I will give here two letters from this friend, showing her strength of sympathy and tenderness: —
FLORENCE, May.
DEAR SOPHIA, — We are here after a journey entirely prosperous in every respect, driving through a country as lovely as it could be. Such wreaths of hawthorn, such hanging tassels of laburnum, such masses of delicate purple flowers draping the rocks and carpeting every broken ground, — golden broom on every hillside, scarlet poppies illuminating every field of grain, and the richest crimson clover, like endless fields of strawberries, — I never saw before. We have had just clouds enough to make beautiful shadows on the mountains. How I wish you and Una could be floated on a cloud over the charming region. I thought of the dear child at every new flower, but not without a pang; for my only disappointment in leaving Rome (no, the other was that I had not seen Mr. Browning) was that I could not send Una some flowers the morning of our departure. I had set my heart upon it, but could not find any pretty enough. Every fresh spray of hawthorn on our journey renewed the prick of my disappointment. We should have liked to take Julian along with us as our traveling artist, to lay up the flowers for us in imperishable colors [he already painted flowers remarkably]; we were reminded of him very often. I saw dear little Rose's patron, St. Rosa, in the Staffa Gallery at Perugia, — very beautiful. I have much to thank you for, dear Sophia, in all sorts of aid and sympathy. Very charming is the recollection of every meeting with you, from the first lovely Sunday at the Villa Doria; and then the day when we visited the willful Queen of Egypt as she sat waiting to be made again immortal in marble [in Story's studio]. Those days in Rome were made brighter to me by the sunshine of kindness and a hearty sympathy, beginning with the day which will be an exhilarating thought to me as long as I live, when you showed me St. Peter's Piazza under the blue sky; and then we passed the wall of the Capitol, and looked down upon ancient Rome. It was a wonderful day, Sophia, and I shall never forget that you received me in that city. I hope you will have many joyous days before you leave Europe, so that you may all forget the many anxieties of the last three months. I wish to send my love to Mrs. Story. I enjoy the thought of her, and Mr. Story, very much. I have always loved them for their thorough kindness to Margaret [Fuller d'Ossoli], and now I have seen them I love them for themselves. Love and constant remembrance to Una and dear little Rose. You don't know how hard it is not to know about you, day by day. [Later.] I had your other letter in Genoa, and was rejoiced to get it. I had driven with Lizzie and Mr. May the very day before from Villeneuve to Montreux to call upon you, the people at Hotel Byron assuring us you were to spend a month at Montreux. However, the news from Una was precious, for it was the first intelligence we had had since we left the dear child in bed in Rome, with that trickish fever playing about her. I did not receive the note from Mr. Hawthorne. I am almost glad you are not going to take her back into the low ground at Concord this autumn. . . .
Many friends were in Rome, both as residents and as tourists, and in all my after-life our two winters there were the richest of memories, in regard both to personalities and exquisite objects, and to scenes of artistic charm. Yet, as I have said elsewhere, if the tall, slender figure of my father were not at hand, even my mother's constantly cheering presence and a talkative group of people could not warm the imagination quite enough. He says, in speaking of the Carnival, “For my part, though I pretended to take no interest in the matter, I could have bandied confetti and nosegays as readily and riotously as any urchin there.” These few words explain his magnetism. The decorous pretense of his observant calm could not make us forget the bursts of mirth and vigorous abandon which now and then revealed the flame of unstinted life in his heart. And I, watching constantly as I did, saw a riotous throw of the confetti, a mirthful smile of Carnival spirits, when my father was radiant for a few moments with a youth's, a faun's merriment.
Having quoted a letter of my sister's which expresses his opinion and her own of the irksomeness of sight-seeing, however heroic the spot, I will add this little paragraph from the next winter's correspondence, when, though only fifteen, she wrote very well of Europe and America, concluding: “It shows you have not lived in Europe, dear aunt, and do not know what it is to breathe day after day the atmosphere of art, that you can think of our being satisfied. We have seen satisfactorily, but the longer we stay, the higher and deeper is our enjoyment, and the more are our minds fitted to understand and admire, and the nearer do our souls approach in thought and imagination to that fount of glory and beauty, from which the old artists drew so freely.”
