Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  “All this,” thought the sculptor, “is a most forcible emblem of the different aspect of religious truth and sacred story, as viewed from the warm interior of belief, or from its cold and dreary outside. Christian faith is a grand cathedral, with divinely pictured windows. Standing without, you see no glory, nor can possibly imagine any; standing within, every ray of light reveals a harmony of unspeakable splendors.”

  After Kenyon and Donatello emerged from the church, however, they had better opportunity for acts of charity and mercy than for religious contemplation; being immediately surrounded by a swarm of beggars, who are the present possessors of Italy, and share the spoil of the stranger with the fleas and mosquitoes, their formidable allies. These pests — the human ones — had hunted the two travellers at every stage of their journey. From village to village, ragged boys and girls kept almost under the horses' feet; hoary grandsires and grandames caught glimpses of their approach, and hobbled to intercept them at some point of vantage; blind men stared them out of countenance with their sightless orbs; women held up their unwashed babies; cripples displayed their wooden legs, their grievous scars, their dangling, boneless arms, their broken backs, their burden of a hump, or whatever infirmity or deformity Providence had assigned them for an inheritance. On the highest mountain summit — in the most shadowy ravine — there was a beggar waiting for them. In one small village, Kenyon had the curiosity to count merely how many children were crying, whining, and bellowing all at once for alms. They proved to be more than forty of as ragged and dirty little imps as any in the world; besides whom, all the wrinkled matrons, and most of the village maids, and not a few stalwart men, held out their hands grimly, piteously, or smilingly in the forlorn hope of whatever trifle of coin might remain in pockets already so fearfully taxed. Had they been permitted, they would gladly have knelt down and worshipped the travellers, and have cursed them, without rising from their knees, if the expected boon failed to be awarded.

  Yet they were not so miserably poor but that the grown people kept houses over their heads.

  In the way of food, they had, at least, vegetables in their little gardens, pigs and chickens to kill, eggs to fry into omelets with oil, wine to drink, and many other things to make life comfortable. As for the children, when no more small coin appeared to be forthcoming, they began to laugh and play, and turn heels over head, showing themselves jolly and vivacious brats, and evidently as well fed as needs be. The truth is, the Italian peasantry look upon strangers as the almoners of Providence, and therefore feel no more shame in asking and receiving alms, than in availing themselves of providential bounties in whatever other form.

  In accordance with his nature, Donatello was always exceedingly charitable to these ragged battalions, and appeared to derive a certain consolation from the prayers which many of them put up in his behalf. In Italy a copper coin of minute value will often make all the difference between a vindictive curse — death by apoplexy being the favorite one-mumbled in an old witch's toothless jaws, and a prayer from the same lips, so earnest that it would seem to reward the charitable soul with at least a puff of grateful breath to help him heavenward. Good wishes being so cheap, though possibly not very efficacious, and anathemas so exceedingly bitter, — even if the greater portion of their poison remain in the mouth that utters them, — it may be wise to expend some reasonable amount in the purchase of the former. Donatello invariably did so; and as he distributed his alms under the pictured window, of which we have been speaking, no less than seven ancient women lifted their hands and besought blessings on his head.

  “Come,” said the sculptor, rejoicing at the happier expression which he saw in his friend's face. “I think your steed will not stumble with you to-day. Each of these old dames looks as much like Horace's Atra Cura as can well be conceived; but, though there are seven of them, they will make your burden on horseback lighter instead of heavier.”

  “Are we to ride far?” asked the Count.

  “A tolerable journey betwixt now and to-morrow noon,” Kenyon replied; “for, at that hour, I purpose to be standing by the Pope's statue in the great square of Perugia.”

