Rome, as it now exists, has grown up under the Popes, and seems like nothing but a heap of broken rubbish, thrown into the great chasm between our own days and the Empire, merely to fill it up; and, for the better part of two thousand years, its annals of obscure policies, and wars, and continually recurring misfortunes, seem also but broken rubbish, as compared with its classic history.
If we consider the present city as at all connected with the famous one of old, it is only because we find it built over its grave. A depth of thirty feet of soil has covered up the Rome of ancient days, so that it lies like the dead corpse of a giant, decaying for centuries, with no survivor mighty enough even to bury it, until the dust of all those years has gathered slowly over its recumbent form and made a casual sepulchre.
We know not how to characterize, in any accordant and compatible terms, the Rome that lies before us; its sunless alleys, and streets of palaces; its churches, lined with the gorgeous marbles that were originally polished for the adornment of pagan temples; its thousands of evil smells, mixed up with fragrance of rich incense, diffused from as many censers; its little life, deriving feeble nutriment from what has long been dead. Everywhere, some fragment of ruin suggesting the magnificence of a former epoch; everywhere, moreover, a Cross, — and nastiness at the foot of it. As the sum of all, there are recollections that kindle the soul, and a gloom and languor that depress it beyond any depth of melancholic sentiment that can be elsewhere known.
Yet how is it possible to say an unkind or irreverential word of Rome? The city of all time, and of all the world! The spot for which man's great life and deeds have done so much, and for which decay has done whatever glory and dominion could not do! At this moment, the evening sunshine is flinging its golden mantle over it, making all that we thought mean magnificent; the bells of all the churches suddenly ring out, as if it were a peal of triumph because Rome is still imperial.
“I sometimes fancy,” said Hilda, on whose susceptibility the scene always made a strong impression, “that Rome — mere Rome — will crowd everything else out of my heart.”
“Heaven forbid!” ejaculated the sculptor. They had now reached the grand stairs that ascend from the Piazza di Spagna to the hither brow of the Pincian Hill. Old Beppo, the millionnaire of his ragged fraternity, it is a wonder that no artist paints him as the cripple whom St. Peter heals at the Beautiful Gate of the Temple, — was just mounting his donkey to depart, laden with the rich spoil of the day's beggary.
Up the stairs, drawing his tattered cloak about his face, came the model, at whom Beppo looked askance, jealous of an encroacher on his rightful domain. The figure passed away, however, up the Via Sistina. In the piazza below, near the foot of the magnificent steps, stood Miriam, with her eyes bent on the ground, as if she were counting those little, square, uncomfortable paving-stones, that make it a penitential pilgrimage to walk in Rome. She kept this attitude for several minutes, and when, at last, the importunities of a beggar disturbed her from it, she seemed bewildered and pressed her hand upon her brow.
“She has been in some sad dream or other, poor thing!” said Kenyon sympathizingly; “and even now she is imprisoned there in a kind of cage, the iron bars of which are made of her own thoughts.”
“I fear she is not well,” said Hilda. “I am going down the stairs, and will join Miriam.”
“Farewell, then,” said the sculptor. “Dear Hilda, this is a perplexed and troubled world! It soothes me inexpressibly to think of you in your tower, with white doves and white thoughts for your companions, so high above us all, and With the Virgin for your household friend. You know not how far it throws its light, that lamp which you keep burning at her shrine! I passed beneath the tower last night, and the ray cheered me, because you lighted it.”
“It has for me a religious significance,” replied Hilda quietly, “and yet I am no Catholic.”
They parted, and Kenyon made haste along the Via Sistina, in the hope of overtaking the model, whose haunts and character he was anxious to investigate, for Miriam's sake. He fancied that he saw him a long way in advance, but before he reached the Fountain of the Triton the dusky figure had vanished.
