After wide wanderings through the valley, the two travellers directed their course towards its boundary of hills. Here, the natural scenery and men’s modifications of it immediately took a different aspect from that of the fertile and smiling plain. Not unfrequently there was a convent on the hillside; or, on some insulated promontory, a mined castle, once the den of a robber chieftain, who was accustomеd to dash down from his commanding height upon the road that wound below. For agеs back, the old fortress had been flinging down its crumbling ramparts, stone by stone, towards the grimy village at its foot.
Their road wound onward among the hills, which rose steep and lofty from the scanty level space that lay between them. They continually thrust their great bulks before the wayfarers, as if grimly resolute to forbid their passage, or closed abruptly behind them, when they still dared to proceed. A gigantic hill would set its foot right down before them, and only at the last moment would grudgingly withdraw it, just far enough to let them creep towards another obstacle. Adown these rough heights were visible the dry tracks of many a mountain torrent that had lived a life too fierce and passionate to be a long one. Or, perhaps, a stream was yet hurrying shyly along the edge of a far wider bed of pebbles and shelving rock than it seemed to need, though not too wide for the swollen rage of which this shy rivulet was capable. A stone bridge bestrode it, the ponderous arches of which were upheld and rendered indestructible by the weight of the very stones that threatened to crush them down. Old Roman toil was perceptible in the foundations of that massive bridge; the first weight that it ever bore was that of an army of the Republic.
Threading these defiles, they would arrive at some immemorial city, crowning the high summit of a hill with its cathedral, its many churches, and public edifices, all of Gothic architecture. With no more level ground than a single piazza in the midst, the ancient town tumbled its crooked and narrow streets down the mountainside, through arched passages and by steps of stone. The aspect of everything was awfully old; older, indeed, in its effect on the imagination than Rome itself, because history does not lay its finger on these forgotten edifices and tell us all about their origin. Etruscan princes may have dwelt in them. A thousand years, at all events, would seem but a middle age for these structures. They are built of such huge, square stones, that their appearance of ponderous durability distresses the beholder with the idea that they can never fall,—never crumble away,—never be less fit than now for human habitation. Many of them may once have been palaces, and still retain a squalid grandeur. But, gazing at them, we recognize how undesirable it is to build the tabernacle of our brief lifetime out of permanent materials, and with a view to their being occupied by future ‘generations.
All towns should be made capable of purification by fire, or of decay, within each half-century. Otherwise, they become the hereditary haunts of vermin and noisomeness, besides standing apart from the possibility of such improvements as are constantly introduced into the rest of man’s contrivances and accommodations. It is beautiful, no doubt, and exceedingly satisfactory to some of our natural instincts, to imagine our far posterity dwelling under the same roof-tree as ourselves. Still, when people insist on building indestructible houses, they incur, or their children do, a misfortune analogous to that of the Sibyl, when she obtained the grievous boon of immortality. So we may build almost immortal habitations, it is true; but we cannot keep them from growing old, musty, unwholesome, dreary,—full of death scents, ghosts, and murder stains; in short, such habitations as one sees everywhere in Italy, be they hovels or palaces.
“You should go with me to my native country,” observed the sculptor to Donatello. “In that fortunate land, each generation has only its own sins and sorrows to bear. Here, it seems as if all the weary and dreary Past were piled upon the back of the Present. If I were to lose my spirits in this country,—if I were to suffer any heavy misfortune here,—methinks it would be impossible to stand up against it, under such adverse influences.”
“The sky itself is an old roof, now,” answered the Count; “and, no doubt, the sins of mankind have made it gloomier than it used to be.” “O, my poor Faun,” thought Kenyon to himself, “how art thou changed!”
A city, like this of which we speak, seems a sort of stony growth out of the hillside, or a fossilized town; so ancient and strange it looks, without enough of life and juiciness in it to be any longer susceptible of decay. An earthquake would afford it the only chance of being ruined, beyond its present ruin.
Yet, though dead to all the purposes for which we live to-day, the place has its glorious recollections, and not merely rude and warlike ones, but those of brighter and milder triumphs, the fruits of which we still enjoy. Italy can count several of these lifeless towns which, four or five hundred years ago, were each the birthplace of its own school of art; nor have they yet forgotten to be proud of the dark old pictures, and the faded frescos, the pristine beauty of which was a light and gladness to the world. But now, unless one happens to be a painter, these famous works make us miserably desperate. They are poor, dim ghosts of what, when Giotto or Cimabue first created them, threw a splendor along the stately aisles; so far gone towards nothingness, in our day, that scarcely a hint of design or expression can glimmer through the dusk. Those early artists did well to paint their frescos. Glowing on the church-walls, they might be looked upon as symbols of the living spirit that made Catholicism a true religion, and that glorified it as long as it retained a genuine life; they filled the transepts with a radiant throng of saints and angels, and threw around the high altar a faint reflection—as much as mortals could see, or bear—of a Diviner Presence. But now that the colors are so wretchedly bedimmed,—now that blotches of plastered wall dot the frescos all over, like a mean reality thrusting itself through life’s brightest illusions,—the next best artist to Cimabue or Giotto or Ghirlandaio or Pinturicchio will be he that shall reverently cover their ruined masterpieces with whitewash!
