Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  The country houses which we passed had sometimes open galleries or arcades on the second story and above, where the inhabitants might perform their domestic labor in the shade and in the air. The houses were often ancient, and most picturesquely time-stained, the plaster dropping in spots from the old brickwork; others were tinted of pleasant and cheerful lines; some were frescoed with designs in arabesques, or with imaginary windows; some had escutcheons of arms painted on the front. Wherever there was a pigeon-house, a flight of doves were represented as flying into the holes, doubtless for the invitation and encouragement of the real birds.

  Once or twice I saw a bush stuck up before the door of what seemed to be a wine-shop. If so, it is the ancient custom, so long disused in England, and alluded to in the proverb, “Good wine needs no bush.” Several times we saw grass spread to dry on the road, covering half the track, and concluded it to have been cut by the roadside for the winter forage of his ass by some poor peasant, or peasant's wife, who had no grass land, except the margin of the public way.

  A beautiful feature of the scene to-day, as the preceding day, were the vines growing on fig-trees (?) [This interrogation-mark must mean that Mr. Hawthorne was not sure they were fig-trees. — ED.], and often wreathed in rich festoons from one tree to another, by and by to be hung with clusters of purple grapes. I suspect the vine is a pleasanter object of sight under this mode of culture than it can be in countries where it produces a more precious wine, and therefore is trained more artificially. Nothing can be more picturesque than the spectacle of an old grapevine, with almost a trunk of its own, clinging round its tree, imprisoning within its strong embrace the friend that supported its tender infancy, converting the tree wholly to its own selfish ends, as seemingly flexible natures are apt to do, stretching out its innumerable arms on every bough, and allowing hardly a leaf to sprout except its own. I must not yet quit this hasty sketch, without throwing in, both in the early morning, and later in the forenoon, the mist that dreamed among the hills, and which, now that I have called it mist, I feel almost more inclined to call light, being so quietly cheerful with the sunshine through it. Put in, now and then, a castle on a hilltop; a rough ravine, a smiling valley; a mountain stream, with a far wider bed than it at present needs, and a stone bridge across it, with ancient and massive arches; — and I shall say no more, except that all these particulars, and many better ones which escape me, made up a very pleasant whole.

  At about noon we drove into the village of Incisa, and alighted at the albergo where we were to lunch. It was a gloomy old house, as much like my idea of an Etruscan tomb as anything else that I can compare it to. We passed into a wide and lofty entrance-hall, paved with stone, and vaulted with a roof of intersecting arches, supported by heavy columns of stuccoed-brick, the whole as sombre and dingy as can well be. This entrance-hall is not merely the passageway into the inn, but is likewise the carriage-house, into which our vettura is wheeled; and it has, on one side, the stable, odorous with the litter of horses and cattle, and on the other the kitchen, and a common sitting-room. A narrow stone staircase leads from it to the dining-room, and chambers above, which are paved with brick, and adorned with rude frescos instead of paper-hangings. We look out of the windows, and step into a little iron-railed balcony, before the principal window, and observe the scene in the village street. The street is narrow, and nothing can exceed the tall, grim ugliness of the village houses, many of them four stories high, contiguous all along, and paved quite across; so that nature is as completely shut out from the precincts of this little town as from the heart of the widest city. The walls of the houses are plastered, gray, dilapidated; the windows small, some of them drearily closed with wooden shutters, others flung wide open, and with women's heads protruding, others merely frescoed, for a show of light and air. It would be a hideous street to look at in a rainy day, or when no human life pervaded it. Now it has vivacity enough to keep it cheerful. People lounge round the door of the albergo, and watch the horses as they drink from a stone trough, which is built against the wall of the house, and filled with the unseen gush of a spring.

  At first there is a shade entirely across the street, and all the within-doors of the village empties itself there, and keeps up a babblement that seems quite disproportioned even to the multitude of tongues that make it. So many words are not spoken in a New England village in a whole year as here in this single day. People talk about nothing as if they were terribly in earnest, and laugh at nothing as if it were all excellent joke.