  CHAPTER XXXIV

  MARKET DAY IN PERUGIA

  Perugia, on its lofty hilltop, was reached by the two travellers before the sun had quite kissed away the early freshness of the morning. Since midnight, there had been a heavy, rain, bringing infinite refreshment to the scene of verdure and fertility amid which this ancient civilization stands; insomuch that Kenyon loitered, when they came to the gray city wall, and was loath to give up the prospect of the sunny wilderness that lay below. It was as green as England, and bright as Italy alone. There was all the wide valley, sweeping down and spreading away on all sides from the weed grown ramparts, and bounded afar by mountains, which lay asleep in the sun, with thin mists and silvery clouds floating about their heads by way of morning dreams.

  “It lacks still two hours of noon,” said the sculptor to his friend, as they stood under the arch of the gateway, waiting for their passports to be examined; “will you come with me to see some admirable frescos by Perugino? There is a hall in the Exchange, of no great magnitude, but covered with what must have been — at the time it was painted — such magnificence and beauty as the world had not elsewhere to show.”

  “It depresses me to look at old frescos,” responded the Count; “it is a pain, yet not enough of a pain to answer as a penance.”

  “Will you look at some pictures by Fra Angelico in the Church of San Domenico?” asked Kenyon; “they are full of religious sincerity, When one studies them faithfully, it is like holding a conversation about heavenly things with a tender and devout-minded man.”

  “You have shown me some of Fra Angelico's pictures, I remember,” answered Donatello; “his angels look as if they had never taken a flight out of heaven; and his saints seem to have been born saints, and always to have lived so. Young maidens, and all innocent persons, I doubt not, may find great delight and profit in looking at such holy pictures. But they are not for me.”

  “Your criticism, I fancy, has great moral depth,” replied Kenyon; “and I see in it the reason why Hilda so highly appreciates Fra Angelico's pictures. Well; we will let all such matters pass for to-day, and stroll about this fine old city till noon.”

  They wandered to and fro, accordingly, and lost themselves among the strange, precipitate passages, which, in Perugia, are called streets, Some of them are like caverns, being arched all over, and plunging down abruptly towards an unknown darkness; which, when you have fathomed its depths, admits you to a daylight that you scarcely hoped to behold again. Here they met shabby men, and the careworn wives and mothers of the people, some of whom guided children in leading strings through those dim and antique thoroughfares, where a hundred generations had passed before the little feet of to-day began to tread them. Thence they climbed upward again, and came to the level plateau, on the summit of the hill, where are situated the grand piazza and the principal public edifices.

  It happened to be market day in Perugia. The great square, therefore, presented a far more vivacious spectacle than would have been witnessed in it at any other time of the week, though not so lively as to overcome the gray solemnity of the architectural portion of the scene. In the shadow of the cathedral and other old Gothic structures — seeking shelter from the sunshine that fell across the rest of the piazza — was a crowd of people, engaged as buyers or sellers in the petty traffic of a country fair. Dealers had erected booths and stalls on the pavement, and overspread them with scanty awnings, beneath which they stood, vociferously crying their merchandise; such as shoes, hats and caps, yarn stockings, cheap jewelry and cutlery, books, chiefly little volumes of a religious Character, and a few French novels; toys, tinware, old iron, cloth, rosaries of beads, crucifixes, cakes, biscuits, sugar-plums, and innumerable little odds and ends, which we see no object in advertising. Baskets of grapes, figs, and pears stood on the ground. Donkeys, bearing panniers stuffed out with kitchen
vegetables, and requiring an ample roadway, roughly shouldered aside the throng.

  Crowded as the square was, a juggler found room to spread out a white cloth upon the pavement, and cover it with cups, plates, balls, cards, w the whole material of his magic, in short, — wherewith he proceeded to work miracles under the noonday sun. An organ grinder at one point, and a clarion and a flute at another, accomplished what their could towards filling the wide space with tuneful noise, Their small uproar, however, was nearly drowned by the multitudinous voices of the people, bargaining, quarrelling, laughing, and babbling copiously at random; for the briskness of the mountain atmosphere, or some other cause, made everybody so loquacious, that more words were wasted in Perugia on this one market day, than the noisiest piazza of Rome would utter in a month.

