Delphi Complete Works of William Dean Howells

by William Dean Howells

  I had not been in Genoa since 1864 except for a few days in 1905, and I saw changes which I will mostly not specify. Already at the earlier date the railway had cut through the beautiful and reverend Doria garden and left the old palace some scanty grounds on the sea-level, where commerce noisily encompassed it with trains and tracks and lines of freight-cars. But there had remained up to my last visit that grot on the gardened hill-slope whence a colossal marble Hercules helplessly overlooked the offence offered by the railroad; and now suddenly here was the lofty wall of some new edifice stretching across in front of the Hercules and wholly shutting him from view; for all I know it may have made him part of its structure.

  Let this stand for a type of the change which had passed upon Genoa and has passed or is passing upon all Italy. The trouble is that Italy is full of very living Italians, the quickest-witted people in the world, who are alert to seize every chance for bettering themselves financially as they have bettered themselves politically. For my part, I always wonder they do not still rule the world when I see how intellectually fit they are to do it, how beyond any other race they seem still equipped for their ancient primacy. Possibly it is their ancient primacy which hangs about their necks and loads them down. It is better to have too little past, as we have, than too much, as they have. But if antiquity hampers them, they are tenderer of its vast mass than we are of our little fragments of it; tenderer than any other people, except perhaps the English, have shown themselves; but when the time comes that the past stands distinctly in the way of the future, down goes the past, even in Italy. I am not saying that I do not see why that railroad could not have tunnelled under the Doria garden rather than cut through it; and I am waiting for that new building to justify its behavior toward that poor old Hercules; but in the mean time I hold that Italy is for the Italians who now live in it, and have to get that better living out of it which we others all want our countries to yield us; and that it is not merely a playground for tourists who wish to sentimentalize it, or study it, or sketch it, or make copy of it, as I am doing now.

  All the same I will not deny that I enjoyed more than any of the improvements which I noted in Genoa that bit of the old Doria palace-grounds which progress has left it. The gray edifice looks out on the neighboring traffic across the leanness of a lovely old garden, with statues and stone seats, and in the midst a softly soliloquizing fountain, painted green with moss and mould. When you enter the palace, as you do in response to a custodian who soon comes with a key and asks if you would like to see it, you find yourself, one flight up, in a long glazed gallery, fronting on the garden, which is so warm with the sun that you wish to spend the rest of your stay in Genoa there. It is frescoed round with classically imagined portraits of the different Dorias, and above all the portrait of that great hero of the republic. I do not know that this portrait particularly impresses you; if you have been here before you will be reserving yourself for the portrait which the custodian will lead you to see in the ultimate chamber of the rather rude old palace, where it is like a living presence.

  It is the picture of a very old man in a flat cap, sitting sunken forward in his deep chair, with his thin, long hands folded one on the other, and looking wearily at you out of his faded eyes, in which dwell the memories of action in every sort and counsel in every kind. Victor in battles by land and sea, statesman and leader and sage, he looks it all in that wonderful effigy, which shuns no effect of his more than ninety years, but confesses his great age as a part of his greatness with a pathetic reality. The white beard, with “each particular hair” defined, falling almost to the pale, lean hands, is an essential part of the presentment, which is full of such scrupulous detail as the eye would unconsciously take note of in confronting the man himself and afterward supply in the remembrance of the whole. As if it were a part of his personality, on a table facing him, covered with maps and papers, sits the mighty admiral’s cat, which, with true feline im-passiveness, ignores the spectator and gives its sole regard to the admiral. There are possibly better portraits in the world than this, which was once by Sebastiano del Piombo and is now by Titian; but I remember none which has moved me more.

