The Innocents Abroad
others, but certainly it is not to me. Perhaps the reason I used to
enjoy going to the Academy of Fine Arts in New York was because there
were but a few hundred paintings in it, and it did not surfeit me to go
through the list. I suppose the Academy was bacon and beans in the
Forty-Mile Desert, and a European gallery is a state dinner of thirteen
courses. One leaves no sign after him of the one dish, but the thirteen
frighten away his appetite and give him no satisfaction.
There is one thing I am certain of, though. With all the Michael
Angelos, the Raphaels, the Guidos and the other old masters, the sublime
history of Rome remains unpainted! They painted Virgins enough, and
popes enough and saintly scarecrows enough, to people Paradise, almost,
and these things are all they did paint. “Nero fiddling o'er burning
Rome,” the assassination of Caesar, the stirring spectacle of a hundred
thousand people bending forward with rapt interest, in the coliseum, to
see two skillful gladiators hacking away each others' lives, a tiger
springing upon a kneeling martyr--these and a thousand other matters
which we read of with a living interest, must be sought for only in
books--not among the rubbish left by the old masters--who are no more, I
have the satisfaction of informing the public.
They did paint, and they did carve in marble, one historical scene, and
one only, (of any great historical consequence.) And what was it and why
did they choose it, particularly? It was the Rape of the Sabines, and
they chose it for the legs and busts.
I like to look at statues, however, and I like to look at pictures, also
--even of monks looking up in sacred ecstacy, and monks looking down in
meditation, and monks skirmishing for something to eat--and therefore I
drop ill nature to thank the papal government for so jealously guarding
and so industriously gathering up these things; and for permitting me, a
stranger and not an entirely friendly one, to roam at will and unmolested
among them, charging me nothing, and only requiring that I shall behave
myself simply as well as I ought to behave in any other man's house. I
thank the Holy Father right heartily, and I wish him long life and plenty
of happiness.
The Popes have long been the patrons and preservers of art, just as our
new, practical Republic is the encourager and upholder of mechanics. In
their Vatican is stored up all that is curious and beautiful in art; in
our Patent Office is hoarded all that is curious or useful in mechanics.
When a man invents a new style of horse-collar or discovers a new and
superior method of telegraphing, our government issues a patent to him
that is worth a fortune; when a man digs up an ancient statue in the
Campagna, the Pope gives him a fortune in gold coin. We can make
something of a guess at a man's character by the style of nose he carries
on his face. The Vatican and the Patent Office are governmental noses,
and they bear a deal of character about them.
The guide showed us a colossal statue of Jupiter, in the Vatican, which
he said looked so damaged and rusty--so like the God of the Vagabonds
--because it had but recently been dug up in the Campagna. He asked how
much we supposed this Jupiter was worth? I replied, with intelligent
promptness, that he was probably worth about four dollars--may be four
and a half. “A hundred thousand dollars!” Ferguson said. Ferguson
said, further, that the Pope permits no ancient work of this kind to
leave his dominions. He appoints a commission to examine discoveries
like this and report upon the value; then the Pope pays the discoverer
one-half of that assessed value and takes the statue. He said this
Jupiter was dug from a field which had just been bought for thirty-six
thousand dollars, so the first crop was a good one for the new farmer.
I do not know whether Ferguson always tells the truth or not, but I
suppose he does. I know that an exorbitant export duty is exacted upon
all pictures painted by the old masters, in order to discourage the sale
of those in the private collections. I am satisfied, also, that genuine
old masters hardly exist at all, in America, because the cheapest and
most insignificant of them are valued at the price of a fine farm. I
proposed to buy a small trifle of a Raphael, myself, but the price of it
was eighty thousand dollars, the export duty would have made it
considerably over a hundred, and so I studied on it awhile and concluded
not to take it.
I wish here to mention an inscription I have seen, before I forget it:
“Glory to God in the highest, peace on earth TO MEN OF GOOD WILL!” It is
not good scripture, but it is sound Catholic and human nature.
This is in letters of gold around the apsis of a mosaic group at the side
of the 'scala santa', church of St. John Lateran, the Mother and Mistress
of all the Catholic churches of the world. The group represents the
Saviour, St. Peter, Pope Leo, St. Silvester, Constantine and Charlemagne.
Peter is giving the pallium to the Pope, and a standard to Charlemagne.
The Saviour is giving the keys to St. Silvester, and a standard to
Constantine. No prayer is offered to the Saviour, who seems to be of
little importance any where in Rome; but an inscription below says,
“Blessed Peter, give life to Pope Leo and victory to king Charles.” It
does not say, “Intercede for us, through the Saviour, with the Father,
for this boon,” but “Blessed Peter, give it us.”
In all seriousness--without meaning to be frivolous--without meaning to
be irreverent, and more than all, without meaning to be blasphemous,--I
state as my simple deduction from the things I have seen and the things I
have heard, that the Holy Personages rank thus in Rome:
First--“The Mother of God”--otherwise the Virgin Mary.
Second--The Deity.
Third--Peter.
Fourth--Some twelve or fifteen canonized Popes and martyrs.