  As the hot noon sunshine encroaches on our side of the street, it grows a little more quiet. The loungers now confine themselves to the shady margin (growing narrower and narrower) of the other side, where, directly opposite the albergo, there are two cafes and a wine-shop, “vendita di pane, vino, ed altri generi,” all in a row with benches before them. The benchers joke with the women passing by, and are joked with back again. The sun still eats away the shadow inch by inch, beating down with such intensity that finally everybody disappears except a few passers-by.

  Doubtless the village snatches this half-hour for its siesta. There is a song, however, inside one of the cafes, with a burden in which several voices join. A girl goes through the street, sheltered under her great bundle of freshly cut grass. By and by the song ceases, and two young peasants come out of the cafe, a little affected by liquor, in their shirt-sleeves and bare feet, with their trousers tucked up. They resume their song in the street, and dance along, one's arm around his fellow's neck, his own waist grasped by the other's arm. They whirl one another quite round about, and come down upon their feet. Meeting a village maid coming quietly along, they dance up and intercept her for a moment, but give way to her sobriety of aspect. They pass on, and the shadow soon begins to spread from one side of the street, which presently fills again, and becomes once more, for its size, the noisiest place I ever knew.

  We had quite a tolerable dinner at this ugly inn, where many preceding travellers had written their condemnatory judgments, as well as a few their favorable ones, in pencil on the walls of the dining-room.

  TO FLORENCE.

  At setting off [from Incisa], we were surrounded by beggars as usual, the most interesting of whom were a little blind boy and his mother, who had besieged us with gentle pertinacity during our whole stay there. There was likewise a man with a maimed hand, and other hurts or deformities; also, an old woman who, I suspect, only pretended to be blind, keeping her eyes tightly squeezed together, but directing her hand very accurately where the copper shower was expected to fall. Besides these, there were a good many sturdy little rascals, vociferating in proportion as they needed nothing. It was touching, however, to see several persons — themselves beggars for aught I know — assisting to hold up the little blind boy's tremulous hand, so that he, at all events, might not lack the pittance which we had to give. Our dole was but a poor one, after all, consisting of what Roman coppers we had brought into Tuscany with us; and as we drove off, some of the boys ran shouting and whining after us in the hot sunshine, nor stopped till we reached the summit of the hill, which rises immediately from the village street. We heard Gaetano once say a good thing to a swarm of beggar-children, who were infesting us, “Are your fathers all dead?” — a proverbial expression, I suppose. The pertinacity of beggars does not, I think, excite the indignation of an Italian, as it is apt to do that of Englishmen or Americans. The Italians probably sympathize more, though they give less. Gaetano is very gentle in his modes of repelling them, and, indeed, never interferes at all, as long as there is a prospect of their getting anything.

  Immediately after leaving Incisa, we saw the Arno, already a considerable river, rushing between deep banks, with the greenish line of a duck-pond diffused through its water. Nevertheless, though the first impression was not altogether agreeable, we soon became reconciled to this line, and ceased to think it an indication of impurity; for, in spite of it, the river is still to a certain degree transparent, and is, at any rate, a mountain s
tream, and comes uncontaminated from its source. The pure, transparent brown of the New England rivers is the most beautiful color; but I am content that it should be peculiar to them.

  Our afternoon's drive was through scenery less striking than some which we had traversed, but still picturesque and beautiful. We saw deep valleys and ravines, with streams at the bottom; long, wooded hillsides, rising far and high, and dotted with white dwellings, well towards the summits. By and by, we had a distant glimpse of Florence, showing its great dome and some of its towers out of a sidelong valley, as if we were between two great waves of the tumultuous sea of hills; while, far beyond, rose in the distance the blue peaks of three or four of the Apennines, just on the remote horizon. There being a haziness in the atmosphere, however, Florence was little more distinct to us than the Celestial City was to Christian and Hopeful, when they spied at it from the Delectable Mountains.

  Keeping steadfastly onward, we ascended a winding road, and passed a grand villa, standing very high, and surrounded with extensive grounds. It must be the residence of some great noble; and it has an avenue of poplars or aspens, very light and gay, and fit for the passage of the bridal procession, when the proprietor or his heir brings home his bride; while, in another direction from the same front of the palace, stretches an avenue or grove of cypresses, very long, and exceedingly black and dismal, like a train of gigantic mourners. I have seen few things more striking, in the way of trees, than this grove of cypresses.

