The Complete Works of Henry James

by Henry James

portee, a shorter, thinner reverberation, than an old English country- house, round which experience seems piled so thick. But this perhaps is either hair-splitting or “racial” prejudice.

  [Illustration: ENTRANCE TO THE VATICAN, ROME]

  March 9th. —The Vatican is still deadly cold; a couple of hours there yesterday with R. W. E. Yet he, illustrious and enviable man, fresh from the East, had no overcoat and wanted none. Perfect bliss, I think, would be to live in Rome without thinking of overcoats. The Vatican seems very familiar, but strangely smaller than of old. I never lost the sense before of confusing vastness. Sancta simplicitas! All my old friends however stand there in undimmed radiance, keeping most of them their old pledges. I am perhaps more struck now with the enormous amount of padding—the number of third-rate, fourth-rate things that weary the eye desirous to approach freshly the twenty and thirty best. In spite of the padding there are dozens of treasures that one passes regretfully; but the impression of the whole place is the great thing—the feeling that through these solemn vistas flows the source of an incalculable part of our present conception of Beauty.

  April 10th. —Last night, in the rain, to the Teatro Valle to see a comedy of Goldoni in Venetian dialect—”I Quattro Rustighi.” I could but half follow it; enough, however, to be sure that, for all its humanity of irony, it wasn’t so good as Molière. The acting was capital—broad, free and natural; the play of talk easier even than life itself; but, like all the Italian acting I have seen, it was wanting in finesse, that shade of the shade by which, and by which alone, one really knows art. I contrasted the affair with the evening in December last that I walked over (also in the rain) to the Odeon and saw the “Plaideurs” and the “Malade lmaginaire.” There, too, was hardly more than a handful of spectators; but what rich, ripe, fully representational and above all intellectual comedy, and what polished, educated playing! These Venetians in particular, however, have a marvellous entrain of their own; they seem even less than the French to recite. In some of the women—ugly, with red hands and shabby dresses—an extraordinary gift of natural utterance, of seeming to invent joyously as they go.

  Later.—Last evening in H.’s box at the Apollo to hear Ernesto Rossi in “Othello.” He shares supremacy with Salvini in Italian tragedy. Beautiful great theatre with boxes you can walk about in; brilliant audience. The Princess Margaret was there—I have never been to the theatre that she was not—and a number of other princesses in neighbouring boxes. G. G. came in and instructed us that they were the M., the L., the P., &c. Rossi is both very bad and very fine; bad where anything like taste and discretion is required, but “all there,” and more than there, in violent passion. The last act reduced too much, however, to mere exhibitional sensibility. The interesting thing to me was to observe the Italian conception of the part—to see how crude it was, how little it expressed the hero’s moral side, his depth, his dignity—anything more than his being a creature terrible in mere tantrums. The great point was his seizing Iago’s head and whacking it half-a-dozen times on the floor, and then flinging him twenty yards away. It was wonderfully done, but in the doing of it and in the evident relish for it in the house there was I scarce knew what force of easy and thereby rather cheap expression.

