Passages from the French and Italian Notebooks, Complete. Hawthorne Nathaniel

Чтение книги онлайн.

СКАЧАТЬ though there are marble and mosaic tables, which may serve to adorn another palace when this one crumbles away with age. One beautiful hall, with a ceiling more richly gilded than the rest, is panelled all round with large looking-glasses, on which are painted pictures, both landscapes and human figures, in oils; so that the effect is somewhat as if you saw these objects represented in the mirrors. These glasses must be of old date, perhaps coeval with the first building of the palace; for they are so much dimmed, that one's own figure appears indistinct in them, and more difficult to be traced than the pictures which cover them half over. It was very comfortless, – indeed, I suppose nobody ever thought of being comfortable there, since the house was built, – but especially uncomfortable on a chill, damp day like this. My fingers were quite numb before I got half-way through the suite of apartments, in spite of a brazier of charcoal which was smouldering into ashes in two or three of the rooms. There was not, so far as I remember, a single fireplace in the suite. A considerable number of visitors – not many, however – were there; and a good many artists; and three or four ladies among them were making copies of the more celebrated pictures, and in all or in most cases missing the especial points that made their celebrity and value. The Prince Borghese certainly demeans himself like a kind and liberal gentleman, in throwing open this invaluable collection to the public to see, and for artists to carry away with them, and diffuse all over the world, so far as their own power and skill will permit. It is open every day of the week, except Saturday and Sunday, without any irksome restriction or supervision; and the fee, which custom requires the visitor to pay to the custode, has the good effect of making us feel that we are not intruders, nor received in an exactly eleemosynary way. The thing could not be better managed.

      The collection is one of the most celebrated in the world, and contains between eight and nine hundred pictures, many of which are esteemed masterpieces. I think I was not in a frame for admiration to-day, nor could achieve that free and generous surrender of myself which I have already said is essential to the proper estimate of anything excellent. Besides, how is it possible to give one's soul, or any considerable part of it, to a single picture, seen for the first time, among a thousand others, all of which set forth their own claims in an equally good light? Furthermore, there is an external weariness, and sense of a thousand-fold sameness to be overcome, before we can begin to enjoy a gallery of the old Italian masters… I remember but one painter, Francia, who seems really to have approached this awful class of subjects (Christs and Madonnas) in a fitting spirit; his pictures are very singular and awkward, if you look at them with merely an external eye, but they are full of the beauty of holiness, and evidently wrought out as acts of devotion, with the deepest sincerity; and are veritable prayers upon canvas…

      I was glad, in the very last of the twelve rooms, to come upon some Dutch and Flemish pictures, very few, but very welcome; Rubens, Rembrandt, Vandyke, Paul Potter, Teniers, and others, – men of flesh and blood, and warm fists, and human hearts. As compared with them, these mighty Italian masters seem men of polished steel; not human, nor addressing themselves so much to human sympathies, as to a formed, intellectual taste.

      March 1st. – To-day began very unfavorably; but we ventured out at about eleven o'clock, intending to visit the gallery of the Colonna Palace. Finding it closed, however, on account of the illness of the custode, we determined to go to the picture-gallery of the Capitol; and, on our way thither, we stepped into Il Gesu, the grand and rich church of the Jesuits, where we found a priest in white, preaching a sermon, with vast earnestness of action and variety of tones, insomuch that I fancied sometimes that two priests were in the agony of sermonizing at once. He had a pretty large and seemingly attentive audience clustered round him from the entrance of the church, half-way down the nave; while in the chapels of the transepts and in the remoter distances were persons occupied with their own individual devotion. We sat down near the chapel of St. Ignazio, which is adorned with a picture over the altar, and with marble sculptures of the Trinity aloft, and of angels fluttering at the sides. What I particularly noted (for the angels were not very real personages, being neither earthly nor celestial) was the great ball of lapis lazuli, the biggest in the world, at the feet of the First Person in the Trinity. The church is a splendid one, lined with a great variety of precious marbles… but partly, perhaps, owing to the dusky light, as well as to the want of cleanliness, there was a dingy effect upon the whole. We made but a very short stay, our New England breeding causing us to feel shy of moving about the church in sermon time.

      It rained when we reached the Capitol, and, as the museum was not yet open, we went into the Palace of the Conservators, on the opposite side of the piazza. Around the inner court of the ground-floor, partly under two opposite arcades, and partly under the sky, are several statues and other ancient sculptures; among them a statue of Julius Caesar, said to be the only authentic one, and certainly giving an impression of him more in accordance with his character than the withered old face in the museum; also, a statue of Augustus in middle age, still retaining a resemblance to the bust of him in youth; some gigantic heads and hands and feet in marble and bronze; a stone lion and horse, which lay long at the bottom of a river, broken and corroded, and were repaired by Michel Angelo; and other things which it were wearisome to set down. We inquired of two or three French soldiers the way into the picture-gallery; but it is our experience that French soldiers in Rome never know anything of what is around them, not even the name of the palace or public place over which they stand guard; and though invariably civil, you might as well put a question to a statue of an old Roman as to one of them. While we stood under the loggia, however, looking at the rain plashing into the court, a soldier of the Papal Guard kindly directed us up the staircase, and even took pains to go with us to the very entrance of the picture-rooms. Thank Heaven, there are but two of them, and not many pictures which one cares to look at very long.

      Italian galleries are at a disadvantage as compared with English ones, inasmuch as the pictures are not nearly such splendid articles of upholstery; though, very likely, having undergone less cleaning and varnishing, they may retain more perfectly the finer touches of the masters. Nevertheless, I miss the mellow glow, the rich and mild external lustre, and even the brilliant frames of the pictures I have seen in England. You feel that they have had loving care taken of them; even if spoiled, it is because they have been valued so much. But these pictures in Italian galleries look rusty and lustreless, as far as the exterior is concerned; and, really, the splendor of the painting, as a production of intellect and feeling, has a good deal of difficulty in shining through such clouds.

      There is a picture at the Capitol, the "Rape of Europa," by Paul Veronese, that would glow with wonderful brilliancy if it were set in a magnificent frame, and covered with a sunshine of varnish; and it is a kind of picture that would not be desecrated, as some deeper and holier ones might be, by any splendor of external adornment that could be bestowed on it. It is deplorable and disheartening to see it in faded and shabby plight, – this joyous, exuberant, warm, voluptuous work. There is the head of a cow, thrust into the picture, and staring with wild, ludicrous wonder at the godlike bull, so as to introduce quite a new sentiment.

      Here, and at the Borghese Palace, there were some pictures by Garofalo, an artist of whom I never heard before, but who seemed to have been a man of power. A picture by Marie Subleyras – a miniature copy from one by her husband, of the woman anointing the feet of Christ – is most delicately and beautifully finished, and would be an ornament to a drawing-room; a thing that could not truly be said of one in a hundred of these grim masterpieces. When they were painted life was not what it is now, and the artists had not the same ends in view… It depresses the spirits to go from picture to picture, leaving a portion of your vital sympathy at every one, so that you come, with a kind of half-torpid desperation, to the end. On our way down the staircase we saw several noteworthy bas-reliefs, and among them a very ancient one of Curtius plunging on horseback into the chasm in the Forum. It seems to me, however, that old sculpture affects the spirits even more dolefully than old painting; it strikes colder to the heart, and lies heavier upon it, being marble, than if it were merely canvas.

      My wife went to revisit the museum, which we had already seen, on the other side of the piazza; but, being cold, I left her there, and went out to ramble in the sun; for it was now brightly, though fitfully, shining again. I walked through the Forum (where a thorn thrust СКАЧАТЬ