III.
It is proper, after seeing the sites of some of the principal temples in Pompeii (such as those of Jupiter and Venus), to cross the fields that cover a great breadth of the buried city, and look into the amphitheatre, where, as every body knows, the lions had no stomach for Glaucus on the morning of the fatal eruption. The fields are now planted with cotton, and of course we thought those commonplaces about the wonder the Pompeians would feel could they come back to see that New-World plant growing above their buried homes. We might have told them, the day of our visit, that this cruel plant, so long watered with the tears of slaves, and fed with the blood of men, was now an exile from its native fields, where war was plowing with sword and shot the guilty land, and rooting up the subtlest fibres of the oppression in which cotton had grown king. And the ghosts of wicked old Pompeii, remembering the manifold sins that called the fires of hell to devour her, and thinking on this exiled plant, the latest witness of God’s unforgetting justice, might well have shuddered, through all their shadow, to feel how terribly He destroys the enemies of Nature and man.
But the only Pompeian presences which haunted our passage of the cotton-field were certain small
“Phantoms of delight,”
with soft black eyes and graceful ways, who ran before us and plucked the bolls of the cotton and sold them to us. Embassies bearing red and white grapes were also sent out of the cottages to our excellencies; and there was some doubt of the currency of the coin which we gave these poor children in return.
There are now but few peasants living on the land over the head of Pompeii, and the Government allows no sales of real estate to be made except to itself. The people who still dwell here can hardly be said to own their possessions, for they are merely allowed to cultivate the soil. A guard stationed night and day prevents them from making excavations, and they are severely restricted from entering the excavated quarters of the city alone.
The cotton whitens over two thirds of Pompeii yet interred: happy the generation that lives to learn the wondrous secrets of that sepulchre! For, when you have once been at Pompeii, this phantasm of the past takes deeper hold on your imagination than any living city, and becomes and is the metropolis of your dreamland forever. O marvelous city! who shall reveal the cunning of your spell? Something not death, something not life – something that is the one when you turn to determine its essence as the other! What is it comes to me at this distance of that which I saw in Pompeii? The narrow and curving, but not crooked streets, with the blazing sun of that Neapolitan November falling into them, or clouding their wheel-worn lava with the black, black shadows of the many-tinted walls; the houses, and the gay columns of white, yellow, and red; the delicate pavements of mosaic; the skeletons of dusty cisterns and dead fountains; inanimate garden spaces with pygmy statues suited to their littleness; suites of fairy bed-chambers, painted with exquisite frescos; dining-halls with joyous scenes of hunt and banquet on their walls; the ruinous sites of temples; the melancholy emptiness of booths and shops and jolly drinking-houses; the lonesome tragic theatre, with a modern Pompeian drawing water from a well there; the baths with their roofs perfect yet, and the stucco bass-reliefs all but unharmed; around the whole, the city wall crowned with slender poplars; outside the gates, the long avenue of tombs, and the Appian Way stretching on to Stabiae; and, in the distance, Vesuvius, brown and bare, with his fiery breath scarce visible against the cloudless heaven; – these are the things that float before my fancy as I turn back to look at myself walking those enchanted streets, and to wonder if I could ever have been so blest.
For there is nothing on the earth, or under it, like Pompeii.
The amphitheatre, to which we came now, after our stroll across the cotton-fields, was small, like the vastest things in Pompeii, and had nothing of the stately magnificence of the Arena at Verona, nor any thing of the Roman Coliseum’s melancholy and ruinous grandeur. But its littleness made it all the more comfortable and social, and, seated upon its benches under a cool awning, one could have almost chatted across the arena with one’s friends; could have witnessed the spectacle on the sands without losing a movement of the quick gladiators, or an agony of the victim given to the beasts – which must have been very delightful to a Pompeian of companionable habits and fine feelings. It is quite impossible, however, that the bouts described by Bulwer as taking place all at the same time on the arena should really have done so: the combatants would have rolled and tumbled and trampled over each other an hundred times in the narrow space.
