Chapter XXXIV: Part 34

It remains to say somewhat of Antinous as he appears in art. His place in classic sculpture corresponds to his position in antique mythology. The Antinous statues and coins are reflections of earlier artistic masterpieces, executed with admirable skill, but lacking original faculty for idealisation in the artists. Yet there is so much personal attraction in his type, his statues are so manifestly faithful portraits, and we find so great a charm of novelty in his delicately perfect individuality, that the life-romance which they reveal, as through a veil of mystery, has force enough to make them rank among the valuable heirlooms of antiquity. We could almost believe that, while so many gods and heroes of Greece have perished, 221 Antinous has been preserved in all his forms and phases for his own most lovely sake; as though, according to Ghiberti's exquisite suggestion, gentle souls in the first centuries of Christianity had spared this blameless youth, and hidden him away with tender hands, in quiet places, from the fury of iconoclasts. Nor is it impossible that the great vogue of his worship was due among the Pagan laity to this same fascination of pure beauty. Could a more graceful temple of the body have been fashioned, after the Platonic theory, for the habitation of a guileless, god-inspired, enthusiastic soul? The personality of Antinous, combined with the suggestion of his self-devoted death, made him triumphant in art as in the affections of the pious.

It would be an interesting task to compose a _catalogue raisonné_ of Antinous statues and basreliefs, and to discuss the question of their mythological references. This is, however, not the place for such an inquiry. And yet I cannot quit Antinous without some retrospect upon the most important of his portraits. Among the simple busts, by far the finest, to my thinking, are the colossal head of the Louvre, and the ivy-crowned bronze at Naples. The latter is not only flawless in its execution, but is animated with a pensive beauty of expression. The former, though praised by Winckelmann, as among the two or three most precious masterpieces of antique art, must be criticised for a certain vacancy and lifelessness. Of the heroic statues, the two noblest are those of the Capitol and Naples. The identity of the Capitoline Antinous has only once, I think, been seriously questioned; and yet it may be reckoned more than doubtful. The head is almost certainly not his. How it came to be placed upon a body presenting so much resemblance to the type of Antinous I do not know. Careful comparison of the torso and the arms with an indubitable portrait will even raise the question whether this fine 222 statue is not a Hermes or a hero of an earlier age. Its attitude suggests Narcissus or Adonis; and under either of these forms Antinous may properly have been idealised. The Neapolitan marble, on the contrary, yields the actual Antinous in all the exuberant fulness of his beauty. Head, body, pose, alike bring him vividly before us, forming an undoubtedly authentic portrait. The same personality, idealised, it is true, but rather suffering than gaining by the process, is powerfully impressed upon the colossal Dionysus of the Vatican. What distinguishes this great work is the inbreathed spirit of divinity, more overpowering here than in any other of the extant ανδριάντες και αγάλματα The basrelief of the Villa Albani, restored to suit the conception of a Vertumnus, has even more of florid beauty; but whether the restoration was wisely made may be doubted. It is curious to compare this celebrated masterpiece of technical dexterity with another basrelief in the Villa Albani, representing Antinous as Castor. He is standing, half clothed with the chlamys, by a horse. His hair is close-cropped, after the Roman fashion, cut straight above the forehead, but crowned with a fillet of lotos-buds. The whole face has a somewhat stern and frowning Roman look of resolution, contrasting with the mild benignity of the Bacchus statues, and the almost sulky voluptuousness of the busts. In the Lateran Museum Antinous appears as a god of flowers, holding in his lap a multitude of blossoms, and wearing on his head a wreath. The conception of this statue provokes comparison with the Flora of the Neapolitan Museum. I should like to recognise in it a Dionysus Antheus, rather than one of the more prosy Roman gods of horticulture. Not unworthy to rank with these first-rate portraits of Antinous is a Ganymede, engraved by the Dilettante Society, which represents him standing alert, in one hand holding the wine-jug and in the other lifting a cup aloft. It will be seen from even this brief enumeration of a 223 few among the statues of Antinous, how many and how various they are. One, however, remains still to be discussed, which, so far as concerns the story of Antinous, is by far the most interesting of all. As a work of art, to judge by photographs, it is inferior to others in execution and design. Yet could we but understand its meaning clearly, the mystery of Antinous would be solved: the key to the whole matter probably lies here; but, alas! we know not how to use it. I speak of the Ildefonso Group at Madrid.[96]

[96] See Frontispiece.

On one pedestal there are three figures in white marble. To the extreme right of the spectator stands a little female statue of a goddess, in archaistic style, crowned with the calathos, and holding a sphere, probably of pomegranate fruit, to her breast. To the left of this image are two young men, three times the height of the goddess, quite naked, standing one on each side of a low altar. Both are crowned with a wreath of leaves and berries—laurel or myrtle. The youth to the right, next the image, holds a torch in either hand: with the right he turns the flaming point downwards, till it lies upon the altar; with the left he lifts the other torch aloft, and rests it on his shoulder. He has a beautiful Græco-Roman face, touched with sadness or ineffable reflection. The second youth leans against his comrade, resting his left arm across the other's back, and this hand is lightly placed upon the shoulder, close to the lifted torch. His right arm is bent, and so placed that the hand just cuts the line of the pelvis a little above the hip. The weight of his body is thrown principally upon the right leg; the left foot is drawn back, away from the altar. It is the attitude of the Apollo Sauroctonos. His beautiful face, bent downward, is intently gazing with a calm, collected, serious, and yet sad cast of earnest meditation. His eyes seem fixed on something beyond him and beneath 224 him—as it were on an inscrutable abyss; and in this direction also looks his companion. The face is unmistakably the face of Antinous; yet the figure, and especially the legs, are not characteristic. They seem modelled after the conventional type of the Greek Ephebus. Parts of the two torches and the lower half of the right arm of Antinous are restorations.

