marble Santa Rosalia--patroness of Palermo--the huge church itself: all are bathed in the most brilliant sunshine imaginable. Words and pictures alike fail to give any adequate expression of it. The noise and unrest of the busy Corso are forgotten in this magic precinct; smiling, happy men, women and children stream through the yard, picturesque in their holiday attire; while from the windows drones the chant of the Mass, like the buzzing of a swarm of kindly bees hovering over the flowers. The white glare of the Egyptian desert is never more blinding than a Sicilian spring morning radiance.

Though the service calls, religion in Sicily takes small heed of the antics of foreigners, and if one chooses to stay outside in the courtyard and take photographs, it causes not the slightest comment. The main charm of the Cathedral lies in the curious blending of its different forms of architecture--Arabic, Norman, Gothic; which produces a dashing and almost whimsical effect in its fine arcades, its rich friezes and battlements, its interlacing arches, and its airy turrets outlined against the blue sky. Two graceful flying arches connect the Cathedral with the campanile or belfry which, as is often the case, is separated from the Cathedral proper--in this instance across the street. The vast structure as a whole is the very epitome of Sicily’s many sided culture and art during her high tide of glory, the Norman period. A witty Englishman has fitly remarked that the badly restored and whitewashed interior, however, is of the “railroad station type.”

In the south aisle chapels, though, are the excellent tombs of the kings, the grim and silent last homes of the marvelous Frederick, that “Wonder of the World,” of Henry VI, The Butcher, of Constance the Broken-Hearted, and of others. A great crimson porphyry sarcophagus holds the dust of King Roger, of whom it has been well said indeed that he was “one of the wisest, most renowned, most worthy, and most fortunate princes of his time” (Freeman). Kneeling Norman nobles carved in white marble upbear the simple, boxlike mass of porphyry upon their armored shoulders. What an expression of the homage of the people! The simple inscription, in Latin, reads:

IN QUIET AND PEACE, ROGER, STRENUOUS DUKE AND OF SICILY FIRST KING, IS DEAD IN PANORMOS, THE MONTH OF FEBRUARY IN THE YEAR 1154.

So it would seem that we are not the first people to discover “the strenuous life!”

And King Roger’s life was certainly strenuous. But it was nothing at all compared to the career of his father, who landed stealthily in Sicily by night with a handful of trusty knights and men-at-arms, captured Messina before breakfast, and stormed on through the island, felling the Saracens like so many saplings. The Norman conquest was distinguished throughout by the most impossible feats of both personal valor and consideration; the island was ready for Roger to knit together and administer when he succeeded his father, and played the rôle of lawgiver and organizer to his fiery parent’s conquests. And young Roger rose even higher than his father. Where he had been Count, Roger made himself not only King of Sicily, but ruler of a considerable part of Southern Italy as well. What manner of man he was is shown by an ancient mosaic still on the wall of the church of the Martorana, a remarkable example in itself of Norman-Sicilian art. Notwithstanding the tremendous temporal power of the Popes in those days, this descendant of the vikings refused to be crowned by the papal legate, and the mosaic represents him placing the diadem upon his head with his own hands.

The Martorana church was built by the King’s High Admiral, Giorgios Antiochenos, a versatile gentleman indeed, who amused himself while on shore leave or duty by building bridges and churches, importing silk weavers and generally playing the constructive and highly intelligent official, whose good works have long outlived himself.

Throughout the island it is eminently proper to keep the key of a building as far away from its door as possible--it is the _custode_ of La Martorana who gives open sesame to the Scláfani Palace. As you drive over, he ticks off its history on his bony fingers with the precious key: Built in 1330; afterward a grand hospital; to-day a barrack for the Bersaglieri or mountain riflemen. Practically the only remaining evidence of its former grandeur is a tremendous fresco attributed to a long-forgotten Flemish painter, on one of the walls of the courtyard. The fresco, measuring some eighteen feet in height by about twenty-two in length, is called _Il Trionfo della Morte_, The Triumph of Death, and its name is fully borne out by its grisly realism, as the white horse and his ruthless skeleton rider trample down those who wish to live, and ignore the wretched who plead in vain for release from their misery. With the latter group stands the painter himself, palette and mahlstick in hand; it is said he was taken ill while a guest in the palace. Perhaps the painting commemorates his feelings during that unfortunate experience.

It is frankly ugly--there is no other word to express it--yet it still clings to the white wall and produces an astonishing effect, especially when one remembers that it is a faithful expression of the religious feeling of the epoch it stands for. While we were studying it, a well-fed American-in-a-hurry, evidently a person of importance Baedekering through Sicily, rushed into the court, asked abruptly if that were the great picture, thrust both hands into his pockets and, with feet wide apart, appraised it a few moments in patent disgust. It costs about a _lira_ and a half--something like thirty cents of our money--to see the fresco. Pulling out a handful of loose change to pay the custodian, the stranger glanced first at his hand, then back at the painting.

