I beg that you and Major Blackwood will accept my thanks for your proposal to give me a further share in the success of "Adam Bede," beyond the terms of our agreement, which are fulfilled by the second check for £400, received this morning. Neither you nor I ever calculated on half such a success, thinking that the book was too quiet, and too unflattering to dominant fashion, ever to be very popular. I hope that opinion of ours is a guarantee that there is nothing hollow or transient in the reception "Adam" has met with. Sometimes when I read a book which has had a great success, and am unable to see any valid merits of an artistic kind to account for it, I am visited with a horrible alarm lest "Adam," too, should ultimately sink into the same class of outworn admirations. But I always fall back on the fact that no shibboleth and no vanity is flattered by it, and that there is no novelty of mere form in it which can have delighted simply by startling.
Nov. 10.—Dickens dined with us to-day, for the first time, and after he left I went to the Congreves, where George joined me, and we had much chat—about George Stephenson, religion, etc.
A very beautiful letter—beautiful in feeling—that I have received from Mrs. Gaskell to-day, prompts me to write to you and let you know how entirely she has freed herself from any imputation of being unwilling to accept the truth when it has once clearly presented itself as truth. Since she has known "on authority" that the two books are mine, she has re-read them, and has written to me, apparently on the prompting they gave in that second reading: very sweet and noble words they are that she has written to me. Yesterday Dickens dined with us, on his return from the country. That was a great pleasure to me: he is a man one can thoroughly enjoy talking to—there is a strain of real seriousness along with his keenness and humor.
The Liggins affair is concluded so far as any action of ours is concerned, since Mr. Quirk (the inmost citadel, I presume) has surrendered by writing an apology to Blackwood, saying he now believes he was imposed on by Mr. Liggins. As to Miss Martineau, I respect her so much as an authoress, and have so pleasant a recollection of her as a hostess for three days, that I wish that distant impression from herself and her writings to be disturbed as little as possible by mere personal details. Anything she may do or say or feel concerning me personally is a matter of entire indifference: I share her bitterness with a large number of far more blameless people than myself. It can be of no possible benefit to me, or any one else, that I should know more of those things, either past, present, or to come. "I do owe no man anything" except to write honestly and religiously what comes from my inward promptings; and the freer I am kept of all knowledge of that comparatively small circle who mingle personal regards or hatred with their judgment or reception of my writings, the easier it will be to keep my motives free from all indirectness and write truly.
Nov. 18.—On Monday Dickens wrote, asking me to give him, after I have finished my present novel, a story to be printed in All the Year Round—to begin four months after next Easter, and assuring me of my own terms. The next day G. had an interview by appointment with Evans (of Bradbury & Evans), and Lucas, the editor of Once a Week, who, after preliminary pressing of G. himself to contribute, put forward their wish that I should give them a novel for their Magazine. They were to write and make an offer, but have not yet done so. We have written to Dickens, saying that time is an insurmountable obstacle to his proposition, as he puts it.
I am reading Thomas à Kempis.
Nov. 19.—Mr. Lockhart Clarke and Mr. Herbert Spencer dined with us.
Nov. 22.—We have been much annoyed lately by Newby's advertisement of a book called "Adam Bede, Junior," a sequel; and to-day Dickens has written to mention a story of the tricks which are being used to push the book under the pretence of its being mine. One librarian has been forced to order the book against his will, because the public have demanded it. Dickens is going to put an article on the subject in Household Words, in order to scarify the rascally bookseller.
Nov. 23.—We began Darwin's book on "The Origin of Species" to-night. Though full of interesting matter, it is not impressive, from want of luminous and orderly presentation.
Nov. 24.—This morning I wrote the scene between Mrs. Tulliver and Wakem. G. went into town and saw young Evans (of Bradbury & Evans), who agreed that it would be well to have an article in Punch on this scoundrelly business of "Adam Bede, Junior." A divine day. I walked out, and Mrs. Congreve joined me. Then music, "Arabian Nights," and Darwin.
Nov. 25.—I am reading old Bunyan again, after the long lapse of years, and am profoundly struck with the true genius manifested in the simple, vigorous, rhythmic style.
Thanks for Bentley. Some one said the writer of the article on "Adam Bede" was a Mr. Mozeley, a clergyman, and a writer in the Times; but these reports about authorship are as often false as true. I think it is, on the whole, the best review we have seen, unless we must except the one in the Revue des Deux Mondes, by Emile Montégut. I don't mean to read any reviews of my next book; so far as they would produce any effect, they would be confusing. Everybody admires something that somebody else finds fault with; and the miller with his donkey was in a clear and decided state of mind compared with the unfortunate writer who should set himself to please all the world of review writers. I am compelled, in spite of myself, to be annoyed with this business of "Adam Bede, Junior." You see I am well provided with thorns in the flesh, lest I should be exalted beyond measure. To part with the copyright of a book which sells 16,000 in one year—to have a Liggins and an unknown writer of one's "Sequel" all to one's self—is excellent discipline.
We are reading Darwin's book on Species, just come out after long expectation. It is an elaborate exposition of the evidence in favor of the Development Theory, and so makes an epoch. Do you see how the publishing world is going mad on periodicals? If I could be seduced by such offers, I might have written three poor novels, and made my fortune in one year. Happily, I have no need to exert myself when I say "Avaunt thee, Satan!" Satan, in the form of bad writing and good pay, is not seductive to me.
Nov. 26.—Letter from Lucas, editor of Once a Week, anxious to come to terms about my writing for said periodical.
It was very pretty and generous of you to send me a nice long letter out of your turn, and I think I shall give you, as a reward, other opportunities of being generous in the same way for the next few months, for I am likely to be a poor correspondent, having my head and hands full.
We have the whole of Vilmar's "Literatur Geschichte," but not the remainder of the "Deutsche Humoristik." I agree with you in liking the history of German literature, especially the earlier ages—the birth-time of the legendary poetry. Have you read the "Nibelungenlied" yet?
Whereabouts are you in algebra? It would be very pleasant to study it with you, if I could possibly find time to rub up my knowledge. It is now a good while since I looked into algebra, but I was very fond of it in old days, though I dare say I never went so far as you have now gone. Tell me your latitude and longitude.
I have no memory of an autumn so disappointing as this. It is my favorite season. I delight especially in the golden and red tints under the purple clouds. But this year the trees were almost stripped of their leaves before they had changed color—dashed off by the winds and rain. We have had no autumnal beauty.
I am writing at night—very tired—so you must not wonder if I have left out words, or been otherwise incoherent.
Nov. 29.—Wrote a letter to the Times, and to Delane about Newby.
