Генри Джеймс
Italian Hours
Interspersed with him at the Pitti hang the stronger and the weaker in splendid abundance. Raphael is there, strong in portraiture—easy, various, bountiful genius that he was—and (strong here isn’t the word, but) happy beyond the common dream in his beautiful “Madonna of the Chair.” The general instinct of posterity seems to have been to treat this lovely picture as a semi-sacred, an almost miraculous, manifestation. People stand in a worshipful silence before it, as they would before a taper-studded shrine. If we suspend in imagination on the right of it the solid, realistic, unidealised portrait of Leo the Tenth (which hangs in another room) and transport to the left the fresco of the School of Athens from the Vatican, and then reflect that these were three separate fancies of a single youthful, amiable genius we recognise that such a producing consciousness must have been a “treat.” My companion already quoted has a phrase that he “doesn’t care for Raphael,” but confesses, when pressed, that he was a most remarkable young man. Titian has a dozen portraits of unequal interest. I never particularly noticed till lately—it is very ill hung—that portentous image of the Emperor Charles the Fifth. He was a burlier, more imposing personage than his usual legend figures, and in his great puffed sleeves and gold chains and full-skirted over-dress he seems to tell of a tread that might sometimes have been inconveniently resonant. But the purpose to have his way and work his will is there—the great stomach for divine right, the old monarchical temperament. The great Titian, in portraiture, however, remains that formidable young man in black, with the small compact head, the delicate nose and the irascible blue eye. Who was he? What was he? “Ritratto virile” is all the catalogue is able to call the picture. “Virile!” Rather! you vulgarly exclaim. You may weave what romance you please about it, but a romance your dream must be. Handsome, clever, defiant, passionate, dangerous, it was not his own fault if he hadn’t adventures and to spare. He was a gentleman and a warrior, and his adventures balanced between camp and court. I imagine him the young orphan of a noble house, about to come into mortgaged estates. One wouldn’t have cared to be his guardian, bound to paternal admonitions once a month over his precocious transactions with the Jews or his scandalous abduction from her convent of such and such a noble maiden.
The Pitti Gallery contains none of Titian’s golden-toned groups; but it boasts a lovely composition by Paul Veronese, the dealer in silver hues—a Baptism of Christ. W– named it to me the other day as the picture he most enjoyed, and surely painting seems here to have proposed to itself to discredit and annihilate—and even on the occasion of such a subject—everything but the loveliness of life. The picture bedims and enfeebles its neighbours. We ask ourselves whether painting as such can go further. It is simply that here at last the art stands complete. The early Tuscans, as well as Leonardo, as Raphael, as Michael, saw the great spectacle that surrounded them in beautiful sharp-edged elements and parts. The great Venetians felt its indissoluble unity and recognised that form and colour and earth and air were equal members of every possible subject; and beneath their magical touch the hard outlines melted together and the blank intervals bloomed with meaning. In this beautiful Paul Veronese of the Pitti everything is part of the charm—the atmosphere as well as the figures, the look of radiant morning in the white-streaked sky as well as the living human limbs, the cloth of Venetian purple about the loins of the Christ as well as the noble humility of his attitude. The relation to Nature of the other Italian schools differs from that of the Venetian as courtship—even ardent courtship—differs from marriage.