  April 27th.—A morning with L. B. at Villa Ludovisi, which we agreed that we shouldn’t soon forget. The villa now belongs to the King, who has lodged his morganatic wife there. There is nothing so blissfully right in Rome, nothing more consummately consecrated to style. The grounds and gardens are immense, and the great rusty-red city wall stretches away behind them and makes the burden of the seven hills seem vast without making them seem small. There is everything—dusky avenues trimmed by the clippings of centuries, groves and dells and glades and glowing pastures and reedy fountains and great flowering meadows studded with enormous slanting pines. The day was delicious, the trees all one melody, the whole place a revelation of what Italy and hereditary pomp can do together. Nothing could be more in the grand manner than this garden view of the city ramparts, lifting their fantastic battlements above the trees and flowers. They are all tapestried with vines and made to serve as sunny fruit-walls—grim old defence as they once were; now giving nothing but a splendid buttressed privacy. The sculptures in the little Casino are few, but there are two great ones—the beautiful sitting Mars and the head of the great Juno, the latter thrust into a corner behind a shutter. These things it’s almost impossible to praise; we can only mark them well and keep them clear, as we insist on silence to hear great music…. If I don’t praise Guercino’s Aurora in the greater Casino, it’s for another reason; this is certainly a very muddy masterpiece. It figures on the ceiling of a small low hall; the painting is coarse and the ceiling too near. Besides, it’s unfair to pass straight from the Greek mythology to the Bolognese. We were left to roam at will through the house; the custode shut us in and went to walk in the park. The apartments were all open, and I had an opportunity to reconstruct, from its milieu at least, the character of a morganatic queen. I saw nothing to indicate that it was not amiable; but I should have thought more highly of the lady’s discrimination if she had had the Juno removed from behind her shutter. In such a house, girdled about with such a park, me thinks I could be amiable—and perhaps discriminating too. The Ludovisi Casino is small, but the perfection of the life of ease might surely be led there. There are English houses enough in wondrous parks, but they expose you to too many small needs and observances—to say nothing of a red-faced butler dropping his h’s. You are oppressed with the detail of accommodation. Here the billiard-table is old-fashioned, perhaps a trifle crooked; but you have Guercino above your head, and Guercino, after all, is almost as good as Guido. The rooms, I noticed, all pleased by their shape, by a lovely proportion, by a mass of delicate ornamentation on the high concave ceilings. One might live over again in them some deliciously benighted life of a forgotten type—with graceful old sale, and immensely thick walls, and a winding stone staircase, and a view from the loggia at the top; a view of twisted parasol-pines balanced, high above a wooden horizon, against a sky of faded sapphire.

  May 17th.—It was wonderful yesterday at St. John Lateran. The spring now has turned to perfect summer; there are cascades of verdure over all the walls; the early flowers are a fading memory, and the new grass knee-deep in the Villa Borghese. The winter aspect of the region about the Lateran is one of the best things in Rome; the sunshine is nowhere so golden and the lean shadows nowhere so purple as on the long grassy walk to Santa Croce. But yesterday I seemed to see nothing but green and blue. The expanse before Santa Croce was vivid green; the Campagna rolled away in great green billows, which seemed to break high about the gaunt aqueducts; and the Alban Hills, which in January and February keep shifting and melting along the whole scale of azure, were almost monotonously fresh, and had lost some of their finer modelling. But the sky was ultramarine and everything radiant with light and warmth—warmth which a soft steady breeze kept from excess. I strolled some time about the church, which has a grand air enough, though I don’t seize the point of view of Miss–-, who told me the other day how vastly finer she thought it than St. Peter’s. But on Miss–-‘s lips this seemed a very pretty paradox. The choir and transepts have a sombre splendour, and I like the old vaulted passage with its slabs and monuments behind the choir. The charm of charms at St. John Lateran is the admirable twelfth-century cloister, which was never more charming than yesterday. The shrubs and flowers about the ancient well were blooming away in the intense light, and the twisted pillars and chiselled capitals of the perfect little colonnade seemed to enclose them like the sculptured rim of a precious vase. Standing out among the flowers you may look up and see a section of the summit of the great façade of the church. The robed and mitred apostles, bleached and rain-washed by the ages, rose into the blue air like huge snow figures. I spent at the incorporated museum a subsequent hour of fond vague attention, havi
ng it quite to myself. It is rather scantily stocked, but the great cool halls open out impressively one after the other, and the wide spaces between the statues seem to suggest at first that each is a masterpiece. I was in the loving mood of one’s last days in Rome, and when I had nothing else to admire I admired the magnificent thickness of the embrasures of the doors and windows. If there were no objects of interest at all in the Lateran the palace would be worth walking through every now and then, to keep up one’s idea of solid architecture. I went over to the Scala Santa, where was no one but a very shabby priest sitting like a ticket-taker at the door. But he let me pass, and I ascended one of the profane lateral stairways and treated myself to a glimpse of the Sanctum Sanctorum. Its threshold is crossed but once or twice a year, I believe, by three or four of the most exalted divines, but you may look into it freely enough through a couple of gilded lattices. It is very sombre and splendid, and conveys the impression of a very holy place. And yet somehow it suggested irreverent thoughts; it had to my fancy—perhaps on account of the lattice—an Oriental, a Mahometan note. I expected every moment to see a sultana appear in a silver veil and silken trousers and sit down on the crimson carpet.