I took no notice of the extract you sent me from a letter of Mrs. Gaskell's, being determined not to engage in any writing on the topic of my authorship, except such as was absolutely demanded of us. But since then I have had a very beautiful letter from Mrs. Gaskell, and I will quote some of her words, because they do her honor, and will incline you to think more highly of her. She begins in this way: "Since I heard, on authority, that you were the author of 'Scenes of Clerical Life' and 'Adam Bede,' I have read them again, and I must once more tell you how earnestly, fully, and humbly I admire them. I never read anything so complete and beautiful in fiction in my life before." Very sweet and noble of her, was it not? She went on to speak of her having held to the notion of Liggins, but she adds, "I was never such a goose as to believe that books like yours were a mosaic of real and ideal." The "Seth Bede" and "Adam Bede, Junior," are speculations of those who are always ready to fasten themselves like leeches on a popular fame. Such things must be endured: they are the shadow to the bright fact of selling 16,000 in one year. As to the silly falsehoods and empty opinions afloat in some petty circles, I have quite conquered my temporary irritation about them—indeed, I feel all the more serene now for that very irritation; it has impressed on me more deeply how entirely the rewards of the artist lie apart from everything that is narrow and personal: there is no peace until that lesson is thoroughly learned. I shall go on writing from my inward promptings—writing what I love and believe, what I feel to be true and good, if I can only render it worthily—and then leave all the rest to take its chance: "As it was in the beginning, is now, and ever shall be" with those who are to produce any art that will lastingly touch the generations of men. We have been reading Darwin's book on the "Origin of Species" just now: it makes an epoch, as the expression of his thorough adhesion, after long years of study, to the Doctrine of Development—and not the adhesion of an anonym like the author of the "Vestiges," but of a long-celebrated naturalist. The book is sadly wanting in illustrative facts—of which he has collected a vast number, but reserves them for a future book, of which this smaller one is the avant-coureur. This will prevent the work from becoming popular as the "Vestiges" did, but it will have a great effect in the scientific world, causing a thorough and open discussion of a question about which people have hitherto felt timid. So the world gets on step by step towards brave clearness and honesty! But to me the Development Theory, and all other explanations of processes by which things came to be, produce a feeble impression compared with the mystery that lies under the processes. It is nice to think of you reading our great, great favorite Molière, while, for the present, we are not taking him down from the shelves—only talking about him, as we do very often. I get a good deal of pleasure out of the sense that some one I love is reading and enjoying my best-loved writers. I think the "Misanthrope" the finest, most complete production of its kind in the world. I know you enjoy the "sonnet" scene, and the one between Arsinoé and Célimène.
In opposition to most people who love to read Shakspeare, I like to see his plays acted better than any others; his great tragedies thrill me, let them be acted how they may. I think it is something like what I used to experience in old days in listening to uncultured preachers—the emotions lay hold of one too strongly for one to care about the medium. Before all other plays I find myself cold and critical, seeing nothing but actors and "properties." I like going to those little provincial theatres. One's heart streams out to the poor devils of actors who get so little clapping, and will go home to so poor a supper. One of my pleasures lately has been hearing repeatedly from my Genevese friends M. and Mme. d'Albert, who were so good to me during my residence with them. M. d'Albert had read the "Scenes of Clerical Life" before he knew they were mine, and had been so much struck with them that he had wanted to translate them. One likes to feel old ties strengthened by fresh sympathies. The Cornhill Magazine is going to lead off with great spirit, and promises to eclipse all the other new-born periodicals. Mr. Lewes is writing a series of papers for it—"Studies in Animal Life"—which are to be subsequently published in a book. It is quite as well that your book should not be ready for publication just yet. February is a much better time than Christmas. I shall be one of your most eager readers—for every book that comes from the heart of hearts does me good, and I quite share your faith that what you yourself feel so deeply and find so precious will find a home in some other minds. Do not suspect that I impose on you the task of writing letters to answer my dilettante questions. "Am I on a bed of roses?" I have four children to correspond with—the three boys in Switzerland, and Emily at Lichfield.
Dec. 15.—Blackwood proposes to give me for "The Mill on the Floss" £2000 for 4000 copies of an edition at 31s. 6d., and after the same rate for any more that may be printed at the same price: £150 for 1000 at 12s., and £60 for 1000 at 6s. I have accepted.
Dec. 25.—Christmas-day. We all, including Pug, dined with Mr. and Mrs. Congreve, and had a delightful day. Mr. Bridges was there too.
I don't like Christmas to go by without sending you a greeting, though I have really nothing to say beyond that. We spent our Christmas-day with the Congreves, shutting up our house and taking our servant and Pug with us. And so we ate our turkey and plum-pudding in very social, joyous fashion with those charming friends. Mr. Bridges was there too.
We are meditating flight to Italy when my present work is done, as our last bit of vagrancy for a long, long while. We shall only stay two months, doing nothing but absorb.
I don't think I have anything else to tell, except that we, being very happy, wish all mortals to be in like condition, and especially the mortals we know in the flesh. Human happiness is a web with many threads of pain in it—that is always sub auditum—Twist ye, twine ye, even so, etc., etc.
I never before had so pleasant a New Year's greeting as your letter containing a check for £800, for which I have to thank you to-day. On every ground—including considerations that are not at all of a monetary kind—I am deeply obliged to you and to Major Blackwood for your liberal conduct in relation to "Adam Bede."
As, owing to your generous concession of the copyright of "Adam Bede," the three books will be henceforth on the same footing, we shall be delivered from further discussion as to terms.
We are demurring about the title. Mr. Lewes is beginning to prefer "The House of Tulliver; or, Life on the Floss," to our old notion of "Sister Maggie." "The Tullivers; or, Life on the Floss," has the advantage of slipping easily off the lazy English tongue, but it is after too common a fashion ("The Newcomes," "The Bertrams," etc., etc.). Then there is "The Tulliver Family; or, Life on the Floss." Pray meditate, and give us your opinion.
I am very anxious that the "Scenes of Clerical Life" should have every chance of impressing the public with its existence: first, because I think it of importance to the estimate of me as a writer that "Adam Bede" should not be counted as my only book; and secondly, because there are ideas presented in these stories about which I care a good deal, and am not sure that I can ever embody again. This latter reason is my private affair, but the other reason, if valid, is yours also. I must tell you that I had another cheering letter to-day besides yours: one from a person of mark in your Edinburgh University,[9] full of the very strongest words of sympathy and encouragement, hoping that my life may long be spared "to give pictures of the deeper life of this age." So I sat down to my desk with a delicious confidence that my audience is not made up of reviewers and literary clubs. If there is any truth in me that the world wants, nothing will hinder the world from drinking what it is athirst for. And if there is no needful truth in me, let me, howl as I may in the process, be hurled into the Dom Daniel, where I wish all other futile writers to sink.
Your description of the "curling" made me envy you the sight.
The sun is shining with us too, and your pleasant letter made it seem to shine more brightly. I am not going to be expansive in this appendix to your father's chapter of love and news, for my head is tired with writing this morning—it is not so young as yours, you know, and, besides, is a feminine head, supported by weaker muscles and a weaker digestive apparatus than that of a young gentleman with a broad chest and hopeful whiskers. I don't wonder at your being more conscious of your attachment to Hofwyl now the time of leaving is so near. I fear you will miss a great many things in exchanging Hofwyl, with its snowy mountains and glorious spaces, for a very moderate home in the neighborhood of London. You will have a less various, more arduous life: but the time of Entbehrung or Entsagung must begin, you know, for every mortal of us. And let us hope that we shall all—father and mother and sons—help one another with love.