Of all the voices with which it once rang the poor little amphitheatre has kept only an echo. But this echo is one of the most perfect ever heard: prompt clear, startling, it blew back the light chaff we threw to it with amazing vehemence, and almost made us doubt if it were not a direct human utterance. Yet how was Ventisei to know our names? And there was no one else to call them but ourselves. Our “dolce duca” gathered a nosegay from the crumbling ledges, and sat down in the cool of the once-cruel cells beneath, and put it prettily together for the ladies. When we had wearied ourselves with the echo he arose and led us back into Pompeii.
IV.
The plans of nearly all the houses in the city are alike: the entrance-room next the door; the parlor or drawing-room next that; then the impluvium, or unroofed space in the middle of the house, where the rains were caught and drained into the cistern, and where the household used to come to wash itself, primitively, as at a pump; the little garden, with its painted columns, behind the impluvium, and, at last, the dining-room. There are minute bed-chambers on either side, and, as I said, a shop at one side in front, for the sale of the master’s grain, wine, and oil. The pavements of all the houses are of mosaic, which, in the better sort, is very delicate and beautiful, and is found sometimes perfectly uninjured. An exquisite pattern, often repeated, is a ground of tiny cubes of white marble with dots of black dropped regularly into it. Of course there were many picturesque and fanciful designs, of which the best have been removed to the Museum in Naples; but several good ones are still left, and (like that of the Wild Boar) give names to the houses in which they are found.
But, after all, the great wonder, the glory, of these Pompeian houses is in their frescos. If I tried to give an idea of the luxury of color in Pompeii, the most gorgeous adjectives would be as poorly able to reproduce a vivid and glowing sense of those hues as the photography which now copies the drawing of the decorations; so I do not try.
I know it is a cheap and feeble thought, and yet, let the reader please to consider: A workman nearly two thousand years laying upon the walls those soft lines that went to make up fauns and satyrs, nymphs and naiads, heroes and gods and goddesses; and getting weary and lying down to sleep, and dreaming of an eruption of the mountain; of the city buried under a fiery hail, and slumbering in its bed of ashes seventeen centuries; then of its being slowly exhumed, and, after another lapse of years, of some one coming to gather the shadow of that dreamer’s work upon a plate of glass, that he might infinitely reproduce it and sell it to tourists at from five francs to fifty centimes a copy – I say, consider such a dream, dreamed in the hot heart of the day, after certain cups of Vesuvian wine! What a piece of Katzenjämmer (I can use no milder term) would that workman think it when he woke again! Alas! what is history and the progress of the arts and sciences but one long Katzenjämmer!
Photography cannot give, any more than I, the colors of the frescos, but it can do the drawing better, and, I suspect, the spirit also. I used the word workman, and not artist, in speaking of the decoration of the walls, for in most cases the painter was only an artisan, and did his work probably by the yard, as the artisan who paints walls and ceilings in Italy does at this day. But the old workman did his work much more skillfully and tastefully than the modern – threw on expanses of mellow color, delicately paneled off the places for the scenes, and penciled in the figures and draperies (there are usually more of the one than the other) with a deft hand. Of course, the houses of the ric
h were adorned by men of talent; but it is surprising to see the community of thought and feeling in all this work, whether it be from cunninger or clumsier hands. The subjects are nearly always chosen from the fables of the gods, and they are in illustration of the poets, Homer and the rest. To suit that soft, luxurious life which people led in Pompeii, the themes are commonly amorous, and sometimes not too chaste; there is much of Bacchus and Ariadne, much of Venus and Adonis, and Diana bathes a good deal with her nymphs, – not to mention frequent representations of the toilet of that beautiful monster which the lascivious art of the time loved to depict. One of the most pleasing of all the scenes is that in one of the houses, of the Judgment of Paris, in which the shepherd sits upon a bank in an attitude of ineffable and flattered importance, with one leg carelessly crossing the other, and both hands resting lightly on his shepherd’s crook, while the goddesses before him await his sentence. Naturally the painter has done his best for the victress in this rivalry, and you see
“Idalian Aphrodite beautiful,”
as she should be, but with a warm and piquant spice of girlish resentment in her attitude, that Paris should pause for an instant, which is altogether delicious.
