The Innocents Abroad
long-robed, well-fed priests, and the church bells by dozens are pealing
all the day long, nearly. Every now and then one comes across a friar of
orders gray, with shaven head, long, coarse robe, rope girdle and beads,
and with feet cased in sandals or entirely bare. These worthies suffer
in the flesh and do penance all their lives, I suppose, but they look
like consummate famine-breeders. They are all fat and serene.
The old Cathedral of San Lorenzo is about as notable a building as we
have found in Genoa. It is vast, and has colonnades of noble pillars,
and a great organ, and the customary pomp of gilded moldings, pictures,
frescoed ceilings, and so forth. I cannot describe it, of course--it
would require a good many pages to do that. But it is a curious place.
They said that half of it--from the front door halfway down to the altar
--was a Jewish synagogue before the Saviour was born, and that no
alteration had been made in it since that time. We doubted the
statement, but did it reluctantly. We would much rather have believed
it. The place looked in too perfect repair to be so ancient.
The main point of interest about the cathedral is the little Chapel of
St. John the Baptist. They only allow women to enter it on one day in
the year, on account of the animosity they still cherish against the sex
because of the murder of the Saint to gratify a caprice of Herodias. In
this Chapel is a marble chest, in which, they told us, were the ashes of
St. John; and around it was wound a chain, which, they said, had confined
him when he was in prison. We did not desire to disbelieve these
statements, and yet we could not feel certain that they were correct
--partly because we could have broken that chain, and so could St. John,
and partly because we had seen St. John's ashes before, in another
church. We could not bring ourselves to think St. John had two sets of
ashes.
They also showed us a portrait of the Madonna which was painted by St.
Luke, and it did not look half as old and smoky as some of the pictures
by Rubens. We could not help admiring the Apostle's modesty in never
once mentioning in his writings that he could paint.
But isn't this relic matter a little overdone? We find a piece of the
true cross in every old church we go into, and some of the nails that
held it together. I would not like to be positive, but I think we have
seen as much as a keg of these nails. Then there is the crown of thorns;
they have part of one in Sainte Chapelle, in Paris, and part of one also
in Notre Dame. And as for bones of St. Denis, I feel certain we have
seen enough of them to duplicate him if necessary.
I only meant to write about the churches, but I keep wandering from the
subject. I could say that the Church of the Annunciation is a wilderness
of beautiful columns, of statues, gilded moldings, and pictures almost
countless, but that would give no one an entirely perfect idea of the
thing, and so where is the use? One family built the whole edifice, and
have got money left. There is where the mystery lies. We had an idea at
first that only a mint could have survived the expense.
These people here live in the heaviest, highest, broadest, darkest,
solidest houses one can imagine. Each one might “laugh a siege to
scorn.” A hundred feet front and a hundred high is about the style, and
you go up three flights of stairs before you begin to come upon signs of
occupancy. Everything is stone, and stone of the heaviest--floors,
stairways, mantels, benches--everything. The walls are four to five feet
thick. The streets generally are four or five to eight feet wide and as
crooked as a corkscrew. You go along one of these gloomy cracks, and
look up and behold the sky like a mere ribbon of light, far above your
head, where the tops of the tall houses on either side of the street bend
almost together. You feel as if you were at the bottom of some
tremendous abyss, with all the world far above you. You wind in and out
and here and there, in the most mysterious way, and have no more idea of
the points of the compass than if you were a blind man. You can never
persuade yourself that these are actually streets, and the frowning,
dingy, monstrous houses dwellings, till you see one of these beautiful,
prettily dressed women emerge from them--see her emerge from a dark,
dreary-looking den that looks dungeon all over, from the ground away
halfway up to heaven. And then you wonder that such a charming moth
could come from such a forbidding shell as that. The streets are wisely
made narrow and the houses heavy and thick and stony, in order that the
people may be cool in this roasting climate. And they are cool, and stay
so. And while I think of it--the men wear hats and have very dark
complexions, but the women wear no headgear but a flimsy veil like a
gossamer's web, and yet are exceedingly fair as a general thing.
Singular, isn't it?
The huge palaces of Genoa are each supposed to be occupied by one family,
but they could accommodate a hundred, I should think. They are relics of
the grandeur of Genoa's palmy days--the days when she was a great
commercial and maritime power several centuries ago. These houses, solid
marble palaces though they be, are in many cases of a dull pinkish color,
outside, and from pavement to eaves are pictured with Genoese battle
scenes, with monstrous Jupiters and Cupids, and with familiar
illustrations from Grecian mythology. Where the paint has yielded to age
and exposure and is peeling off in flakes and patches, the effect is not
happy. A noseless Cupid or a Jupiter with an eye out or a Venus with a
fly-blister on her breast, are not attractive features in a picture.
Some of these painted walls reminded me somewhat of the tall van,
plastered with fanciful bills and posters, that follows the bandwagon of
a circus about a country village. I have not read or heard that the
outsides of the houses of any other European city are frescoed in this
way.