Such is the Ildefonso marble; and it may be said that its execution is hard and rough—the arms of both figures are carelessly designed; the hands and fingers are especially angular, elongated, and ill-formed. But there is a noble feeling in the whole group, notwithstanding. F. Tieck, the sculptor and brother of the poet, was the first to suggest that we have here Antinous, the Genius of Hadrian, and Persephone.[97] He also thought that the self-immolation of Antinous was indicated by the loving, leaning attitude of the younger man, and by his melancholy look of resolution. The same view, in all substantial points, is taken by Friedrichs, author of a work on Græco-Roman sculpture. But Friedrichs, while admitting the identity of the younger figure with Antinous, and recognising Persephone in the archaic image, is not prepared to accept the elder as the Genius of Hadrian; and it must be confessed that this face does not bear any resemblance to the portraits of the Emperor. According to his interpretation, the Dæmon is kindling the fire upon the sacrificial altar with the depressed torch; and the second or lifted torch must be supposed to have been needed for the performance of some obscure rite of immolation. What Friedrichs fails to elucidate is the trustful attitude of Antinous, who could scarcely have been conceived as thus affectionately 225 reclining on the shoulder of a merely sacrificial dæmon; nor is there anything upon the altar to kindle. It must, however, be conceded that the imperfection of the marble at this point leaves the restoration of the altar and the torch upon it doubtful.

[97] See the article on Antinous, by Victor Rydberg, in the _Svensk Tidskrift för Litteratur, Politik, och Ekonomi_. 1875, Stockholm. Also Karl Bötticher, _Königliches Museum, Erklärendes Verzeichniss_. Berlin, 1871.

Charles Bötticher started a new solution of the principal problem. According to him, it was executed in the lifetime of Antinous; and it represents not a sacrifice of death, but a sacrifice of fidelity on the part of the two friends, Hadrian and Antinous, who have met together before Persephone to ratify a vow of love till death. He suggests that the wreaths are of stephanotis, that large-leaved myrtle, which was sacred to the Chthonian goddesses after the liberation of Semele from Hades by her son Dionysus. With reference to such ceremonies between Greek comrades, Bötticher cites a vase upon which Theseus and Peirithous are sacrificing in the temple of Persephone; and he assumes that there may have existed Athenian groups in marble representing similar vows of friendship, from which Hadrian had this marble copied. He believes that the Genius of Hadrian is kindling one torch at the sacred fire, which he will reach to Antinous, while he holds the other in readiness to kindle for himself. This explanation is both ingenious and beautiful. It has also the great merit of explaining the action of the right arm of Antinous. Yet it is hardly satisfactory. It throws no light upon the melancholy and solemnity of both figures, which irresistibly suggest a funereal rather than a joyous rite. Antinous is not even looking at the altar, and the meditative curves of his beautiful reclining form indicate anything rather than the spirited alacrity with which a friend would respond to his comrade's call at such a moment. Besides, why should not the likeness of Hadrian have been preserved as well as that of Antinous, if the group commemorated an act of their joint 226 will? On the other hand, we must admit that the altar itself is not dressed for a funereal sacrifice.

It has been pointed out that in the British Museum there exists a basrelief of Homer's apotheosis where we notice a figure holding two torches. Is it, then, possible that the Ildefonso marble may express, not the sacrifice, but the apotheosis of Antinous, and that the Genius who holds the two torches is conferring on him immortality? The lifted torch would symbolise his new life, and the depressed torch would stand for the life he had devoted. According to this explanation, the sorrowful expression of Antinous must indicate the agony of death through which he passed into the company of the undying. Against this interpretation is the fact that we have no precise authority for the symbolism of the torches, except only the common inversion of the life-brand by the Genius of Death.

Yet another solution may be suggested. Assuming that we have before us a sacrificial ceremony, and that the group was executed after the self-devotion of Antinous had passed into the popular belief, we may regard the elder youth as either the Genius of the Emperor, separate in spirit from Hadrian himself and presiding over his destinies, who accepts the offer of Antinous with solemn calmness suited to so great a gift; or else as the Genius of the Roman people, witnessing the same act in the same majestic spirit. This view finds some support in the abstract ideality of the torch-bearer, who is clearly no historical personage as Antinous himself is, but rather a power controlling his fate. The interpretation of the two torches remains very difficult. In the torch flung down upon the flameless and barren altar we might recognise a symbol of Hadrian's life upon the point of extinction, but not yet extinguished; and in the torch lifted aloft we might find a metaphor of life resuscitated and exalted. Nor is it 227 perhaps without significance that the arm of the self-immolating youth meets the upraised torch, as though to touch the life which he will purchase with his death. There is, however, the objection stated above to this bold use of symbolism.

In support of any explanation which ascribes this group to a period later than the canonisation of Antinous, it may be repeated that the execution is inferior to that of almost all the other statues of the hero. Is it possible, then, that it belongs to a subsequent date, when art was further on the wane, but when the self-devotion of Antinous had become a dogma of his cult?

After all is said, the Ildefonso marble, like the legend of Antinous, remains a mystery. Only hypotheses, more or less ingenious, more or less suited to our sympathies, varying between Casaubon's coarse vilification and Rydberg's roseate vision, are left us.