IV
I went the other day to the secularised Convent of San Marco, paid my franc at the profane little wicket which creaks away at the door—no less than six custodians, apparently, are needed to turn it, as if it may have a recusant conscience—passed along the bright, still cloister and paid my respects to Fra Angelico’s Crucifixion, in that dusky chamber in the basement. I looked long; one can hardly do otherwise. The fresco deals with the pathetic on the grand scale, and after taking in its beauty you feel as little at liberty to go away abruptly as you would to leave church during the sermon. You may be as little of a formal Christian as Fra Angelico was much of one; you yet feel admonished by spiritual decency to let so yearning a view of the Christian story work its utmost will on you. The three crosses rise high against a strange completely crimson sky, which deepens mysteriously the tragic expression of the scene, though I remain perforce vague as to whether this lurid background be a fine intended piece of symbolism or an effective accident of time. In the first case the extravagance quite triumphs. Between the crosses, under no great rigour of composition, are scattered the most exemplary saints—kneeling, praying, weeping, pitying, worshipping. The swoon of the Madonna is depicted at the left, and this gives the holy presences, in respect to the case, the strangest historical or actual air. Everything is so real that you feel a vague impatience and almost ask yourself how it was that amid the army of his consecrated servants our Lord was permitted to suffer. On reflection you see that the painter’s design, so far as coherent, has been simply to offer an immense representation of Pity, and all with such concentrated truth that his colours here seem dissolved in tears that drop and drop, however softly, through all time. Of this single yearning consciousness the figures are admirably expressive. No later painter learned to render with deeper force than Fra Angelico the one state of the spirit he could conceive—a passionate pious tenderness. Immured in his quiet convent, he apparently never received an intelligible impression of evil; and his conception of human life was a perpetual sense of sacredly loving and being loved. But how, immured in his quiet convent, away from the streets and the studios, did he become that genuine, finished, perfectly professional painter? No one is less of a mere mawkish amateur. His range was broad, from this really heroic fresco to the little trumpeting seraphs, in their opaline robes, enamelled, as it were, on the gold margins of his pictures.
I sat out the sermon and departed, I hope, with the gentle preacher’s blessing. I went into the smaller refectory, near by, to refresh my memory of the beautiful Last Supper of Domenico Ghirlandaio. It would be putting things coarsely to say that I adjourned thus from a sernlon to a comedy, though Ghirlandaio’s theme, as contrasted with the blessed Angelico’s, was the dramatic spectacular side of human life. How keenly he observed it and how richly he rendered it, the world about him of colour and costume, of handsome heads and pictorial groupings! In his admirable school there is no painter one enjoys—pace Ruskin—more sociably and irresponsibly. Lippo Lippi is simpler, quainter, more frankly expressive; but we retain before him a remnant of the sympathetic discomfort provoked by the masters whose conceptions were still a trifle too large for their means. The pictorial vision in their minds seems to stretch and strain their undeveloped skill almost to a sense of pain. In Ghirlandaio the skill and the imagination are equal, and he gives us a delightful impression of enjoying his own resources. Of all the painters of his time he affects us least as positively not of ours. He enjoyed a crimson mantle spreading and tumbling in curious folds and embroidered with needlework of gold, just as he enjoyed a handsome well-rounded head, with vigorous dusky locks, profiled in courteous adoration. He enjoyed in short the various reality of things, and had the good fortune to live in an age when reality flowered into a thousand amusing graces—to speak only of those. He was not especially addicted to giving spiritual hints; and yet how hard and meagre they seem, the professed and finished realists of our own day, with the spiritual bonhomie or candour that makes half Ghirlandaio’s richness left out! The Last Supper at San Marco is an excellent example of the natural reverence of an artist of that time with whom reverence was not, as one may say, a specialty. The main idea with him has been the variety, the material bravery and positively social charm of the scene, which finds expression, with irrepressible generosity, in the accessories of the background. Instinctively he imagines an opulent garden—imagines it with a good faith which quite tides him over the reflection that Christ and his disciples were poor men and unused to sit at meat in palaces. Great full-fruited orange-trees peep over the wall before which the table is spread, strange birds fly through the air, while a peacock perches on the edge of the partition and looks down on the sacred repast. It is striking that, without any at all intense religious purpose, the figures, in their varied naturalness, have a dignity and sweetness of attitude that admits of numberless reverential constructions. I should call all this the happy tact of a robust faith.
