Italy, the Magic Land Part 7

Then, sitting in one of the richly decorated salons at afternoon tea in this same old palace one day, while an accomplished harpist was discoursing delicate music from its vibrating chords, flights of birds kept pa.s.sing a window, making a scene like that of a Wagner opera. The groups present, largely of the Roman n.o.bility, the t.i.tled aristocracy, resembling so closely some of the old portraits in the palazzo that it was easy to recognize that they were all one people, descendants of the same race.

Many of the guests looked, indeed, as if they had stepped from out the sumptuously carved frames on the wall. At these pretty festas one meets much of the resident Roman world. The guests a.s.sembled seem to be speaking in all the romance languages. There are Russian and Spanish as well as Italian, French, German, and English at these alluring teas.

All the salons of the s.p.a.cious apartments are thrown open, and the men in their picturesque court dress or military costume, and the women and girls in dainty gowns, make up an alluring scene. The salons are richly furnished and abound in works of art, old pictures, inlaid cabinets, carvings, rich vases, busts, and statuettes. The library, with its wealth of books; the music room; the salon for dancing; the supper room, and the quiet rooms where groups gather before the blazing open fires, grateful in these lofty rooms whose temperature suggests the frozen circles of Dante,--all make up a delightful picture. One meets the most varying individualities. A Russian lady of t.i.tle may confide her conviction that her country is ruined, and that she never desires to return to it. Italy is the country that attracts not only political refugees from other European countries, but many who are out of sympathy with conditions elsewhere and who find the cosmopolitan society and the varied interests of this land of suns.h.i.+ne their most enjoyable environment.

One pleasant feature of a Roman winter is that of the usual course of lectures given by Professor Lanciani. The celebrated archaeologist is a man of special personal charm, and his conversation, as well as his public lectures, is full of interest and value. The lectures are given under the auspices of the Societa Archeologica, and a special subject recently discussed was the celebration to be held in 1911 in Rome. One project for this celebration includes the plan to lay out a carriage road around the Forum and the Palatine, and also around the Baths of t.i.tus and of Caracalla, extending the drive to all those places included between the Appian and the Latin Way, the Villa Celimontana and the Circus Maximus.

Professor Lanciani discussed the artistic history of Rome and the different appearances the city took on in different periods; the regulation plan drawn up by Julius Caesar and accepted and carried out by Augustus, by which one-fifth of the total area of the city was reserved for public parks. In the third century of the empire the city was inclosed by parks and crossed from end to end by delightful portico gardens, where valuable works of art were collected. During the period of the Renaissance there were the famous villas and the Cesarini Park on the slopes of the Esquiline, and after regretting the many unnecessary acts of vandalism committed since 1870 in Rome, Professor Lanciani suggested that a complete reconstruction of the Baths of Caracalla should be made, to serve in 1911 as the Exhibition Building.

He believed no artistic difficulties would present themselves, as in the fifteenth century different architects took plaster casts of the decorations of the statues and of every detail of the Baths. The archaeological exhibition would be arranged in the two large halls, another hall would be for concerts, another for lectures, the others for different congresses to be held.

In this way Rome would inaugurate for 1911 the Mediaeval Museum in Castel Sant'Angelo, the mediaeval collections in the Torre degli Anguillara, and the grand archaeological exhibition in the reconstructed Baths of Caracalla.

Italian women are by no means behind the age in their organizations to aid in social progress. The most important one in Italy is that of the leading women of the n.o.bility and aristocracy, called "The Society for Women's Work," which holds annual meetings, over which Lady Aberdeen, the president of the International Council, and the Contessa Spalletti, the president of the National Council of Italy, preside. Many of the prominent women of the Italian n.o.bility are taking active part in the larger outlook for women; and in this movement Margherita, _la Regina Madre_, leads the way, supported by a large following of the t.i.tled n.o.bility.

"Margherita holds the hearts of the people," remarked Cora, Contessa di Brazza Savorgnan, at a brilliant little dinner one night, and no expression could more admirably represent the feeling of the nation toward the Queen Mother.