As a last note on the subject of Antinous let me refer to Raphael's statue of Jonah in the Chigi Chapel of S. Maria del Popolo at Rome. Raphael, who handled the myth of Cupid and Psyche so magnificently in the Villa Farnesina of his patron Agostino Chigi, dedicated a statue of Antinous—the only statue he ever executed in marble—under the title of a Hebrew prophet in a Christian sanctuary. The fact is no less significant than strange. During the early centuries of Christianity, as is amply proved by the sarcophagi in the Lateran Museum, Jonah symbolised self-sacrifice and immortality. He was a type of Christ, an emblem of the Christian's hope beyond the grave. During those same centuries Antinous represented the same ideas, however inadequately, however dimly, for the unlettered laity of Paganism. It could scarcely have been by accident, or by mere admiration for the features of Antinous, that Raphael, in his marble, blent the Christian 228 and the Pagan traditions. To unify and to transcend the double views of Christianity and Paganism in a work of pure art was Raphael's instinctive, if not his conscious, aim. Nor is there a more striking instance of this purpose than the youthful Jonah with the head of Hadrian's favourite. Leonardo's Dionysus-John-the-Baptist seems but a careless _jeu d'esprit_ compared with this profound and studied symbol of renascent humanism. Thus to regard the Jonah-Antinous of the Cappella Chigi as a type of immortality and self-devotion, fusing Christian and Græco-Roman symbolism in one work of modern art, is the most natural interpretation; but it would not be impossible to trace in it a metaphor of the resurgent Pagan spirit also—as though, leaving Jonah and his Biblical associations in the background, the artist had determined that from the mouth of the monstrous grave should issue not a bearded prophet, but the victorious youth who had captivated with his beauty and his heroism the sunset age of the classic world. At any rate, whatever may have been Raphael's intention, the legend of Antinous, that last creation of antique mythology, shines upon us in this marble, just as the tale of Hero and Leander, that last blossom of antique literature, flowers afresh in the verses of our Marlowe. It would appear as though the Renaissance poets, hastening to meet the classic world with arms of welcome, had embraced its latest saints, as nearest to them, in the rapture of their first enthusiasm.

Over all these questions, over all that concerns Antinous, there rests a cloud of darkness and impenetrable doubt. To pierce that cloud is now impossible. The utmost we can do is to indulge our fancy in dreams of greater or less probability, and to mark out clearly the limitations of the subject. It is indeed something to have shown that the stigma of slavery and disgrace attaching to his name has no solid historical justification, and something to have suggested plausible reasons 229 for conjecturing that his worship had a genuine spiritual basis. Yet the sincere critic, at the end of the whole inquiry, will confess that he has only cast a plummet into the unfathomable sea of ignorance. What remains, immortal, indestructible, victorious, is Antinous in art. Against the gloomy background of doubt, calumny, contention, terrible surmise, his statues are illuminated with the dying glory of the classic genius—even as the towers and domes of a marble city shine forth from the purple banks of a thunder-cloud in sunset light. Here and here only does reality emerge from the chaos of conflicting phantoms. Front to front with them, it is allowed us to forget all else but the beauty of one who died young because the gods loved him. But when we question those wonderful mute features and beg them for their secret, they return no answer. There is not even a smile upon the parted lips. So profound is the mystery, so insoluble the enigma, that from its most importunate interrogation we derive nothing but an attitude of deeper reverence. This in itself, however, is worth the pains of study.[98]

[98] I must here express my indebtedness to my friend H.F. Brown for a large portion of the materials used by me in this essay on Antinous, which I had no means at Davos Platz of accumulating for myself, and which he unearthed from the libraries of Florence in the course of his own work, and generously placed at my disposal.

230

SPRING WANDERINGS

ANA-CAPRI

The storm-clouds at this season, though it is the bloom of May, are daily piled in sulky or menacing masses over Vesuvius and the Abruzzi, frothing out their curls of moulded mist across the bay, and climbing the heavens with toppling castle towers and domes of alabaster.

We made the most of a tranquil afternoon, when there was an armistice of storm, to climb the bluff of Mount Solaro. A ruined fort caps that limestone bulwark; and there we lay together, drinking the influences of sea, sun, and wind. Immeasurably deep beneath us plunged the precipices, deep, deep descending to a bay where fisher boats were rocking, diminished to a scale that made the fishermen in them invisible. Low down above the waters wheeled white gulls, and higher up the hawks and ospreys of the cliff sailed out of sunlight into shadow. Immitigable strength is in the moulding of this limestone, and sharp, clear definiteness marks yon clothing of scant brushwood where the fearless goats are browsing. The sublime of sculpturesque in crag structure is here, refined and modulated by the sweetness of sea distances. For the air came pure and yielding to us over the unfooted sea; and at the basement of those fortress-cliffs the sea was dreaming in its caves; and far away, to east and south and west, soft light was blent with mist upon the surface of the shimmering waters.

231 The distinction between prospects viewed from a mountain overlooking a great plain, or viewed from heights that, like this, dominate the sea, principally lies in this: that while the former only offer cloud shadows cast upon the fields below our feet, in the latter these shadows are diversified with cloud reflections. This gives superiority in qualities of colour, variety of tone, and luminous effect to the sea, compensating in some measure for the lack of those associations which render the outlook over a wide extent of populated land so thrilling. The emergence of towered cities into sunlight at the skirts of moving shadows, the liquid lapse of rivers half disclosed by windings among woods, the upturned mirrors of unruffled lakes, are wanting to the sea. For such episodes the white sails of vessels, with all their wistfulness of going to and fro on the mysterious deep, are but a poor exchange. Yet the sea-lover may justify his preference by appealing to the beauty of empurpled shadows, toned by amethyst or opal, or shining with violet light, reflected from the clouds that cross and find in those dark shields a mirror. There are suggestions, too, of immensity, of liberty, of action, presented by the boundless horizons and the changeful changeless tracts of ocean which no plain possesses.