What jolly times you have had lately! It did us good to read of your merrymaking.
"The Mill on the Floss" be it then! The only objections are, that the mill is not strictly on the Floss, being on its small tributary, and that the title is of rather laborious utterance. But I think these objections do not deprive it of its advantage over "The Tullivers; or, Life on the Floss"—the only alternative, so far as we can see. Pray give the casting-vote.
Easter Monday, I see, is on the 8th April, and I wish to be out by the middle or end of March. Illness apart, I intend to have finished Vol. III. by the beginning of that month, and I hope no obstacle will impede the rapidity of the printing.
Jan. 11.—I have had a very delightful letter of sympathy from Professor Blackie of Edinburgh, which came to me on New Year's morning, and a proposal from Blackwood to publish a third edition of "Clerical Scenes" at 12s. George's article in the Cornhill Magazine—the first of a series of "Studies in Animal Life"—is much admired, and in other ways our New Year opens with happy omens.
Thank you for letting me see the specimen advertisements; they have helped us to come to a decision—namely, for "The Mill on the Floss."
I agree with you that it will be well not to promise the book in March—not because I do not desire and hope to be ready, but because I set my face against all pledges that I am not sure of being able to fulfil. The third volume is, I fancy, always more rapidly written than the rest. The third volume of "Adam Bede" was written in six weeks, even with headaching interruptions, because it was written under a stress of emotion, which first volumes cannot be. I will send you the first volume of "The Mill" at once. The second is ready, but I would rather keep it as long as I can. Besides the advantage to the book of being out by Easter, I have another reason for wishing to have done in time for that. We want to get away for two months to Italy, if possible, to feed my mind with fresh thoughts, and to assure ourselves of that fructifying holiday before the boys are about us, making it difficult for us to leave home. But you may rely on it that no amount of horse-power would make me hurry over my book, so as not to do my best. If it is written fast, it will be because I can't help writing it fast.
Jan. 16.—Finished my second volume this morning, and am going to send off the MS. of the first volume to-morrow. We have decided that the title shall be "The Mill on the Floss." We have been reading "Humphrey Clinker" in the evenings, and have been much disappointed in it, after the praise of Thackeray and Dickens.
Jan. 26.—Mr. Pigott, Mr. Redford, and Mr. F. Chapman dined with us, and we had a musical evening. Mrs. Congreve and Miss Bury[10] joining us after dinner.
Thanks for your letter of yesterday, with the Genevese enclosure. No promise, alas! of smallest watch expressing largest admiration, but a desire for "permission to translate."
I have been invalided for the last week, and, of course, am a prisoner in the castle of Giant Despair, who growls in my ear that "The Mill on the Floss" is detestable, and that the last volume will be the climax of that general detestableness. Such is the elation attendant on what a self-elected lady correspondent of mine from Scotland calls my "exciting career!"
I have had a great pleasure this week. Dr. Inman of Liverpool has dedicated a new book ("Foundation for a New Theory and Practice of Medicine") "to G. H. Lewes, as an acknowledgment of benefit received from noticing his close observation and clear inductive reasoning in 'Sea-side Studies' and the 'Physiology of Common Life.'"
That is really gratifying, coming from a physician of some scientific mark, who is not a personal friend.
Feb. 4.—Came this morning a letter from Blackwood announcing the despatch of the first eight sheets of proof of "The Mill on the Floss," and expressing his delight in it. To-night G. has read them, and says, "Ganz famos!" Ebenezer!
Feb. 23.—Sir Edward Lytton called on us. Guy Darrell in propriâ personâ.
Sir Edward Lytton called on us yesterday. The conversation lapsed chiefly into monologue, from the difficulty I found in making him hear, but under all disadvantages I had an agreeable impression of his kindness and sincerity. He thinks the two defects of "Adam Bede" are the dialect and Adam's marriage with Dinah; but, of course, I would have my teeth drawn rather than give up either.
Jacobi told Jean Paul that unless he altered the dénouement of his Titan he would withdraw his friendship from him; and I am preparing myself for your lasting enmity on the ground of the tragedy in my third volume. But an unfortunate duck can only lay blue eggs, however much white ones may be in demand.
Feb. 29.—G. has been in the town to-day, and has agreed for £300 for "The Mill on the Floss" from Harpers of New York. This evening, too, has come a letter from Williams & Norgate, saying that Tauchnitz will give £100 for the German reprint; also, that "Bede Adam" is translated into Hungarian.
March 5.—Yesterday Mr. Lawrence, the portrait-painter, lunched with us, and expressed to G. his wish to take my portrait.
March 9.—Yesterday a letter from Blackwood, expressing his strong delight in my third volume, which he had read to the beginning of "Borne on the tide." To-day young Blackwood called, and told us, among other things, that the last copies of "Clerical Scenes" had gone to-day—twelve for export. Letter came from Germany, announcing a translation of G.'s "Biographical History of Philosophy."
March 11.—To-day the first volume of the German translation of "Adam Bede" came. It is done by Dr. Frese, the same man who translated the "Life of Goethe."
March 20.—Professor Owen sent me his "Palæontology" to-day. Have missed two days of work from headache, and so have not yet finished my book.
March 21.—Finished this morning "The Mill on the Floss," writing from the moment when Maggie, carried out on the water, thinks of her mother and brother. We hope to start for Rome on Saturday, 24th.
Magnificat anima mea!
The manuscript of "The Mill on the Floss" bears the following inscription:
"To my beloved husband, George Henry Lewes, I give this MS. of my third book, written in the sixth year of our life together, at Holly Lodge, South Field, Wandsworth, and finished 21st March, 1860."
Your letter yesterday morning helped to inspire me for the last eleven pages, if they have any inspiration in them. They were written in a furor, but I dare say there is not a word different from what it would have been if I had written them at the slowest pace.
We expect to start on Saturday morning, and to be in Rome by Palm Sunday, or else by the following Tuesday. Of course we shall write to you when we know what will be our address in Rome. In the meantime news will gather.
I don't mean to send "The Mill on the Floss" to any one except to Dickens, who has behaved with a delicate kindness in a recent matter, which I wish to acknowledge.
I am grateful and yet rather sad to have finished—sad that I shall live with my people on the banks of the Floss no longer. But it is time that I should go and absorb some new life and gather fresh ideas.
SUMMARY.
JANUARY, 1859, TO MARCH, 1860.