  Farewell, packing, the sharp pang of going. One would like to be able after five months in Rome to sum up for tribute and homage, one’s experience, one’s gains, the whole adventure of one’s sensibility. But one has really vibrated too much—the addition of so many items isn’t easy. What is simply clear is the sense of an acquired passion for the place and of an incalculable number of gathered impressions. Many of these have been intense and momentous, but one has trodden on the other—there are always the big fish that swallow up the little—and one can hardly say what has become of them. They store themselves noiselessly away, I suppose, in the dim but safe places of memory and “taste,” and we live in a quiet faith that they will emerge into vivid relief if life or art should demand them. As for the passion we needn’t perhaps trouble ourselves about that. Fifty swallowed palmfuls of the Fountain of Trevi couldn’t make us more ardently sure that we shall at any cost come back.

  1873.

  A FEW OTHER ROMAN NEIGHBOURHOODS

  If I find my old notes, in all these Roman connections, inevitably bristle with the spirit of the postscript, so I give way to this prompting to the extent of my scant space and with the sense of other occasions awaiting me on which I shall have to do no less. The impression of Rome was repeatedly to renew itself for the author of these now rather antique and artless accents; was to overlay itself again and again with almost heavy thicknesses of experience, the last of which is, as I write, quite fresh to memory; and he has thus felt almost ashamed to drop his subject (though it be one that tends so easily to turn to the infinite) as if the law of change had in all the years had nothing to say to his case. It’s of course but of his case alone that he speaks—wondering little what he may make of it for the profit of others by an attempt, however brief, to point the moral of the matter, or in other words compare the musing mature visitor’s “feeling about Rome” with that of the extremely agitated, even if though extremely inexpert, consciousness reflected in the previous pages. The actual, the current Rome affects him as a world governed by new conditions altogether and ruefully pleading that sorry fact in the ear of the antique wanderer wherever he may yet mournfully turn for some re-capture of what he misses. The city of his first unpremeditated rapture shines to memory, on the other hand, in the manner of a lost paradise the rustle of whose gardens is still just audible enough in the air to make him wonder if some sudden turn, some recovered vista, mayn’t lead him back to the thing itself. My genial, my helpful tag, at this point, would doubtless properly resolve itself, for the reader, into a clue toward some such successful ingenuity of quest; a remark I make, I may add, even while reflecting that the Paradise isn’t apparently at all “lost” to visitors not of my generation. It is the seekers of that remote and romantic tradition who have seen it, from one period of ten, or even of five, years to another, systematically and remorselessly built out from their view. Their helpless plaint, their sense of the generally irrecoverable and unspeakable, is not, however, what I desire here most to express; I should like, on the contrary, with ampler opportunity, positively to enumerate the cases, the cases of contact, impression, experience, in which the cold ashes of a long-chilled passion may fairly feel themselves made to glow again. No one who has ever loved Rome as Rome could be loved in youth and before her poised basketful of the finer appeals to fond fancy was actually upset, wants to stop loving her; so that our bleeding and wounded, though perhaps not wholly moribund, loyalty attends us as a hovering admonitory, anticipatory ghost, one of those magnanimous life-companions who before complete extinction designate to the other member of the union their approved successor. So it is at any rate that I conceive the pilgrim old enough to have become aware in all these later years of what he misses to be counselled and pacified in the interest of recognitions that shall a little make up for it.