It was nigh upon sunset when we descended to Ana-Capri. That evening the clouds assembled suddenly. The armistice of storm was broken. They were terribly blue, and the sea grew dark as steel beneath them, till the moment when the sun's lip reached the last edge of the waters. Then a courier of rosy flame sent forth from him passed swift across the gulf, touching, where it trod, the waves with accidental fire. The messenger reached Naples; and in a moment, as by some diabolical illumination, the sinful city kindled into light like glowing charcoal. From Posilippo on the left, along the palaces of the Chiaja, up to S. Elmo on the hill, past Santa 232 Lucia, down on the Marinella, beyond Portici, beyond Torre del Greco, where Vesuvius towered up aloof, an angry mount of amethystine gloom, the conflagration spread and reached Pompeii, and dwelt on Torre dell' Annunziata. Stationary, lurid, it smouldered while the day died slowly. The long, densely populated sea-line from Pozzuoli to Castellammare burned and smoked with intensest incandescence, sending a glare of fiery mist against the threatening blue behind, and fringing with pomegranate-coloured blots the water where no light now lingered. It is difficult to bend words to the use required. The scene, in spite of natural suavity and grace, had become like Dante's first glimpse of the City of Dis—like Sodom and Gomorrah when fire from heaven descended on their towers before they crumbled into dust.

FROM CAPRI TO ISCHIA

After this, for several days, Libeccio blew harder. No boats could leave or come to Capri. From the piazza parapet we saw the wind scooping the surface of the waves, and flinging spray-fleeces in sheets upon the churning water. As they broke on Cape Campanella, the rollers climbed in foam—how many feet?—and blotted out the olive-trees above the headland. The sky was always dark with hanging clouds and masses of low-lying vapour, very moist, but scarcely raining—lightning without thunder in the night.

Such weather is unexpected in the middle month of May, especially when the olives are blackened by December storms, and the orange-trees despoiled of foliage, and the tendrils of the vines yellow with cold. The walnut-trees have shown no sign of making leaves. Only the figs seem to have suffered little.

It had been settled that we should start upon the first 233 seafaring dawn for Ischia or Sorrento, according as the wind might set; and I was glad when, early one morning, the captain of the _Serena_ announced a moderate sirocco. When we reached the little quay we found the surf of the Libeccio still rolling heavily into the gulf. A gusty south-easter crossed it, tearing spray-crests from the swell as it went plunging onward. The sea was rough enough; but we made fast sailing, our captain steering with a skill which it was beautiful to watch, his five oarsmen picturesquely grouped beneath the straining sail. The sea slapped and broke from time to time on our windward quarter, drenching the boat with brine; and now and then her gunwale scooped into the shoulder of a wave as she shot sidling up it. Meanwhile enormous masses of leaden-coloured clouds formed above our heads and on the sea-line; but these were always shifting in the strife of winds, and the sun shone through them petulantly. As we climbed the rollers, or sank into their trough, the outline of the bay appeared in glimpses, shyly revealed, suddenly withdrawn from sight; the immobility and majesty of mountains contrasted with the weltering waste of water round us—now blue and garish where the sunlight fell, now shrouded in squally rain-storms, and then again sullen beneath a vaporous canopy. Each of these vignettes was photographed for one brief second on the brain, and swallowed by the hurling drift of billows. The painter's art could but ill have rendered that changeful colour in the sea, passing from tawny cloud-reflections and surfaces of glowing violet to bright blue or impenetrable purple flecked with boiling foam, according as a light-illuminated or a shadowed facet of the moving mass was turned to sight.

Halfway across the gulf the sirocco lulled; the sail was lowered, and we had to make the rest of the passage by rowing. Under the lee of Ischia we got into comparatively quiet 234 water; though here the beautiful Italian sea was yellowish green with churned-up sand, like an unripe orange. We passed the castle on its rocky island, with the domed church which has been so often painted in _gouache_ pictures through the last two centuries, and soon after noon we came to Casamicciola.

LA PICCOLA SENTINELLA

Casamicciola is a village on the north side of the island, in its centre, where the visitors to the mineral baths of Ischia chiefly congregate. One of its old-established inns is called La Piccola Sentinella. The first sight on entrance is an open gallery, with a pink wall on which bloom magnificent cactuses, sprays of thick-clustering scarlet and magenta flowers. This is a rambling house, built in successive stages against a hill, with terraces and verandahs opening on unexpected gardens to the back and front. Beneath its long irregular façade there spreads a wilderness of orange-trees and honeysuckles and roses, verbenas, geraniums and mignonette, snapdragons, gazanias and stocks, exceeding bright and fragrant, with the green slopes of Monte Epomeo for a background and Vesuvius for far distance. There are wonderful bits of detail in this garden. One dark, thick-foliaged olive, I remember, leaning from the tufa over a lizard-haunted wall, feathered waist-high in huge acanthus leaves. The whole rich orchard ground of Casamicciola is dominated by Monte Epomeo, the extinct volcano which may be called the _raison d'être_ of Ischia; for this island is nothing but a mountain lifted by the energy of fire from the sea-basement. Its fantastic peaks and ridges, sulphur-coloured, dusty grey, and tawny, with brushwood in young leaf upon the cloven flanks, form a singular pendant to the austere but more artistically modelled limestone crags of Capri. No two islands that I know, within so 235 short a space of sea, offer two pictures so different in style and quality of loveliness. The inhabitants are equally distinct in type. Here, in spite of what De Musset wrote somewhat affectedly about the peasant girls—

Ischia! c'est là qu'on a des yeux, C'est là qu'un corsage amoureux Serre la hanche. Sur un bas rouge bien tiré Brille, sous le jupon doré, La mule blanche—

in spite of these lines I did not find the Ischian women eminent, as those of Capri are, for beauty. But the young men have fine, loose, faun-like figures, and faces that would be strikingly handsome but for too long and prominent noses. They are a singular race, graceful in movement.