In art, Catholicity was utterly bowed down to by my relatives and their friends, because without it this great art would not have been. For, as scientists and dreamers have proved that gold cannot be made until we know as much as the earth, so uninspired artists have proved that religious art can only grow under conditions known solely to the heart that is Catholic. Every religious school of art which has departed from imitation of the Old Masters has forfeited holiness in depicting the Holy Family.
My mother's letters describing my sister's illness with Roman fever recall the many persons of interest whom we saw. She writes: “Carriages were constantly driving to the door with inquiries. People were always coming. Even dear Mrs. Browning, who almost never goes upstairs, came the moment she heard. She was like an angel. I saw her but a moment, but the clasp of her hand was electric, and her voice penetrated my heart. Mrs. Ward, also usually unable to go upstairs, came every day for five days. One day there seemed a cloud of good spirits in the drawing-room, Mrs. Ward, Mrs. Browning, Mrs. Story, and so on, all standing and waiting. Magnificent flowers were always coming, baskets and bouquets, which were presented with tearful eyes. The American minister constantly called. Mr. Aubrey de Vere came. Every one who had seen Una in society or anywhere came to ask. Mrs. Story came three times in one day to talk about a consultation. The doctor wished all the food prepared exactly after his prescription, and would accept no one's dishes. 'Whose broth is this?' 'This is Mrs. Browning's.' 'Then tell Mrs. Browning to write her poesies, and not to meddle with my broths for my patient!' 'Whose jelly is this?' 'Mrs. Story's.' 'I wish Mrs. Story would help her husband to model his statues, and not try to feed Miss Una!' General Pierce came three times a day. I think I owe to him, almost, my husband's life. He was divinely tender, sweet, sympathizing, and helpful.” She adds: “No one shared my nursing, because Una wanted my touch and voice; and she was not obliged to tell me what she wanted. For days, she only opened her eyes long enough to see if I were there. For thirty days and nights I did not go to bed; or sleep, except in the morning in a chair, while Miss Shepard watched for an hour or so. Una had intervals of brightness and perfect consciousness. In one of these, she tied up a bouquet of flowers with hands that almost shook the flowers to pieces with their trembling, to send them to a friend who was ill. She raised herself upon her elbow, and wrote with a pencil a graceful note, quoting her father's 'Wonder-Book' in reference to the bouquet.”
I went with my father and mother to several painters' and sculptors' studios (besides innumerable visits to churches and galleries), all filling my mind with unfailing riches of memory. I hope I shall be pardoned for giving the general effect of this companionship and sight-seeing upon many years of reflection in a strain that is autobiographical. The studio which I best remember was Mr. Thompson's, he who had painted the portrait of my father used in the editions of “Twice-Told Tales.” The room was very large, but not very high, and it had a great deal of shadow in it. I did not think he painted as well as Raphael; but I delighted in the smell of his pigments, which were intensely fragrant. I thought his still moist canvas upon the easel, of a little Peter and a well-groomed angel, infinitely amusing. It was history scrubbed, and rather reduced in size. I was half appalled, half fascinated, by my temerity in having such frivolous private opinions of a picture that my mother and father felt the excellence of with reverence and praise. A minute portrait of me was painted by Mr. Thompson; one for which
I did not find it at all amusing to sit, as I had to occupy a stiff chair (I think it was even a high stool) without any of the family to keep me in heart, although I had almost never been left with friends in that way, and although I was by that time a perfect recluse in disposition. So I was under the impression that I was being punished by the invisible powers, which I was conscious of eminently deserving. The small painting shows this idea of Purgatorial arrest by a clever touch here and there, without depicting a frown or positive gloom. The patronizing demeanor of an artist at work upon a portrait, which we all know so well, — the inevitable effect of his faith in himself, the very breath of artistic endeavor, without which he would lounge through life asking, “Of what use is it to attempt?” — made me furious, in my naughty, secret mind. I was not accustomed to being patronized; my mother herself had never given me a command. Besides, I was out of temper to think that my quietly observant father had stood in admiration before that picture of the liberating of St. Peter, of which I wearied, liking it so cordially that he had uttered his conclusive, deeply sympathetic “Yes,” when my mother gave voice to her praise; whereas I had not had the grace to glow, but voted all the pictures bores in a lump. Mr. Thompson, below the average size, and harmlessly handsome, always wore the prevailing gleam of a smile that showed chiefly at the eyes, offset by a nimbus of gray and black hair.