Looking for cases of inundation in Annual Register—New House—Holly Lodge, Wandsworth—Letter to John Blackwood—George Eliot fears she has not characteristics of "the popular author"—Subscription to "Adam Bede" 730 copies—Appreciation by a cabinet-maker—Dr. John Brown sends "Rab and his Friends" with an inscription—Letter to Blackwood thereon—Tries to be hopeful—Letters to Miss Hennell—Description of Holly Lodge—Miss Nightingale—Thoughts on death—Scott—Mrs. Clarke writes—Mr. and Mrs. Congreve—Letter to Mrs. Bray on effects of anxiety—Mrs. Clarke dying—Letter to John Blackwood—Wishes Carlyle to read "Adam Bede"—"Life of Frederic" painful—Susceptibility to newspaper criticism—Edinburgh more encouraging than London—Letter to Blackwood to stop puffing notices—Letter from E. Hall, working-man, asking for cheap editions—Sale of "Adam Bede"—Death of Mrs. Clarke—1800 copies of "Adam Bede" sold—Letter to Blackwood—Awakening to fame—Letter to Froude—Mrs. Poyser quoted in House of Commons by Mr. Charles Buxton—Opinions of Charles Reade, Shirley Brooks, and John Murray—Letter to John Blackwood—Warwickshire correspondent insists that Liggins is author of "Adam Bede"—Not flushed with success—Visit to Isle of Wight—Letter to Miss Hennell on rewriting, and pleasure in Mr. and Mrs. Congreve—Letter to Times, denying that Liggins is the author—Letter to Blackwood—The Liggins myth—Letter from Bulwer—Finished "The Lifted Veil"—Writing "The Tullivers"—Mrs. Congreve—Letter to Mrs. Congreve—Faith in her—Letter from Madame Bodichon—Reply breathing joy in sympathy—Letter to Major Blackwood—Mr. Anders's apology for the Liggins business—"Adam Bede" worth writing—Dulwich gallery—Blackwood gives £400 more in acknowledgment of "Adam Bede's" success—Letter to Miss Hennell on Mrs. Congreve—On difficulty of getting cheap music in England—Professor Aytoun on "Adam Bede"—Letter to Major Blackwood—Liggins—Mrs. Gaskell—Letter to Mrs. Congreve—Dislike of Wandsworth—To Crystal Palace to hear "Messiah," and reveals herself to Brays as author of "Adam Bede"—Letter to Brays—Bad effect of talking of her books—Letter to Charles Bray—Melancholy that her writing does not produce effect intended—Letter to Mrs. Congreve—To Switzerland by Paris—At Schweizerhof, Lucerne, with Congreves—Mr. Lewes goes to Hofwyl—Return to Richmond by Bâle and Paris—Fourth edition of "Adam Bede" (5000) sold in a fortnight—Letter to Mrs. Bray on Mrs. Congreve—On the effect of her books and fame—Herbert Spencer on "Adam Bede"—Pamphlet to prove that Scott's novels were written by Thomas Scott—Letter from Dickens on "Adam Bede" referred to—Letter to John Blackwood on "Pug"—Letter to Charles Lewes—"The Physiology of Common Life"—American proposition for a story for £1200—Letter to Madame Bodichon—Distance from experience artistically necessary—Letter to John Blackwood—Development of stories—Visit to Penmaenmawr—Return by Lichfield to Weymouth—Sixth edition of "Adam Bede"—Back to Richmond—Anxiety about new novel—Journey to Gainsboro', Lincolnshire—Letter to Miss Hennell—End of Liggins business—Letter to John Blackwood—A correspondent suggests a sequel to "Adam Bede"—Susceptibility to outside opinion—Seventh edition of "Adam Bede"—Blackwood proposes to pay £800 beyond the bargain for success of "Adam Bede"—Dickens dines at Holly Lodge—Letter to Miss Hennell—Quotes letter from Mrs. Gaskell—Miss Martineau—Dickens asks for story for All the Year Round—"Adam Bede, Junior"—Reading Darwin on "Origin of Species"—Bunyan—Letter to Mr. Bray—Article on "Adam Bede" in Bentley—In Revue des Deux Mondes, by Emile Montégut—Reviews generally—16,000 of "Adam Bede" sold in year—Darwin's book—Letter to Charles Lewes—Mentions fondness of algebra—Letter to Madame Bodichon quoting Mrs. Gaskell's letter—Rewards of the artist lie apart from everything personal—Darwin's book—Molière—Letter to Miss Hennell—Likes to see Shakspeare acted—Hears from M. and Mme. d'Albert—Cornhill Magazine—Blackwood's terms for "Mill on the Floss"—Christmas-day with Congreves—Letter of sympathy from Professor Blackie—Third edition of "Clerical Scenes"—Letters to Blackwood—Thanks for concession of copyright of "Adam Bede"—Title of new novel considered—Suggestion of the "Mill on the Floss" accepted—The third volume of "Adam Bede" written in six weeks—Depression with the "Mill"—Sir Edward Lytton—"Adam Bede" translated into Hungarian and German—"Mill on the Floss" finished—Letter to Blackwood—Sad at finishing—Start for Italy.
We have finished our journey to Italy—the journey I had looked forward to for years, rather with the hope of the new elements it would bring to my culture than with the hope of immediate pleasure. Travelling can hardly be without a continual current of disappointment, if the main object is not the enlargement of one's general life, so as to make even weariness and annoyances enter into the sum of benefit. One great deduction to me from the delight of seeing world-famous objects is the frequent double consciousness which tells me that I am not enjoying the actual vision enough, and that, when higher enjoyment comes with the reproduction of the scenes in my imagination, I shall have lost some of the details, which impress me too feebly in the present, because the faculties are not wrought up into energetic action.
I have no other journal than the briefest record of what we did each day, so I shall put down my recollections whenever I happen to have leisure and inclination—just for the sake of making clear to myself the impressions I have brought away from our three months' travel.
The first striking moment in our journey was when we arrived, I think about eleven o'clock at night, at the point in the ascent of the Mont Cenis where we were to quit the diligences and take to the sledges. After a hasty drink of hot coffee in the roadside inn, our large party—the inmates of three diligences—turned out into the starlight to await the signal for getting into the sledges. That signal seemed to be considerably on in the future—to be arrived at through much confusion of luggage-lifting, voices, and leading about of mules. The human bustle and confusion made a poetic contrast with the sublime stillness of the starlit heavens spread over the snowy table-land and surrounding heights. The keenness of the air contributed strongly to the sense of novelty; we had left our every-day, conventional world quite behind us, and were on a visit to Nature in her private home.
Once closely packed in our sledge, congratulating ourselves that, after all, we were no more squeezed than in our diligence, I gave myself up to as many naps as chose to take possession of me, and actually slept without very considerable interruption till we were near the summit of the mighty pass. Already there was a faint hint of the morning in the starlight, which showed us the vast, sloping snow-fields as we commenced the descent. I got a few glimpses of the pure, far-stretching whiteness before the sharpening edge of cold forced us to close the window. Then there was no more to be seen till it was time to get out of the sledge and ascend the diligence once more; not, however, without a preliminary struggle with the wind, which fairly blew me down on my slippery standing-ground. The rest of our descent showed us fine, varied scenes of mountain and ravine till we got down at Susa, where breakfast and the railway came as a desirable variety after our long mountain journey and long fast. One of our companions had been a gigantic French soldier, who had in charge a bag of government money. He was my vis-à-vis for some time, and cramped my poor legs not a little with his precious bag, which he would by no means part from.
