Part 22

"----The music and the bloom And all the mighty ravishment of spring."

TOLSE AI MARTIRI OGNI CONFIN, CHI AL CORE TOGLIER POTEO LA LIBERTA DEL PIANTO!

O ye blue luxurious skies! Sparkling fountains, Snow-capp'd mountains, Classic shades that round me rise!

Towers and temples, hills and groves, Scenes of glory, Fam'd in story, Where the eye enchanted roves!

O thou rich embroider'd earth! Opening flowers, Leafy bowers, Sights of gladness, sounds of mirth!

Why to my desponding heart, Darkly thinking, Sadly sinking, Can ye no delight impart?

Sunday, 31.--To-day the Holy week begins, and a kind of programma of the usual ceremonies of each day was laid on my toilette this morning. The bill of fare for this day runs thus:--

"Domenica delle Palme, nel Capella Papale nel Palazzo Apostolico, canta messa un Cardinal Prete. Il Sommo Pontefice fa la benedizione delle Palme, con processione per la Sala Regia."

I gave up going to the English service accordingly, and consented to accompany R** and V** to the Pope's Chapel. We entered just as the ceremony of blessing the palms was going on: a cardinal officiated for the poor old pope, who is at present ill.

After the palms had been duly blessed, they were carried in procession round the splendid anti-chamber, called the Sala Regia; meantime the chapel doors were closed upon them, and on their return, they (not the palms, but the priests) knocked and demanded entrance in a fine recitative; two of the principal voices replied from within; the choir without sung a response, and after a moment's silence the doors were opened, and the service went on.

This was very trivial and tedious. Rospo said, very truly, that the procession in Blue Beard was much better got up. All these processions sound very fine in mere description, but in the reality there is always something to disappoint or disgust; something which leaves either a ludicrous or a painful impression on the mind. The old priests and cardinals to-day looking like so many old beggar-women dressed up in the cast-off finery of a Christmas pantomime, the assistants smirking and whispering, the singers grinning at each other between every solemn strain of melody, and blowing their noses and spitting about like true Italians--in short, the want of keeping in the tout ensemble shocked my taste and my imagination, and, I may add, better, more serious feelings. It is well to see these things once, that we may not be cheated with fine words, but judge for ourselves. I foresee, however, that I shall not be tempted to encounter any of the more crowded ceremonies.

I remarked that all the Italians wore black to-day.

We spent the afternoon at the Vatican. We found St. Peter's almost deserted; few people, no music, the pictures all muffled, and the altars hung with black drapery. The scaffolding was preparing for the ceremonies of the week; and, on the whole, St. Peter's appeared, for the first time, disagreeable and gloomy.

Monday, April 1.--Non riconosco oggi la mia bella Italia! Clouds, and cold, and rain, to which we have been so long unaccustomed, seem unnatural; and deform that peculiar character of sunny loveliness which belongs to this country: and, a-propos to climate, I may as well observe now, that since the 1st of February, when we left Rome for Naples, up to this present 1st of April, not one day has been so rainy as to confine us to the house: and on referring to my memoranda of the weather, I find that at Naples it rained one day for a few hours only, and for about two hours on the morning we left it: since then, not a drop of rain has fallen: all hot, cloudless, lovely weather. We have been for the last three weeks in summer costume, and guard against the heat as we should in England during the dog-days. To have an idea of an Italian summer, Mr. W** says we must fancy the present heat quadrupled.

The day, notwithstanding, has been unusually pleasant, the afternoon, though not brilliant, was clear and soft; and we drove in the open carriage first to the little church of Santa Maria della Pace, to see Raffaelle's famous fresco, the Four Sybils. It is in the finest preservation, and combines all his peculiar graces of design and expression. The colouring has not suffered from time and damp like that of the frescos in the Vatican, but it is at once brilliant and delicate. Nothing can exceed the exquisite grace of the Sibilla Persica, nor the beautiful drapery and inspired look of the Cumana. Fortunately, I had never seen any copy or engraving of this master piece: its beauty was to me enhanced by surprise and all the charm of novelty: and my gratification was complete.

We afterwards spent half an hour in the gardens of the Villa Lanti, on the Monte Gianicolo. The view of Rome from these gardens is superb: though the sky was clouded, the atmosphere was perfectly pure and clear: the eye took in the whole extent of ancient and modern Rome; beyond it the Campagna, the Alban Hills, and the Apennines, which appeared of a deep purple, with pale clouds floating over their summits. The city lay at our feet, silent, and clothed with the daylight as with a garment--no smoke, no vapour, no sound, no motion, no sign of life: it looked like a city whose inhabitants had been suddenly petrified, or smitten by a destroying angel; and such was the effect of its strange and solemn beauty, that, before I was aware, I felt my eyes fill with tears as I looked upon it.

I saw Naples from the Castle of Saint Elmo--setting aside the sea and Mount Vesuvius, those unequalled features in that radiant picture--the view of the city of Naples is not so fine as the view of Rome: it is, comparatively, deficient in sentiment, in interest, and in dignity. Naples wears on her brow the voluptuous beauty of a syren--Rome sits desolate on her seven-hilled throne, "the Niobe of Nations."

I wish I could have painted what I saw to-day as I saw it. Yet no--the reality was perhaps too much like a picture to please in a picture: the exquisite harmony of the colouring, the softness of the lights and shades, the solemn death-like stillness, the distinctness of every form and outline, and the classic interest attached to every noble object, combined to form a scene, which hereafter, in the silence of my own thoughts, I shall often love to recall and to dwell upon.