  Through all this petty tumult, which kept beguiling one's eyes and upper strata of thought, it was delightful to catch glimpses of the grand old architecture that stood around the square. The life of the flitting moment, existing in the antique shell of an age gone by, has a fascination which we do not find in either the past or present, taken by themselves. It might seem irreverent to make the gray cathedral and the tall, time-worn palaces echo back the exuberant vociferation of the market; but they did so, and caused the sound to assume a kind of poetic rhythm, and themselves looked only the more majestic for their condescension.

  On one side, there was an immense edifice devoted to public purposes, with an antique gallery, and a range of arched and stone-mullioned windows, running along its front; and by way of entrance it had a central Gothic arch, elaborately wreathed around with sculptured semicircles, within which the spectator was aware of a stately and impressive gloom. Though merely the municipal council-house and exchange of a decayed country town, this structure was worthy to have held in one portion of it the parliament hall of a nation, and in the other, the state apartments of its ruler. On another side of the square rose the mediaeval front of the cathedral, where the imagination of a Gothic architect had long ago flowered out indestructibly, in the first place, a grand design, and then covering it with such abundant detail of ornament, that the magnitude of the work seemed less a miracle than its minuteness. You would suppose that he must have softened the stone into wax, until his most delicate fancies were modelled in the pliant material, and then had hardened it into stone again. The whole was a vast, black-letter page of the richest and quaintest poetry. In fit keeping with all this old magnificence was a great marble fountain, where again the Gothic imagination showed its overflow and gratuity of device in the manifold sculptures which it lavished as freely as the water did its shifting shapes.

  Besides the two venerable structures which we have described, there were lofty palaces, perhaps of as old a date, rising story above Story, and adorned with balconies, whence, hundreds of years ago, the princely occupants had been accustomed to gaze down at the sports, business, and popular assemblages of the piazza. And, beyond all question, they thus witnessed the erection of a bronze statue, which, three centuries since, was placed on the pedestal that it still occupies.

  “I never come to Perugia,” said Kenyon, “without spending as much time as I can spare in studying yonder statue of Pope Julius the Third. Those sculptors of the Middle Age have fitter lessons for the professors of my art than we can find in the Grecian masterpieces. They belong to our Christian civilization; and, being earnest works, they always express something which we do not get from the antique. Will you look at it?”

  “Willingly,” replied the Count, “for I see, even so far off, that the statue is bestowing a benediction, and there is a feeling in my heart that I may be permitted to share it.”

  Remembering the similar idea which Miriam a short time before had expressed, the sculptor smiled hopefully at the coincidence. They made their way through the throng of the market place, and approached close to the iron railing that protected the pedestal of the statue.

  It was the figure of a pope, arrayed in his pontifical robes, and crowned with the tiara. He sat in a bronze chair, elevated high above the pavement, and seemed to take kindly yet authoritative cognizance of the busy scene which was at that moment passing before his eye. His right hand was raised and spread abroad, as if in the act of shedding forth a benediction, which every man — so broad, so wise, and so serenely affectionate was the bronze pope's regard — might hope to feel quietly descending upon the need, or the distress, that he had closest at his heart. The statue had life and observation in it, as well as patriarchal majesty. An imaginative spectator could not but be impressed with the idea that this benignly awful representative of divine and human authority might rise from his brazen chair, should any great public exigency demand his interposition, and encourage or restrain the people by his gesture, or even by prophetic utterances worthy of so grand a presence.

  And in the long, calm intervals, amid the quiet lapse of ages, the pontiff watched the daily turmoil around his seat, listening with majestic patience to the market cries, and all the petty uproar that awoke the echoes of the stately old piazza. He was the enduring friend of these men, and of their forefathers and children, the familiar face of generations.

  “The pope's blessing, methinks, has fallen upon you,” observed the sculptor, looking at his friend.