The approach to Turin by the railway gave us a grand view of snowy mountains surrounding the city on three sides. A few hours of rest spent there could leave no very vivid impression. A handsome street, well broken by architectural details, with a glimpse of snowy mountains at the end of the vista, colonnades on each side, and flags waving their bright colors in sign of political joy, is the image that usually rises before me at the mention of Turin. I fancy the said street is the principal one, but in our walk about the town we saw everywhere a similar character of prosperous, well-lodged town existence—only without the colonnades and without the balconies and other details, which make the principal street picturesque. This is the place that Alfieri lived in through many of his young follies, getting tired of it at last for the Piedmontese pettiness of which it was the centre. And now, eighty years later, it is the centre of a widening life which may at last become the life of resuscitated Italy. At the railway station, as we waited to take our departure for Genoa, we had a sight of the man whose name will always be connected with the story of that widening life—Count Cavour—"imitant son portrait," which we had seen in the shops, with unusual closeness. A man pleasant to look upon, with a smile half kind, half caustic; giving you altogether the impression that he thinks of "many matters," but thanks Heaven and makes no boast of them. He was there to meet the Prince de Carignan, who was going to Genoa on his way towards Florence by the same train as ourselves. The prince is a notability with a thick waist, bound in by a gold belt, and with a fat face, predominated over by a large mustache—"Non ragionam di lui." The railway journey from Turin was chiefly distinguished by dust; but I slept through the latter half, without prejudice, however, to the satisfaction with which I lay down in a comfortable bedroom in the Hotel Feder.
In Genoa again on a bright, warm spring morning! I was here eleven years ago, and the image that visit had left in my mind was surprisingly faithful, though fragmentary. The outlook from our hotel was nearly the same as before—over a low building with a colonnade, at the masts of the abundant shipping. But there was a striking change in the interior of the hotel. It was like the other, a palace adapted to the purposes of an inn; but be-carpeted and be-furnished with an exaggeration of English fashion.
We lost no time in turning out, after breakfast, into the morning sunshine. George was enchanted with the aspect of the place, as we drove or walked along the streets. It was his first vision of anything corresponding to his preconception of Italy. After the Adlergasse, in Nürnberg, surely no streets can be more impressive than the Strada Nuova and Strada Nuovissima, at Genoa. In street architecture I can rise to the highest point of the admiration given to the Palladian style. And here in these chief streets of Genoa the palaces have two advantages over those of Florence: they form a series, creating a general impression of grandeur of which each particular palace gets the benefit; and they have the open gateway, showing the cortile within—sometimes containing grand stone staircases. And all this architectural splendor is accompanied with the signs of actual prosperity. Genova la Superba is not a name of the past merely.
We ascended the tower of Santa Maria di Carignano to get a panoramic view of the city, with its embosoming hills and bay—saw the cathedral, with its banded black-and-white marble—the churches of the Annunziata and San Ambrogio, with their wealth of gilding and rich pink-brown marbles—the Palazzo Rosso, with its collection of eminently forgettable pictures—and the pretty gardens of the Palazzo Doria, with their flourishing green close against the sea.
A drive in the direction of the Campo Santo, along the dry, pebbly bed of the river, showed us the terraced hills planted with olives, and many picturesque groups of the common people with mules or on carts; not to mention what gives beauty to every corner of the inhabited world—the groups of children squatting against walls or trotting about by the side of their elders or grinning together over their play.
One of the personages we were pleased to encounter in the streets here was a quack—a Dulcamara—mounted on his carriage and holding forth with much brio before proceeding to take out the tooth of a negro, already seated in preparation.
We left Genoa on the second evening—unhappily, a little too long after sundown, so that we did not get a perfect view of the grand city from the sea. The pale starlight could bring out no color. We had a prosperous passage to Leghorn.
Leghorn on a brilliant, warm morning, with five or six hours before us to fill as agreeably as possible! Of course, the first thought was to go to Pisa, but the train would not start till eleven; so, in the meantime, we took a drive about the prosperous-looking town, and saw the great reservoir which receives the water brought from the distant mountains; a beautiful and interesting sight—to look into the glassy depth and see columns and grand arches reflected as if in mockery and frustration of one's desire to see the bottom. But in one corner the light fell so as to reveal that reality instead of the beautiful illusion. On our way back we passed the Hebrew synagogue, and were glad of our coachman's suggestion that we should enter, seeing it was the Jews' Sabbath.
At Pisa we took a carriage and drove at once to the cathedral, seeing as we went the well-looking lines of building on each side of the Arno.
A wonderful sight is that first glimpse of the cathedral, with the leaning campanile on one side and the baptistery on the other, green turf below, and a clear, blue sky above! The structure of the campanile is exquisitely light and graceful—tier above tier of small circular arches, supported by delicate, round pillars narrowing gradually in circumference, but very slightly, so that there is no striking difference of size between the base and summit. The campanile is all of white marble, but the cathedral has the bands of black and white, softened in effect by the yellowing which time has given to the white. There is a family likeness among all these structures: they all have the delicate little colonnades and circular arches. But the baptistery has stronger traits of the Gothic style in the pinnacles that crown the encircling colonnade.
After some dusty delay outside the railway station we set off back again to Livorno, and forthwith got on board our steamboat again—to awake next morning (being Palm-Sunday) at Civita Vecchia. Much waiting before we were allowed to land; and again much waiting for the clumsy process of "visiting" our luggage. I was amused while sitting at the Dogana, where almost every one was cross and busy, to see a dog making his way quietly out with a bone in his mouth.
Getting into our railway carriage, our vis-à-vis—a stout, amiable, intelligent Livornian, with his wife and son, named Dubreux—exclaimed, "C'en est fini d'un peuple qui n'est pas capable de changer une bêtise comme ça!" George got into pleasant talk with him, and his son, about Edinburgh and the scientific men there—the son having been there for some time in order to go through a course of practical science. The father was a naturalist—an entomologist, I think.
It was an interesting journey from Civita Vecchia to Rome: at first, a scene of rough, hilly character, then a vast plain, frequently marshy, crowded with asphodels, inhabited by buffaloes; here and there a falcon or other slow, large-winged bird floating and alighting.