  From this point we descended, and drove along an ugly, dusty avenue, with a high brick wall on one side or both, till we reached the gate of Florence, into which we were admitted with as little trouble as custom-house officers, soldiers, and policemen can possibly give. They did not examine our luggage, and even declined a fee, as we had already paid one at the frontier custom-house. Thank heaven, and the Grand Duke!

  As we hoped that the Casa del Bello had been taken for us, we drove thither in the first place, but found that the bargain had not been concluded. As the house and studio of Mr. Powers were just on the opposite side of the street, I went to it, but found him too much engrossed to see me at the moment; so I returned to the vettura, and we told Gaetano to carry us to a hotel. He established us at the Albergo della Fontana, a good and comfortable house. . . . Mr. Powers called in the evening, — a plain personage, characterized by strong simplicity and warm kindliness, with an impending brow, and large eyes, which kindle as he speaks. He is gray, and slightly bald, but does not seem elderly, nor past his prime. I accept him at once as an honest and trustworthy man, and shall not vary from this judgment. Through his good offices, the next day, we engaged the Casa del Bello, at a rent of fifty dollars a month, and I shall take another opportunity (my fingers and head being tired now) to write about the house, and Mr. Powers, and what appertains to him, and about the beautiful city of Florence. At present, I shall only say further, that this journey from Rome has been one of the brightest and most uncareful interludes of my life; we have all enjoyed it exceedingly, and I am happy that our children have it to look back upon.

  June 4th. — At our visit to Powers's studio on Tuesday, we saw a marble copy of the fisher-boy holding a shell to his ear, and the bust of Proserpine, and two or three other ideal busts; various casts of most of the ideal statues and portrait busts which he has executed. He talks very freely about his works, and is no exception to the rule that an artist is not apt to speak in a very laudatory style of a brother artist. He showed us a bust of Mr. Sparks by Persico, — a lifeless and thoughtless thing enough, to be sure, — and compared it with a very good one of the same gentleman by himself; but his chiefest scorn was bestowed on a wretched and ridiculous image of Mr. King, of Alabama, by Clark Mills, of which he said he had been employed to make several copies for Southern gentlemen. The consciousness of power is plainly to be seen, and the assertion of it by no means withheld, in his simple and natural character; nor does it give me an idea of vanity on his part to see and hear it. He appears to consider himself neglected by his country, — by the government of it, at least, — and talks with indignation of the byways and political intrigue which, he thinks, win the rewards that ought to be bestowed exclusively on merit. An appropriation of twenty-five thousand dollars was made, some years ago, for a work of sculpture by him, to be placed in the Capitol; but the intermediate measures necessary to render it effective have been delayed; while the above-mentioned Clark Mills — certainly the greatest bungler that ever botched a block of marble — has received an order for an equestrian statue of Washington. Not that Mr. Powers is made bitter or sour by these wrongs, as he considers them; he talks of them with the frankness of his disposition when the topic comes in his way, and is pleasant, kindly, and sunny when he has done with it.

  His long absence from our country has made him think worse of us than we deserve; and it is an effect of what I myself am sensible, in my shorter exile: the most piercing shriek, the wildest yell, and all the ugly sounds of popular turmoil, inseparable from the life of a republic, being a million times more audible than the peaceful hum of prosperity and content which is going on all the while.

  He talks of going home, but says that he has been talking of it every year since he first came to Italy; and between his pleasant life of congenial labor, and his idea of moral deterioration in America, I think it doubtful whether he ever crosses the sea again. Like most exiles of twenty years, he has lost his native country without finding another; but then it is as well to recognize the truth, — that an individual country is by no means essential to one's comfort.

