But after all our friend’s talk, though constant, became dispiriting, and we were willing when he left us. His integrity had, indeed, been so oppressive that I was glad to be swindled in the charge for our dinner at the Iron Crown, in Rovigo, and rode more cheerfully on to Ferrara.
III.
THE PICTURESQUE, THE IMPROBABLE, AND THE PATHETIC IN FERRARA.
I.
It was one of the fatalities of travel, rather than any real interest in the poet, which led me to visit the prison of Tasso on the night of our arrival, which was mild and moonlit. The portier at the Stella d’Oro suggested the sentimental homage to sorrows which it is sometimes difficult to respect, and I went and paid this homage in the coal-cellar in which was never imprisoned the poet whose works I had not read.
The famous hospital of St. Anna, where Tasso was confined for seven years, is still an asylum for the infirm and sick, but it is no longer used as a mad-house. It stands on one of the lone, silent Ferrarese streets, not far from the Ducal Castle, and it is said that from the window of his cell the unhappy poet could behold Leonora in her tower. It may be so; certainly those who can believe in the genuineness of the cell will have no trouble in believing that the vision of Tasso could pierce through several brick walls and a Doric portico, and at last comprehend the lady at her casement in the castle. We entered a modern gateway, and passed into a hall of the elder edifice, where a slim young soldier sat reading a romance of Dumas. This was the keeper of Tasso’s prison; and knowing me, by the instinct which teaches an Italian custodian to distinguish his prey, for a seeker after the True and Beautiful, he relinquished his romance, lighted a waxen taper, unbolted a heavy door with a dramatic clang, and preceded me to the cell of Tasso. We descended a little stairway, and found ourselves in a sufficiently spacious court, which was still ampler in the poet’s time, and was then a garden planted with trees and flowers. On a low doorway to the right was inscribed the legend “PRIGIONE DI TASSO,” and passing through this doorway into a kind of reception-cell, we entered the poet’s dungeon. It is an oblong room, with a low wagon-roof ceiling, under which it is barely possible to stand upright. A single narrow window admits the light, and the stone casing of this window has a hollow in a certain place, which might well have been worn there by the friction of the hand that for seven years passed the prisoner his food through the small opening. The young custodian pointed to this memento of suffering, without effusion, and he drew my attention to other remarkable things in the cell, without troubling himself to palliate their improbability in the least. They were his stock in trade; you paid your money, and took your choice of believing in them or not. On the other hand, my portier, an ex-valet de place, pumped a softly murmuring stream of enthusiasm; and expressed the freshest delight in the inspection of each object of interest.
One still faintly discerns among the vast number of names with which the walls of the ante-cell are bewritten, that of Lamartine. The name of Byron, which was once deeply graven in the stucco, had been scooped away by the Grand Duke of Tuscany (so the custodian said), and there is only part of a capital B now visible. But the cell itself is still fragrant of associations with the noble bard, who, according to the story related to Valery, caused himself to be locked up in it, and there, with his head fallen upon his breast, and frequently smiting his brow, spent two hours in pacing the floor with great strides. It is a touching picture; but its pathos becomes somewhat embarrassing when you enter the cell, and see the impossibility of taking more than three generous paces without turning. When Byron issued forth, after this exercise, he said (still according to Valery) to the custodian: “I thank thee, good man! The thoughts of Tasso are now all in my mind and heart.” “A short time after his departure from Ferrara,” adds the Frenchman, maliciously, “he composed his ‘Lament of Tasso,’ a mediocre result from such inspiration.” No doubt all this is colored, for the same author adds another tint to heighten the absurdity of the spectacle: he declares that Byron spent part of his time in the cell in writing upon the ceiling Lamartine’s verses on Tasso, which he misspelled. The present visitor has no means of judging of the truth concerning this, for the lines of the poet have been so smoked by the candles of successive pilgrims in their efforts to get light on them, that they are now utterly illegible. But if it is uncertain what were Byron’s emotions on visiting the prison of Tasso, there is no doubt about Lady Morgan’s: she “experienced a suffocating emotion; her heart failed her on entering that cell; and she satisfied a melancholy curiosity at the cost of a most painful sensation.”