Queen Elena as the reigning sovereign has, of course, her exclusive royal prerogatives, and she has youth and initiative and precedence; but Margherita is a most attractive woman, with learning and accomplishments galore, and she has an art of conversation that allures and fascinates visiting foreigners of learning and wit, as well as of rank. Roman society is not large numerically, and the same people are constantly meeting and consolidating their many points of contact and interest.

Social life in these Italian cities is the supreme occupation of the residents, and one must concede that in proportion as one meets the same people constantly does society gain in dramatic interest. With each person who is in any sense an individual the play of life begins. It gains in dramatic sequence as it proceeds. The Eternal City is a wonderful scenic setting for the human drama.

Local gossip suggests perceptible rivalry between the stately palace of the King and the pink palace on the hill, in which Margherita holds her state with not less ceremony than that observed at the Court of the Quirinale. It is a beautiful thing for a country to have in it a woman of high position, of leisure and of culture, who is so admirably fitted to be the friend of the people as is Margherita. She is a connoisseur in art; she has a most intelligent interest in science; she is a critical lover of literature; she is a wise and judicious and deeply sympathetic leader in all philanthropic work and purposes. One can hardly visit painter or poet or artist in any line, or school, inst.i.tute, or a.s.sociation, but that he hears of the personal sympathy and encouragement bestowed by this n.o.ble and beautiful Italian Queen,--the _Regina Madre_.

Practically there are, indeed, two courts in Rome; that of the Palazzo Margherita seeming to quite rival that held at the Palazzo Quirinale.

The palace of the Queen Mother is an imposing three-story structure of pink-hued marble, with beautiful gardens and terraces, and adjoining it, in the palace grounds, is a marble villa, used for the entertainment of royal guests. This palace has been the residence of Margherita when in Rome since the tragic death of King Umberto, in 1900. It is in the Ludovisi quarter, and stands on the very site of the Gardens of Sall.u.s.t.

The Queen Mother receives noted visitors constantly, and entertains visiting royalties and members of the aristocracy. No great man of science, literature, and art visits Rome without seeking a presentation to the liberal-minded and accomplished _Regina Madre_, who is one of the most winning and attractive of all the royal women of Europe.

It has become quite a feature in introducing young girls to present them first in private audience to Margherita, and then later to Queen Elena at the Court of the Quirinale. Surely no girl could be given a lovelier idea of womanhood than that embodied in the Dowager Queen. When the poet Carducci died in the early months of 1907, Margherita sent beautiful messages of consolation to his family, and, later, to his home city of Bologna she sent the following letter:--

"I announce that I make a free gift to the city of Bologna of the house where Giosue Carducci pa.s.sed the last years of his life, and the library he collected there.

"Bologna, that showed such affectionate hospitality for Giosue Carducci for so many years, and surrounded him with so much devotion, will know, I feel sure, how to carefully preserve this remembrance of the greatest poet of modern Italy.

MARGHERITA."

The Syndic replied in a letter hardly less fine in its expression of Bologna's appreciation, and with a.s.surances that the name of the first Queen of Italy will in future be forever a.s.sociated with Italy's greatest modern poet.

The Regio Palazzo del Quirinale is near the Capitol, in the older part of the city, and only a small part of this is shown to visitors when the King and Queen are in residence. The Sala Regia may be seen, the chapel in which are preserved a large number of the wreaths and the addresses sent from all parts of the civilized world on the occasion of the death of Victor Emmanuel II, and a suite of reception rooms, the throne room with many historic portraits, the Sala des Amba.s.sadeurs, and the audience chamber, containing Thorwaldsen's "Triumphal Procession of Alexander the Great," a gift from Napoleon I. In the small chapel of the Annunciation is an altar piece by Guido Reni.

To artists the Queen Mother is most generously kind. One of the younger Italian sculptors, Turillo Sindoni, Cavaliere of the Crown of Italy, whose latest creation is a very beautiful statue of St. Agnes, has his studios in the Via del Babuino, and to especially favored visitors he sometimes exhibits a beautiful letter that he received from Margherita, who purchased two of his statues. With the letter expressing her warm appreciation of his art was an exquisite gift of jewelled sleeve-links.