Evening is divine in Ischia. From the topmost garden terrace of the inn one looks across the sea towards Terracina, Gaeta, and those descending mountain buttresses, the Phlegræan plains, and the distant snows of the Abruzzi. Rain-washed and luminous, the sunset sky held Hesper trembling in a solid green of beryl. Fireflies flashed among the orange blossoms. Far away in the obscurity of eastern twilight glared the smouldering cone of Vesuvius—a crimson blot upon the darkness—a Cyclops' eye, bloodshot and menacing.

The company in the Piccola Sentinella, young and old, were decrepit, with an odd, rheumatic, shrivelled look upon them. The dining-room reminded me, as certain rooms are apt to do, of a ship's saloon. I felt as though I had got into the cabin of the _Flying Dutchman_, and that all these people had been sitting there at meat a hundred years, through storm and shine, for ever driving onward over immense waves in an enchanted calm.

236

ISCHIA AND FORIO

One morning we drove along the shore, up hill, and down, by the Porto d'Ischia to the town and castle. This country curiously combines the qualities of Corfu and Catania. The near distance, so richly cultivated, with the large volcanic slopes of Monte Epomeo rising from the sea, is like Catania. Then, across the gulf, are the bold outlines and snowy peaks of the Abruzzi, recalling Albanian ranges. Here, as in Sicily, the old lava is overgrown with prickly pear and red valerian. Mesembrianthemums—I must be pardoned this word; for I cannot omit those fleshy-leaved creepers, with their wealth of gaudy blossoms, shaped like sea anemones, coloured like strawberry and pineapple cream-ices—mesembrianthemums, then, tumble in torrents from the walls, and large-cupped white convolvuluses curl about the hedges. The Castle Rock, with Capri's refined sky-coloured outline relieving its hard profile on the horizon, is one of those exceedingly picturesque objects just too theatrical to be artistic. It seems ready-made for a back scene in 'Masaniello,' and cries out to the chromo-lithographer, 'Come and make the most of me!' Yet this morning all things, in sea, earth, and sky, were so delicately tinted and bathed in pearly light that it was difficult to be critical.

In the afternoon we took the other side of the island, driving through Lacca to Forio. One gets right round the bulk of Epomeo, and looks up into a weird region called Le Falange, where white lava streams have poured in two broad irregular torrents among broken precipices. Forio itself is placed at the end of a flat headland, boldly thrust into the sea; and its furthest promontory bears a pilgrimage church, intensely white and glaring.

237 There is something arbitrary in the memories we make of places casually visited, dependent as they are upon our mood at the moment, or on an accidental interweaving of impressions which the _genius loci_ blends for us. Of Forio two memories abide with me. The one is of a young woman, with very fair hair, in a light blue dress, standing beside an older woman in a garden. There was a flourishing pomegranate-tree above them. The whiteness and the dreamy smile of the young woman seemed strangely out of tune with her strong-toned southern surroundings. I could have fancied her a daughter of some moist north-western isle of Scandinavian seas. My other memory is of a lad, brown, handsome, powerfully featured, thoughtful, lying curled up in the sun upon a sort of ladder in his house-court, profoundly meditating. He had a book in his hand, and his finger still marked the place where he had read. He looked as though a Columbus or a Campanella might emerge from his earnest, fervent, steadfast adolescence. Driving rapidly along, and leaving Forio in all probability for ever, I kept wondering whether those two lives, discerned as though in vision, would meet—whether she was destined to be his evil genius, whether posterity would hear of him and journey to his birthplace in this world-neglected Forio. Such reveries are futile. Yet who entirely resists them?

MONTE EPOMEO

About three on the morning which divides the month of May into two equal parts I woke and saw the waning moon right opposite my window, stayed in her descent upon the slope of Epomeo. Soon afterwards Christian called me, and we settled to ascend the mountain. Three horses and a stout black donkey, with their inevitable grooms, were ordered; 238 and we took for guide a lovely faun-like boy, goat-faced, goat-footed, with gentle manners and pliant limbs swaying beneath the breath of impulse. He was called Giuseppe.

The way leads past the mineral baths and then strikes uphill, at first through lanes cut deep in the black lava. The trees meet almost overhead. It is like Devonshire, except that one half hopes to see tropical foxgloves with violet bells and downy leaves sprouting among the lush grasses and sweet-scented ferns upon those gloomy, damp, warm walls. After this we skirted a thicket of arbutus, and came upon the long volcanic ridge, with divinest outlook over Procida and Miseno toward Vesuvius. Then once more we had to dive into brown sandstone gullies, extremely steep, where the horses almost burst their girths in scrambling, and the grooms screamed, exasperating their confusion with encouragements and curses. Straight or bending as a willow wand, Giuseppe kept in front. I could have imagined he had stepped to life from one of Lionardo's fancy-sprighted studies.

After this fashion we gained the spine of mountain which composes Ischia—the smooth ascending ridge that grows up from those eastern waves to what was once the apex of fire-vomiting Inarime, and breaks in precipices westward, a ruin of gulfed lava, tortured by the violence of pent Typhoeus. Under a vast umbrella pine we dismounted, rested, and saw Capri. Now the road skirts slanting-wise along the further flank of Epomeo, rising by muddy earth-heaps and sandstone hollows to the quaint pinnacles which build the summit. There is no inconsiderable peril in riding over this broken ground; for the soil crumbles away, and the ravines open downward, treacherously masked with brushwood.