Fifth--Jesus Christ the Saviour--(but always as an infant in arms.)
I may be wrong in this--my judgment errs often, just as is the case with
other men's--but it is my judgment, be it good or bad.
Just here I will mention something that seems curious to me. There are
no “Christ's Churches” in Rome, and no “Churches of the Holy Ghost,” that
I can discover. There are some four hundred churches, but about a fourth
of them seem to be named for the Madonna and St. Peter. There are so
many named for Mary that they have to be distinguished by all sorts of
affixes, if I understand the matter rightly. Then we have churches of
St. Louis; St. Augustine; St. Agnes; St. Calixtus; St. Lorenzo in Lucina;
St. Lorenzo in Damaso; St. Cecilia; St. Athanasius; St. Philip Neri; St.
Catherine, St. Dominico, and a multitude of lesser saints whose names are
not familiar in the world--and away down, clear out of the list of the
churches, comes a couple of hospitals: one of them is named for the
Saviour and the other for the Holy Ghost!
Day after day and night after night we have wandered among the crumbling
wonders of Rome; day after day and night after night we have fed upon the
dust and decay of five-and-twenty centuries--have brooded over them by
day and dreampt of them by night till sometimes we seemed moldering away
ourselves, and growing defaced and cornerless, and liable at any moment
to fall a prey to some antiquary and be patched in the legs, and
“restored” with an unseemly nose, and labeled wrong and dated wrong, and
set up in the Vatican for poets to drivel about and vandals to scribble
their names on forever and forevermore.
But the surest way to stop writing about Rome is to stop. I wished to
write a real “guide-book” chapter on this fascinating city, but I could
not do it, because I have felt all the time like a boy in a candy-shop
--there was every thing to choose from, and yet no choice. I have drifted
along hopelessly for a hundred pages of manuscript without knowing where
to commence. I will not commence at all. Our passports have been
examined. We will go to Naples.
CHAPTER XXIX.
The ship is lying here in the harbor of Naples--quarantined. She has
been here several days and will remain several more. We that came by
rail from Rome have escaped this misfortune. Of course no one is allowed
to go on board the ship, or come ashore from her. She is a prison, now.
The passengers probably spend the long, blazing days looking out from
under the awnings at Vesuvius and the beautiful city--and in swearing.
Think of ten days of this sort of pastime!--We go out every day in a boat
and request them to come ashore. It soothes them. We lie ten steps from
the ship and tell them how splendid the city is; and how much better the
hotel fare is here than any where else in Europe; and how cool it is; and
what frozen continents of ice cream there are; and what a time we are
having cavorting about the country and sailing to the islands in the Bay.
This tranquilizes them.
ASCENT OF VESUVIUS.
I shall remember our trip to Vesuvius for many a day--partly because of
its sight-seeing experiences, but chiefly on account of the fatigue of
the journey. Two or three of us had been resting ourselves among the
tranquil and beautiful scenery of the island of Ischia, eighteen miles
out in the harbor, for two days; we called it “resting,” but I do not
remember now what the resting consisted of, for when we got back to
Naples we had not slept for forty-eight hours. We were just about to go
to bed early in the evening, and catch up on some of the sleep we had
lost, when we heard of this Vesuvius expedition. There was to be eight
of us in the party, and we were to leave Naples at midnight. We laid in
some provisions for the trip, engaged carriages to take us to
Annunciation, and then moved about the city, to keep awake, till twelve.
We got away punctually, and in the course of an hour and a half arrived
at the town of Annunciation. Annunciation is the very last place under
the sun. In other towns in Italy the people lie around quietly and wait
for you to ask them a question or do some overt act that can be charged
for--but in Annunciation they have lost even that fragment of delicacy;
they seize a lady's shawl from a chair and hand it to her and charge a
penny; they open a carriage door, and charge for it--shut it when you get
out, and charge for it; they help you to take off a duster--two cents;
brush your clothes and make them worse than they were before--two cents;
smile upon you--two cents; bow, with a lick-spittle smirk, hat in hand
--two cents; they volunteer all information, such as that the mules will
arrive presently--two cents--warm day, sir--two cents--take you four
hours to make the ascent--two cents. And so they go. They crowd you
--infest you--swarm about you, and sweat and smell offensively, and look
sneaking and mean, and obsequious. There is no office too degrading for
them to perform, for money. I have had no opportunity to find out any
thing about the upper classes by my own observation, but from what I hear
said about them I judge that what they lack in one or two of the bad
traits the canaille have, they make up in one or two others that are
worse. How the people beg!--many of them very well dressed, too.
I said I knew nothing against the upper classes by personal observation.
I must recall it! I had forgotten. What I saw their bravest and their
fairest do last night, the lowest multitude that could be scraped up out
of the purlieus of Christendom would blush to do, I think. They
assembled by hundreds, and even thousands, in the great Theatre of San
Carlo, to do--what? Why, simply, to make fun of an old woman--to deride,
to hiss, to jeer at an actress they once worshipped, but whose beauty is
faded now and whose voice has lost its former richness. Every body spoke