  Powers took us into the farthest room, I believe, of his very extensive studio, and showed us a statue of Washington that has much dignity and stateliness. He expressed, however, great contempt for the coat and breeches, and masonic emblems, in which he had been required to drape the figure. What would he do with Washington, the most decorous and respectable personage that ever went ceremoniously through the realities of life? Did anybody ever see Washington nude? It is inconceivable. He had no nakedness, but I imagine he was born with his clothes on, and his hair powdered, and made a stately bow on his first appearance in the world. His costume, at all events, was a part of his character, and must be dealt with by whatever sculptor undertakes to represent him. I wonder that so very sensible a man as Powers should not see the necessity of accepting drapery, and the very drapery of the day, if he will keep his art alive. It is his business to idealize the tailor's actual work. But he seems to be especially fond of nudity, none of his ideal statues, so far as I know them, having so much as a rag of clothes. His statue of California, lately finished, and as naked as Venus, seemed to me a very good work; not an actual woman, capable of exciting passion, but evidently a little out of the category of human nature. In one hand she holds a divining-rod. “She says to the emigrants,” observed Powers, “'Here is the gold, if you choose to take it.'“ But in her face, and in her eyes, very finely expressed, there is a look of latent mischief, rather grave than playful, yet somewhat impish or sprite-like; and, in the other hand, behind her back, she holds a bunch of thorns. Powers calls her eyes Indian. The statue is true to the present fact and history of California, and includes the age-long truth as respects the “auri sacra fames.” . . . .

  When we had looked sufficiently at the sculpture, Powers proposed that we should now go across the street and see the Casa del Bello. We did so in a body, Powers in his dressing-gown and slippers, and his wife and daughters without assuming any street costume.

  The Casa del Bello is a palace of three pianos, the topmost of which is occupied by the Countess of St. George, an English lady, and two lower pianos are to be let, and we looked at both. The upper one would have suited me well enough; but the lower has a terrace, with a rustic summer-house over it, and is connected with a garden, where there are arbors and a willow-tree, and a little wilderness of shrubbery and roses, with a fountain in the midst. It has likewise an immense suite of rooms, round the four sides of a small court, spacious, lofty, with
frescoed ceilings and rich hangings, and abundantly furnished with arm-chairs, sofas, marble tables, and great looking-glasses. Not that these last are a great temptation, but in our wandering life I wished to be perfectly comfortable myself, and to make my family so, for just this summer, and so I have taken the lower piano, the price being only fifty dollars per month (entirely furnished, even to silver and linen). Certainly this is something like the paradise of cheapness we were told of, and which we vainly sought in Rome. . . .

  To me has been assigned the pleasantest room for my study; and when I like I can overflow into the summer-house or an arbor, and sit there dreaming of a story. The weather is delightful, too warm to walk, but perfectly fit to do nothing in, in the coolness of these great rooms. Every day I shall write a little, perhaps, — and probably take a brief nap somewhere between breakfast and tea, — but go to see pictures and statues occasionally, and so assuage and mollify myself a little after that uncongenial life of the consulate, and before going back to my own hard and dusty New England.

  After concluding the arrangement for the Casa del Bello, we stood talking a little while with Powers and his wife and daughter before the door of the house, for they seem so far to have adopted the habits of the Florentines as to feel themselves at home on the shady side of the street. The out-of-door life and free communication with the pavement, habitual apparently among the middle classes, reminds me of the plays of Moliere and other old dramatists, in which the street or the square becomes a sort of common parlor, where most of the talk and scenic business of the people is carried on.

  June 5th. — For two or three mornings after breakfast I have rambled a little about the city till the shade grew narrow beneath the walls of the houses, and the heat made it uncomfortable to be in motion. To-day I went over the Ponte Carraja, and thence into and through the heart of the city, looking into several churches, in all of which I found people taking advantage of the cool breadth of these sacred interiors to refresh themselves and say their prayers. Florence at first struck me as having the aspect of a very new city in comparison with Rome; but, on closer acquaintance, I find that many of the buildings are antique and massive, though still the clear atmosphere, the bright sunshine, the light, cheerful hues of the stucco, and — as much as anything else, perhaps — the vivacious character of the human life in the streets, take away the sense of its being an ancient city. The streets are delightful to walk in after so many penitential pilgrimages as I have made over those little square, uneven blocks of the Roman pavement, which wear out the boots and torment the soul. I absolutely walk on the smooth flags of Florence for the mere pleasure of walking, and live in its atmosphere for the mere pleasure of living; and, warm as the weather is getting to be, I never feel that inclination to sink down in a heap and never stir again, which was my dull torment and misery as long as I stayed in Rome. I hardly think there can be a place in the world where life is more delicious for its own simple sake than here.