I find this amusing fact stated in a translation of her ladyship’s own language, in a clever guide-book called Il Servitore di Piazza, which I bought at Ferrara, and from which, I confess, I have learnt all I know to confirm me in my doubt of Tasso’s prison. The Count Avventi, who writes this book, prefaces it by saying that he is a valet de place who knows how to read and write, and he employs these unusual gifts with singular candor and clearness. No one, he says, before the nineteenth century, ever dreamed of calling the cellar in question Tasso’s prison, and it was never before that time made the shrine of sentimental pilgrimage, though it has since been visited by every traveller who has passed through Ferrara. It was used during the poet’s time to hold charcoal and lime; and not long ago died an old servant of the hospital, who remembered its use for that purpose. It is damp, close, and dark, and Count Avventi thinks it hardly possible that a delicate courtier could have lived seven years in a place unwholesome enough to kill a stout laborer in two months; while it seems to him not probable that Tasso should have received there the visits of princes and other distinguished persons whom Duke Alfonso allowed to see him, or that a prisoner who was often permitted to ride about the city in a carriage should have been thrust back into such a cavern on his return to the hospital. “After this,” says our valet de place who knows how to read and write, “visit the prison of Tasso, certain that in the hospital of St. Anna that great man was confined for many years;” and, with this chilly warning, leaves his reader to his emotions.
I am afraid that if as frank caution were uttered in regard to other memorable places, the objects of interest in Italy would dwindle sadly in number, and the valets de place, whether they know how to read and write or not, would be starved to death. Even the learning of Italy is poetic; and an Italian would rather enjoy a fiction than know a fact — in which preference I am not ready to pronounce him unwise. But this characteristic of his embroiders the stranger’s progress throughout the whole land with fanciful improbabilities; so that if one use his eyes half as much as his wonder, he must see how much better it would have been to visit, in fancy, scenes that have an interest so largely imaginary. The utmost he can make out of the most famous place is, that it is possibly what it is said to be, and is more probably as near that as any thing local enterprise could furnish. He visits the very cell in which Tasso was confined, and has the satisfaction of knowing that it was the charcoal-cellar of the hospital in which the poet dwelt. And the genius loci — where is that? Away in the American woods, very likely, whispering some dreamy, credulous youth, — telling him charming fables of its locus, and proposing to itself to abandon him as soon as he sets foot upon its native ground. You see, though I cared little about Tasso, and nothing about his prison, I was heavily disappointed in not being able to believe in it, and felt somehow that I had been awakened from a cherished dream.
II.
But I have no right to cast the unbroken shadow of my skepticism upon the reader, and so I tell him a story about Ferrara which I actually believe. He must know that in Ferrara the streets are marvelous long and straight. On the corners formed by the crossing of two of the longest and straightest of these streets stand four palaces, in only one of which we have a present interest. This palace my guide took me to see, after our visit to Tasso’s prison, and, standing in its shadow, he related to me the occurrence which has given it a sad celebrity. It was, in the time of the gifted toxicologist, the residence of Lucr
ezia Borgia, who used to make poisonous little suppers there, and ask the best families of Italy to partake of them. It happened on one occasion that Lucrezia Borgia was thrust out of a ball-room at Venice as a disreputable character, and treated with peculiar indignity. She determined to make the Venetians repent their unwonted accession of virtue, and she therefore allowed the occurrence to be forgotten till the proper moment of her revenge arrived, when she gave a supper, and invited to her board eighteen young and handsome Venetian nobles. Upon the preparation of this repast she bestowed all the resources of her skillful and exquisite knowledge; and the result was, the Venetians were so felicitously poisoned that they had just time to listen to a speech from the charming and ingenious lady of the house before expiring. In this address she reminded her guests of the occurrence in the Venetian ball-room, and perhaps exulted a little tediously in her present vengeance. She was surprised and pained when one of the guests interrupted her, and, justifying the treatment she had received at Venice, declared himself her natural son. The lady instantly recognized him, and in the sudden revulsion of maternal feeling, begged him to take an antidote. This he not only refused to do, but continued his dying reproaches, till his mother, losing her self-command, drew her poniard and plunged it into his heart.