“And I beheld great Here’s angry eyes.”
Awful eyes! How did the painter make them? The wonder of all these pagan frescos is the mystery of the eyes – still, beautiful, unhuman. You cannot believe that it is wrong for those tranquil-eyed men and women to do evil, they look so calm and so unconscious in it all; and in the presence of the celestials, as they bend upon you those eternal orbs, in whose regard you are but a part of space, you feel that here art has achieved the unearthly. I know of no words in literature which give a sense (nothing gives the idea) of the stare of these gods, except that magnificent line of Kingsley’s, describing the advance over the sea toward Andromeda of the oblivious and unsympathizing Nereids. They floated slowly up, and their eyes
“Stared on her, silent and still, like the eyes in the house of the idols.”
The colors of this fresco of the Judgment of Paris are still so fresh and bright, that it photographs very well, but there are other frescos wherein there is more visible perfection of line, but in which the colors are so dim that they can only be reproduced by drawings. One of these is the Wounded Adonis cared for by Venus and the Loves; in which the story is treated with a playful pathos wonderfully charming. The fair boy leans in the languor of his hurt toward Venus, who sits utterly disconsolate beside him, while the Cupids busy themselves with such slight surgical offices as Cupids may render: one prepares a linen bandage for the wound, another wraps it round the leg of Adonis, another supports one of his heavy arms, another finds his own emotions too much for him and pauses to weep. It is a pity that the colors of this beautiful fresco are grown so dim, and a greater pity that most of the other frescos in Pompeii must share its fate, and fade away. The hues are vivid when the walls are first uncovered, and the ashes washed from the pictures, but then the malice of the elements begins anew, and rain and sun draw the life out of tints which the volcano failed to obliterate. In nearly all cases they could be preserved by throwing a roof above the walls, and it is a wonder that the Government does not take this slight trouble to save them.
Among the frescos which told no story but their own, we were most pleased with one in a delicately painted little bed-chamber. This represented an alarmed and furtive man, whom we at once pronounced The Belated Husband, opening a door with a night-latch. Nothing could have been better than this miserable wretch’s cowardly haste and cautious noiselessness in applying his key; apprehension sat upon his brow, confusion dwelt in his guilty eye. He had been out till two o’clock in the morning, electioneering for Pansa, the friend of the people (“Pansa, and Roman gladiators,” “Pansa, and Christians to the Beasts,” was the platform), and he had left his placens uxor at home alone with the children, and now within this door that placens uxor awaited him!
V.
You have read, no doubt, of their discovering, a year or two since, in making an excavation in a Pompeian street, the molds of four human bodies, three women and a man, who fell down, blind and writhing, in the storm of fire eighteen hundred years ago; whose shape the settling and hardening ashes took; whose flesh wasted away, and whose bones lay there in the hollow of the matrix till the cunning of this time found them, and, pouring liquid plaster round the skeletons, clothed them with human form again, and drew them forth into the world once more. There are many things in Pompeii which bring back the gay life of the city, but nothing which so vividly reports the terrible manner of her death as these effigies of the creatures that actually shared it. The man in the last struggle has thrown himself upon his back and taken his doom sturdily – there is a sublime calm in his rigid figure. The women lie upon their faces, their limbs tossed and distorted, their drapery tangled and heaped about them, and in every fibre you see how hard they died. One presses her face into her handkerchief to draw one last breath unmixed with scalding steam; another’s arms are wildly thrown abroad to clutch at help; another’s hand is appealingly raised, and on her slight fingers you see the silver hoops with which her poor dead vanity adorned them.
The guide takes you aside from the street into the house where they lie, and a dreadful shadow drops upon your heart as you enter their presence. Without, the hell-storm seems to fall again, and the whole sunny plain to be darkened with its ruin, and the city to send up the tumult of her despair.
