Delphi complete works of.., p.1203
Delphi Complete Works of William Dean Howells, page 1203
The day that we first visited the city was very rainy, and we spent most of the time in viewing the churches. These, even after the churches of Venice, one finds rich in art and historic interest, and they in no instance fall into the maniacal excesses of the Renaissance to which some of the temples of the latter city abandon themselves. Their architecture forms a sort of border-land between the Byzantine of Venice and the Lombardic of Verona. The superb domes of St. Anthony’s emulate those of St. Mark’s; and the porticos of other Paduan churches rest upon the backs of bird-headed lions and leopards that fascinate with their mystery and beauty.
It was the wish to see the attributive Giottos in the Chapter which drew us first to St. Anthony’s, and we saw them with the satisfaction naturally attending the contemplation of frescos discovered only since 1858, after having been hidden under plaster and whitewash for many centuries; but we could not believe that Giotto’s fame was destined to gain much by their rescue from oblivion. They are in nowise to be compared with this master’s frescos in the Chapel of the Annunziata, — which, indeed, is in every way a place of wonder and delight. You reach it by passing through a garden lane bordered with roses, and a taciturn gardener comes out with clinking keys, and lets you into the chapel, where there is nobody but Giotto and Dante, nor seems to have been for ages. Cool it is, and of a pulverous smell, as a sacred place should be; a blessed benching goes round the walls, and you sit down and take unlimited comfort in the frescos. The gardener leaves you alone to the solitude and the silence, in which the talk of the painter and the exile is plain enough. Their contemporaries and yours are cordial in their gay companionship: through the half-open door falls, in a pause of the rain, the same sunshine that they saw lie there; the deathless birds that they heard sing out in the garden trees; it is the fresh sweetness of the grass mown so many hundred years ago that breathes through all the lovely garden grounds.
But in the midst of this pleasant communion with the past, you have a lurking pain; for you have hired your brougham by the hour; and you presently quit the Chapel of Giotto on this account.
We had chosen our driver from among many other drivers of broughams in the vicinity of Pedrocchi’s, because he had such an honest look, and was not likely, we thought, to deal unfairly with us.
“But first,” said the signor who had selected him, “how much is your brougham an hour?”
So and so.
“Show me the tariff of fares.”
“There is no tariff.”
“There is. Show it to me.”
“It is lost, signor.”
“I think not. It is here in this pocket. Get it out.”
The tariff appears, and with it the fact that he had demanded just what the boatman of the ballad received in gift, — thrice his fee.
The driver mounted his seat, and served us so faithfully that day in Padua that we took him the next day for Arquà. At the end, when he had received his due, and a handsome mancia besides, he was still unsatisfied, and referred to the tariff in proof that he had been under-paid. On that confronted and defeated, he thanked us very cordially, gave us the number of his brougham, and begged us to ask for him when we came next to Padua and needed a carriage.
From the Chapel of the Annunziata he drove us to the Church of Santa Giustina, where is a very famous and noble picture by Romanino. But as this writing has nothing in the world to do with art, I here dismiss that subject, and with a gross and idle delight follow the sacristan down under the church to the prison of Santa Giustina.
Of all the faculties of the mind there is none so little fatiguing to exercise as mere wonder; and, for my own sake, I try always to wonder at things without the least critical reservation. I therefore, in the sense of deglutition, bolted this prison at once, though subsequent experiences led me to look with grave indigestion upon the whole idea of prisons, their authenticity, and even their existence.