The blood of her son fell upon the table-cloth, and this being hung out of the window to dry, the wall received a stain, which neither the sun nor rain of centuries sufficed to efface, and which was only removed with the masonry, when it became necessary to restore the wall under that window, a few months before the time of my visit to Ferrara. Accordingly, the blood-stain has now disappeared; but the conscientious artist who painted the new wall has faithfully restored the tragic spot, by bestowing upon the stucco a bloody dash of Venetian red.
III.
It would be pleasant and merciful, I think, if old towns, after having served a certain number of centuries for the use and pride of men, could be released to a gentle, unmolested decay. I, for my part, would like to have the ducal cities of North Italy, such as Mantua, Modena, Parma, and Ferrara, locked up quietly within their walls, and left to crumble and totter and fall, without any harder presence to vex them in their decrepitude than that of some gray custodian, who should come to the gate with clanking keys, and admit the wandering stranger, if he gave signs of a reverent sympathy, to look for a little while upon the reserved and dignified desolation. It is a shame to tempt these sad old cities into unnatural activity, when they long ago made their peace with the world, and would fain be mixing their weary brick and mortar with the earth’s unbuilded dust; and it is hard for the emotional traveller to restrain his sense of outrage at finding them inhabited, and their rest broken by sounds of toil, traffic, and idleness; at seeing places that would gladly have had done with history still doomed to be parts of political systems, to read the newspapers, and to expose railway guides and caricatures of the Pope and of Napoleon in their shop windows.
Of course, Ferrara was not incorporated into a living nation against her will, and I therefore marveled the more that she had become a portion of the present kingdom of Italy. The poor little State had its day long before ours; it had been a republic, and then subject to lords; and then, its lords becoming dukes, it had led a life of gayety and glory till its fall, and given the world such names and memories as had fairly won it the right to rest forever from making history. Its individual existence ended with that of Alfonso II., in 1597, when the Pope declared it reverted to the Holy See; and I always fancied that it must have received with a spectral, yet courtly kind of surprise, those rights of man which bloody-handed France distributed to the Italian cities in 1796; that it must have experienced a ghostly bewilderment in its rapid transformation, thereafter, under Napoleon, into part of the Cispadan Republic, the Cisalpine Republic, the Italian Republic, and the Kingdom of Italy, and that it must have sunk back again under the rule of the Popes with gratitude and relief at last — as phantoms are reputed to be glad when released from haunting the world where they once dwelt. I speak of all this, not so much from actual knowledge of facts as from personal feeling; for it seems to me that if I were a city of the past, and must be inhabited at all, I should choose just such priestly domination, assured that though it consumed my substance, yet it would be well for my fame and final repose. I should like to feel that my old churches were safe from demolition: that my old convents and monasteries should always shelter the pious indolence of friars and nuns. It would be pleasant to have studious monks exploring quaint corners of my unphilosophized annals, and gentle, snuff-taking abbés writing up episodes in the history of my noble families, and dedicating them to the present heirs of past renown; while the thinker and the reviewer should never penetrate my archives. Being myself done with war, I should be glad to have my people exempt, as they are under the Pope, from military service; and I should hope that if the Legates taxed them, the taxes paid would be as so many masses said to get my soul out of the purgatory of perished capitals. Finally, I should trust that in the sanctified keeping of the Legates my mortal part would rest as sweetly as bones laid in hallowed earth brought from Jerusalem; and that under their serene protection I should be forever secure from being in any way exhumed and utilized by the ruthless hand of Progress.