  It was this wisdom I was putting into practice, no doubt, for instance, when I lately resigned myself to motoring of a splendid June day “out to” Subiaco; as a substitute for a resignation that had anciently taken, alas, but the form of my never getting there at all. Everything that day, moreover, seemed right, surely; everything on certain other days that were like it through their large indebtedness, at this, that and the other point, to the last new thing, seemed so right that they come back to me now, after a moderate interval, in the full light of that unchallenged felicity. I couldn’t at all gloriously recall, for instance, as I floated to Subiaco on vast brave wings, how on the occasion of my first visit to Rome, thirty-eight years before, I had devoted certain evenings, evenings of artless “preparation” in my room at the inn, to the perusal of Alphonse Dantier’s admirable Monastères Bénédictins d’ltalie, taking piously for granted that I should get myself somehow conveyed to Monte Cassino and to Subiaco at least: such an affront to the passion of curiosity, the generally infatuated state then kindled, would any suspicion of my foredoomed, my all but interminable, privation during visits to come have seemed to me. Fortune, in the event, had never favoured my going, but I was to give myself up at last to the sense of her quite taking me by the hand, and that is how I now think of our splendid June day at Subiaco. The note of the wondrous place itself is conventional “wild” Italy raised to the highest intensity, the ideally, the sublimely conventional and wild, complete and supreme in itself, without a disparity or a flaw; which character of perfect picturesque orthodoxy seemed more particularly to begin for me, I remember, as we passed, on our way, through that indescribable and indestructible Tivoli, where the jumble of the elements of the familiarly and exploitedly, the all too notoriously fair and queer, was more violent and vociferous than ever—so the whole spectacle there seemed at once to rejoice in cockneyfication and to resist it. There at least I had old memories to renew— including that in especial, from a few years back, of one of the longest, hottest, dustiest return-drives to Rome that the Campagna on a sirocco day was ever to have treated me to.

  [Illustration: VILLA D’ESTE, TIVOLI]

  That was to be more than made up on this later occasion by an hour of early evening, snatched on the run back to Rome, that remains with me as one of those felicities we are wise to leave for ever, just as they are, just, that is, where they fell, never attempting to renew or improve them. So happy a chance was it that ensured me at the afternoon’s end a solitary stroll through the Villa d’ Este, where the day’s invasion, whatever it might have been, had left no traces and where I met nobody in the great rococo passages and chambers, and in the prodigious alleys and on the repeated flights of tortuous steps, but the haunting Genius of Style, into whose noble battered old face, as if it had come out clearer in the golden twilight and on recognition of response so deeply moved, I seemed to exhale my sympathy. This was truly, amid a conception and order of things all mossed over from disuse, but still without a form aban
doned or a principle disowned, one of the hours that one doesn’t forget. The ruined fountains seemed strangely to wait, in the stillness and under cover of the approaching dusk, not to begin ever again to play, also, but just only to be tenderly imagined to do so; quite as everything held its breath, at the mystic moment, for the drop of the cruel and garish exposure, for the Spirit of the place to steal forth and go his round. The vistas of the innumerable mighty cypresses ranged themselves, in their files and companies, like beaten heroes for their captain’s, review; the great artificial “works” of every description, cascades, hemicycles, all graded and grassed and stone-seated as for floral games, mazes and bowers and alcoves and grottos, brave indissoluble unions of the planted and the builded symmetry, with the terraces and staircases that overhang and the arcades and cloisters that underspread, made common cause together as for one’s taking up a little, in kindly lingering wonder, the “feeling” out of which they have sprung. One didn’t see it, under the actual influence, one wouldn’t for the world have seen it, as that they longed to be justified, during a few minutes in the twenty-four hours, of their absurdity of pomp and circumstance—but only that they asked for company, once in a way, as they were so splendidly formed to give it, and that the best company, in a changed world, at the end of time, what could they hope it to be but just the lone, the dawdling person of taste, the visitor with a flicker of fancy, not to speak of a pang of pity, to spare for them? It was in the flicker of fancy, no doubt, that as I hung about the great top-most terrace in especial, and then again took my way through the high gaunt corridors and the square and bare alcoved and recessed saloons, all overscored with such a dim waste of those painted, those delicate and capricious decorations which the loggie of the Vatican promptly borrowed from the ruins of the Palatine, or from whatever other revealed and inspiring ancientries, and which make ghostly confession here of that descent, I gave the rein to my sense of the sinister too, of that vague after-taste as of evil things that lurks so often, for a suspicious sensibility, wherever the terrible game of the life of the Renaissance was played as the Italians played it; wherever the huge tessellated chessboard seems to stretch about us; swept bare, almost always violently swept bare, of its chiselled and shifting figures, of every value and degree, but with this echoing desolation itself representing the long gasp, as it were, of overstrained time, the great after-hush that follows on things too wonderful or dreadful.