CHAPTER XIII
A SCULPTOR'S STUDIO
About this period, Miriam seems to have been goaded by a weary restlessness that drove her abroad on any errand or none. She went one morning to visit Kenyon in his studio, whither he had invited her to see a new statue, on which he had staked many hopes, and which was now almost completed in the clay. Next to Hilda, the person for whom Miriam felt most affection and confidence was Kenyon; and in all the difficulties that beset her life, it was her impulse to draw near Hilda for feminine sympathy, and the sculptor for brotherly counsel.
Yet it was to little purpose that she approached the edge of the voiceless gulf between herself and them. Standing on the utmost verge of that dark chasm, she might stretch out her hand, and never clasp a hand of theirs; she might strive to call out, “Help, friends! help!” but, as with dreamers when they shout, her voice would perish inaudibly in the remoteness that seemed such a little way. This perception of an infinite, shivering solitude, amid which we cannot come close enough to human beings to be warmed by them, and where they turn to cold, chilly shapes of mist, is one of the most forlorn results of any accident, misfortune, crime, or peculiarity of character, that puts an individual ajar with the world. Very often, as in Miriam's case, there is an insatiable instinct that demands friendship, love, and intimate communion, but is forced to pine in empty forms; a hunger of the heart, which finds only shadows to feed upon.
Kenyon's studio was in a cross-street, or, rather, an ugly and dirty little lane, between the Corso and the Via della Ripetta; and though chill, narrow, gloomy, and bordered with tall and shabby structures, the lane was not a whit more disagreeable than nine tenths of the Roman streets. Over the door of one of the houses was a marble tablet, bearing an inscription, to the purport that the sculpture-rooms within had formerly been occupied by the illustrious artist Canova. In these precincts (which Canova's genius was not quite of a character to render sacred, though it certainly made them interesting) the young American sculptor had now established himself.
The studio of a sculptor is generally but a rough and dreary-looking place, with a good deal the aspect, indeed, of a stone-mason's workshop. Bare floors of brick or plank, and plastered walls, — an old chair or two, or perhaps only a block of marble (containing, however, the possibility of ideal grace within it) to sit down upon; some hastily scrawled sketches of nude figures on the whitewash of the wall. These last are probably the sculptor's earliest glimpses of ideas that may hereafter be solidified into imperishable stone, or perhaps may remain as impalpable as a dream. Next there are a few very roughly modelled little figures in clay or plaster, exhibiting the second stage of the idea as it advances towards a marble immortality; and then is seen the exquisitely designed shape of clay, more interesting than even the final marble, as being the intimate production of the sculptor himself, moulded throughout with his loving hands, and nearest to his imagination and heart. In the plaster-cast, from this clay model, the beauty of the statue strangely disappears, to shine forth again with pure white radiance, in the precious marble of Carrara. Works in all these stages of advancement, and some with the final touch upon them, might be found in Kenyon's studio.
Here might be witnessed the process of actually chiselling the marble, with which (as it is not quite satisfactory to think) a sculptor in these days has very little to do. In Italy, there is a class of men whose merely mechanical skill is perhaps more exquisite than was possessed by the ancient artificers, who wrought out the designs of Praxiteles; or, very possibly, by Praxiteles himself. Whatever of illusive representation can be effected in marble, they are capable of achieving, if the object be before their eyes. The sculptor has but to present these men with a plaster-cast of his design, and a sufficient block of marble, and tell them that the figure is imbedded in the stone, and must be freed from its
encumbering superfluities; and, in due time, without the necessity of his touching the work with his own finger, he will see before him the statue that is to make him renowned. His creative power has wrought it with a word.
In no other art, surely, does genius find such effective instruments, and so happily relieve itself of the drudgery, of actual performance; doing wonderfully nice things by the hands of other people, when it may be suspected they could not always be done by the sculptor's own. And how much of the admiration which our artists get for their buttons and buttonholes, their shoe-ties, their neckcloths, — and these, at our present epoch of taste, make a large share of the renown, — would be abated, if we were generally aware that the sculptor can claim no credit for such pretty performances, as immortalized in marble! They are not his work, but that of some nameless machine in human shape.