However, as I said, this is a mere personal preference, and other old cities might feel differently. Indeed, though disposed to condole with Ferrara upon the fact of her having become part of modern Italy, I could not deny, on better acquaintance with her, that she was still almost entirely of the past. She has certainly missed that ideal perfection of non-existence under the Popes which I have just depicted, but she is practically almost as profoundly at rest under the King of Italy. One may walk long through the longitude and rectitude of many of her streets without the encounter of a single face: the place, as a whole, is by no means as lively as Pompeii, where there are always strangers; perhaps the only cities in the world worthy to compete with Ferrara in point of agreeable solitude are Mantua and Herculaneum. It is the newer part of the town — the modern quarter built before Boston was settled or Ohio was known — which is loneliest; and whatever motion and cheerfulness are still felt in Ferrara linger fondly about the ancient holds of life — about the street before the castle of the Dukes, and in the elder and narrower streets branching away from the piazza of the Duomo, where, on market days, there is a kind of dreamy tumult. In the Ghetto we were almost crowded, and people wanted to sell us things, with an enterprise that contrasted strangely with shopkeeping apathy elsewhere. Indeed, surprise at the presence of strangers spending two days in Ferrara when they could have got away sooner, was the only emotion which the whole population agreed in expressing with any degree of energy, but into this they seemed to throw their whole vitality. The Italians are everywhere an artless race, so far as concerns the gratification of their curiosity, from which no consideration of decency deters them. Here in Ferrara they turned about and followed us with their eyes, came to windows to see us, lay in wait for us at street-corners, and openly and audibly debated whether we were English or German. We might have thought this interest a tribute to something peculiar in our dress or manner, had it not visibly attended other strangers who arrived with us. It rose almost into a frenzy of craving to know more of us all, when on the third day the whole city assembled before our hotel, and witnessed, with a sort of desperate cry, the departure of the heavy-laden omnibus which bore us and our luggage from their midst.
IV.
I doubt if, after St. Mark’s in Venice, the Duomo at Parma, and the Four Fabrics at Pisa, there is a church more worthy to be seen for its quaint, rich architecture, than the Cathedral at Ferrara. It is of that beloved Gothic of which eye or soul cannot weary, and we continually wandered back to it from other more properly interesting objects. It is horribly restored in-doors, and its Renaissance splendors soon drove us forth, after we had looked at the Last Judgment by Bastianino. The style of this painting is muscular and Michelangelic, and the artist’s notion
of putting his friends in heaven and his foes in hell is by no means novel; but he has achieved fame for his picture by the original thought of making it his revenge for a disappointment in love. The unhappy lady who refused his love is represented in the depths, in the attitude of supplicating the pity and interest of another maiden in Paradise who accepted Bastianino, and who consequently has no mercy on her that snubbed him. But I counted of far more value than this fresco the sincere old sculptures on the façade of the cathedral, in which the same subject is treated, beginning from the moment the archangel’s trump has sounded. The people getting suddenly out of their graves at the summons are all admirable; but the best among them is the excellent man with one leg over the side of his coffin, and tugging with both hands to pull himself up, while the coffin-lid tumbles off behind. One sees instantly that the conscience of this early riser is clean, for he makes no miserable attempt to turn over for a nap of a few thousand years more, with the pretense that it was not the trump of doom, but some other and unimportant noise he had heard. The final reward of the blessed is expressed by the repose of one small figure in the lap of a colossal effigy, which I understood to mean rest in Abraham’s bosom; but the artist has bestowed far more interest and feeling upon the fate of the damned, who are all boiling in rows of immense pots. It is doubtful (considering the droll aspect of heavenly bliss as figured in the one small saint and the large patriarch) whether the artist intended the condition of his sinners to be so horribly comic as it is; but the effect is just as great, for all that, and the slowest conscience might well take alarm from the spectacle of fate so grotesque and ludicrous; for, wittingly or unwittingly, the artist here punishes, as Dante knew best how to do, the folly of sinners as well as their wickedness. Boiling is bad enough; but to be boiled in an undeniable dinner-pot, like a leg of mutton, is to suffer shame us well as agony.
Delphi Complete Works of William Dean Howells Page 1189