“Thirty cents! Thirty cents--that’s exactly what it looks like!” he exploded, and was off before we could get our breaths.

That Palermo had queer taste in the old days is indicated by the Scláfani fresco; and further evidence is not lacking in the crypts of a Capuchin monastery, a short distance outside the Porta Nuova. The vaults, long ago used as a burial place by the wealthier families of the city, contain at present some eight thousand embalmed bodies. This subway full of mummies is divided into several sections, the men and women segregated from each other and from the monks and priests, who have a gallery apart. Some of the bodies are in coffins or caskets of various sorts, but many have been hung up by the neck in cords like hangman’s nooses. Some skulls are entirely fleshless, while others are partially covered. Hands whose fingers have shrunk to black bits of petrifaction hang loosely from rotting gloves which now appear several sizes too large. Heads have slipped back to stare up at the cobwebbed ceiling, turned sidewise with most diabolical leers, moved forward as though to combat the visitor. Not a single skull is expressionless, even if devoid of flesh. Some are jocose, some piously sad, some morose, some menacing and grim.

Within the artillery barrack a little farther out, is a ragged tower some thirty feet high that represents the ancient villa of La Cuba. An Arabic frieze about the bare exterior suggests the residence of some haughty old Emir of Palermo. The iconoclastic archæologists, however, have shattered the popular belief by deciphering the inscription to prove that no Saracen ever lived there, but that the mansion was erected in 1183 by the grandson of Roger, King William II, “The Good,” of whose reign one chronicler of the period wrote: “There was more security then, in the thickets of Sicily than in the cities of other kingdoms.” Modesty, though, could scarcely have been the most conspicuous of that monarch’s many virtues, for the inscription reads: “In the Name of God, clement, merciful, give heed. Here halt and admire. Behold the illustrious dwelling of the most illustrious of the kings of the earth, William II.”

Tired out one night after a long day following the hounds through the forests outside Palermo, this same King William II, “The Good,” lay down to sleep on a hill overlooking the city. And in his sleep, he dreamed: Out of the glades floated the shining figure of the Virgin, mysterious and inspiring, telling the awestruck monarch that the church he had sworn to build for her must be erected on that very spot. Slowly the dazzling vision faded, and when he awoke William named the hill Mon Reale--Royal Mount--at once beginning to prepare for the most splendid church in Sicily, a house of prayer worthy of both its divine patroness and its royal founder.

In 1174 the actual construction began, and eight years later, thanks to the pious aid of the King’s mother, Margaret of Aragon, the Duomo of Monreale was solemnly consecrated. It was, however, unfinished outside, and to this day its barren exterior hints nothing of its interior magnificence.

Around the Cathedral sprang up a populous little city of jammed-together houses along constricted, hilly streets, and eight centuries have not changed the town appreciably. It is possible to ascend by tram this crested slope upon whose brow the Middle Ages still reign. Unfortunately, the cars are not personally conducted to stop at the best viewpoints, so it is better, though more expensive, to take a cab.

Once in a while in Europe the recognition of class distinction grips an American with a strangle-hold. That day in the Monreale tram it seized me, when a fat, overdressed middle-class woman of forty or so began to give herself more airs than a duchess. With her little son, she was taking up room enough for four ordinary people, when a spotlessly neat old peasant woman, with a decent murmur of apology, sat down in the half-vacant space alongside. The bourgeoise flared like a Sans Gene, jabbed at her parcels brusquely, and told her loudly not to intrude upon her betters. It was then that I wished for a second-class car, to save the old woman from such gratuitous effrontery.

The Cathedral rises like a fortress before the town; its main doors--between two massive square towers, giving upon a dusty little square--are rich bronze leaves full of low-reliefs from Old Testament history. The first impression on entering is of a dazzling blaze of golden light, beating upon and beaten back from golden walls with stunning effect, in which the details of design and ornamentation, for all their clarity and importance, are so marvelously subordinated that they but add to the glowing display. Though the superb glass mosaics cover an area which Baedeker--with “Made-in-Germany” accuracy--declares to be 70,400 square feet, the lower walls are all pure white marble, with an upper border and slender bright-colored bands which run perpendicularly through the spotless white like the embroidery upon a holy robe. The vast nave and aisles are light and airy. There is complete absence of any artificial decoration--no tawdry, meaningless images, no hideous ex-votos to distract the eye. Harmony is the keynote of every inch of the decorations; from pave to rooftree there is not one inconsistent or jarring note.

The great dome of the main apse is completely filled by a bust of the Christ in the same glittering, marvelous, indescribably mellow glass mosaic that covers thousands of square feet upon the walls. It is the face of the man traditional, the visage of one whose appearance has been handed down from father to son since the beginning, the likeness of a founder, a prophet. And the still, solemn wonder of it fills one like the recurrent chords of a great and stately harmony. It is the one feature that stands out high above the blinding golden haze.