As far as mere dimensions are concerned, the prison of Santa Giustina was not a hard one to swallow, being only three feet wide by about ten feet in length. In this limited space, Santa Giustina passed five years of the paternal reign of Nero (a virtuous and a long-suffering prince, whom, singularly enough, no historic artist has yet arisen to whitewash), and was then brought out into the larger cell adjoining, to suffer a blessed martyrdom. I am not sure now whether the sacristan said she was dashed to death on the stones, or cut to pieces with knives; but whatever the form of martyrdom, an iron ring in the ceiling was employed in it, as I know from seeing the ring, — a curiously well-preserved piece of iron-mongery. Within the narrow prison of the saint, and just under the grating, through which the sacristan thrust his candle to illuminate it, was a mountain of candle-drippings, — a monument to the fact that faith still largely exists in this doubting world. My own credulity, not only with regard to this prison, but also touching the coffin of St. Luke, which I saw in the church, had so wrought upon the esteem of the sacristan, that he now took me to a well, into which, he said, had been cast the bones of three thousand Christian martyrs. He lowered a lantern into the well, and assured me that, if I looked through a certain screenwork there, I could see the bones. On experiment I could not see the bones, but this circumstance did not cause me to doubt their presence, particularly as I did see upon the screen a great number of coins offered for the repose of the martyrs’ souls. I threw down some soldi, and thus enthralled the sacristan.
If the signor cared to see prisons, he said, the driver must take him to those of Ecelino, at present the property of a private gentleman near by. As I had just bought a history of Ecelino, at a great bargain, from a second-hand book-stall, and had a lively interest in all the enormities of that nobleman, I sped the driver instantly to the villa of the Signor P —— .
It depends here altogether upon the freshness or mustiness of the reader’s historical reading whether he cares to be reminded more particularly who Ecelino was. He flourished balefully in the early half of the thirteenth century as lord of Vicenza, Verona, Padua, and Brescia, and was defeated and hurt to death in an attempt to possess himself of Milan. He was in every respect a remarkable man for that time, — fearless, abstemious, continent, avaricious, hardy, and unspeakably ambitious and cruel. He survived and suppressed innumerable conspiracies, escaping even the thrust of the assassin whom the fame of his enormous wickedness had caused the Old Man of the Mountain to send against him. As lord of Padua he was more incredibly severe and bloody in his rule than as lord of the other cities, for the Paduans had been latest free, and conspired the most frequently against him. He extirpated whole families on suspicion that a single member had been concerned in a meditated revolt. Little children and helpless women suffered hideous mutilation and shame at his hands. Six prisons in Padua were constantly filled by his arrests. The whole country was traversed by witnesses of his cruelties, — men and women deprived of an arm or leg, and begging from door to door. He had long been excommunicated; at last the Church proclaimed a crusade against him, and his lieutenant and nephew — more demoniacal, if possible, than himself — was driven out of Padua while he was operating against Mantua. Ecelino retired to Verona, and maintained a struggle against the crusade for nearly two years longer, with a courage which never failed him. Wounded and taken prisoner, the soldiers of the victorious army gathered about him, and heaped insult and reproach upon him; and one furious peasant, whose brother’s feet had been cut off by Ecelino’s command, dealt the helpless monster four blows upon the head with a scythe. By some, Ecelino is said to have died of these wounds alone; but by others it is related that his death was a kind of suicide, inasmuch as he himself put the case past surgery by tearing off the bandages from his hurts, and refusing all medicines.
II.
Entering at the enchanted portal of the Villa P —— , we found ourselves in a realm of wonder. It was our misfortune not to see the magician who compelled all the marvels on which we looked, but for that very reason, perhaps, we have the clearest sense of his greatness. Everywhere we beheld the evidences of his ingenious but lugubrious fancy, which everywhere tended to a monumental and mortuary effect. A sort of vestibule first received us, and beyond this dripped and glimmered the garden. The walls of the vestibule were covered with inscriptions setting forth the sentiments of the philosophy and piety of all ages concerning life and death; we began with Confucius, and we ended with Benjamino Franklino. But as if these ideas of mortality were not sufficiently depressing, the funereal Signor P —— had collected into earthen amphoræ the ashes of the most famous men of ancient and modern times, and arranged them so that a sense of their number and variety should at once strike his visitor. Each jar was conspicuously labeled with the name its illustrious dust had borne in life; and if one escaped with comparative cheerfulness from the thought that Seneca had died, there were in the very next pot the cinders of Napoleon to bully him back to a sense of his mortality.