At last we came in sight of Rome, but there was nothing imposing to be seen. The chief object was what I afterwards knew to be one of the aqueducts, but which I then, in the vagueness of my conceptions, guessed to be the ruins of baths. The railway station where we alighted looked remote and countrified; only the omnibuses and one family carriage were waiting, so that we were obliged to take our chance in one of the omnibuses—that is, the chance of finding no place left for us in the hotels. And so it was. Every one wanted to go to the Hotel d'Angleterre, and every one was disappointed. We, at last, by help of some fellow-travellers, got a small room au troisième at the Hotel d'Amérique; and as soon as that business was settled we walked out to look at Rome—not without a rather heavy load of disappointment on our minds from the vision we had of it from the omnibus windows. A weary length of dirty, uninteresting streets had brought us within sight of the dome of St. Peter's, which was not impressive, seen in a peeping, makeshift manner, just rising above the houses; and the Castle of St. Angelo seemed but a shabby likeness of the engravings. Not one iota had I seen that corresponded with my preconceptions.
Our hotel was in the Strada Babuino, which leads directly from the Piazza del Popolo to the Piazza di Spagna. We went to the latter for our first walk, and arriving opposite the high, broad flights of stone steps which lead up to the Trinità di Monte, stopped for the first time with a sense that here was something not quite common and ugly. But I think we got hardly any farther, that evening, than the tall column at the end of the piazza, which celebrates the final settlement by Pius IX. of the Virgin's Immaculate Conception. Oh, yes; I think we wandered farther among narrow and ugly streets, and came into our hotel again still with some dejection at the probable relation our "Rome visited" was to bear to our "Rome unvisited."
Discontented with our little room at an extravagant height of stairs and price, we found and took lodgings the next day in the Corso opposite St. Carlo, with a well-mannered Frenchman named Peureux and his little, dark, Italian wife—and so felt ourselves settled for a month. By this time we were in better spirits; for in the morning we had been to the Capitol (Campidoglio, the modern variant for Capitolium), had ascended the tower, and had driven to the Coliseum. The scene, looking along the Forum to the Arch of Titus, resembled strongly that mixture of ruined grandeur with modern life which I had always had in my imagination at the mention of Rome. The approach to the Capitol from the opposite side is also impressive: on the right hand the broad, steep flight of steps leading up to the Church and Monastery of Ara Cœli, placed, some say, on the site of the Arx; in the front a less steep flight of steps à cordon leading to that lower, flatter portion of the hill which was called the Intermontium, and which now forms a sort of piazza, with the equestrian statue of Marcus Aurelius in the centre, and on three sides buildings designed, or rather modified, by Michael Angelo—on the left the Museum, on the right the Museo dei Conservatori, and, on the side opposite the steps, the building devoted to public offices (Palazzo dei Senatori), in the centre of which stands the tower. On each hand, at the summit of the steps, are the two Colossi, less celebrated but hardly less imposing in their calm grandeur than the Colossi of the Quirinal. They are strangely streaked and disfigured by the blackening weather; but their large-eyed, mild might gives one a thrill of awe, half like what might have been felt by the men of old who saw the divine twins watering their steeds when they brought the news of victory.
Perhaps the world can hardly offer a more interesting outlook than that from the tower of the Capitol. The eye leaps first to the mountains that bound the Campagna—the Sabine and Alban Hills and the solitary Soracte farther on to the left. Then, wandering back across the Campagna, it searches for the Sister Hills, hardly distinguishable now as hills. The Palatine is conspicuous enough, marked by the ruins of the Palace of the Cæsars, and rising up beyond the extremity of the Forum. And now, once resting on the Forum, the eye will not readily quit the long area that begins with the Clivus Capitolinus and extends to the Coliseum—an area that was once the very focus of the world. The Campo Vaccino, the site probably of the Comitium, was this first morning covered with carts and animals, mingling a simple form of actual life with those signs of the highly artificial life that had been crowded here in ages gone by: the three Corinthian pillars at the extremity of the Forum, said to have belonged to the Temple of Jupiter Stator; the grand temple of Antoninus and Faustina; the white arch of Titus; the Basilica of Constantine; the temple built by Adrian, with its great, broken granite columns scattered around on the green, rising ground; the huge arc of the Coliseum and the arch of Constantine.
The scenes of these great relics remained our favorite haunt during our stay at Rome; and one day, near the end of it, we entered the enclosure of the Clivus Capitolinus and the excavated space of the Forum. The ruins on the Clivus—the façade of massive columns on the right, called the temple of Vespasian; the two Corinthian columns, called the temple of Saturn, in the centre; and the arch of Septimius Severus on the left—have their rich color set off by the luxuriant green, clothing the lower masonry, which formed the foundations of the crowded buildings on this narrow space, and, as a background to them all, the rough solidity of the ancient wall forming the back of the central building on the Intermontium, and regarded as one of the few remains of Republican constructions. On either hand, at another angle from the arch, the ancient road forming the double ascent of the Clivus is seen, firm and level, with its great blocks of pavement. The arch of Septimius Severus is particularly rich in color; and the poorly executed bas-reliefs of military groups still look out in the grotesque completeness of attitude and expression, even on the sides exposed to the weather. From the Clivus a passage, underneath the present road, leads into the Forum, whose immense pinkish granite columns lie on the weather-worn white marble pavement. The column of Phocas, with its base no longer "buried," stands at the extreme corner nearest the Clivus; and the three elegant columns of the temple (say some) of Jupiter Stator, mark the opposite extremity; between lie traces, utterly confused to all but erudite eyes, of marble steps and of pedestals stripped of their marble.
Let me see what I most delighted in, in Rome. Certainly this drive from the Clivus to the Coliseum was, from first to last, one of the chief things; but there are many objects and many impressions of various kinds which I can reckon up as of almost equal interest: the Coliseum itself, with the view from it; the drive along the Appian Way to the tomb of Cecilia Metella, and the view from thence of the Campagna bridged by the aqueduct; the baths of Titus, with the remnants of their arabesques, seen by the light of torches, in the now damp and gloomy spaces; the glimpse of the Tarpeian rock, with its growth of cactus and rough herbage; the grand, bare arch brickwork of the Palace of the Cæsars rising in huge masses on the Palatine; the theatre of Marcellus bursting suddenly into view from among the crowded mean houses of the modern city, and still more the Temple of Minerva and Temple of Nerva, also set in the crowded city of the present; and the exterior of the Pantheon, if it were not marred by the Papal belfries—these are the traces of ancient Rome that have left the strongest image of themselves in my mind. I ought not to leave out Trajan's column, and the forum in which it stands; though the severe cold tint of the gray granite columns, or fragments of columns, gave this forum rather a dreary effect to me. For vastness there is perhaps nothing more impressive in Rome than the Baths of Caracalla, except the Coliseum; and I remember that it was among them that I first noticed the lovely effect of the giant fennel, luxuriant among the crumbling brickwork.