  We tried in vain for a photograph of it, and then after a brief glance at the riches of the Church of the Annunziata, where we were followed around the interior by a sacristan who desired us to note that the pillars were “All inlady, all inlady” with different marbles, and, after a chilly moment in San Lorenzo, which the worshippers and the masons were sharing between them in the prayers and repairs always going on in cathedrals, we drove for luncheon to the hotel where we had sojourned in great comfort three years before. Genoa has rather a bad name for its hotels, but we had found this one charming, perhaps because when we had objected to going five flights up the landlord had led us yet a floor higher, that we might walk into the garden. It is so in much of Genoa, where the precipitous nature of the site makes this vivid contrast between the levels of the front door and the back gate. Many of the streets have been widened since Heine saw the gossiping neighbors touching knees across them, but nothing less than an earthquake could change the temperamental topography of the place. It has its advantages; when there is a ring at the door the housemaid, instead of panting up from the kitchen to answer it, has merely to fall down five pairs of stairs. It cannot be denied, either, that the steep incline gives a charm to the streets which overcome it with sidewalks and driveways and trolley-tracks. Such a street as the Via Garibaldi (there is a Via Garibaldi in every Italian city, town, and village, and ought to be a dozen), compactly built, but giving here and there over the houses’ shoulders glimpses of the gardens lurking behind them, is of a dignity full of the energy which a flat thoroughfare never displays or imparts. Without the inspiration lent us by the street, I am sure we should never have got to the top of it with our cab when we went to the Campo Santo; and, as it was, we had to help our horses upward by involuntarily straining forward from our places. But the Campo Santo was richly worth the effort, for to visit that famous cemetery is to enjoy an experience of which it is the unique opportunity.

  I wish to celebrate it because it seems to me one of the frankest expressions of national taste and nature, and I do like simplicity — in others. The modern Italians are the most literal of the realists in all the arts, and, as I had striven for reality in my own poor way, I was perhaps the more curious to see its effects in sculpture which I had heard of so much. I will own that they went far beyond my expectation and possibly my wishes; but it is not to be supposed that it is only inferior artists who have abandoned themselves to the excesses of fidelity so abundant in the Campo Santo. There are, of course, enough poor falterings of allegory and tradition in the marble walls and floors of this vast residence of the dead (as it gives you the cheerful impression of being), but the characteristic note of the place is a realism braving it out in every extreme of actuality. Possibly the fact is most striking in that death-bed scene where the family, life-size and unsparingly portraitured, and, as it were, photographed in marble, are gathered in the room of the dying mother. She lies on a bedstead which bears every mark of being one of a standard chamber-set in the early eighteen-seventies, and about her stand her husband and her sons and daughters and their wives and husbands, in the fashions of that day. I recall a brother, in a cutaway coat, and a daughter, in a tie-back, embraced in their grief and turning their faces away from their mother toward the spectator; and doubtless there were others whom to describe in their dress would render as grotesque. It is enough to say that the artist, of a name well known in Italy and of uncommon gift, has been as true to the moment in their costume as to the eternal humanity in their faces. He has done what the sculptor or painter of the great periods of art used to do with their historical and scriptural people — he has put them in the dress of his own time and place; and it is impossible to deny him a convincing logic. No sophistry or convention of drapery in the scene could have conveyed its pathos half so well, or indeed at all. It does make you shudd
er, I allow; it sets your teeth on edge; but then, if you are a real man or woman, it brings the lump into your throat; the smile fails from your lip; you pay the tribute of genuine pity and awe. I will not pretend that I was so much moved by the meeting in heaven of a son and father: the spirit of the son in a cutaway, with a derby hat in his hand, gazing with rapture into the face of the father’s spirit in a long sack-coat holding his marble bowler elegantly away from his side, if I remember rightly. But here the fact wanted the basis of simplicity so strong in the other scene; in the mixture of the real and the ideal the group was romanticistic.