We were glad to have the gloomy fascination of these objects broken by the custodian, who approached to ask if we wished to see the prisons of Ecelino, and we willingly followed him into the rain out of our sepulchral shelter.
Between the vestibule and the towers of the tyrant lay that garden already mentioned, and our guide led us through ranks of weeping statuary, and rainy bowers, and showery lanes of shrubbery, until we reached the door of his cottage. While he entered to fetch the key to the prisons, we noted that the towers were freshly painted and in perfect repair; and indeed the custodian said frankly enough, on reappearing, that they were merely built over the prisons on the site of the original towers. The storied stream of the Bacchiglione sweeps through the grounds, and now, swollen by the rainfall, it roared, a yellow torrent, under a corner of the prisons. The towers rise from masses of foliage, and form no unpleasing feature of what must be, in spite of Signor P —— , a delightful Italian garden in sunny weather. The ground is not so flat as elsewhere in Padua, and this inequality gives an additional picturesqueness to the place. But as we were come in search of horrors, we scorned these merely lovely things, and hastened to immure ourselves in the dungeons below. The custodian, lighting a candle, (which ought, we felt, to have been a torch,) went before.
We found the cells, though narrow and dark, not uncomfortable, and the guide conceded that they had undergone some repairs since Ecelino’s time. But all the horrors for which we had come were there in perfect grisliness, and labeled by the ingenious Signor P —— with Latin inscriptions.
In the first cell was a shrine of the Virgin, set in the wall. Beneath this, while the wretched prisoner knelt in prayer, a trap-door opened and precipitated him upon the points of knives, from which his body fell into the Bacchiglione below. In the next cell, held by some rusty iron rings to the wall, was a skeleton, hanging by the wrists.
“This,” said the guide, “was another punishment of which Ecelino was very fond.”
A dreadful doubt seized my mind. “Was this skeleton found here?” I demanded.
Without faltering an instant, without so much as winking an eye, the custodian replied, “Appunto.”
It was a great relief, and restored me to confidence in the establishment. I am at a loss to explain how my faith should have been confirmed afterwards by coming upon a guillotine — an awful instrument in the likeness of a straw-cutter, with a decapitated wooden figure under its blade — which the custodian confessed to be a modern improvement placed there by Signor P —— . Yet my credulity was so strengthened by his candor, that I accepted without hesitation the torture of the water-drop when we came to it. The water-jar was as well preserved as if placed there but yesterday, and the skeleton beneath it — found as we saw it — was entire and perfect.
In the adjoining cell sat a skeleton — found as we saw it — with its neck in the clutch of the garrote, which was one of Ecelino’s more merciful punishments; while in still another cell the ferocity of the tyrant appeared in the penalty inflicted upon the wretch whose skeleton had been hanging for ages — as we saw it — head downwards from the ceiling.
Beyond these, in a yet darker and drearier dungeon, stood a heavy oblong wooden box, with two apertures near the top, peering through which we found that we were looking into the eyeless sockets of a skull. Within this box Ecelino had immured the victim we beheld there, and left him to perish in view of the platters of food and goblets of drink placed just beyond the reach of his hands. The food we saw was of course not the original food.
At last we came to the crowning horror of Villa P —— , the supreme excess of Ecelino’s cruelty. The guide entered the cell before us, and, as we gained the threshold, threw the light of his taper vividly upon a block that stood in the middle of the floor. Fixed to the block by an immense spike driven through from the back was the little slender hand of a woman, which lay there just as it had been struck from the living arm, and which, after the lapse of so many centuries, was still as perfectly preserved as if it had been embalmed. The sight had a most cruel fascination; and while one of the horror-seekers stood helplessly conjuring to his vision that scene of unknown dread, — the shrinking, shrieking woman dragged to the block, the wild, shrill, horrible screech following the blow that drove in the spike, the merciful swoon after the mutilation, — his companion, with a sudden pallor, demanded to be taken instantly away.
In their swift withdrawal, they only glanced at a few detached instruments of torture, — all original Ecelinos, but intended for the infliction of minor and comparatively unimportant torments, — and then they passed from that place of fear.