Kenyon, however, being an earnest student and critic of Art, lingered long before these pathetic relics; and Donatello, in his present phase of penitence, thought no time spent amiss while he could be kneeling before an altar. Whenever they found a cathedral, therefore, or a Gothic church, the two travellers were of one mind to enter it. In some of these holy edifices they saw pictures that time had not dimmed nor injured in the least, though they perhaps belonged to as old a school of Art as any that were perishing around them. These were the painted windows; and as often as he gazed at them the sculptor blessed the medieval time, and its gorgeous contrivances of splendor; for surely the skill of man has never accomplished, nor his mind imagined, any other beauty or glory worthy to be compared with these.
It is the special excellence of pictured glass, that the light, which falls merely on the outside of other pictures, is here interfused throughout the work; it illuminates the design, and invests it with a living radiance; and in requital the unfading colors transmute the common daylight into a miracle of richness and glory in its passage through the heavenly substance of the blessed and angelic shapes which throng the high-arched window.
“It is a woeful thing,” cried Kenyon, while one of these frail yet enduring and fadeless pictures threw its hues on his face, and on the pavement of the church around him,—“a sad necessity that any Christian soul should pass from earth without once seeing an antique painted window, with the bright Italian sunshine glowing through it! There is no other such true symbol of the glories of the better world, where a celestial radiance will be inherent in all things and persons, and render each continually transparent to the sight of all.”
“But what a horror it would be,” said Donatello sadly, “if there were a soul among them through which the light could not be transfused!”
“Yes; and perhaps this is to be the punishment of sin,” replied the sculptor; “not that it shall be made evident to the universe, which can profit nothing by such knowledge, but that it shall insulate the sinner from all sweet society by rendering him impermeable to light, and, therefore, unrecognizable in the abode of heavenly simplicity and truth. Then, what remains for him, but the dreariness of infinite and eternal solitude?”
Their road wound onward among the hills, which rose steep and lofty from the scanty level space that lay between them. They continually thrust their great bulks before the wayfarers, as if grimly resolute to forbid their passage, or closed abruptly behind them, when they still dared to proceed. A gigantic hill would set its foot right down before them, and only at the last moment would grudgingly withdraw it, just far enough to let them creep towards another obstacle. Adown these rough heights were visible the dry tracks of many a mountain torrent that had lived a life too fierce and passionate to be a long one. Or, perhaps, a stream was yet hurrying shyly along the edge of a far wider bed of pebbles and shelving rock than it seemed to need, though not too wide for the swollen rage of which this shy rivulet was capable. A stone bridge bestrode it, the ponderous arches of which were upheld and rendered indestructible by the weight of the very stones that threatened to crush them down. Old Roman toil was perceptible in the foundations of that massive bridge; the first weight that it ever bore was that of an army of the Republic.
Threading these defiles, they would arrive at some immemorial city, crowning the high summit of a hill with its cathedral, its many churches, and public edifices, all of Gothic architecture. With no more level ground than a single piazza in the midst, the ancient town tumbled its crooked and narrow streets down the mountainside, through arched passages and by steps of stone. The aspect of everything was awfully old; older, indeed, in its effect on the imagination than Rome itself, because history does not lay its finger on these forgotten edifices and tell us all about their origin. Etruscan princes may have dwelt in them. A thousand years, at all events, would seem but a middle age for these structures. They are built of such huge, square stones, that their appearance of ponderous durability distresses the beholder with the idea that they can never fall,—never crumble away,—never be less fit than now for human habitation. Many of them may once have been palaces, and still retain a squalid grandeur. But, gazing at them, we recognize how undesirable it is to build the tabernacle of our brief lifetime out of permanent materials, and with a view to their being occupied by future ‘generations.