Among the ancient sculptures I think I must place on a level the Apollo, the Dying Gladiator, and the Lateran Antinous: they affected me equally in different ways. After these I delighted in the Venus of the Capitol, and the Kissing Children in the same room; the Sophocles at the Lateran Museum; the Nile; the black, laughing Centaur at the Capitol; the Laughing Faun in the Vatican; and the Sauroktonos, or Boy with the Lizard, and the sitting statue called Menander. The Faun of Praxiteles, and the old Faun with the infant Bacchus, I had already seen at Munich, else I should have mentioned them among my first favorites. Perhaps the greatest treat we had at the Vatican was the sight of a few statues, including the Apollo, by torchlight—all the more impressive because it was our first sight of the Vatican. Even the mere hurrying along the vast halls, with the fitful torchlight falling on the innumerable statues and busts and bas-reliefs and sarcophagi, would have left a sense of awe at these crowded, silent forms which have the solemnity of suddenly arrested life. Wonderfully grand these halls of the Vatican are; and there is but one complaint to be made against the home provided for this richest collection of antiquities—it is that there is no historical arrangement of them, and no catalogue. The system of classification is based on the history of their collection by the different popes, so that for every other purpose but that of securing to each pope his share of glory, it is a system of helter-skelter.
Of Christian Rome, St. Peter's is, of course, the supreme wonder. The piazza, with Bernini's colonnades, and the gradual slope upward to the mighty temple, gave me always a sense of having entered some millennial new Jerusalem, where all small and shabby things were unknown. But the exterior of the cathedral itself is even ugly; it causes a constant irritation by its partial concealment of the dome. The first impression from the interior was, perhaps, at a higher pitch than any subsequent impression, either of its beauty or vastness; but then, on later visits, the lovely marble, which has a tone at once subdued and warm, was half-covered with hideous red drapery. There is hardly any detail one cares to dwell on in St. Peter's. It is interesting, for once, to look at the mosaic altar-pieces, some of which render with marvellous success such famous pictures as the Transfiguration, the Communion of St. Jerome, and the Entombment or Disentombment of St. Petronilla. And some of the monuments are worth looking at more than once, the chief glory of that kind being Canova's Lions. I was pleased one day to watch a group of poor people looking with an admiration that had a half-childish terror in it at the sleeping lion, and with a sort of daring air thrusting their fingers against the teeth of the waking "mane-bearer."
We ascended the dome near the end of our stay, but the cloudy horizon was not friendly to our distant view, and Rome itself is ugly to a bird's-eye contemplation. The chief interest of the ascent was the vivid realization it gave of the building's enormous size, and after that the sight of the inner courts and garden of the Vatican.
Our most beautiful view of Rome and the Campagna was one we had much earlier in our stay, before the snow had vanished from the mountains; it was from the terrace of the Villa Pamfili Doria.
Of smaller churches I remember especially Santa Maria degli Angeli, a church formed by Michael Angelo by additions to the grand hall in the Baths of Diocletian—the only remaining hall of ancient Rome; and the Church of San Clemente, where there is a chapel painted by Masaccio, as well as a perfect specimen of the ancient enclosure near the tribune, called the presbytery, with the ambones or pulpits from which the lessons and gospel were read. Santa Maria Maggiore is an exquisitely beautiful basilica, rich in marbles from a pagan temple; and the reconstructed San Paolo fuori le Mura is a wonder of wealth and beauty, with its lines of white-marble columns—if one could possibly look with pleasure at such a perverted appliance of money and labor as a church built in an unhealthy solitude. After St. Peter's, however, the next great monument of Christian art is the Sistine Chapel; but since I care for the chapel solely for the sake of its ceiling, I ought rather to number it among my favorite paintings than among the most memorable buildings. Certainly this ceiling of Michael Angelo's is the most wonderful fresco in the world. After it come Raphael's School of Athens and Triumph of Galatea, so far as Rome is concerned. Among oil-paintings there I like best the Madonna di Foligno, for the sake of the cherub who is standing and looking upward; the Perugino also, in the Vatican, and the pretty Sassoferrato, with the clouds budding angels; at the Barberini Palace, Beatrice Cenci, and Una Schiava, by Titian; at the Sciarra Palace, the Joueurs de Violon, by Raphael, another of Titian's golden-haired women, and a sweet Madonna and Child with a bird, by Fra Bartolomeo; at the Borghese Palace, Domenichino's Chase, the Entombment, by Raphael, and the Three Ages—a copy of Titian, by Sassoferrato.
We should have regretted entirely our efforts to get to Rome during the Holy Week, instead of making Florence our first resting-place, if we had not had the compensation for wearisome, empty ceremonies and closed museums in the wonderful spectacle of the illumination of St. Peter's. That, really, is a thing so wondrous, so magically beautiful, that one can't find in one's heart to say it is not worth doing. I remember well the first glimpse we had as we drove out towards it, of the outline of the dome like a new constellation on the black sky. I thought that was the final illumination, and was regretting our tardy arrival, from the détour we had to make, when, as our carriage stopped in front of the cathedral, the great bell sounded, and in an instant the grand illumination flashed out and turned the outline of stars into a palace of gold. Venus looked out palely.
One of the finest positions in Rome is the Monte Cavallo (the Quirinal), the site of the pope's palace, and of the fountain against which are placed the two Colossi—the Castor and Pollux, ascribed, after a lax method of affiliation, to Phidias and Praxiteles. Standing near this fountain one has a real sense of being on a hill; city and distant ridge stretching below. Close by is the Palazzo Rospigliosi, where we went to see Guido's Aurora.
Another spot where I was struck with the view of modern Rome (and that happened rarely) was at San Pietro in Vincoli, on the Esquiline, where we went to see Michael Angelo's Moses. Turning round before one enters the church, a palm-tree in the high foreground relieves very picturesquely the view of the lower distance. The Moses did not affect me agreeably; both the attitude and the expression of the face seemed to me, in that one visit, to have an exaggeration that strained after effect without reaching it. The failure seemed to me of this kind: Moses was an angry man trying to frighten the people by his mien, instead of being rapt by his anger, and terrible without self-consciousness. To look at the statue of Christ, after the other works of Michael Angelo at Rome, was a surprise; in this the fault seems to incline slightly to the namby-pamby. The Pietà in St. Peter's has real tenderness in it.
The visit to the Farnesina was one of the most interesting among our visits to Roman palaces. It is here that Raphael painted the Triumph of Galatea, and here this wonderful fresco is still bright upon the wall. In the same room is a colossal head, drawn by Michael Angelo with a bit of charcoal, by way of carte-de-visite, one day that he called on Daniele di Volterra, who was painting detestably in this room, and happened to be absent. In the entrance-hall, preceding the Galatea room, are the frescoes by Raphael representing the story of Cupid and Psyche; but we did not linger long to look at them, as they disappointed us.
We visited only four artists' studios in Rome: Gibson's, the sculptor; Frey's, the landscape painter; Riedel's, genre painter, and Overbeck's. Gibson's was entirely disappointing to me, so far as his own sculptures are concerned; except the Cacciatore, which he sent to the Great Exhibition, I could see nothing but feeble imitations of the antique—no spontaneity and no vigor. Miss Hosmer's Beatrice Cenci is a pleasing and new conception; and her little Puck a bit of humor that one would like to have if one were a grand seigneur.