On the staircase leading up to the little painted cells of the Beato Angelico, however, I suddenly faltered and paused. Somehow I had grown averse to the intenser zeal of the Monk of Fiesole. I wanted no more of him that day. I wanted no more macerated friars and spear-gashed sides. Ghirlandaio’s elegant way of telling his story had put me in the humour for something more largely intelligent, more profanely pleasing. I departed, walked across the square, and found it in the Academy, standing in a particular spot and looking up at a particular high-hung picture. It is difficult to speak adequately, perhaps even intelligibly, of Sandro Botticelli. An accomplished critic—Mr. Pater, in his Studies on the History of the Renaissance—has lately paid him the tribute of an exquisite, a supreme, curiosity. He was rarity and distinction incarnate, and of all the multitudinous masters of his group incomparably the most interesting, the one who detains and perplexes and fascinates us most. Exquisitely fine his imagination—infinitely audacious and adventurous his fancy. Alone among the painters of his time he strikes us as having invention. The glow and thrill of expanding observation—this was the feeling that sent his comrades to their easels; but Botticelli’s moved him to reactions and emotions of which they knew nothing, caused his faculty to sport and wander and explore on its own account. These impulses have fruits often so ingenious and so lovely that it would be easy to talk nonsense about them. I hope it is not nonsense, however, to say that the picture to which I just alluded (the “Coronation of the Virgin,” with a group of life-sized saints below and a garland of miniature angels above) is one of the supremely beautiful productions of the human mind. It is hung so high that you need a good glass to see it; to say nothing of the unprecedented delicacy of the work. The lower half is of moderate interest; but the dance of hand-clasped angels round the heavenly couple above has a beauty newly exhaled from the deepest sources of inspiration. Their perfect little hands are locked with ineffable elegance; their blowing robes are tossed into folds of which each line is a study; their charming feet have the relief of the most delicate sculpture. But, as I have already noted, of Botticelli there is much, too much to say—besides which Mr. Pater has said all. Only add thus to his inimitable grace of design that the exquisite pictorial force driving him goes a-Maying not on wanton errands of its own, but on those of some mystic superstition which trembles for ever in his heart.
V
The more I look at the old Florentine domestic architecture the more I like it—that of the great examples at least; and if I ever am able to build myself a lordly pleasure-house I don’t see how in conscience I can build it different from these. They are sombre and frowning, and look a trifle more as if they were meant to keep people out than to let them in; but what equally “important” type—if there be an equally important—is more expressive of domiciliary dignity and security and yet attests them with a finer æesthetic economy? They are impressively “handsome,” and yet contrive to be so by the simplest means. I don’t say at the smallest pecuniary cost—that’s another matter. There is money buried in the thick walls and diffused through the echoing excess of space. The merchant nobles of the fifteenth century had deep and full pockets, I suppose, though the present bearers of their names are glad to let out their palaces in suites of apartments which are occupied by the commercial aristocracy of another republic. One is told of fine old mouldering chambers of which possession is to be enjoyed for a sum not worth mentioning. I am afraid that behind these so gravely harmonious fronts there is a good deal of dusky discomfort, and I speak now simply of the large serious faces themselves as you can see them from the street; see them ranged cheek to cheek, in the grey historic light of Via dei Bardi, Via Maggio, Via degli Albizzi. The force of character, the familiar severity and majesty, depend on a few simple features: on the great iron-caged windows of the rough-hewn basement; on the noble stretch of space between the summit of one high, round-topped window and the bottom of that above; on the high-hung sculptured shield at the angle of the house; on the flat far-projecting roof; and, finally, on the magnificent tallness of the whole building, which so dwarfs our modern attempts at size. The finest of these Florentine palaces are, I imagine, the tallest habitations in Europe that are frankly and amply habitations—not mere shafts for machinery of the American grain-elevator pattern. Some of the creations of M. Haussmann in Paris may climb very nearly as high; but there is all the difference in the world between the impressiveness of a building which takes breath, as it were, some six or seven times, from storey to storey, and of one that erects itself to an equal height in three long-drawn pulsations. When a house is ten windows wide and the drawing-room floor is as high as a chapel it can afford but three floors. The spaciousness of some of those ancient drawing-rooms is that of a Russian steppe. The “family circle,” gathered anywhere within speaking distance, must resemble a group of pilgrims encamped in the desert on a little oasis of carpet. Madame Gryzanowska, living at the top of a house in that dusky, tortuous old Borgo Pinti, initiated me the other evening most good-naturedly, lamp in hand, into the far-spreading mysteries of her apartment. Such quarters seem a translation into space of the old-fashioned idea of leisure. Leisure and “room” have been passing out of our manners together, but here and there, being of stouter structure, the latter lingers and survives.
