The Innocents Abroad (Illustrated). Mark Twain
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Название: The Innocents Abroad (Illustrated)
Автор: Mark Twain
Издательство: Bookwire
Жанр: Книги о Путешествиях
isbn: 9788027230976
isbn:
We are ready to move again, though we are not really tired yet of the narrow passages of this old marble cave. Cave is a good word—when speaking of Genoa under the stars. When we have been prowling at midnight through the gloomy crevices they call streets, where no footfalls but ours were echoing, where only ourselves were abroad, and lights appeared only at long intervals and at a distance, and mysteriously disappeared again, and the houses at our elbows seemed to stretch upward farther than ever toward the heavens, the memory of a cave I used to know at home was always in my mind, with its lofty passages, its silence and solitude, its shrouding gloom, its sepulchral echoes, its flitting lights, and more than all, its sudden revelations of branching crevices and corridors where we least expected them.
We are not tired of the endless processions of cheerful, chattering gossipers that throng these courts and streets all day long, either; nor of the coarse-robed monks; nor of the "Asti" wines, which that old doctor (whom we call the Oracle,) with customary felicity in the matter of getting everything wrong, misterms "nasty." But we must go, nevertheless.
Our last sight was the cemetery (a burial place intended to accommodate 60,000 bodies,) and we shall continue to remember it after we shall have forgotten the palaces. It is a vast marble collonaded corridor extending around a great unoccupied square of ground; its broad floor is marble, and on every slab is an inscription—for every slab covers a corpse. On either side, as one walks down the middle of the passage, are monuments, tombs, and sculptured figures that are exquisitely wrought and are full of grace and beauty. They are new and snowy; every outline is perfect, every feature guiltless of mutilation, flaw, or blemish; and therefore, to us these far-reaching ranks of bewitching forms are a hundred fold more lovely than the damaged and dingy statuary they have saved from the wreck of ancient art and set up in the galleries of Paris for the worship of the world.
Well provided with cigars and other necessaries of life, we are now ready to take the cars for Milan.
Chapter XVIII.
All day long we sped through a mountainous country whose peaks were bright with sunshine, whose hillsides were dotted with pretty villas sitting in the midst of gardens and shrubbery, and whose deep ravines were cool and shady and looked ever so inviting from where we and the birds were winging our flight through the sultry upper air.
We had plenty of chilly tunnels wherein to check our perspiration, though. We timed one of them. We were twenty minutes passing through it, going at the rate of thirty to thirty-five miles an hour.
Beyond Alessandria we passed the battle-field of Marengo.
Toward dusk we drew near Milan and caught glimpses of the city and the blue mountain peaks beyond. But we were not caring for these things—they did not interest us in the least. We were in a fever of impatience; we were dying to see the renowned cathedral! We watched—in this direction and that—all around—everywhere. We needed no one to point it out—we did not wish any one to point it out—we would recognize it even in the desert of the great Sahara.
At last, a forest of graceful needles, shimmering in the amber sunlight, rose slowly above the pygmy housetops, as one sometimes sees, in the far horizon, a gilded and pinnacled mass of cloud lift itself above the waste of waves, at sea,—the Cathedral! We knew it in a moment.
Half of that night, and all of the next day, this architectural autocrat was our sole object of interest.
What a wonder it is! So grand, so solemn, so vast! And yet so delicate, so airy, so graceful! A very world of solid weight, and yet it seems in the soft moonlight only a fairy delusion of frost-work that might vanish with a breath! How sharply its pinnacled angles and its wilderness of spires were cut against the sky, and how richly their shadows fell upon its snowy roof! It was a vision!—a miracle!—an anthem sung in stone, a poem wrought in marble!
Howsoever you look at the great cathedral, it is noble, it is beautiful! Wherever you stand in Milan or within seven miles of Milan, it is visible and when it is visible, no other object can chain your whole attention. Leave your eyes unfettered by your will but a single instant and they will surely turn to seek it. It is the first thing you look for when you rise in the morning, and the last your lingering gaze rests upon at night. Surely it must be the princeliest creation that ever brain of man conceived.
At nine o'clock in the morning we went and stood before this marble colossus. The central one of its five great doors is bordered with a bas-relief of birds and fruits and beasts and insects, which have been so ingeniously carved out of the marble that they seem like living creatures—and the figures are so numerous and the design so complex that one might study it a week without exhausting its interest. On the great steeple—surmounting the myriad of spires—inside of the spires—over the doors, the windows—in nooks and corners—every where that a niche or a perch can be found about the enormous building, from summit to base, there is a marble statue, and every statue is a study in itself! Raphael, Angelo, Canova—giants like these gave birth to the designs, and their own pupils carved them. Every face is eloquent with expression, and every attitude is full of grace. Away above, on the lofty roof, rank on rank of carved and fretted spires spring high in the air, and through their rich tracery one sees the sky beyond. In their midst the central steeple towers proudly up like the mainmast of some great Indiaman among a fleet of coasters.
We wished to go aloft. The sacristan showed us a marble stairway (of course it was marble, and of the purest and whitest—there is no other stone, no brick, no wood, among its building materials) and told us to go up one hundred and eighty-two steps and stop till he came. It was not necessary to say stop—we should have done that any how. We were tired by the time we got there. This was the roof. Here, springing from its broad marble flagstones, were the long files of spires, looking very tall close at hand, but diminishing in the distance like the pipes of an organ. We could see now that the statue on the top of each was the size of a large man, though they all looked like dolls from the street. We could see, also, that from the inside of each and every one of these hollow spires, from sixteen to thirty-one beautiful marble statues looked out upon the world below.
From the eaves to the comb of the roof stretched in endless succession great curved marble beams, like the fore-and-aft braces of a steamboat, and along each beam from end to end stood up a row of richly carved flowers and fruits—each separate and distinct in kind, and over 15,000 species represented. At a little distance these rows seem to close together like the ties of a railroad track, and then the mingling together of the buds and blossoms of this marble garden forms a picture that is very charming to the eye.
We descended and entered. Within the church, long rows of fluted columns, like huge monuments, divided the building СКАЧАТЬ