  There are innumerable other portrait figures and busts in which the civic and social hour is expressed. The women’s hair is dressed in this fashionable way or that; the men’s beards are cut in conformity to the fashion or the personal preference in side whiskers or mustache or imperial or goatee; and their bronze or marble faces convey the contemporary character of aristocrat or bourgeois or politician or professional. I do not know just what the reader would expect me to say in defence of the full-length figure of a lady in decollete and trained evening dress, who enters from the tomb toward the spectator as if she were coming into a drawing-room after dinner. She is very beautiful, but she is no longer very young, and the bare arms, which hang gracefully at her side, respond to an intimation of embonpoint in the figure, with a slightly flabby over-largeness where they lose themselves in the ample shoulders. Whether this figure is the fancy of the sorrowing husband or the caprice of the defunct herself, who wished to be shown to after-time as she hoped she looked in the past, I do not know; but I had the same difficulty with it as I had with that father and son; it was romanticistic. Wholly realistic and rightly actual was that figure of an old woman who is said to have put by all her savings from the grocery business that she might appear properly in the Campo Santo, and who is shown there short and stout and common, in her ill-fitting best dress, but motherly and kind and of an undeniable and touching dignity.

  If I am giving the reader the impression that I went to the Campo Santo in my last stop at Genoa, I am deceiving him; I record here the memories of four years ago. I did not revisit the place, but I should like to see it again, if only to revive my recollections of its unique interest. I did really revisit the Pal-lavicini-Durazzo palace, and there revived the pleasure I had known before in its wonderful Van Dycks. Most wonderful was and will always be the “Boy in White,” the little serene princeling, whoever he was, in whom the painter has fixed forever a bewitching mood and moment of childhood. “The Mother with two Children” is very well and self-evidently true to personality and period and position; but, after all, she is nothing beside that “Boy in White,” though she and her children are otherwise so wonderful. Now that I speak of her, however, she rather grows upon my recollection as a woman greater than her great world and proudly weary of it.

  She was a lady of that very patrician house whose palace, in its cold grandeur and splendor, renews at once all one’s faded or fading sense of the commercial past of Italy, when her greatest merchants were her greatest nobles and dwelt in magnificence unparalleled yet since Rome began to be old. Genoa, Venice, Pisa, Florence, what state their business men housed themselves in and environed themselves with! Their palaces by the hundreds were such as only the public edifices of our less simple State capitols could equal in size and not surpass in cost. Their folie des grandeurs realized illusions in architecture, in sculpture, and in painting which the assembled and concentrated feats of those arts all the way up and down Fifth Avenue, and in the millionaire blocks eastward could not produce the likeness of. We have the same madness in our brains; we have even a Roman megalomania, but the effect of it in Chicago or Pittsburg or Philadelphia or New York has not yet got beyond a ducal or a princely son-in-law. The splendors of such alliances have still to take substantial form in a single instance worthy to compare with a thousand instances in the commercial republics of Italy. This does not mean that our rich people have not so much money as the Italians of the Renaissance, but that perhaps in their folie des grandeurs they are a different kind of madmen; it means also that land and labor are dearer positively and comparatively with us, and that our pork-packing or stock-broking princes prefer to spend on comfort rather than size in their houses, and do not like the cold feet which the merchant princes of Italy must have had from generation to generation. I shall always be sorry I did not wear arctics when I went to the Pallavicini-Durazzo palace, and I strongly urge the reader to do so when he goes.

  He will not so much need them out-of-doors in a Genoese January, unless a tramontana is blowing, and there was none on our half-day. But in any case we did not walk. We selected the best-looking cab-horse we could find, and he turned out better than his driver, who asked a fabulous price by the hour. We obliged him to show his tariff, when his wickedness was apparent from the printed rates. He explained that the part we were looking at was obsolete, and he showed us another part, which was really for drives outside the city; but we agreed to pay it, and set out hoping for good behavior from him that would make up the difference. Again we were deceived; at the end he demanded a franc beyond even his unnatural fare. I urged that one should be reasonable; but he seemed to think not, and to avoid controversy I paid the extortionate franc. I remembered that just a month before, in New York, I had paid an extortionate dollar in like circumstances.

  Nevertheless, that franc above and beyond the stipulated extortion impoverished me, and when we came to take a rowboat back to our steamer I beat the boatman down cruelly, mercilessly. He was a poor, lean little man, with rather a superannuated boat, and he labored harder at the oar than I could bear to see without noting his exertion to him. This was fatal; instantly he owned that I was right, and he confessed, moreover, that he was the father of a family, and that some of his children were then suffering from sickness as well as want. What could one do but make the fare up to the first demand of three francs after having got the price down to one and a half? At the time it seemed to me that I was somehow by this means getting the better of the cabman who had obliged me to pay a franc more than his stipulated extortion, but I do not now hope to make it appear so to the reader.