“Not a jarring note”--and yet, who that has seen those forty Old Testament mosaic tableaux on the upper walls can help recalling his first start of amazement at their literalness. They speak a dialect of art; they translate the Bible stories that the uneducated medieval mind could not read, into something that everybody could understand. A snow-white Eve worming her way out of an equally pallid dreamer’s side, and afterward decorously introduced by God Himself to Adam, is startling enough. But how about Noah, draped by a modest son, while in the vinous slumber brought about through a too generous testing of the liquid sunshine of his own vines? No details of these ancient histories was too insignificant or too broad for the artificers to weave lovingly into their master-work; and nothing could better illustrate the pure simplicity of the medieval mind to which anything Biblical was holy, and fit for presentation to all the world.

One of the most noticeable features of the Duomo is the clearness and delicacy of every detail. In St. Mark’s in Venice, time has blurred and defaced almost everything and the better part of the mosaics is crumbling into soft decay; but here in Monreale the delineation is so vivid and sharp, each color so soft and pure in tone, it seems as though the master workman had laid down his tools but yesterday to pronounce his _chef d’œuvre_ complete.

We are apt to think of cloisters as gloomy, forbidding places, where half frozen monks with blue lips and hair shirts shiver about their religious tasks and wish--if they are human!--they had never been born. Of course, there are such cloisters--but not here in Monreale, where the glorious sunshine bathes all that is left of the monastery King William erected for his Benedictine monks beside the Cathedral. Pleasant cloisters these, warm and blooming and fragrant with ozone and the perfume of the flowers. And very pleasant, indeed, very much worth while, must have been the lives of the jovial Benedictine brothers during the high and mighty reign of William the Good! Even after seven hundred years the silent arcades are lovely, filled yet with slender columns about which climb ribbons of mosaic and garlands of living vines to set off the different capitals--the finest examples of twelfth century carving in the world. Every capital is different, and almost every one tells a story. The visitor can unravel for himself ancient legend or Bible story, picking out old familiar figures here and there in the mellow marble; or if he chooses, he can meditate upon the curious fact that the Normans were producing this glorious work in the island of the sun long before Giotto was born.

Monreale’s streets are rugged and steep, but very clean and decent. The Monrealese, instead of naming their Corso for Italy’s first king, have named it for the town’s most famous son, the seventeenth century painter Pietro Novelli, whose studies of the monks are moving figures, clearly establishing him as the foremost materialist Sicily ever produced. On the Corso is Grado Salvatore’s three-boy-power macaroni factory, a queer, rambling, black sort of a cavern, lighted only by the front door. A macaroni-machine looking for all the world like Benjamin Franklin’s old hand printing press occupies the front on one side; and Salvatore himself sits in the little blue and white tiled sink before it, fanning and snipping the wriggly paste as the boys twist the screw and force it out in long strings. On the other side of the partition is a cluttered-up sales-room where every imaginable shape of macaroni and spaghetti decorates the shelves. Behind all is the mixing-room, joyously dark; and you may handle the doughcakes to make sure they are pure and clean! No matter if your hands are very dirty, after your sightseeing; the good folk of Monreale will take no particular harm after what they have doubtless experienced at other hands. None the less, as a general thing the interior of a Sicilian paste shop compares favorably with that of an American bakery, and the workers themselves are quite immaculate, with soft, clean, pink hands like a woman’s.

After it comes from the press, the macaroni is cut into six-foot lengths and hung up outside the shop to dry in the sunshine. By the time it has collected sufficient dust and germs to make it stiff--two or three days are usually long enough--it is cut into package lengths and sold. In Southern Italy it often occupies a good part of a roadway, or even hangs over a busy coalyard; but in Sicily both its manufacture and sale are cleaner and more wholesome; and the macaroni made in Termini is famous for its quality. Whether it is something in its manufacture, or some subtle quality of the flour from which it is made, the Sicilian _pasta_ seems generally to have a flavor and a delicacy lacking in the Italian variety.

The three juvenile assistants--boys who had the haunting native eyes of soft yet gleaming brown dusk, lustrous as old Marsala wine full of the sun--did not seem in the least to mind the drudgery of turning their endless screw. But while we were handling doughcakes in the black backroom with genial Salvatore, they stopped “twisting the twist” and somehow managed to spread the news throughout the entire village that there were strangers within their gates; and a crowd of small boys, beggars, and others who seemed to have no occupation gathered at the front door, demanding vociferously that they be photographed, chaffing each other and us, and arranging themselves according to their own ideas of a picturesque group.

While there was no stately ceremony to welcome us, the freedom of the town was clearly ours after that picture taking. Nobody asked for so much as a copper penny, and gruff, cheery voices called after us heartily: “_Buon viaggio! A rivederci, signori!_ Good-by! Come back again!” And Monreale has been branded as a town “whose beggars are very importunate!”

Bad as the Sicilian beggars are supposed to be, we experienced less annoyance from them throughout the island than from their pertinacious brethren of Naples and the mainland generally.