Miriam stopped an instant in an antechamber, to look at a half-finished bust, the features of which seemed to be struggling out of the stone; and, as it were, scattering and dissolving its hard substance by the glow of feeling and intelligence. As the skilful workman gave stroke after stroke of the chisel with apparent carelessness, but sure effect, it was impossible not to think that the outer marble was merely an extraneous environment; the human countenance within its embrace must have existed there since the limestone ledges of Carrara were first made. Another bust was nearly completed, though still one of Kenyon's most trustworthy assistants was at work, giving delicate touches, shaving off an impalpable something, and leaving little heaps of marble dust to attest it.
“As these busts in the block of marble,” thought Miriam, “so does our individual fate exist in the limestone of time. We fancy that we carve it out; but its ultimate shape is prior to all our action.”
Kenyon was in the inner room, but, hearing a step in the antechamber, he threw a veil over what he was at work upon, and came out to receive his visitor. He was dressed in a gray blouse, with a little cap on the top of his head; a costume which became him better than the formal garments which he wore whenever he passed out of his own domains. The sculptor had a face which, when time had done a little more for it, would offer a worthy subject for as good an artist as himself: features finely cut, as if already marble; an ideal forehead, deeply set eyes, and a mouth much hidden in a light-brown beard, but apparently sensitive and delicate.
“I will not offer you my hand,” said he; “it is grimy with Cleopatra's clay.”
“No; I will not touch clay; it is earthy and human,” answered Miriam. “I have come to try whether there is any calm and coolness among your marbles. My own art is too nervous, too passionate, too full of agitation, for me to work at it whole days together, without intervals of repose. So, what have you to show me?”
“Pray look at everything here,” said Kenyon. “I love to have painters see my work. Their judgment is unprejudiced, and more valuable than that of the world generally, from the light which their own art throws on mine. More valuable, too, than that of my brother sculptors, who never judge me fairly, — nor I them, perhaps.”
To gratify him, Miriam looked round at the specimens in marble or plaster, of which there were several in the room, comprising originals or casts of most of the designs that Kenyon had thus far produced. He was still too young to have accumulated a large gallery of such things. What he had to show were chiefly the attempts and experiments, in various directions, of a beginner in art, acting as a stern tutor to himself, and profiting more by his failures than by any successes of which he was yet capable. Some of them, however, had great merit; and in the pure, fine glow of the new marble, it may be, they dazzled the judgment into awarding them higher praise than they deserved. Miriam admired the statue of a beautiful youth, a pearlfisher; who had got entangled in the weeds at the bottom of the sea, and lay dead among the pearl-oysters, the rich shells, and the seaweeds, all of like value to him now.
“The poor young man has perished among the prizes that he sought,” remarked she. “But what a strange efficacy there is in death! If we cannot all win pearls, it causes an empty shell to satisfy us just as well. I like this statue, though it is too cold and stern in its moral lesson; and, physically, the form has not settled itself into sufficient repose.”
In another style, there was a grand, calm head of Milton, not copied from any one bust or picture, yet more authentic than any of them, because all known representations of the poet had been profoundly studied, and solved in the artist's mind. The bust over the tomb in Grey Friars Church, the original miniatures and pictures, wherever to be found, had mingled each its special truth in this one work; wherein, likewise, by long perusal and deep love of the Paradise Lost, the Comus, the Lycidas, and L'Allegro, the sculptor had succeeded, even better than he knew, in spiritualizing his marble with the poet's mighty genius. And this was a great thing to have achieved, such a length of time after the dry bones and dust of Milton were like those of any other dead man.