  IV. NAPLES AND HER JOYFUL NOISE

  We heard the joyful noise of Naples as soon as our steamer came to anchor within the moles whose rigid lines perhaps disfigure her famous bay, while they render her harbor so secure. The noise first rose to us, hanging over the guard, and trying to get phrases for the glory of her sea and sky and mountains and monuments, from a boat which seemed to have been keeping abreast of us ever since we had slowed up. It was not a largo boat, but it managed to contain two men with mandolins, a mother of a family with a guitar, and a young girl with an alternate tambourine and umbrella. The last instrument was inverted to catch the coins, such as they were, which the passengers flung down to the minstrels for their repetitions of “Santa Lucia,” “Funicoli-Funicola,” “II Cacciatore,” and other popular Neapolitan airs, such as “John Brown’s Body” and “In the Bowery.” To the songs that had a waltz movement the mother of a family performed a restricted dance, at some risk of falling overboard, while she smiled radiantly up at us, as, in fact, they all did, except the young girl, who had to play simultaneously on her tambourine and her inverted umbrella, and seemed careworn. Her anxiety visibly deepened to despair when she missed a shilling, which must have looked as large to her as a full moon as it sank slowly down into the sea.

  But her despair did not last long; nothing lasts long in Naples except the joyful noise, which is incessant and perpetual, and which seems the expression of the universal temperament in both man and beast. Our good-fortune placed us in a hotel fronting the famous Castel dell’ Ovo, across a little space of land and water, and we could hear, late and early, the cackling and crowing of the chickens which have replaced the hapless prisoners of other days in that fortress. At times the voices of the hens were lifted in a choral of self-praise, as if they had among them just laid the mighty structur
e which takes its name from its resemblance to the egg they ordinarily produce. In other lands the peculiar note of the donkey is not thought very melodious, but in Naples before it can fade away it is caught up in the general orchestration and ceases in music. The cabmen at our corner, lying in wait by scores for the strangers whom it is their convention to suppose ignorant of their want of a carriage, quarrelled rhythmically with one another; the mendicants, lying everywhere in wait for charity, murmured a modulated appeal; if you heard shouts or yells afar off they died upon your ear in a strain of melody at the moment when they were lifted highest. I am aware of seeming to burlesque the operatic fact which every one must have noticed in Naples; and I will not say that the neglected or affronted babe, or the trodden dog, is as tuneful as the midnight cat there, but only that they approach it in the prevailing tendency of all the local discords to soften and lose themselves in the general unison. This embraces the clatter of the cabs, which are seldom less than fifty years old, and of a looseness in all their joints responsive to their effect of dusty decrepitude. Their clatter penetrates the volumed tread of the myriad feet in a city where, if you did not see all sorts of people driving, you would say the whole population walked. Above the manifold noises gayly springing to the sky spreads and swims the clangor of the church-bells and holds the terrestrial uproar in immeasurable solution. It would be rash to say that the whole population of Naples is always in the street, for if you look into the shops or cafes, or, I dare say, the houses, you will find them quite full; but the general statement verifies itself almost tiresomely in its agreement with what everybody has always said of Naples. It is so quite what you expect that if you could you would turn away in satiety, especially from the swarming life of the poor, which seems to have no concealments from the public, but frankly works at all the trades and arts that can be carried on out-of-doors; cooks, eats, laughs, cries, sleeps, wakes, makes love, quarrels, scolds, does everything but wash itself — clothes enough it washes for other people’s life. There is a reason for this in the fact that in bad weather at Naples it is cold and dark and damp in-doors, and in fine so bright and warm and charming without that there is really no choice. Then there is the expansive temperament, which if it were shut up would probably be much more explosive than it is now. As it is, it vents itself in volleyed detonations and scattered shots which language can give no sense of.