The Innocents Abroad
Virgin Mary appeared to this saint. Then he continues:
“His tongue and his heart, which were found after nearly a century
to be whole, when the body was disinterred before his canonization,
are still preserved in a glass case, and after two centuries the
heart is still whole. When the French troops came to Rome, and when
Pius VII. was carried away prisoner, blood dropped from it.”
To read that in a book written by a monk far back in the Middle Ages,
would surprise no one; it would sound natural and proper; but when it is
seriously stated in the middle of the nineteenth century, by a man of
finished education, an LL.D., M. A., and an Archaeological magnate, it
sounds strangely enough. Still, I would gladly change my unbelief for
Neligan's faith, and let him make the conditions as hard as he pleased.
The old gentleman's undoubting, unquestioning simplicity has a rare
freshness about it in these matter-of-fact railroading and telegraphing
days. Hear him, concerning the church of Ara Coeli:
“In the roof of the church, directly above the high altar, is
engraved, 'Regina Coeli laetare Alleluia.' In the sixth century
Rome was visited by a fearful pestilence. Gregory the Great urged
the people to do penance, and a general procession was formed. It
was to proceed from Ara Coeli to St. Peter's. As it passed before
the mole of Adrian, now the Castle of St. Angelo, the sound of
heavenly voices was heard singing (it was Easter morn,) 'Regina
Coeli, laetare! alleluia! quia quem meruisti portare, alleluia!
resurrexit sicut dixit; alleluia!' The Pontiff, carrying in his
hands the portrait of the Virgin, (which is over the high altar and
is said to have been painted by St. Luke,) answered, with the
astonished people, 'Ora pro nobis Deum, alleluia!' At the same time
an angel was seen to put up a sword in a scabbard, and the
pestilence ceased on the same day. There are four circumstances
which 'CONFIRM'--[The italics are mine--M. T.]--this miracle: the
annual procession which takes place in the western church on the
feast of St Mark; the statue of St. Michael, placed on the mole of
Adrian, which has since that time been called the Castle of St.
Angelo; the antiphon Regina Coeli which the Catholic church sings
during paschal time; and the inscription in the church.”
CHAPTER XXVIII.
From the sanguinary sports of the Holy Inquisition; the slaughter of the
Coliseum; and the dismal tombs of the Catacombs, I naturally pass to the
picturesque horrors of the Capuchin Convent. We stopped a moment in a
small chapel in the church to admire a picture of St. Michael vanquishing
Satan--a picture which is so beautiful that I can not but think it
belongs to the reviled “Renaissance,” notwithstanding I believe they told
us one of the ancient old masters painted it--and then we descended into
the vast vault underneath.
Here was a spectacle for sensitive nerves! Evidently the old masters had
been at work in this place. There were six divisions in the apartment,
and each division was ornamented with a style of decoration peculiar to
itself--and these decorations were in every instance formed of human
bones! There were shapely arches, built wholly of thigh bones; there
were startling pyramids, built wholly of grinning skulls; there were
quaint architectural structures of various kinds, built of shin bones and
the bones of the arm; on the wall were elaborate frescoes, whose curving
vines were made of knotted human vertebrae; whose delicate tendrils were
made of sinews and tendons; whose flowers were formed of knee-caps and
toe-nails. Every lasting portion of the human frame was represented in
these intricate designs (they were by Michael Angelo, I think,) and there
was a careful finish about the work, and an attention to details that
betrayed the artist's love of his labors as well as his schooled ability.
I asked the good-natured monk who accompanied us, who did this? And he
said, “We did it”--meaning himself and his brethren up stairs. I could
see that the old friar took a high pride in his curious show. We made
him talkative by exhibiting an interest we never betrayed to guides.
“Who were these people?”
“We--up stairs--Monks of the Capuchin order--my brethren.”
“How many departed monks were required to upholster these six parlors?”
“These are the bones of four thousand.”
“It took a long time to get enough?”
“Many, many centuries.”
“Their different parts are well separated--skulls in one room, legs in
another, ribs in another--there would be stirring times here for a while
if the last trump should blow. Some of the brethren might get hold of
the wrong leg, in the confusion, and the wrong skull, and find themselves
limping, and looking through eyes that were wider apart or closer
together than they were used to. You can not tell any of these parties
apart, I suppose?”
“Oh, yes, I know many of them.”
He put his finger on a skull. “This was Brother Anselmo--dead three
hundred years--a good man.”
He touched another. “This was Brother Alexander--dead two hundred and
eighty years. This was Brother Carlo--dead about as long.”
Then he took a skull and held it in his hand, and looked reflectively
upon it, after the manner of the grave-digger when he discourses of
Yorick.
“This,” he said, “was Brother Thomas. He was a young prince, the scion
of a proud house that traced its lineage back to the grand old days of
Rome well nigh two thousand years ago. He loved beneath his estate. His
family persecuted him; persecuted the girl, as well. They drove her from
Rome; he followed; he sought her far and wide; he found no trace of her.