Notwithstanding the fascinating lectures of Professor Lanciani and the valuable and interesting work in the Forum that is being accomplished under the efficient directors.h.i.+p of Commendatore Boni, yet all the roads that traditionally lead to Rome do not converge to the palace on the Palatine. Modern Rome is only mildly archaeological, and while it takes occasional recognition of the ancient monuments, and drives to the crypt of old St. Agnes, to the tomb of Cecilia Metella, and may manage a descent into the catacomb of St. Calixtus, it is far more actively interested in its dancing and dining and driving. As a scenic background for festivities Rome is a success, and as one comes into social touch with the t.i.tled n.o.bility, and the resident life, by birth or adoption, one finds a city of infinite human interest and picturesque possibilities.

Between the "Whites" (the loyal followers of the Palazzo Quirinale and the King) and the "Blacks" (the devoted followers of the Palazzo Vaticano and the Pope) a great gulf is fixed over which no one may cross.

Pope Pius X is wonderfully accessible, considering the great responsibilities and duties he has on him, and his generous goodness, his gracious tact and the beauty of his spirit endear him to all, Catholic or Protestant alike, for every one recognizes in him the Christian gentleman, whose ideals of gentleness and inspiring helpfulness impress themselves on all who are so fortunate as to meet him.

The most impressive ceremonial receptions of the "Blacks" are those given at the Spanish Emba.s.sy in the Piazza di Spagna. At the Emba.s.sy or in the private palace of any Roman n.o.ble which a Cardinal honors by accepting an invitation, he is received according to a most picturesque old Roman custom. At the foot of the stairs two servants bearing lighted torches meet his Eminence, and, making a profound obeisance, escort him to the portals of the grand reception salon and await, in the corridor, his return. On his departure they escort him in the same way down the staircase.

In the College of Cardinals and among the many interesting individualities of the Vatican, the most marked figure is that of the Cardinal Secretary of State, Merry del Val. He occupies the Borgia apartments, which are hung with tapestry and ornamented with the most unique and valuable articles _de vertu_,--wonderful vases, inlaid cabinets, old tapestries, paintings, statues, busts, and ivories. These Borgia apartments are one of the most interesting features of the Palazzo Vaticano, and may be seen now and then by special permission when the Cardinal secretary is out, or when he may be pleased to retire into his more private salons in the apartment while the others are shown. Cardinal Rafael Merry del Val is an impressive personality, whose life seems strangely determined by destiny. His father was an _attache_ of the Spanish emba.s.sy to the Court of St. James when the future Cardinal was born in 1865. In 1904, at the early age of thirty-nine, he was advanced from the soutane violet of the bishop to the mantelletta scarlet of the cardinal, and after the accession of the present Pope, Pius X, he was appointed to the highest office in the Vatican, that of Secretary of State, the Pope paying him the high tribute because of his "devotion to work, his capability and absolute self-negation."

Cardinal Merry del Val has had a wonderful training of experience and circ.u.mstances. At the early age of twenty-two he was a member of the papal emba.s.sy commissioned to the jubilee of Queen Victoria in 1887. He was also appointed a member of the emba.s.sy from the Vatican to attend the funeral of Emperor William I; and at the jubilee of Francis Joseph, Emperor of Austria, Cardinal (then Bishop) Merry del Val was the sole and accredited representative of the Holy See, as he was also at the coronation of King Edward. The Spanish Cardinal is the special trusted counsellor of the royal family of Spain.

In Rome, Cardinal Merry del Val is an impressive figure. He is always attended by his _gentiluomo_, who is gorgeously arrayed in knee breeches, military hat and sword. This gentleman in waiting walks behind him on a promenade, sits in his carriage and stands near him in all religious ceremonies. His equipage is well known in the Eternal City,--a stately black carriage drawn by two ma.s.sive black horses with luxurious flowing manes.