I can not conceive of such a thing as Genoa in ruins. Such massive
arches, such ponderous substructions as support these towering
broad-winged edifices, we have seldom seen before; and surely the great
blocks of stone of which these edifices are built can never decay; walls
that are as thick as an ordinary American doorway is high cannot
crumble.
The republics of Genoa and Pisa were very powerful in the Middle Ages.
Their ships filled the Mediterranean, and they carried on an extensive
commerce with Constantinople and Syria. Their warehouses were the great
distributing depots from whence the costly merchandise of the East was
sent abroad over Europe. They were warlike little nations and defied, in
those days, governments that overshadow them now as mountains overshadow
molehills. The Saracens captured and pillaged Genoa nine hundred years
ago, but during the following century Genoa and Pisa entered into an
offensive and defensive alliance and besieged the Saracen colonies in
Sardinia and the Balearic Isles with an obstinacy that maintained its
pristine vigor and held to its purpose for forty long years. They were
victorious at last and divided their conquests equably among their great
patrician families. Descendants of some of those proud families still
inhabit the palaces of Genoa, and trace in their own features a
resemblance to the grim knights whose portraits hang in their stately
halls, and to pictured beauties with pouting lips and merry eyes whose
originals have been dust and ashes for many a dead and forgotten century.
The hotel we live in belonged to one of those great orders of knights of
the Cross in the times of the Crusades, and its mailed sentinels once
kept watch and ward in its massive turrets and woke the echoes of these
halls and corridors with their iron heels.
But Genoa's greatness has degenerated into an unostentatious commerce in
velvets and silver filagree-work. They say that each European town has
its specialty. These filagree things are Genoa's specialty. Her smiths
take silver ingots and work them up into all manner of graceful and
beautiful forms. They make bunches of flowers, from flakes and wires of
silver, that counterfeit the delicate creations the frost weaves upon a
windowpane; and we were shown a miniature silver temple whose fluted
columns, whose Corinthian capitals and rich entablatures, whose spire,
statues, bells, and ornate lavishness of sculpture were wrought in
polished silver, and with such matchless art that every detail was a
fascinating study and the finished edifice a wonder of beauty.
We are ready to move again, though we are not really tired yet of the
narrow passages of this old marble cave. Cave is a good word--when
speaking of Genoa under the stars. When we have been prowling at
midnight through the gloomy crevices they call streets, where no
footfalls but ours were echoing, where only ourselves were abroad, and
lights appeared only at long intervals and at a distance, and
mysteriously disappeared again, and the houses at our elbows seemed to
stretch upward farther than ever toward the heavens, the memory of a cave
I used to know at home was always in my mind, with its lofty passages,
its silence and solitude, its shrouding gloom, its sepulchral echoes, its
flitting lights, and more than all, its sudden revelations of branching
crevices and corridors where we least expected them.
We are not tired of the endless processions of cheerful, chattering
gossipers that throng these courts and streets all day long, either; nor
of the coarse-robed monks; nor of the “Asti” wines, which that old doctor
(whom we call the Oracle,) with customary felicity in the matter of
getting everything wrong, misterms “nasty.” But we must go,
nevertheless.
Our last sight was the cemetery (a burial place intended to accommodate
60,000 bodies,) and we shall continue to remember it after we shall have
forgotten the palaces. It is a vast marble collonaded corridor extending
around a great unoccupied square of ground; its broad floor is marble,
and on every slab is an inscription--for every slab covers a corpse. On
either side, as one walks down the middle of the passage, are monuments,
tombs, and sculptured figures that are exquisitely wrought and are full
of grace and beauty. They are new and snowy; every outline is perfect,
every feature guiltless of mutilation, flaw, or blemish; and therefore,
to us these far-reaching ranks of bewitching forms are a hundred fold
more lovely than the damaged and dingy statuary they have saved from the
wreck of ancient art and set up in the galleries of Paris for the worship
of the world.
Well provided with cigars and other necessaries of life, we are now ready
to take the cars for Milan.
CHAPTER XVIII.
All day long we sped through a mountainous country whose peaks were
bright with sunshine, whose hillsides were dotted with pretty villas
sitting in the midst of gardens and shrubbery, and whose deep ravines
were cool and shady and looked ever so inviting from where we and the
birds were winging our flight through the sultry upper air.
We had plenty of chilly tunnels wherein to check our perspiration,
though. We timed one of them. We were twenty minutes passing through
it, going at the rate of thirty to thirty-five miles an hour.
Beyond Alessandria we passed the battle-field of Marengo.
Toward dusk we drew near Milan and caught glimpses of the city and the
blue mountain peaks beyond. But we were not caring for these things
--they did not interest us in the least. We were in a fever of impatience;
we were dying to see the renowned cathedral! We watched--in this
direction and that--all around--everywhere. We needed no one to point it
out--we did not wish any one to point it out--we would recognize it even