He came back and offered his broken heart at our altar and his weary life
to the service of God. But look you. Shortly his father died, and
likewise his mother. The girl returned, rejoicing. She sought every
where for him whose eyes had used to look tenderly into hers out of this
poor skull, but she could not find him. At last, in this coarse garb we
wear, she recognized him in the street. He knew her. It was too late.
He fell where he stood. They took him up and brought him here. He never
spoke afterward. Within the week he died. You can see the color of his
hair--faded, somewhat--by this thin shred that clings still to the
temple. This, [taking up a thigh bone,] was his. The veins of this
leaf in the decorations over your head, were his finger-joints, a hundred
and fifty years ago.”
This business-like way of illustrating a touching story of the heart by
laying the several fragments of the lover before us and naming them, was
as grotesque a performance, and as ghastly, as any I ever witnessed. I
hardly knew whether to smile or shudder. There are nerves and muscles in
our frames whose functions and whose methods of working it seems a sort
of sacrilege to describe by cold physiological names and surgical
technicalities, and the monk's talk suggested to me something of this
kind. Fancy a surgeon, with his nippers lifting tendons, muscles and
such things into view, out of the complex machinery of a corpse, and
observing, “Now this little nerve quivers--the vibration is imparted to
this muscle--from here it is passed to this fibrous substance; here its
ingredients are separated by the chemical action of the blood--one part
goes to the heart and thrills it with what is popularly termed emotion,
another part follows this nerve to the brain and communicates
intelligence of a startling character--the third part glides along this
passage and touches the spring connected with the fluid receptacles that
lie in the rear of the eye. Thus, by this simple and beautiful process,
the party is informed that his mother is dead, and he weeps.” Horrible!
I asked the monk if all the brethren up stairs expected to be put in this
place when they died. He answered quietly:
“We must all lie here at last.”
See what one can accustom himself to.--The reflection that he must some
day be taken apart like an engine or a clock, or like a house whose owner
is gone, and worked up into arches and pyramids and hideous frescoes, did
not distress this monk in the least. I thought he even looked as if he
were thinking, with complacent vanity, that his own skull would look well
on top of the heap and his own ribs add a charm to the frescoes which
possibly they lacked at present.
Here and there, in ornamental alcoves, stretched upon beds of bones, lay
dead and dried-up monks, with lank frames dressed in the black robes one
sees ordinarily upon priests. We examined one closely. The skinny hands
were clasped upon the breast; two lustreless tufts of hair stuck to the
skull; the skin was brown and sunken; it stretched tightly over the cheek
bones and made them stand out sharply; the crisp dead eyes were deep in
the sockets; the nostrils were painfully prominent, the end of the nose
being gone; the lips had shriveled away from the yellow teeth: and
brought down to us through the circling years, and petrified there, was a
weird laugh a full century old!
It was the jolliest laugh, but yet the most dreadful, that one can
imagine. Surely, I thought, it must have been a most extraordinary joke
this veteran produced with his latest breath, that he has not got done
laughing at it yet. At this moment I saw that the old instinct was
strong upon the boys, and I said we had better hurry to St. Peter's.
They were trying to keep from asking, “Is--is he dead?”
It makes me dizzy, to think of the Vatican--of its wilderness of statues,
paintings, and curiosities of every description and every age. The “old
masters” (especially in sculpture,) fairly swarm, there. I can not write
about the Vatican. I think I shall never remember any thing I saw there
distinctly but the mummies, and the Transfiguration, by Raphael, and some
other things it is not necessary to mention now. I shall remember the
Transfiguration partly because it was placed in a room almost by itself;
partly because it is acknowledged by all to be the first oil painting in
the world; and partly because it was wonderfully beautiful. The colors
are fresh and rich, the “expression,” I am told, is fine, the “feeling”
is lively, the “tone” is good, the “depth” is profound, and the width is
about four and a half feet, I should judge. It is a picture that really
holds one's attention; its beauty is fascinating. It is fine enough to
be a Renaissance. A remark I made a while ago suggests a thought--and a
hope. Is it not possible that the reason I find such charms in this
picture is because it is out of the crazy chaos of the galleries? If
some of the others were set apart, might not they be beautiful? If this
were set in the midst of the tempest of pictures one finds in the vast
galleries of the Roman palaces, would I think it so handsome? If, up to
this time, I had seen only one “old master” in each palace, instead of
acres and acres of walls and ceilings fairly papered with them, might I
not have a more civilized opinion of the old masters than I have now? I
think so. When I was a school-boy and was to have a new knife, I could
not make up my mind as to which was the prettiest in the show-case, and I
did not think any of them were particularly pretty; and so I chose with a
heavy heart. But when I looked at my purchase, at home, where no
glittering blades came into competition with it, I was astonished to see
how handsome it was. To this day my new hats look better out of the shop
than they did in it with other new hats. It begins to dawn upon me, now,
that possibly, what I have been taking for uniform ugliness in the
galleries may be uniform beauty after all. I honestly hope it is, to