To-night I read with Incoronati, the Fourth book of Dante, and two of Petrarch's Canzoni "I' vo pensando," and "Verdi panni," making notes from his explanations and remarks as I went along. These two Canzoni I had selected as being among the most puzzling as well as the most beautiful. Those are strangely mistaken, who from a superficial study of a few of his amatory sonnets, regard Petrarch as a mere love-sick poet, who spent his time in be-rhyming an obdurate mistress; and those are equally mistaken who consider him as the poetical votarist of an imaginary fair one. I know but little, even of the little that is known of his life; for I remember being as much terrified by the ponderous quartos of the Abbe de Sade, as I was discomfited and disappointed by the flimsy octavo of Mrs. Dobson. I am now studying Petrarch in his own works; and it seemeth to me, in my simple wit, that such exquisite touches of truth and nature, such depth and purity of feeling, such felicity of expression, such vivid yet delicate pictures of female beauty, could spring only from a real and heartfelt passion. We know too little of Laura: but it is probable, if she had always preserved a stern and unfeeling indifference, she would not have so entirely commanded the affections of a feeling heart; and had she yielded she would not so long have preserved her influence.

Think you if Laura had been Petrarch's wife, He would have written sonnets all his life?

In truth she appears to have been the most finished coquette of her own or any other age.

3.--What a delight it would be, if, at the end of a day like this, I had somebody with whom I could talk over things--with whose feelings and impressions I could compare my own--who would direct my judgment, and assist me in arranging my ideas, and double every pleasure by sharing it with me! What would have become of me if I had not thought of keeping a Diary? I should have died of a sort of mental repletion! What a consolation and employment has it been to me to let my overflowing heart and soul exhale themselves on paper! When I have neither power nor spirits to join in common-place conversation, I open my dear little Diary, and feel, while my pen thus swiftly glides along, much less as if I were writing than as if I were speaking--yes! speaking to one who perhaps will read this when I am no more--but not till then.

I was well enough to walk up to the Rospigliosi Palace this morning to see Guido's Aurora: it is on the ceiling of a pavilion: would it were not! for I looked at it till my neck ached, and my brain turned round "like a parish top." I can only say that it far surpassed my expectations: the colouring is the most brilliant, yet the most harmonious, in the world: and there is a depth, a strength, a richness in the tints, not common to Guido's style. The whole is as fresh as if painted yesterday; though Guido must have died sometime about 1640.

On each side of the hall or pavilion adorned by the Aurora, there is a small room, containing a few excellent pictures. The Triumph of David, by Domenichino, a fine rich picture; an exquisite Andromeda, by Guido, painted with his usual delicacy and sentiment; the twelve Apostles, by Rubens, some of them very fine; "the Five Senses," said to be by Carlo Cignani, but if so he has surpassed himself: it is like Domenichino. The Death of Samson, by L. Carracci, wearies the eye by the number and confusion of the figures: it has no principal group upon which the attention can rest. There is also a fine portrait of Nicolo Poussin, by himself, and an interesting head of Guido.

At three o'clock we went down to the Capella Sistina to hear the Miserere. In describing the effect produced by this divine music, the time, the place, the scenic contrivance should be taken into account: the time--solemn twilight, just as the shades begin to fall around: the place--a noble and lofty hall where the terrors of Michel Angelo's Last Judgment are rendered more terrible by the gathering gloom, and his sublime Prophets frown dimly upon us from the walls above. The extinguishing of the tapers, the concealed choir, the angelic voices chosen from among the finest in the world, and blended by long practice into the most perfect unison, were combined to produce that overpowering effect which has so often been described. Many ladies wept, and one fainted. Unassisted vocal music is certainly the finest of all: no power of instruments could have thrilled me like the blended stream of melancholy harmony, breathed forth with such an expression of despairing anguish, that it was almost too much to bear.

Good-Friday.--I saw more new, amusing, and delightful things yesterday, than I can attempt to describe or even enumerate: but I think there is no danger of my forgetting general impressions: if my memory should fail me in particulars, my imagination can always recall the whole.

In the morning I declined going to see the ceremonies at the Vatican. The procession of the host from the Sistine to the Pauline Chapel; the washing of the Pilgrims' feet, etc.--all these things are less than indifferent to me; and the illness and absence of the poor old pope rendered them particularly uninteresting. Every body went but myself; and it was agreed that we should all meet at the door of the Sistine Chapel at five o'clock. I remained quietly at home on my sofa till one; and then drove to the Museum of the Vatican, where I spent the rest of the day; it was a grand festa, and the whole of the Vatican, including the immense suite of splendid libraries, was thrown open to the public. All the foreigners in Rome having crowded to St. Peter's, or the chapels, to view the ceremonies going on, I was the only stranger amidst an assemblage of the common people and peasantry, who had come to lounge there till the lighting up of the Cross. I walked on and on, hour after hour, lost in amazement, and wondering where and when this glorious labyrinth was to end; successive galleries fitted up with the gay splendour of an Oriental Haram, in which the books and manuscripts are all arranged and numbered in cases; the beautiful perspective of hall beyond hall vanishing away into immeasurable distance; the refulgent light shed overall; and add to this, the extraordinary visages and costumes of the people, who with their families wandered along in groups or singly, all behaving with the utmost decorum, and making emphatic exclamations on the beauties around them. "Ah! che bella cosa! Cosa rara! O bella assai!" all furnished me with such ample matter for amusement, and observation, and admiration, that I was insensible to fatigue, and knew not that in five hours I had scarcely completed the circuit of the Museum.

One room (the Camera del Papiri) struck me particularly: it is a small octagon, the ceiling and ornaments painted by Raffaelle Mengs with exquisite taste. The group on the ceiling represents the Muse of History writing, while her book reposes on the wings of Time, and a Genius supplies her with materials: the pannels of this room are formed of old manuscripts, pasted up against the walls and glazed. The effect of the whole is as singular as beautiful.