Frey is a very meritorious landscape painter—finished in execution and poetic in feeling. His Egyptian scenes—the Simoon, the Pair in the Light of Sunset, and the Island of Philæ—are memorable pictures; so is the View of Athens, with its blue, island-studded sea. Riedel interested us greatly with his account of the coincidence between the views of light and colors at which he had arrived through his artistic experience, and Goethe's theory of colors, with which he became acquainted only after he had thought of putting his own ideas into shape for publication. He says the majority of painters continue their work when the sun shines from the north—they paint with blue light.
But it was our visit to Overbeck that we were most pleased not to have missed. The man himself is more interesting than his pictures: a benevolent calm and quiet conviction breathes from his person and manners. He has a thin, rather high-nosed face, with long gray hair, set off by a maroon velvet cap, and a gray scarf over his shoulders. Some of his cartoons pleased me: one large one of our Saviour passing from the midst of the throng who were going to cast him from the brow of the hill at Capernaum—one foot resting on a cloud borne up by cherubs; and some smaller round cartoons representing the Parable of the Ten Virgins, and applying it to the function of the artist.
We drove about a great deal in Rome, but were rather afflicted in our drives by the unending walls that enclose everything like a garden, even outside the city gates. First among our charming drives was that to the Villa Pamfili Doria—a place which has the beauties of an English park and gardens, with views such as no English park can show; not to speak of the columbarium or ancient Roman burying-place, which has been disinterred in the grounds. The compactest of all burying-places must these columbaria be: little pigeon-holes, tier above tier, for the small urns containing the ashes of the dead. In this one traces of peacocks and other figures in fresco, ornamenting the divisions between the rows, are still visible. We sat down in the sunshine by the side of the water, which is made to fall in a cascade in the grounds fronting the house, and then spreads out into a considerable breadth of mirror for the plantation on the slope which runs along one side of it. On the opposite side is a broad, grassy walk, and here we sat on some blocks of stone, watching the little green lizards. Then we walked on up the slope on the other side, and through a grove of weird ilexes, and across a plantation of tall pines, where we saw the mountains in the far distance. A beautiful spot! We ought to have gone there again.
Another drive was to the Villa Albani, where, again, the view is grand. The precious sculptures once there are all at Munich now; and the most remarkable remnants of the collection are the bas-relief of Antinous, and the Æsop. The Antinous is the least beautiful of all the representations of that sad loveliness that I have seen—be it said in spite of Winckelmann; attitude and face are strongly Egyptian. In an outside pavilion in the garden were some interesting examples of Greek masks.
Our journey to Frascati by railway was fortunate. The day was fine, except, indeed, for the half hour that we were on the heights of Tusculum, and longed for a clear horizon. But the weather was so generally gloomy during our stay in Rome that we were "thankful for small mercies" in the way of sunshine. I enjoyed greatly our excursion up the hill on donkey-back to the ruins of Tusculum—in spite of our loquacious guide, who exasperated George. The sight of the Campagna on one side, and of Mount Algidus, with its snow-capped fellows, and Mount Albano, with Rocca di Papa on its side, and Castel Gandolfo below on the other side, was worth the trouble—to say nothing of the little theatre, which was the most perfect example of an ancient theatre I had then seen in that pre-Pompeian period of my travels. After lunching at Frascati we strolled out to the Villa Aldobrandini, and enjoyed a brighter view of the Campagna in the afternoon sunlight. Then we lingered in a little croft enclosed by plantations, and enjoyed this familiar-looking bit of grass with wild-flowers perhaps more, even, than the greatest novelties. There are fine plantations on the hill behind the villa, and there we wandered till it was time to go back to the railway. A literally grotesque thing in these plantations is the opening of a grotto in the hillside, cut in the form of a huge Greek comic mask. It was a lovely walk from the town downward to the railway station—between the olive-clad slopes looking towards the illimitable plain. Our best view of the aqueducts was on this journey, but it was the tantalizing sort of view one gets from a railway carriage.
Our excursion to Tivoli, reserved till nearly the end of our stay, happened on one of those cruel, seductive days that smile upon you at five o'clock in the morning, to become cold and cloudy at eight, and resolutely rainy at ten. And so we ascended the hill through the vast, venerable olive grove, thinking what would be the effect of sunshine among those gray, fantastically twisted trunks and boughs; and paddled along the wet streets under umbrellas to look at the Temple of the Sibyl, and to descend the ravine of the waterfalls. Yet it was enjoyable; for the rain was not dense enough to shroud the near view of rock and foliage. We looked for the first time at a rock of Travertine, with its curious petrified vegetable forms, and lower down at a mighty cavern, under which the smaller cascade rushes—an awful hollow in the midst of huge, rocky masses. But—rain, rain, rain! No possibility of seeing the Villa of Hadrian, chief wonder of Tivoli: and so we had our carriage covered up and turned homeward in despair.
The last week of our stay we went for the first time to the picture-gallery of the Capitol, where we saw the famous Guercino—the Entombment of Petronilla—which we had already seen in mosaic at St. Peter's. It is a stupendous piece of painting, about which one's only feeling is that it might as well have been left undone. More interesting is the portrait of Michael Angelo, by himself—a deeply melancholy face. And there is also a picture of a bishop, by Giovanni Bellini, which arrested us a long while. After these, I remember most distinctly Veronese's Europa, superior to that we afterwards saw at Venice; a delicious mythological Poussin, all light and joy; and a Sebastian, by Guido, exceptionally beautiful among the many detestable things of his in this gallery.
The Lateran Museum, also, was a sight we had neglected till this last week, though it turned out to be one of the most memorable. In the classical museum are the great Antinous, a Bacchus, and the Sophocles; besides a number of other remains of high interest, especially in the department of architectural decoration. In the museum of Christian antiquities there are, besides sculptures, copies of the frescoes in the Catacombs—invaluable as a record of those perishable remains. If we ever go to Rome again the Lateran Museum will be one of the first places I shall wish to revisit.
We saw the Catacombs of St. Calixtus, on the Appian Way—the long, dark passages, with great oblong hollows in the rock for the bodies long since crumbled, and the one or two openings out of the passages into a rather wider space, called chapels, but no indications of paintings or other detail—our monkish guide being an old man, who spoke with an indistinct grunt that would not have enlightened us if we had asked any questions. In the church through which we entered there is a strangely barbarous reclining statue of St. Sebastian, with arrows sticking all over it.
A spot that touched me deeply was Shelley's grave. The English cemetery in which he lies is the most attractive burying-place I have seen. It lies against the old city walls, close to the Porta San Paolo and the pyramid of Caius Cestius—one of the quietest spots of old Rome. And there, under the shadow of the old walls on one side, and cypresses on the other, lies the Cor cordium, forever at rest from the unloving cavillers of this world, whether or not he may have entered on other purifying struggles in some world unseen by us. The grave of Keats lies far off from Shelley's, unshaded by wall or trees. It is painful to look upon, because of the inscription on the stone, which seems to make him still speak in bitterness from his grave.[11]