Here and there, indeed, in this blessed Italy, reluctantly modern in spite alike of boasts and lamentations, it seems to have been preserved for curiosity’s and fancy’s sake, with a vague, sweet odour of the embalmer’s spices about it. I went the other morning to the Corsini Palace. The proprietors obviously are great people. One of the ornaments of Rome is their great white-faced palace in the dark Trastevere and its voluminous gallery, none the less delectable for the poorness of the pictures. Here they have a palace on the Arno, with another large, handsome, respectable and mainly uninteresting collection. It contains indeed three or four fine examples of early Florentines. It was not especially for the pictures that I went, however; and certainly not for the pictures that I stayed. I was under the same spell as the inveterate companion with whom I walked the other day through the beautiful private apartments of the Pitti Palace and who said: “I suppose I care for nature, and I know there have been times when I have thought it the greatest pleasure in life to lie under a tree and gaze away at blue hills. But just now I had rather lie on that faded sea-green satin sofa and gaze down through the open door at that retreating vista of gilded, deserted, haunted chambers. In other words I prefer a good ‘interior’ to a good landscape. The impression has a greater intensity—the thing itself a more complex animation. I like fine old rooms that have been occupied in a fine old way. I like the musty upholstery, the antiquated knick-knacks, the view out of the tall deep-embrasured windows at garden cypresses rocking against a grey sky. If you don’t know why, I’m afraid I can’t tell you.” It seemed to me at the Palazzo Corsini that I did know why. In places that have been lived in so long and so much and in such a fine old way, as my friend said—that is under social conditions so multifold and to a comparatively starved and democratic sense so curious—the past seems to have left a sensible deposit, an aroma, an atmosphere. This ghostly presence tells you no secrets, but it prompts you to try and guess a few. What has been done and said here through so many years, what has been ventured or suffered, what has been dreamed or despaired of? Guess the riddle if you can, or if you think it worth your ingenuity. The rooms at Palazzo Corsini suggest indeed, and seem to recall, but a monotony of peace and plenty. One of them imaged such a noble perfection of a home-scene that I dawdled there until the old custodian came shuffling back to see whether possibly I was trying to conceal a Caravaggio about my person: a great crimson-draped drawing-room of the amplest and yet most charming proportions; walls hung with large dark pictures, a great concave ceiling frescoed and moulded with dusky richness, and half-a-dozen south windows looking out on the Arno, whose swift yellow tide sends up the light in a cheerful flicker. I fear that in my appreciation of the particular effect so achieved I uttered a monstrous folly—some momentary willingness to be maimed or crippled all my days if I might pass them in such a place. In fact half the pleasure of inhabiting this spacious saloon would be that of using one’s legs, of strolling up and down past the windows, one by one, and making desultory journeys from station to station and corner to corner. Near by is a colossal ball-room, domed and pilastered like a Renaissance cathedral, and super-abundantly decorated with marble effigies, all yellow and grey with the years.
VI
In the Carthusian Monastery outside the Roman Gate, mutilated and profaned though it is, one may still snuff up a strong if stale redolence of old Catholicism and old Italy. The road to it is ugly, being encumbered with vulgar waggons and fringed with tenements suggestive of an Irish-American suburb. Your interest begins as you come in sight of the convent perched on its little mountain and lifting against the sky, around the bell-tower of its gorgeous chapel, a coronet of clustered cells. You make your way into the lower gate, through a clamouring press of deformed beggars who thrust at you their stumps of limbs, and you climb the steep hillside through a shabby plantation which it is proper to fancy was better tended in the monkish time. The monks are not totally abolished, the government having the grace to await the natural extinction of the half-dozen old brothers who remain, and who shuffle doggedly about the cloisters, looking, with their white robes and their pale blank old faces, quite anticipatory ghosts of their future selves. A prosaic, profane old man in a coat and trousers serves you, however, as custodian. The melancholy friars have not even the privilege of doing you the honours of their dishonour. One must imagine the pathetic effect of their former silent pointings to this and that conventual treasure under stress of the feeling that such pointings were narrowly numbered. The convent is vast and irregular—it bristles with those picture-making arts and accidents which one notes as one lingers and passes, but which in Italy the overburdened memory learns to resolve into broadly general images. I rather deplore its position at the gates of a bustling city—it ought rather to be lodged in some lonely fold of the Apennines. And yet to look out from the shady porch of one of the quiet cells upon the teeming vale of the Arno and the clustered towers of Florence must have deepened the sense of monastic quietude.