It is freely prophesied in Rome that the Cardinal secretary is destined to yet exchange the mantelletta scarlet for the zucchetta white, when Pius X shall have gone the way of all his predecessors in the papal chair. He is the Cardinal especially favored by Austria and Spain.

Although the conflict with France was at first ascribed to Cardinal Merry del Val, he has of late been completely exonerated from blame, even by the French prelates and clergy.

Cardinal Merry del Val represents the most advanced and progressive thought of the day. He is an enthusiastic admirer of Marconi and the marvels of wireless telegraphy; he is an advocate of telephonic service, electric motors, electric lights, and of phonographs and typewriters for the Vatican service. He is a great linguist, speaking English, French, and German as well as Spanish, which is his native tongue, and Italian, which has become second nature. He is a good Greek scholar and a profound Latin scholar, and he speaks the ancient Latin with the fluency and the force of the modern languages. He is, indeed, a remarkable twentieth-century personality and one who has apparently a very interesting life yet to come in his future.

At the Villa Pamphilia Doria, built by a former Prince Doria, the largest villa in the Roman environs and the finest now remaining, the Cardinal enjoys his game of golf, of which he is very fond. The Doria family rendered the villa magnificent in every respect. Besides the s.p.a.cious avenues, woods, fountains, a lake, and cascades, are various edifices, among which is one in the form of a triumphal arch, decorated with ancient statues; the casino of the villa in which are preserved some ancient marbles and several pictures; the beautiful circular chapel, adorned with eight columns of marble and other stately ornaments. There is a monument erected by the present Prince Doria to the memory of the French soldiers who were killed there during the siege of 1849. From the terrace of the palace there is a magnificent view of the environs of Rome, as far as the sea. In consequence of excavations, some columbaria, sepulchres, inscriptions, and other relics have been found, which have attracted much attention from archaeologists.

It is near these grounds that the "Arcadians" still hold their _al fresco_ meetings. The society dates back to 1690, and the first _custos_ (whose duty was to open and close the meetings) was Crescimbeni. The "Arcadians" organized themselves to protest against the degeneracy of Italian poetry that marked the seventeenth century. To keep their meetings a secret from the populace the "Arcadians" held their meetings in an open garden on the slope below San Pietro in Montorio,--a terrace still known as "Bosco Parrasio degli Arcadi."

One of the enchanting views in Rome is from the Piazza San Giovanni. One looks far away past the Coliseum in its ruined grandeur and the _casa_ where Lucrezia Borgia lived, and in the near distance is the colossal pile of San Giovanni di Laterano, its beautiful and impressive facade crowned with the statues of the apostles silhouetted against the western sky. In the piazza formed by the church, the museums, and the Baptistery of San Giovanni and the Scala Santa is one of the most remarkable obelisks in Rome, ninety-nine feet in height, formed of red granite and carved with hieroglyphics. This shaft is placed on a pedestal which makes it in all some 115 feet in height. It was placed in 1568 by Sixtus V. The museums of the San Giovanni are the "Museo Sacro" and the "Museo Profano,"--the latter founded by Pope Gregory XVI, and very rich in sculptures and mosaics. The "Museo Sacro" was founded by Pio Nono, and is rich in the antiquities of the Christian era. Within San Giovanni the visitor finds himself in a vast interior divided by columns of verd-antique into three aisles, each of which is as wide as, and far longer than, the interior of an ordinary church. Statues fill the niches, and the chapels and confessionals are all beautifully decorated.

The Corsini Chapel is the richest and was executed by order of Clement XII, in honor of St. Andrew Corsini, who is represented in a rich mosaic painting copied from Guido. Two sculptured figures, "Innocence" and "Penitence," stand before the altar, and above is a relief depicting St.

Andrew protecting the Florentine army at the battle of Anghiari.

The tomb of Pope Clement XII (who himself belonged to the Corsini family and who was an uncle of Cardinal Corsini) is in a niche between two columns of porphyry, and there is a bronze statue of the Pope. On the opposite side is a statue of Cardinal Corsini, and in the crypt below are tombs of the Corsini family. On the altar--always lighted--is a "Pieta" by Bernini, of which the face of the Christ is very beautiful.