III.
In the evening we sat talking at the Caffè Pedrocchi with an abbate, an acquaintance of ours, who was a Professor in the University of Padua. Pedrocchi’s is the great caffè of Padua, a granite edifice of Egyptian architecture, which is the mausoleum of the proprietor’s fortune. The pecuniary skeleton at the feast, however, does not much trouble the guests. They begin early in the evening to gather into the elegant saloons of the caffè, — somewhat too large for so small a city as Padua, — and they sit there late in the night over their cheerful cups and their ices, with their newspapers and their talk. Not so many ladies are to be seen as at the caffè in Venice, for it is only in the greater cities that they go much to these public places. There are few students at Pedrocchi’s, for they frequent the cheaper caffè; but you may nearly always find there some Professor of the University, and on the evening of which I speak there were two present besides our abbate. Our friend’s great passion was the English language, which he understood too well to venture to speak a great deal. He had been translating from that tongue into Italian certain American poems, and our talk was of these at first. Then we began to talk of distinguished American writers, of whom intelligent Italians always know at least four, in this succession, — Cooper, Mrs. Stowe, Longfellow, and Irving. Mrs. Stowe’s Capanna di Zio Tom is, of course universally read; and my friend had also read Il Fiore di Maggio,— “The May-flower.” Of Longfellow, the “Evangeline” is familiar to Italians, through a translation of the poem; but our abbate knew all the poet’s works, and one of the other professors present that evening had made such faithful study of them as to have produced some translations rendering the original with remarkable fidelity and spirit. I have before me here his brochure, printed last year at Padua, and containing versions of “Enceladus,” “Excelsior,” “A Psalm of Life,” “The Old Clock on the Stairs,” “Sand of the Desert in an Hour-Glass,” “Twilight,” “Daybreak,” “The Quadroon Girl,” and “Torquemada,” — pieces which give the Italians a fair notion of our poet’s lyrical range, and which bear witness to Professor Messadaglia’s sympathetic and familiar knowledge of his works. A young and gifted lady of Parma, now unhappily no more, lately published a translation of “The Golden Legend;” and Professor Messadaglia, in his Preface, mentions a version of another of our poet’s longer works on which the translator of the “Evangeline” is now engaged.
At last, turning from literature, we spoke with the gentle abbate of our day’s adventures, and eagerly related that of the Ecelino prisons. To have seen them was the most terrific pleasure of our lives.
“Eh!” said our friend, “I believe you.”
“We mean those under the Villa P —— .”
“Exactly.”
There was a tone of politely suppressed amusement in the abbate’s voice; and after a moment’s pause, in which we felt our awful experience slipping and sliding away from us, we ventured to say, “You don’t mean that those are not the veritable Ecelino prisons?”
“Certainly they are nothing of the kind. The Ecelino prisons were destroyed when the Crusaders took Padua, with the exception of the tower, which the Venetian Republic converted into an observatory.”
“But at least these prisons are on the site of Ecelino’s castle?”
“Nothing of the sort. His castle in that case would have been outside of the old city walls.”
“And those tortures and the prisons are all” —
“Things got up for show. No doubt, Ecelino used such things, and many worse, of which even the ingenuity of Signor P —— cannot conceive. But he is an eccentric man, loving the horrors of history, and what he can do to realize them he has done in his prisons.”
“But the custodian — how could he lie so?”
Our friend shrugged his shoulders. “Eh! easily. And perhaps he even believed what he said.”
The world began to assume an aspect of bewildering ungenuineness, and there seemed to be a treacherous quality of fiction in the ground under our feet. Even the play at the pretty little Teatro Sociale where we went to pass the rest of the evening appeared hollow and improbable. We thought the hero something of a bore, with his patience and goodness; and as for the heroine, pursued by the attentions of the rich profligate, we doubted if she were any better than she should be.
A PILGRIMAGE TO PETRARCH’S HOUSE AT ARQUÀ.