  In truth, Donatello's countenance indicated a healthier spirit than while he was brooding in his melancholy tower. The change of scene, the breaking up of custom, the fresh flow of incidents, the sense of being homeless, and therefore free, had done something for our poor Faun; these circumstances had at least promoted a reaction, which might else have been slower in its progress. Then, no doubt, the bright day, the gay spectacle of the market place, and the sympathetic exhilaration of so many people's cheerfulness, had each their suitable effect on a temper naturally prone to be glad. Perhaps, too, he was magnetically conscious of a presence that formerly sufficed to make him happy. Be the cause what it might, Donatello's eyes shone with a serene and hopeful expression while looking upward at the bronze pope, to whose widely diffused blessing, it may be, he attributed all this good influence.

  “Yes, my dear friend,” said he, in reply to the sculptor's remark, “I feel the blessing upon my spirit.”

  “It is wonderful,” said Kenyon, with a smile, “wonderful and delightful to think how long a good man's beneficence may be potent, even after his death. How great, then, must have been the efficacy of this excellent pontiff's blessing while he was alive!”

  “I have heard,” remarked the Count, “that there was a brazen image set up in the wilderness, the sight of which healed the Israelites of their poisonous and rankling wounds. If it be the Blessed Virgin's pleasure, why should not this holy image before us do me equal good? A wound has long been rankling in my soul, and filling it with poison.”

  “I did wrong to smile,” answered Kenyon. “It is not for me to limit Providence in its operations on man's spirit.”

  While they stood talking, the clock in the neighboring cathedral told the hour, with twelve reverberating strokes, which it flung down upon the crowded market place, as if warning one and all to take advantage of the bronze pontiff's benediction, or of Heaven's blessing, however proffered, before the opportunity were lost.

  “High noon,” said the sculptor. “It is Miriam's hour!”

  CHAPTER XXXV

  THE BRONZE PONTIFF'S BENEDICTION

  When the last of the twelve strokes had fallen from the cathedral clock, Kenyon threw his eyes over the busy scene of the market place, expecting to discern Miriam somewhere in the 'crowd. He looked next towards the cathedral itself, where it was reasonable to imagine that she might have taken shelter, while awaiting her appointed time. Seeing no trace of her in either direction, his eyes came back from their quest somewhat disappointed, and rested on a figure which was leaning, like Donatello and himself, on the iron balustrade that surrounded the statue. Only a moment before, they two had been alone.

  It was the figure of a woman, with her head bowed on her ha
nds, as if she deeply felt — what we have been endeavoring to convey into our feeble description — the benign and awe-inspiring influence which the pontiff's statue exercises upon a sensitive spectator. No matter though it were modelled for a Catholic chief priest, the desolate heart, whatever be its religion, recognizes in that image the likeness of a father.

  “Miriam,” said the sculptor, with a tremor in his voice, “is it yourself?”

  “It is I,” she replied; “I am faithful to my engagement, though with many fears.” She lifted her head, and revealed to Kenyon — revealed to Donatello likewise — the well-remembered features of Miriam. They were pale and worn, but distinguished even now, though less gorgeously, by a beauty that might be imagined bright enough to glimmer with its own light in a dim cathedral aisle, and had no need to shrink from the severer test of the mid-day sun. But she seemed tremulous, and hardly able to go through with a scene which at a distance she had found courage to undertake.

  “You are most welcome, Miriam!” said the sculptor, seeking to afford her the encouragement which he saw she so greatly required. “I have a hopeful trust that the result of this interview will be propitious. Come; let me lead you to Donatello.”

  “No, Kenyon, no!” whispered Miriam, shrinking back; “unless of his own accord he speaks my name, — unless he bids me stay, — no word shall ever pass between him and me. It is not that I take upon me to be proud at this late hour. Among other feminine qualities, I threw away my pride when Hilda cast me off.”

  “If not pride, what else restrains you?” Kenyon asked, a little angry at her unseasonable scruples, and also at this half-complaining reference to Hilda's just severity. “After daring so much, it is no time for fear! If we let him part from you without a word, your opportunity of doing him inestimable good is lost forever.”