Near the centre of the Basilica is a rich tabernacle of precious stones, defined by four columns of _verde antico_, and it is said that the heads of St. Peter and St. Paul are preserved here. The table upon which Christ celebrated the Last Supper is placed here, above the altar of the Holy Sacrament, a sacred relic that thrills the visitors. In one chapel is a curious and grotesque group of sculpture,--a skeleton holding up a medallion portrait, while an angel with outstretched wings hovers over it.

San Giovanni has the reputation of being absolutely the coldest church in all Rome, which--it is needless to remark--means a great deal, for they all in winter have the temperature of the arctic regions. In all these great churches there is never any heat; no apparatus for heating has ever been introduced, and the twentieth century finds them just as cold as they were in the centuries of a thousand years ago. This colossal Basilica is considered the most important church in the world, as it is the cathedral of the Pontiff. It was founded in the third century by Constantine, destroyed by fire in 1308, and rebuilt by Pope Clement V, and every succeeding Pope has added to it. The facade is of travertine, with four gigantic columns and six pilasters, and the cornice is decorated with colossal figures of Jesus and a number of the saints. There are five balconies, the middle one being always used for papal benedictions. In the portico is the colossal statue of Constantine the Great. Within the columns are of _verde antico_; the ceiling was designed by Michael Angelo; the interior is very rich in sculpture, and there are some fine paintings and the chapels are most beautiful, one of them containing a tabernacle comprised wholly of precious stones. Above the altar of the Holy Sacrament the table upon which Christ celebrated the Last Supper with the disciples is preserved. It is wonderful to look upon this most sacred and significant relic.

It is in this church that the tomb of Leo XIII has been constructed by the eminent Italian sculptor, Tadolini, opposite the tomb of Innocent III. The work was completed in the spring of 1907, the design being a life-size portrait statue of the Pope with two figures, one on either side, representing the church and the workman-pilgrim, forming part of the group. This is one of the most memorable monuments of all Rome, and the tomb of the great Leo XIII will form a new shrine for Christian pilgrimage.

Included in the group of structures that form the great Basilica of San Giovanni is the Scala Santa, which offers a strange picture whenever one approaches it. These twenty-eight marble steps that belonged to Pilate's house in Jerusalem are said to have been once trodden by Jesus and may be ascended only on one's knees. At no hour of the day can one visit the Scala Santa without finding the most motley and incongruous throng thus ascending, pausing on each step for meditation and prayer. These stairs were transported from Jerusalem to Rome under the auspices of St.

Helena, the Empress, about 326 A.D., and in 1589 they were placed by Pope Sixtus V in this portico built for them with a chapel at the top of the stairs called the "Sancta Sanctorum," formerly the private chapel of the Popes. In this sanctuary is preserved a wonderful portrait of the Saviour, painted on wood, which is said to have been partly the work of St. Luke but finished by unseen hands. The legend runs that St. Luke prepared to undertake the work by three days' fasting and prayer, and that, having drawn it in outline, the painting was done by angelic ministry, the colors being filled in by invisible hands. In ancient times--the custom being abolished by Pius V in 1566--this picture was borne through Rome on the Feast of the a.s.sumption and the bearer halted with it in the Forum, when the "Kyrie Eleison" would be chanted by hundreds of voices.

Myth and legend invest every turn and footfall of the Eternal City, and there are few that are not founded on what the church has always called supernatural manifestations, but which the new age is learning to recognize as occurrences under natural law.

The story of Luther's ascent of the Scala Santa is thus told:--

"Brother Martin Luther went to accomplish the ascent of the Scala Santa--the Holy Staircase--which once, they say, formed part of Pilate's house. He slowly mounted step after step of the hard stone, worn into hollows by the knees of penitents and pilgrims.

Patiently he crept halfway up the staircase, when he suddenly stood erect, lifted his face heavenward, and in another moment turned and walked slowly down again.