On Epomeo's topmost cone a chapel dedicated to S. Niccolo da Bari, the Italian patron of seamen, has been 239 hollowed from the rock. Attached to it is the dwelling of two hermits, subterranean, with long dark corridors and windows opening on the western seas. Church and hermitage alike are scooped, with slight expenditure of mason's skill, from solid mountain. The windows are but loopholes, leaning from which the town of Forio is seen, 2500 feet below; and the jagged precipices of the menacing Falange toss their contorted horror forth to sea and sky. Through gallery and grotto we wound in twilight under a monk's guidance, and came at length upon the face of the crags above Casamicciola. A few steps upward, cut like a ladder in the stone, brought us to the topmost peak—a slender spire of soft, yellowish tufa. It reminded me (with differences) of the way one climbs the spire at Strasburg, and stands upon that temple's final crocket, with nothing but a lightning conductor to steady swimming senses. Different indeed are the views unrolled beneath the peak of Epomeo and the pinnacle of Strasburg! Vesuvius, with the broken lines of Procida, Miseno, and Lago Fusaro for foreground; the sculpturesque beauty of Capri, buttressed in everlasting calm upon the waves; the Phlegræan plains and champaign of Volturno, stretching between smooth seas and shadowy hills; the mighty sweep of Naples' bay; all merged in blue; aë;rial, translucent, exquisitely frail. In this ethereal fabric of azure the most real of realities, the most solid of substances, seem films upon a crystal sphere.

The hermit produced some flasks of amber-coloured wine from his stores in the grotto. These we drank, lying full-length upon the tufa in the morning sunlight. The panorama of sea, sky, and long-drawn lines of coast, breathless, without a ripple or a taint of cloud, spread far and wide around us. Our horses and donkey cropped what little grass, blent with bitter herbage, grew on that barren summit. Their grooms 240 helped us out with the hermit's wine, and turned to sleep face downward. The whole scene was very quiet, islanded in immeasurable air. Then we asked the boy, Giuseppe, whether he could guide us on foot down the cliffs of Monte Epomeo to Casamicciola. This he was willing and able to do; for he told me that he had spent many months each year upon the hillside, tending goats. When rough weather came, he wrapped himself in a blanket from the snow that falls and melts upon the ledges. In summer time he basked the whole day long, and slept the calm ambrosial nights away. Something of this free life was in the burning eyes, long clustering dark hair, and smooth brown bosom of the faun-like creature. His graceful body had the brusque, unerring movement of the goats he shepherded. Human thought and emotion seemed a-slumber in this youth who had grown one with nature. As I watched his careless incarnate loveliness I remembered lines from an old Italian poem of romance, describing a dweller of the forest, who

Haunteth the woodland aye 'neath verdurous shade, Eateth wild fruit, drinketh of running stream; And such-like is his nature, as 'tis said, That ever weepeth he when clear skies gleam, Seeing of storms and rain he then hath dread, And feareth lest the sun's heat fail for him; But when on high hurl winds and clouds together, Full glad is he and waiteth for fair weather.

Giuseppe led us down those curious volcanic _balze_, where the soil is soft as marl, with tints splashed on it of pale green and rose and orange, and a faint scent in it of sulphur. They break away into wild chasms, where rivulets begin; and here the narrow watercourses made for us plain going. The turf beneath our feet was starred with cyclamens and wavering anemones. At last we reached the chestnut woods, and so 241 by winding paths descended on the village. Giuseppe told me, as we walked, that in a short time he would be obliged to join the army. He contemplated this duty with a dim and undefined dislike. Nor could I, too, help dreading and misliking it for him. The untamed, gentle creature, who knew so little but his goats as yet, whose nights had been passed from childhood _à la belle étoile_, whose limbs had never been cumbered with broadcloth or belt—for him to be shut up in the barrack of some Lombard city, packed in white conscript's sacking, drilled, taught to read and write, and weighted with the knapsack and the musket! There was something lamentable in the prospect. But such is the burden of man's life, of modern life especially. United Italy demands of her children that by this discipline they should be brought into that harmony which builds a nation out of diverse elements.

FROM ISCHIA TO NAPLES

Ischia showed a new aspect on the morning of our departure. A sea-mist passed along the skirts of the island, and rolled in heavy masses round the peaks of Monte Epomeo, slowly condensing into summer clouds, and softening each outline with a pearly haze, through which shone emerald glimpses of young vines and fig-trees.

We left in a boat with four oarsmen for Pozzuoli. For about an hour the breeze carried us well, while Ischia behind grew ever lovelier, soft as velvet, shaped like a gem. The mist had become a great white luminous cloud—not dense and alabastrine, like the clouds of thunder; but filmy, tender, comparable to the atmosphere of Dante's moon. Porpoises and sea-gulls played and fished about our bows, dividing the 242 dark brine in spray. The mountain distances were drowned in bluish vapour—Vesuvius quite invisible. About noon the air grew clearer, and Capri reared her fortalice of sculptured rock, aë;rially azure, into liquid ether. I know not what effect of atmosphere or light it is that lifts an island from the sea by interposing that thin edge of lustrous white between it and the water. But this phenomenon to-day was perfectly exhibited. Like a mirage on the wilderness, like Fata Morgana's palace ascending from the deep, the pure and noble vision stayed suspense 'twixt heaven and ocean. At the same time the breeze failed, and we rowed slowly between Procida and Capo Miseno—a space in old-world history athrong with Cæsar's navies. When we turned the point, and came in sight of Baiæ, the wind freshened and took us flying into Pozzuoli. The whole of this coast has been spoiled by the recent upheaval of Monte Nuovo with its lava floods and cindery deluges. Nothing remains to justify its fame among the ancient Romans and the Neapolitans of Boccaccio's and Pontano's age. It is quite wrecked, beyond the power even of hendecasyllables to bring again its breath of beauty:—

Mecum si sapies, Gravina, mecum Baias, et placidos coles recessus, Quos ipsæ et veneres colunt, et illa Quæ mentes hominum regit voluptas. Hic vina et choreæ jocique regnant, Regnant et charites facetiæque. Has sedes amor, has colit cupido. His passim juvenes puellulæque Ludunt, et tepidis aquis lavantur, Coenantque et dapibus leporibusque Miscent delitias venustiores: Miscent gaudia et osculationes, Atque una sociis toris foventur, Has te ad delitias vocant camoenæ; Invitat mare, myrteumque littus; 243 Invitant volueres canoræ, et ipse Gaurus pampineas parat corollas.[99]