What is there left in Pompeii to speak of after this? The long street of tombs outside the walls? Those that died before the city’s burial seem to have scarcely a claim to the solemnity of death.
Shall we go see Diomed’s Villa, and walk through the freedman’s long underground vaults, where his friends thought to be safe, and were smothered in heaps? The garden-ground grows wild among its broken columns with weeds and poplar saplings; in one of the corridors they sell photographs, on which, if you please, Ventisei has his bottle, or drink-money. So we escape from the doom of the calamity, and so, at last, the severely forbidden buonamano is paid. A dog may die many deaths besides choking with butter.
We return slowly through the city, where we have spent the whole day, from nine till four o’clock. We linger on the way, imploring Ventisei if there is not something to be seen in this or that house; we make our weariness an excuse for sitting down, and cannot rend ourselves from the bliss of being in Pompeii.
At last we leave its gates, and swear each other to come again many times while in Naples, and never go again.
Perhaps it was as well. You cannot repeat great happiness.
A Half-Hour at Herculaneum
I.
The road from Naples to Herculaneum is, in fact, one long street; it hardly ceases to be city in Naples till it is town at Portici, and in the interval it is suburb, running between palatial lines of villas, which all have their names ambitiously painted over their doors. Great part of the distance this street is bordered by the bay, and, as far as this is the case, it is picturesque, as every thing is belonging to marine life in Italy. Sea-faring people go lounging up and down among the fishermen’s boats drawn up on the shore, and among the fishermen’s wives making nets, while the fishermen’s children play and clamber everywhere, and over all flap and flutter the clothes hung on poles to dry. In this part of the street there are, of course, oysters, and grapes, and oranges, and cactus-pulps, and cutlery, and iced drinks to sell at various booths; and Commerce is exceedingly dramatic and boisterous over the bargains she offers; and equally, of course, murderous drinking shops lurk at intervals along the pavement, and lure into their recesses mariners of foreign birth, briefly ashore from their ships. The New York Coffee House is there to attract my maritime fellow-countrymen, and I know that if I look into that place of refreshment I shall see their honest, foolish faces flushed with drink, and with the excitement of buying the least they can for the most money. Poor souls! they shall drink that pleasant morning away in the society of Antonino the best
of Neapolitans, and at midnight, emptied of every soldo, shall arise, wrung with a fearful suspicion of treachery, and wander away under Antonino’s guidance to seek the protection of the Consul; or, taking the law into their own hands, shall proceed to clean out, more Americano, the New York Coffee House, when Antonino shall develop into one of the landlords, and deal them the most artistic stab in Naples: handsome, worthy Antonino; tender-eyed, subtle, pitiless!
II.
Where the road to Herculaneum leaves the bay and its seafaring life, it enters, between the walls of lofty, fly-blown houses, a world of maccaroni haunted by foul odors, beggars, poultry, and insects. There were few people to be seen on the street, but through the open doors of the lofty fly-blown houses we saw floury legions at work making maccaroni; grinding maccaroni, rolling it, cutting it, hanging it in mighty skeins to dry, and gathering it when dried, and putting it away. By the frequency of the wine-shops we judged that the legions were a thirsty host, and by the number of the barber-surgeons' shops, that they were a plethoric and too full-blooded host. The latter shops were in the proportion of one to five of the former; and the artist who had painted their signs had indulged his fancy in wild excesses of phlebotomy. We had found that, as we came south from Venice, science grew more and more sanguinary in Italy, and more and more disposed to let blood. At Ferrara, even, the propensity began to be manifest on the barbers' signs, which displayed the device of an arm lanced at the elbow, and jetting the blood by a neatly described curve into a tumbler. Further south the same arm was seen to bleed at the wrist also; and at Naples an exhaustive treatment of the subject appeared, the favorite study of the artist being to represent a nude figure reclining in a genteel attitude on a bank of pleasant greensward, and bleeding from the elbows, wrists, hands, ankles, and feet.
Italian Journeys Page 8