All towns should be made capable of purification by fire, or of decay, within each half-century. Otherwise, they become the hereditary haunts of vermin and noisomeness, besides standing apart from the possibility of such improvements as are constantly introduced into the rest of man’s contrivances and accommodations. It is beautiful, no doubt, and exceedingly satisfactory to some of our natural instincts, to imagine our far posterity dwelling under the same roof-tree as ourselves. Still, when people insist on building indestructible houses, they incur, or their children do, a misfortune analogous to that of the Sibyl, when she obtained the grievous boon of immortality. So we may build almost immortal habitations, it is true; but we cannot keep them from growing old, musty, unwholesome, dreary,—full of death scents, ghosts, and murder stains; in short, such habitations as one sees everywhere in Italy, be they hovels or palaces.
“You should go with me to my native country,” observed the sculptor to Donatello. “In that fortunate land, each generation has only its own sins and sorrows to bear. Here, it seems as if all the weary and dreary Past were piled upon the back of the Present. If I were to lose my spirits in this country,—if I were to suffer any heavy misfortune here,—methinks it would be impossible to stand up against it, under such adverse influences.”
“The sky itself is an old roof, now,” answered the Count; “and, no doubt, the sins of mankind have made it gloomier than it used to be.” “O, my poor Faun,” thought Kenyon to himself, “how art thou changed!”
A city, like this of which we speak, seems a sort of stony growth out of the hillside, or a fossilized town; so ancient and strange it looks, without enough of life and juiciness in it to be any longer susceptible of decay. An earthquake would afford it the only chance of being ruined, beyond its present ruin.
Yet, though dead to all the purposes for which we live to-day, the place has its glorious recollections, and not merely rude and warlike ones, but those of brighter and milder triumphs, the fruits of which we still enjoy. Italy can count several of these lifeless towns which, four or five hundred years ago, were each the birthplace of its own school of art; nor have they yet forgotten to be proud of the dark old pictures, and the faded frescos, the pristine beauty of which was a light and gladness to the world. But now, unless one happens to be a painter, these famous works make us miserably desperate. They are poor, dim ghosts of what, when Giotto or Cimabue first created them, threw a splendor along the stately aisles; so far gone towards nothingness, in our day, that scarcely a hint of design or expression can glimmer through the dusk. Those early artists did well to paint their frescos. Glowing on the church-walls, they might be looked upon as symbols of the living spirit that made Catholicism a true religion, and that glorified it as long as it retained a genuine life; they filled the transepts with a radiant throng of saints and angels, and threw around the high altar a faint reflection—as much as mortals could see, or bear—of a Diviner Presence. But now that the colors are so wretchedly bedimmed,—now that blotches of plastered wall dot the frescos all over, like a mean reality thrusting itself through life’s brightest illusions,—the next best artist to Cimabue or Giotto or Ghirlandaio or Pinturicchio will be he that shall reverently cover their ruined masterpieces with whitewash!
Kenyon, however, being an earnest student and critic of Art, lingered long before these pathetic relics; and Donatello, in his present phase of penitence, thought no time spent amiss while he could be kneeling before an altar. Whenever they found a cathedral, therefore, or a Gothic church, the two travellers were of one mind to enter it. In some of these holy edifices they saw pictures that time had not dimmed nor injured in the least, though they perhaps belonged to as old a school of Art as any that were perishing around them. These were the painted windows; and as often as he gazed at them the sculptor blessed the medieval time, and its gorgeous contrivances of splendor; for surely the skill of man has never accomplished, nor his mind imagined, any other beauty or glory worthy to be compared with these.
It is the special excellence of pictured glass, that the light, which falls merely on the outside of other pictures, is here interfused throughout the work; it illuminates the design, and invests it with a living radiance; and in requital the unfading colors transmute the common daylight into a miracle of richness and glory in its passage through the heavenly substance of the blessed and angelic shapes which throng the high-arched window.
“It is a woeful thing,” cried Kenyon, while one of these frail yet enduring and fadeless pictures threw its hues on his face, and on the pavement of the church around him,—“a sad necessity that any Christian soul should pass from earth without once seeing an antique painted window, with the bright Italian sunshine glowing through it! There is no other such true symbol of the glories of the better world, where a celestial radiance will be inherent in all things and persons, and render each continually transparent to the sight of all.”
“But what a horror it would be,” said Donatello sadly, “if there were a soul among them through which the light could not be transfused!”
“Yes; and perhaps this is to be the punishment of sin,” replied the sculptor; “not that it shall be made evident to the universe, which can profit nothing by such knowledge, but that it shall insulate the sinner from all sweet society by rendering him impermeable to light, and, therefore, unrecognizable in the abode of heavenly simplicity and truth. Then, what remains for him, but the dreariness of infinite and eternal solitude?”
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