The chapel, or rather the church, which is of great proportions and designed by Andrea Orcagna, the primitive painter, refines upon the consecrated type or even quite glorifies it. The massive cincture of black sculptured stalls, the dusky Gothic roof, the high-hung, deep-toned pictures and the superb pavement of verd-antique and dark red marble, polished into glassy lights, must throw the white-robed figures of the gathered friars into the highest romantic relief. All this luxury of worship has nowhere such value as in the chapels of monasteries, where we find it contrasted with the otherwise so ascetic economy of the worshippers. The paintings and gildings of their church, the gem-bright marbles and fantastic carvings, are really but the monastic tribute to sensuous delight—an imperious need for which the fond imagination of Rome has officiously opened the door. One smiles when one thinks how largely a fine starved sense for the forbidden things of earth, if it makes the most of its opportunities, may gratify this need under cover of devotion. Nothing is too base, too hard, too sordid for real humility, but nothing too elegant, too amiable, too caressing, caressed, caressable, for the exaltation of faith. The meaner the convent cell the richer the convent chapel. Out of poverty and solitude, inanition and cold, your honest friar may rise at his will into a Mahomet’s Paradise of luxurious analogies.
There are further various dusky subterranean oratories where a number of bad pictures contend faintly with the friendly gloom. Two or three of these funereal vaults, however, deserve mention. In one of them, side by side, sculptured by Donatello in low relief, lie the white marble effigies of the three members of the Accaiuoli family who founded the convent in the thirteenth century. In another, on his back, on the pavement, rests a grim old bishop of the same stout race by the same honest craftsman. Terribly grim he is, and scowling as if in his stony sleep he still dreamed of his hates and his hard ambitions. Last and best, in another low chapel, with the trodden pavement for its bed, shines dimly a grand image of a later bishop—Leonardo Buonafede, who, dying in 1545, owes his monument to Francesco di San Gallo. I have seen little from this artist’s hand, but it was clearly of the cunningest. His model here was a very sturdy old prelate, though I should say a very genial old man. The sculptor has respected his monumental ugliness, but has suffused it with a singular homely charm—a look of confessed physical comfort in the privilege of paradise. All these figures have an inimitable reality, and their lifelike marble seems such an incorruptible incarnation of the genius of the place that you begin to think of it as even more reckless than cruel on the part of the present public powers to have begun to pull the establishment down, morally speaking, about their ears. They are lying quiet yet a while; but when the last old friar dies and the convent formally lapses, won’t they rise on their stiff old legs and hobble out to the gates and thunder forth anathemas before which even a future and more enterprising régime may be disposed to pause?
Out of the great central cloister open the snug little detached dwellings of the absent fathers. When I said just now that the Certosa in Val d’Ema gives you a glimpse of old Italy I was thinking of this great pillared quadrangle, lying half in sun and half in shade, of its tangled garden-growth in the centre, surrounding the ancient customary well, and of the intense blue sky bending above it, to say nothing of the indispensable old white-robed monk who pokes about among the lettuce and parsley. We have seen such places before; we have visited them in that divinatory glance which strays away into space for a moment over the top of a suggestive book. I don’t quite know whether it’s more or less as one’s fancy would have it that the monkish cells are no cells at all, but very tidy little appartements complets, consisting of a couple of chambers, a sitting-room and a spacious loggia, projecting out into space from the cliff-like wall of the monastery and sweeping from pole to pole the loveliest view in the world. It’s poor work, however, taking notes on views, and I will let this one pass. The little chambers are terribly cold and musty now. Their odour and atmosphere are such as one used, as a child, to imagine those of the school-room during Saturday and Sunday.
VII
In the Roman streets, wherever you turn, the facade of a church in more or less degenerate flamboyance is the principal feature of the scene; and if, in the absence of purer motives, you are weary of aesthetic trudging over the corrugated surface of the Seven Hills, a system of pavement in which small cobble-stones anomalously endowed with angles and edges are alone employed, you may turn aside at your pleasure and take a reviving sniff at the pungency of incense. In Florence, one soon observes, the churches are relatively few and the dusky house-fronts more rarely interrupted by specimens of that extraordinary architecture which in Rome passes for sacred. In Florence, in other words, ecclesiasticism is less cheap a commodity and not dispensed in the same abundance at the street-corners. Heaven forbid, at the same time, that I should undervalue the Roman churches, which are for the most part treasure-houses of history, of curiosity, of promiscuous and associational interest. It is a fact, nevertheless, that, after St. Peter’s, I know but one really beautiful church by the Tiber, the enchanting basilica of St. Mary Major. Many have structural character, some a great allure, but as a rule they all lack the dignity of the best of the Florentine temples. Here, the list being immeasurably shorter and the seed less scattered, the principal churches are all beautiful. And yet I went into the Annunziata the other day and sat there for half-an-hour because, forsooth, the gildings and the marbles and the frescoed dome and the great rococo shrine near the door, with its little black jewelled fetish, reminded me so poignantly of Rome. Such is the city properly styled eternal—since it is eternal, at least, as regards the consciousness of the individual. One loves it in its sophistications—though for that matter isn’t it all rich and precious sophistication?—better than other places in their purity.