"He said that as he was toiling up a voice as if from heaven spoke to him and said, 'The just shall live by faith.' He awoke as if from a nightmare, restored to himself. He dared not creep up another step; but rising from his knees he stood upright like a man suddenly loosed from bonds and fetters, and with the firm step of a free man he descended the staircase and walked from the place."

The entire legendary as well as sacred history is almost made up of instances of the interpenetration of the two worlds; the response of those in the spiritual world to the needs of those in the natural world.

Pope Paschal recorded that he fell asleep in his chair at St. Peter's (somewhere about 8.20 A.M.) with a prayer on his lips that he might find the burial place of St. Cecilia, and in his dream she appeared to him and showed him the spot where her body lay, in the catacombs of Calixtus. The next day he went to the spot and found all as had been revealed to him. The miraculous preservation of St. Agnes is familiar to all students of legendary art. Throughout all Rome, shrine and niche and sculpture, picture, monument, arch and column, speak perpetually of some interposition of unseen forces with events and circ.u.mstances in this part of life. The Eternal City in its rich and poetic symbolism is one great object lesson of the interblending of the two worlds, the natural and the spiritual. The first stage regarding all this marvellous panorama was entire and unquestioning acceptance; the succeeding stage was doubt, disbelief; the third, into which we are now entering, is that of an enlightened understanding and a growing knowledge and grasp of the laws under which these special interpositions and interventions occur.

For that "according to thy faith be it unto thee," is as true now in the twentieth century as it was in the first. The one central truth that is the very foundation of all religious philosophy is the continuity of life and the persistence of intercourse and communion, spirit to spirit, across the gulf we call death. The evidences of this truth have been always in the world. The earliest records of the Bible are replete with them. The gospels of the New Testament record an unbroken succession of occurrences and of testimony to this interpenetration of life in the Unseen with that in the Seen. Secular history is full of its narrations of instances of clairvoyance, clairaudience, and of communications in a variety of ways; and the sacred and legendary art of Rome, largely founded on story and myth and legend, when seen in the light of latter-day science is judged anew, and the literal truth of much that has before been considered purely legendary is revealed and realized.

One reads new meanings into Rome when testing it by this consciousness.

It is a city of spiritual symbolism. It is a great object lesson extending over all the centuries. Making due allowance for the distortion and exaggeration of ages of testimony, there yet remains a residuum indisputable. The Past and the Present both teem with record and incident and experience proving that life is twofold, even now and here; that all the motives and acts of the life which we see are variously incited, modified, strengthened, or annulled by those in the realm of the Unseen.

[Ill.u.s.tration: ENTRANCE TO VILLA PAMPHILIA-DORIA, ROME _Page 159_]

The intelligent recognition of this truth changes the entire conduct of life. It entirely alters the point of view. It extends the horizon line infinitely. Instead of conceiving of life as a whole, as comprised between the cradle and the grave, it will be regarded in its larger and truer scope as a series of experiences and achievements, infinite in length and in their possibilities and unbroken by the change we call death. This will impart to humanity a new motor spring in that greater hope which puts man in a working mood, which makes him believe in the value of that which he undertakes, which encourages him to press on amid all difficulties and against all obstacles. Increasing hope, all activity is proportionately increased. It was an event of incalculable importance to the progress of humanity when the swift communication by cable was established between America and Europe. It is one of infinitely greater importance to establish the truth and enlarge the possibility of direct communication with the world of higher forces and larger attainment and scope than our own. This communication exists and has always existed, but it has been regarded as myth and legend and phenomenon rather than as a fact of nature whose laws were to be ascertained and understood. It must be made clear as an absolute scientific demonstration that the change of form by the process we call death does not put an end to intelligent and rational intercourse, but that, indeed, instead of setting up a barrier, it removes barriers and renders mutual comprehension far clearer and more direct than before.

This realization alters the entire perspective of life, and is the new Glad Tidings of great joy.

It is something of all this that the Eternal City suggests to one as he makes his pilgrimages to shrine and cloister and chapel and Basilica.