[99] These verses are extracted from the second book of Pontano's _Hendecasyllabi_ (Aldus, 1513, p. 208). They so vividly paint the amusements of a watering-place in the fifteenth century that I have translated them:—

With me, let but the mind be wise, Gravina, With me haste to the tranquil haunts of Baiæ, Haunts that pleasure hath made her home, and she who Sways all hearts, the voluptuous Aphrodite. Here wine rules, and the dance, and games and laughter; Graces reign in a round of mirthful madness; Love hath built, and desire, a palace here too, Where glad youths and enamoured girls on all sides Play and bathe in the waves in sunny weather, Dine and sup, and the merry mirth of banquets Blend with dearer delights and love's embraces, Blend with pleasures of youth and honeyed kisses, Till, sport-tired, in the couch inarmed they slumber. Thee our Muses invite to these enjoyments; Thee those billows allure, the myrtled seashore, Birds allure with a song, and mighty Gaurus Twines his redolent wreath of vines and ivy.

At Pozzuoli we dined in the Albergo del Ponte di Caligola (Heaven save the mark!), and drank Falernian wine of modern and indifferent vintage. Then Christian hired two open carriages for Naples. He and I sat in the second. In the first we placed the two ladies of our party. They had a large, fat driver. Just after we had all passed the gate a big fellow rushed up, dragged the corpulent coachman from his box, pulled out a knife, and made a savage thrust at the man's stomach. At the same moment a _guardia-porta_, with drawn cutlass, interposed and struck between the combatants. They were separated. Their respective friends assembled in two jabbering crowds, and the whole party, uttering vociferous objurgations, marched off, as I imagined, to the watch-house. A very shabby lazzarone, without more ado, 244 sprang on the empty box, and we made haste for Naples. Being only anxious to get there, and not at all curious about the squabble which had deprived us of our fat driver, I relapsed into indifference when I found that neither of the men to whose lot we had fallen was desirous of explaining the affair. It was sufficient cause for self-congratulation that no blood had been shed, and that the Procuratore del Rè would not require our evidence.

The Grotta di Posilippo was a sight of wonder, with the afternoon sun slanting on its festoons of creeping plants above the western entrance—the gas lamps, dust, huge carts, oxen, and _contadini_ in its subterranean darkness—and then the sudden revelation of the bay and city as we jingled out into the summery air again by Virgil's tomb.

NIGHT AT POMPEII

On to Pompeii in the clear sunset, falling very lightly upon mountains, islands, little ports, and indentations of the bay.

From the railway station we walked above half a mile to the Albergo del Sole under a lucid heaven of aqua-marine colour, with Venus large in it upon the border line between the tints of green and blue.

The Albergo del Sole is worth commemorating. We stepped, without the intervention of courtyard or entrance hall, straight from the little inn garden into an open, vaulted room. This was divided into two compartments by a stout column supporting round arches. Wooden gates furnished a kind of fence between the atrium and what an old Pompeian would have styled the triclinium. For in the further part a table was laid for supper and lighted with suspended lamps. And here a party of artists and students drank and talked and 245 smoked. A great live peacock, half asleep and winking his eyes, sat perched upon a heavy wardrobe watching them. The outer chamber, where we waited in armchairs of ample girth, had its _loggia_ windows and doors open to the air. There were singing-birds in cages; and plants of rosemary, iris, and arundo sprang carelessly from holes in the floor. A huge vase filled to overflowing with oranges and lemons, the very symbol of generous prodigality, stood in the midst, and several dogs were lounging round. The outer twilight, blending with the dim sheen of the lamps, softened this pretty scene to picturesqueness. Altogether it was a strange and unexpected place. Much experienced as the nineteenth-century nomad may be in inns, he will rarely receive a more powerful and refreshing impression, entering one at evenfall, than here.

There was no room for us in the inn. We were sent, attended by a boy with a lantern, through fields of dew-drenched barley and folded poppies, to a farmhouse overshadowed by four spreading pines. Exceedingly soft and grey, with rose-tinted weft of steam upon its summit, stood Vesuvius above us in the twilight. Something in the recent impression of the dimly lighted supper-room, and in the idyllic simplicity of this lantern-litten journey through the barley, suggested, by one of those inexplicable stirrings of association which affect tired senses, a dim, dreamy thought of Palestine and Bible stories. The feeling of the _cenacolo_ blent here with feelings of Ruth's cornfields, and the white square houses with their flat roofs enforced the illusion. Here we slept in the middle of a _contadino_ colony. Some of the folk had made way for us; and by the wheezing, coughing, and snoring of several sorts and ages in the chamber next me, I imagine they must have endured considerable crowding. My bed was large enough to have 246 contained a family. Over its bead there was a little shrine, hollowed in the thickness of the wall, with several sacred emblems and a shallow vase of holy water. On dressers at each end of the room stood glass shrines, occupied by finely dressed Madonna dolls and pots of artificial flowers. Above the doors S. Michael and S. Francis, roughly embossed in low relief and boldly painted, gave dignity and grandeur to the walls. These showed some sense for art in the first builders of the house. But the taste of the inhabitants could not be praised. There were countless gaudy prints of saints, and exactly five pictures of the Bambino, very big, and sprawling in a field alone. A crucifix, some old bottles, a gun, old clothes suspended from pegs, pieces of peasant pottery and china, completed the furniture of the apartment.

But what a view it showed when Christian next morning opened the door! From my bed I looked across the red-tiled terrace to the stone-pines with their velvet roofage and the blue-peaked hills of Stabiæ.