Coming out of the Annunziata you look past the bronze statue of the Grand Duke Ferdinand I (whom Mr. Browning’s heroine used to watch for—in the poem of “The Statue and the Bust”—from the red palace near by), and down a street vista of enchanting picturesqueness. The street is narrow and dusky and filled with misty shadows, and at its opposite end rises the vast bright-coloured side of the Cathedral. It stands up in very much the same mountainous fashion as the far-shining mass of the bigger prodigy at Milan, of which your first glimpse as you leave your hotel is generally through another such dark avenue; only that, if we talk of mountains, the white walls of Milan must be likened to snow and ice from their base, while those of the Duomo of Florence may be the image of some mighty hillside enamelled with blooming flowers. The big bleak interior here has a naked majesty which, though it may fail of its effect at first, becomes after a while extraordinarily touching. Originally disconcerting, it soon inspired me with a passion. Externally, at any rate, it is one of the loveliest works of man’s hands, and an overwhelming proof into the bargain that when elegance belittles grandeur you have simply had a bungling artist.
Santa Croce within not only triumphs here, but would triumph anywhere. “A trifle naked if you like,” said my irrepressible companion, “but that’s what I call architecture, just as I don’t call bronze or marble clothes (save under urgent stress of portraiture) statuary.” And indeed we are far enough away from the clustering odds and ends borrowed from every art and every province without which the ritually builded thing doesn’t trust its spell to work in Rome. The vastness, the lightness, the open spring of the arches at Santa Croce, the beautiful shape of the high and narrow choir, the impression made as of mass without weight and the gravity yet reigning without gloom—these are my frequent delight, and the interest grows with acquaintance. The place is the great Florentine Valhalla, the final home or memorial harbour of the native illustrious dead, but that consideration of it would take me far. It must be confessed moreover that, between his coarsely-imagined statue out in front and his horrible monument in one of the aisles, the author of The Divine Comedy, for instance, is just hereabouts rather an extravagant figure. “Ungrateful Florence,” declaims Byron. Ungrateful indeed—would she were more so! the susceptible spirit of the great exile may be still aware enough to exclaim; in common, that is, with most of the other immortals sacrificed on so very large a scale to current Florentine “plastic” facility. In explanation of which remark, however, I must confine myself to noting that, as almost all the old monuments at Santa Croce are small, comparatively small, and interesting and exquisite, so the modern, well nigh without exception, are disproportionately vast and pompous, or in other words distressingly vague and vain. The aptitude of hand, the compositional assurance, with which such things are nevertheless turned out, constitutes an anomaly replete with suggestion for an observer of the present state of the arts on the soil and in the air that once befriended them, taking them all together, as even the soil and the air of Greece scarce availed to do. But on this head, I repeat, there would be too much to say; and I find myself checked by the same warning at the threshold of the church in Florence really interesting beyond Santa Croce, beyond all others. Such, of course, easily, is Santa Maria Novella, where the chapels are lined and plated with wonderful figured and peopled fresco-work even as most of those in Rome with precious inanimate substances. These overscored retreats of devotion, as dusky, some of them, as eremitic caves swarming with importunate visions, have kept me divided all winter between the love of Ghirlandaio and the fear of those seeds of catarrh to which their mortal chill seems propitious till far on into the spring. So I pause here just on the praise of that delightful painter—as to the spirit of whose work the reflections I have already made are but confirmed by these examples. In the choir at Santa Maria Novella, where the incense swings and the great chants resound, between the gorgeous coloured window and the florid grand altar, he still “goes in,” with all his might, for the wicked, the amusing world, the world of faces and forms and characters, of every sort of curious human and rare material thing.