There were also several portrait-busts, comprising those of two or three of the illustrious men of our own country, whom Kenyon, before he left America, had asked permission to model. He had done so, because he sincerely believed that, whether he wrought the busts in marble or bronze, the one would corrode and the other crumble in the long lapse of time, beneath these great men's immortality. Possibly, however, the young artist may have underestimated the durability of his material. Other faces there were, too, of men who (if the brevity of their remembrance, after death, can be augured from their little value in life) should have been represented in snow rather than marble. Posterity will be puzzled what to do with busts like these, the concretions and petrifactions of a vain self-estimate; but will find, no doubt, that they serve to build into stone walls, or burn into quicklime, as well as if the marble had never been blocked into the guise of human heads.
But it is an awful thing, indeed, this endless endurance, this almost indestructibility, of a marble bust! Whether in our own case, or that of other men, it bids us sadly measure the little, little time during which our lineaments are likely to be of interest to any human being. It is especially singular that Americans should care about perpetuating themselves in this mode. The brief duration of our families, as a hereditary household, renders it next to a certainty that the great-grandchildren will not know their father's grandfather, and that half a century hence at furthest, the hammer of the auctioneer will thump its knock-down blow against his blockhead, sold at so much for the pound of stone! And it ought to make us shiver, the idea of leaving our features to be a dusty-white ghost among strangers of another generation, who will take our nose between their thumb and fingers (as we have seen men do by Caesar's), and infallibly break it off if they can do so without detection!
“Yes,” said Miriam, who had been revolving some such thoughts as the above, “it is a good state of mind for mortal man, when he is content to leave no more definite memorial than the grass, which will sprout kindly and speedily over his grave, if we do not make the spot barren with marble. Methinks, too, it will be a fresher and better world, when it flings off this great burden of stony memories, which the ages have deemed it a piety to heap upon its back.”
“What you say,” remarked Kenyon, “goes against my whole art. Sculpture, and the delight which men naturally take in it, appear to me a proof that it is good to work with all time before our view.”
“Well, well,” answered Miriam, “I must not quarrel with you for flinging your heavy stones at poor Posterity; and, to say the truth, I think you are as likely to hit the mark as anybody. These busts, now, much as I seem to scorn them, make me feel as if you were a magician.. You turn feverish men into cool, quiet marble. What a blessed change for them! Would you could do as much for me!”
“O, gladly!” cried Kenyon, who had long wished to model that beautiful and most expressive face. “When will you begin to sit?”
“Poh! that was not what I meant,” said Miriam. “Come, show me something else.”
“Do you recognize this?” asked t
he sculptor.
He took out of his desk a little old-fashioned ivory coffer, yellow with age; it was richly carved with antique figures and foliage; and had Kenyon thought fit to say that Benvenuto Cellini wrought this precious box, the skill and elaborate fancy of the work would by no means have discredited his word, nor the old artist's fame. At least, it was evidently a production of Benvenuto's school and century, and might once have been the jewel-case of some grand lady at the court of the De' Medici.
Lifting the lid, however, no blaze of diamonds was disclosed, but only, lapped in fleecy cotton, a small, beautifully shaped hand, most delicately sculptured in marble. Such loving care and nicest art had been lavished here, that the palm really seemed to have a tenderness in its very substance. Touching those lovely fingers, — had the jealous sculptor allowed you to touch, — you could hardly believe that a virgin warmth would not steal from them into your heart.
“Ah, this is very beautiful!” exclaimed Miriam, with a genial smile. “It is as good in its way as Loulie's hand with its baby-dimples, which Powers showed me at Florence, evidently valuing it as much as if he had wrought it out of a piece of his great heart. As good as Harriet Hosmer's clasped hands of Browning and his wife, symbolizing the individuality and heroic union of two high, poetic lives! Nay, I do not question that it is better than either of those, because you must have wrought it passionately, in spite of its maiden palm and dainty fingertips.”
“Then you do recognize it?” asked Kenyon.
“There is but one right hand on earth that could have supplied the model,” answered Miriam; “so small and slender, so perfectly symmetrical, and yet with a character of delicate energy. I have watched it a hundred times at its work; but I did not dream that you had won Hilda so far! How have you persuaded that shy maiden to let you take her hand in marble?”
Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Page 103