I wondered, even at seven years of age, how sculptors in the flesh could come and carve original conceptions among the unspeakably successful attempts of those who were already thinnest dust, yet whose names have so much personality in them that a sovereign presence fills the place where they are spoken, — sculptors whose statues step as it were unexpectedly (themselves surprised) into sight, with none of the avoirdupois of later stone-work; that heaviness which, in some of the finest of these modern figures, causes them to pause involuntarily, as if snowed upon. The high degree of smoothness of the old statues, as well as their mellowed whiteness, may give life; added to that wonderful deep cutting in all crevices and detail of nature, such as gives, in literature, the life to Balzac's endlessly studied facts of situation. The sugary porousness of much of the inferior marble of to-day arrests the eye, and troubles it. Story's Cleopatra is smooth, close-fibred as glass, and the snowstorm has not been allowed to drift upon the folds of her robe, the interstices of her modeling. She, with a few others of still later date, comes near to the old art, which has as much possibility for our imaginative survey as the plot of “The Marble Faun,” so marvelously, so intricately, so unslavishly finished. In looking at the Dying Gladiator, we wonder whether he has already passed on from mastering the thought of his approaching death to the remembrance of his wife and children; or whether upon the agony of the physical pang and the insult to courage, which his wound has brought him to endure, is yet to break the pathos of a hero's regret for the relinquished sweetness of love and home.
The Marble Faun suggests the problem as to whether he has for an instant stopped laughing, or will not immediately laugh; and what has a little while ago, or will suddenly cause, the animal fury of gladness to turn this jocund athlete into a dancing, bewilderingly enticing companion, chiming with guffaws and songs. Cleopatra's watchful melancholy partook also of classic momentariness, and I hoped she would spring to her feet. I liked very much to go to Mr. Story's studio, and I thought that for so slight a figure he was remarkably fearless.
The arches of triumph, which my mother studied reverently, seemed to me too premeditated and unnecessary; although an architect could no doubt have explained why, even to the present day, the little door for the little cat should supplement the big door of all space, which one would at first take to be a hero's best environment. Not thus unnecessary appeared the Coliseum; haunted by wild beasts, especially lions, leaping (I imagined) in hobgoblin array from the cavernous entrances which were pointed out to me as connected in the days of triumphant tyranny with their donjons. Many tender thoughts filled my reflections as I saw pilgrims visiting, and kneeling before, the black cross in the centre, and the altars around the walls. I delighted to muse within the circular ruin, upon whose upper rim, jagged but sunlit, delicate vegetation found a repentant welcome. The circular form of the ruin is full of eloquence, as one approaches from the Forum. What would be grace in a smaller structure is tragedy in so immense a sweep, which melts into vagueness, or comes mountainously upon you, or swirls before you in a retreating curve that figures the never-changing change of eternity.
