New Italian sketches. John Addington Symonds

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СКАЧАТЬ truth of famous masterpieces for the American market. Few seem to look beyond their picture galleries. Thus the democratic art, the art of Millet, the art of life and nature and the people, waits.

      As we mount, the soil grows of a richer brown; and there are woods of oak where herds of swine are feeding on the acorns. Monte Oliveto comes in sight—a mass of red brick, backed up with cypresses, among dishevelled earthy precipices, balze as they are called—upon the hill below the village of Chiusure. This Chiusure was once a promising town; but the life was crushed out of it in the throes of mediæval civil wars, and since the thirteenth century it has been dwindling to a hamlet. The struggle for existence, from which the larger communes of this district, Siena and Montepulciano, emerged at the expense of their neighbours, must have been tragical. The balze now grow sterner, drier, more dreadful. We see how deluges outpoured from thunderstorms bring down their viscous streams of loam, destroying in an hour the terraces it took a year to build, and spreading wasteful mud upon the scanty cornfields. The people call this soil creta; but it seems to be less like a chalk than a marl, or marna. It is always washing away into ravines and gullies, exposing the roots of trees, and rendering the tillage of the land a thankless labour. One marvels how any vegetation has the faith to settle on its dreary waste, or how men have the patience, generation after generation, to renew the industry, still beginning, never ending, which reclaims such wildernesses. Comparing Monte Oliveto with similar districts of cretaceous soil—with the country, for example, between Pienza and San Quirico—we perceive how much is owed to the monks whom Bernardo Tolomei planted here. So far as it is clothed at all with crop and wood, this is their service.

      At last we climb the crowning hill, emerge from a copse of oak, glide along a terraced pathway through the broom, and find ourselves in front of the convent gateway. A substantial tower of red brick, machicolated at the top and pierced with small square windows, guards this portal, reminding us that at some time or other the monks found it needful to arm their solitude against a force descending from Chiusure. There is an avenue of slender cypresses; and over the gate, protected by a jutting roof, shines a fresco of Madonna and Child. Passing rapidly downwards, we are in the courtyard of the monastery, among its stables, barns, and out-houses, with the forlorn bulk of the huge red building spreading wide, and towering up above us. As good luck ruled our arrival, we came face to face with the Abbate de Negro, who administers the domain of Monte Oliveto for the Government of Italy, and exercises a kindly hospitality to chance-comers. He was standing near the church, which, with its tall square campanile, breaks the long stern outline of the convent. The whole edifice, it may be said, is composed of a red brick inclining to purple in tone, which contrasts not unpleasantly with the lustrous green of the cypresses, and the glaucous sheen of olives. Advantage has been taken of a steep crest; and the monastery, enlarged from time to time through the last five centuries, has here and there been reared upon gigantic buttresses, which jut upon the balze at a sometimes giddy height.

      The Abbate received us with true courtesy, and gave us spacious rooms, three cells apiece, facing Siena and the western mountains. There is accommodation, he told us, for three hundred monks; but only three are left in it. As this order was confined to members of the nobility, each of the religious had his own apartment—not a cubicle such as the uninstructed dream of when they read of monks, but separate chambers for sleep and study and recreation.

      In the middle of the vast sad landscape, the place is still, with a silence that can be almost heard. The deserted state of those innumerable cells, those echoing corridors and shadowy cloisters, exercises overpowering tyranny over the imagination. Siena is so far away, and Montalcino is so faintly outlined on its airy parapet, that these cities only deepen our sense of desolation. It is a relief to mark at no great distance on the hill-side a contadino guiding his oxen, and from a lonely farm yon column of ascending smoke. At least the world goes on, and life is somewhere resonant with song. But here there rests a pall of silence among the oak-groves and the cypresses and balze. As I leaned and mused, while Christian (my good friend and fellow-traveller from the Grisons) made our beds, a melancholy sunset flamed up from a rampart of cloud, built like a city of the air above the mountains of Volterra—fire issuing from its battlements, and smiting the fretted roof of heaven above. It was a conflagration of celestial rose upon the saddest purples and cavernous recesses of intensest azure.

      We had an excellent supper in the visitor's refectory—soup, good bread and country wine, ham, a roast chicken with potatoes, a nice white cheese made of sheep's milk, and grapes for dessert. The kind Abbate sat by, and watched his four guests eat, tapping his tortoise-shell snuff-box, and telling us many interesting things about the past and present state of the convent. Our company was completed with Lupo, the pet cat, and Pirro, a woolly Corsican dog, very good friends, and both enormously voracious. Lupo in particular engraved himself upon the memory of Christian, into whose large legs he thrust his claws, when the cheese-parings and scraps were not supplied him with sufficient promptitude. I never saw a hungrier and bolder cat. It made one fancy that even the mice had been exiled from this solitude. And truly the rule of the monastic order, no less than the habit of Italian gentlemen, is frugal in the matter of the table, beyond the conception of northern folk.

      Monte Oliveto, the Superior told us, owned thirty-two poderi, or large farms, of which five have recently been sold. They are worked on the mezzeria system; whereby peasants and proprietors divide the produce of the soil; and which he thinks inferior for developing its resources to that of affito, or lease-holding.

      The contadini live in scattered houses; and he says the estate would be greatly improved by doubling the number of these dwellings, and letting the sub-divided farms to more energetic people. The village of Chiusure is inhabited by labourers. The contadini are poor: a dower, for instance, of fifty lire is thought something: whereas near Genoa, upon the leasehold system, a farmer may sometimes provide a dower of twenty thousand lire. The country produces grain of different sorts, excellent oil, and timber. It also yields a tolerable red wine. The Government makes from eight to nine per cent upon the value of the land, employing him and his two religious brethren as agents.

      In such conversations the evening passed. We rested well in large hard beds with dry rough sheets. But there was a fretful wind abroad, which went wailing round the convent walls and rattling the doors in its deserted corridors. One of our party had been placed by himself at the end of a long suite of apartments, with balconies commanding the wide sweep of hills that Monte Amiata crowns. He confessed in the morning to having passed a restless night, tormented by the ghostly noises of the wind, a wanderer, "like the world's rejected guest," through those untenanted chambers. The olives tossed their filmy boughs in twilight underneath his windows, sighing and shuddering, with a sheen in them as eery as that of willows by some haunted mere.

IV.

       Table of Contents

      The great attraction to students of Italian art in the convent of Monte Oliveto is a large square cloister, covered with wall-paintings by Luca Signorelli and Giovannantonio Bazzi, surnamed Il Sodoma. These represent various episodes in the life of S. Benedict; while one picture, in some respects the best of the whole series, is devoted to the founder of the Olivetan Order, Bernardo Tolomei, dispensing the rule of his institution to a consistory of white-robed monks. Signorelli, that great master of Cortona, may be studied to better advantage elsewhere, especially at Orvieto and in his native city. His work in this cloister, consisting of eight frescoes, has been much spoiled by time and restoration. Yet it can be referred to a good period of his artistic activity (the year 1497) and displays much which is specially characteristic of his manner. In Totila's barbaric train, he painted a crowd of fierce emphatic figures, combining all ages and the most varied attitudes, and reproducing with singular vividness the Italian soldiers of adventure of his day. We see before us the long-haired followers of Braccio and the Baglioni; their handsome savage faces; their brawny limbs clad in the parti-coloured hose and jackets of that period; feathered caps stuck sideways on СКАЧАТЬ