SAN GERMANO

No one need doubt about his quarters in this country town. The Albergo di Pompeii is a truly sumptuous place. Sofas, tables, and chairs in our sitting-room are made of buffalo horns, very cleverly pieced together, but torturing the senses with suggestions of impalement. Sitting or standing, one felt insecure. When would the points run into us? when should we begin to break these incrustations off? and would the whole fabric crumble at a touch into chaotic heaps of horns?

It is market day, and the costumes in the streets are brilliant. The women wear a white petticoat, a blue skirt made straight and tightly bound above it, a white richly 247 worked bodice, and the white square-folded napkin of the Abruzzi on their heads. Their jacket is of red or green—pure colour. A rug of striped red, blue, yellow, and black protects the whole dress from the rain. There is a very noble quality of green—sappy and gemmy—like some of Titian's or Giorgione's—in the stuffs they use. Their build and carriage are worthy of goddesses.

Rain falls heavily, persistently. We must ride on donkeys, in waterproofs, to Monte Cassino. Mountain and valley, oak wood and ilex grove, lentisk thicket and winding river-bed, are drowned alike in soft-descending, soaking rain. Far and near the landscape swims in rain, and the hillsides send down torrents through their watercourses.

The monastery is a square, dignified building, of vast extent and princely solidity. It has a fine inner court, with sumptuous staircases of slabbed stone leading to the church. This public portion of the edifice is both impressive and magnificent, without sacrifice of religious severity to parade. We acknowledge a successful compromise between the austerity of the order and the grandeur befitting the fame, wealth, prestige, and power of its parent foundation. The church itself is a tolerable structure of the Renaissance—costly marble incrustations and mosaics, meaningless Neapolitan frescoes. One singular episode in the mediocrity of art adorning it, is the tomb of Pietro de' Medici. Expelled from Florence in 1494, he never returned, but was drowned in the Garigliano. Clement VII. ordered, and Duke Cosimo I. erected, this marble monument—the handicraft, in part at least, of Francesco di San Gallo—to their relative. It is singularly stiff, ugly, out of place—at once obtrusive and insignificant.

A gentle old German monk conducted Christian and me over the convent—boys' school, refectory, printing press, 248 lithographic workshop, library, archives. We then returned to the church, from which we passed to visit the most venerable and sacred portion of the monastery. The cell of S. Benedict is being restored and painted in fresco by the Austrian Benedictines; a pious but somewhat frigid process of re-edification. This so-called cell is a many-chambered and very ancient building, with a tower which is now embedded in the massive superstructure of the modern monastery. The German artists adorning it contrive to blend the styles of Giotto, Fra Angelico, Egypt, and Byzance, not without force and a kind of intense frozen pietism. S. Mauro's vision of his master's translation to heaven—the ladder of light issuing between two cypresses, and the angels watching on the tower walls—might even be styled poetical. But the decorative angels on the roof and other places, being adapted from Egyptian art, have a strange, incongruous appearance.

Monasteries are almost invariably disappointing to one who goes in search of what gives virtue and solidity to human life; and even Monte Cassino was no exception. This ought not to be otherwise, seeing what a peculiar sympathy with the monastic institution is required to make these cloisters comprehensible. The atmosphere of operose indolence, prolonged through centuries and centuries, stifles; nor can antiquity and influence impose upon a mind which resents monkery itself as an essential evil. That Monte Cassino supplied the Church with several potentates is incontestable. That mediæval learning and morality would have suffered more without this brotherhood cannot be doubted. Yet it is difficult to name men of very eminent genius whom the Cassinesi claim as their alumni; nor, with Boccaccio's testimony to their carelessness, and with the evidence of their library before our eyes, can we rate their services to 249 civilised erudition very highly. I longed to possess the spirit, for one moment, of Montalembert. I longed for what is called historical imagination, for the indiscriminate voracity of those men to whom world-famous sites are in themselves soul-stirring.

250

AMALFI, PÆSTUM, CAPRI

The road between Vietri and Amalfi is justly celebrated as one of the most lovely pieces of coast scenery in Italy. Its only rivals are the roads from Castellammare to Sorrento, from Genoa to Sestri, and from Nice to Mentone. Each of these has its own charm; and yet their similarity is sufficient to invite comparison: under the spell of each in turn, we are inclined to say, This then, at all events, is the most beautiful. On first quitting Vietri, Salerno is left low down upon the sea-shore, nestling into a little corner of the bay which bears its name, and backed up by gigantic mountains. With each onward step these mountain-ranges expand in long aë;rial line, revealing reaches of fantastic peaks, that stretch away beyond the plain of Pæstum, till they end at last in mist and sunbeams shimmering on the sea. On the left hand hangs the cliff above the deep salt water, with here and there a fig-tree spreading fanlike leaves against the blue beneath. On the right rises the hillside, clothed with myrtle, lentisk, cistus, and pale yellow coronilla—a tangle as sweet with scent as it is gay with blossom. Over the parapet that skirts the precipice lean heavy-foliaged locust-trees, and the terraces in sunny nooks are set with lemon-orchards. There are but few olives, and no pines. Meanwhile each turn in the road brings some change of scene—now a village with its little beach of grey sand, lapped by clearest sea-waves, where bare-legged fishermen mend their nets, and naked boys bask like lizards in the 251 sun—now towering bastions of weird rock, broken into spires and pinnacles like those of Skye, and coloured with bright hues of red and orange—then a ravine, where the thin thread of a mountain streamlet seems to hang suspended upon ferny ledges in the limestone—or a precipice defined in profile against sea and sky, with a lad, half dressed in goat-skin, dangling his legs into vacuity and singing—or a tract of cultivation, where the orange, apricot, and lemon trees nestle together upon terraces with intermingled pergolas of vines.