The tomb of Cecilia Metella, and other successive tombs of the Appian Way beyond the walls, gave me my first impression of death that really was death. There could be, I reflected, looking at the sepulchres of these old Romans, no pretty story about the poor folk having gone to heaven comfortably from their apparent bodies. Here were the ashes of them, after a thousand years, in contemptible little urns; and they were expected to enjoy, in that much impaired state, sundry rusty bric-a-brac, dolls, and tear-vials of spookish iridescence, until, in the vast lapse of time, even a ghost must have got tired. Unaided by the right comment, I was dragged down considerably by those pagan tombs; and as an antidote, the unexplained catacombs were not sufficiently elevating. I did not read the signs of the subterranean churches aright, any more than the uncultivated Yankee reads aright an Egyptian portraiture. Monkish skulls and other unburied bones, seen by the light of moccoletti, were to me nothing but forms of folly. The abounding life of Catholicity was hardly understood by our party, which for some reason seemed inclined to impute the most death to the faith which has the most form. We did not gather how this abounding life can afford, though making more of our little fleshly sojourn than any other patron, to compare a skull with the life of the spirit, and relegate it to ornamentation and symbol.
Through the streets of Rome trotted in brown garb and great unloveliness a frequent monk, brave and true; and each of these, I was led by the feminine members of the family, to regard as a probable demon, eager for my intellectual blood. A fairer sight were the Penitents, in neat buff clothes of monastic outline, their faces covered with their hoods, whose points rose overhead like church steeples, two holes permitting the eyes to peep with beetle glistenings upon you. They went hurryingly along, called from their worldly affairs; and my mother imparted to me her belief that they were somewhat free of superstition because undoubtedly clean. Sometimes processions of them, chanting, came slowly through the city, bearing the dead to burial. I did not know, then, that the chanting was the voicing of good, honest, Bible-derived prayers; I thought it was child's play, useless and fascinating. In the churches the chanting monks and boys impressed me differently. Who does not feel, without a word to reveal the fact, the wondrous virtue of Catholic religious observance in the churches? The holiness of these regions sent through me waves of peace. I stepped softly past the old men and women who knelt upon the pavements, and gazed longingly upon their simpler spiritual plane; I drew back reluctantly from the only garden where the Cross is planted in visible, reverential substance. For the year ensuing this life in Rome, I entertained the family with dramatic imitations of religious chants, grumbling out at sundown the low, ominous echoings of the priests, answered by the treble, rapid and trustful, of the little choristers, gladly picturing to myself as I did so the winding processions in St. Peter's.
In the square beneath our windows, during Lent, booths were set, and countless flat pancake-looking pieces of dough were caught up by a white-capped and aproned cook, with a long-handled spoon, and fried in olive oil placed in a caldron at the booth's door, to be served to passers in the twinkling of an eye. I watched this process until I grew to regard Lent as a tiresome custom. Having tested the cakes, I found them to be indistinct in taste, for all their pretty buff tint, and the dexterous twist of the cook's wrist as he dumped them and picked them up. If they had been appetizing I should have been sharply interested in the idea of becoming a Catholic, but their entire absence of relish convinced me that the Italians lacked mental grasp and salvation at a single swoop: and
this in spite of the fact that one of my mother's most valued friends, Mrs. Ward, had lately joined the Church. It was her husband who said of her, “Whatever church has Anna, has St. Anna!” Perhaps the most exquisite speech ever uttered by a husband.
Before this serious season of pancakes, which was all Lent was to me at the time of which I speak, the Carnival had rushed upon my sight, carrying all our friends through its whirlpool. Every gay cloth, shawl, and mat that could be brought into service I had rejoiced to see displayed upon the balconies. A narrow, winding street the Corso seemed, being so full, and the houses so high; and a merry blue strip of heaven far away overhead, glancing along the housetops, assured us space still existed. Sudden descents of flowers upon one's shoulders and lap in the carriage, from a window or a passer, or a kindly feeling stranger in another carriage, made one start in mirthful response. Sudden meetings with dear friends, or friends who seemed almost dear in the cheerful hurly-burly, became part of the funny scrimmage. At each side-street sat on a stony standing horse a beautifully proportioned and equipped guard, in gleaming helmet and calm demeanor.
Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Page 686
