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What Henry James Saw


Henry James visited Italy several times between 1869 and 1909. In 1873 he spent considerable time in Rome and he published in American magazines extensive accounts of his stay. In 1909 these accounts, together with other Italian travel accounts were collected in Italian Hours. In 1873 Rome was undergoing drastic changes due to its new role as capital of the Kingdom of Italy, and Henry James, while being strongly supportive of the new government, nevertheless pointed out that the foreign traveller was going to miss some of the most picturesque aspects of papal Rome.
This page contains excerpts of that book related to 1873 Rome.


Capitol Hill

..I walked by the back streets to the steps mounting to the Capitol - that long inclined plane, rather, broken at every two paces, which is the unfailing disappointment, I believe, of tourists primed for retrospective raptures. Certainly the Capitol seen from this side is n't commanding. The hill is so low, the ascent so narrow, Michael Angelo's architecture in the quadrangle at the top so meagre, the whole place somehow so much more of a mole-hill than a mountain, that for the first ten minutes of your standing there Roman history seems suddenly to have sunk through a trap-door.
.. above, in the piazzetta before the stuccoed palace which rises so jauntily on a basement of thrice its magnitude, are more loungers and knitters in the sun, seated round the massively inscribed base of the statue of Marcus Aurelius. Hawthorne has perfectly expressed the attitude of this admirable figure in saying that it extends its arm with "a command which is in itself a benediction". I doubt if any statue of king or captain in the public places of the world has more to commend it to the general heart. Irrecoverable simplicity - residing so in irrecoverable Style - has no sturdier representative. Here is an impression that the sculptors of the last three hundred years have been laboriously trying to reproduce; but contrasted with this mild monarch their prancing horsemen suggest a succession of riding-masters, taking out young ladies' schools. The admirably human character of the figure survives the rusty decomposition of the bronze and the slight "debasement" of the art; and one may call it singular that in the capital of Christendom the portrait most suggestive of a Christian conscience is that of a pagan emperor.

One of course never passes the Colosseum without paying it one's respects - without going in under one of the hundred portals and crossing the long oval and sitting down a while, generally at the foot of the cross in the centre. I always feel, as I do so, as if I were seated in the depths of some Alpine valley. The upper portions of the side toward the Esquiline look as remote and lonely as an Alpine ridge, and you raise your eyes to their rugged sky-line, drinking in the sun and silvered by the blue air, with much the same feeling, with which you would take in a grey cliff on which an eagle might lodge. This roughly mountainous quality of the great ruin is its chief interest; beauty of detail has pretty well vanished, especially since the high-growing wild-flowers have been plucked away by the new government, whose functionaries, surely, at certain points of their task, must have felt as if they shared the dreadful trade of those who gather samphire (Note: a reference to Shakespeare's King Lear: "Half-way down Hangs one that gathers samphire, dreadful trade". Samphire or sea fennel or sea asparagus grows on sea-cliffs. James had in mind the children plucking samphire off the Dover cliffs.).
SS. Giovanni e Paolo

Even if you are on your way to the Lateran you won't grudge the twenty minutes it will take you, on leaving the Colosseum, to turn away under the Arch of Constantine .. toward the piazzetta of the church of San Giovanni e Paolo, on the slope of Caelian. No spot in Rome can show a cluster of more charming accidents. The ancient brick apse of the church peeps down into the trees of the little wooded walk before the neighbouring church of San Gregorio, intensely venerable beneath its excessive modernisation; and a series of heavy brick buttresses, flying across to an opposite wall, overarches the short, steep, paved passage which leads into the small square. This is flanked on one side by the long mediaeval portico of the church of the two saints, sustained by eight time-blackened columns of granite and marble. On another rise the great scarce-windowed walls of a Passionist convent, and on the third the portals of a grand villa, whose tall porter, with his cockade and silver-topped staff, standing sublime behind his grating, seems a kind of mundane St. Peter, I suppose, to the beggars who sit at the church door or lie in the sun along the farther slope which leads to the gate of the convent. The place always seem to me the perfection of an out-of-the-way corner - a place you would think twice before telling people about, lest you should find them there the next time you were to go. It is such a group of objects, singly and in their happy combination, as one must come to Rome to find at one's house door; but what makes it peculiarly a picture is the beautiful dark red campanile of the church, which stands embedded in the mass of the convent. It begins, as so many things in Rome begin, with a stout foundation of antique travertine, and rises high, in delicately quaint mediaeval brickwork - little tiers and apertures sustained on miniature columns and adorned with small cracked slabs of green and yellow marble, inserted almost at random. When there are three of four brown-breasted contadini sleeping in the sun before the convent doors, and a departing monk leading his shadow down over them, I think you will not find anything in Rome more sketchable.
St. John Lateran

.. as to the great front of the church overlooking the Porta S. Giovanni, you are not admitted behind the scenes; the term is quite in keeping, for the architecture has a vastly theatrical air. It is extremely imposing - that of St. Peter's alone is more so; and when from far off on the Campagna you see the colossal images of the mitred saints along the top standing distinct against the sky, you forget their coarse construction and their inflated draperies. The view from the great space which stretches from the church steps to the city wall is the very prince of the views. Just beside you, beyond the great alcove of mosaic, is the Scala Santa, the marble staircase which (says the legend) Christ descended under the weight of Pilate's judgement, and which all Christians must for ever ascend on their knees; before you is the city gate which open upon the Via Appia Nuova, the long gaunt file of arches of the Claudian aqueduct, their jagged ridge stretching away like the vertebral column of some monstrous mouldering skeleton, and upon the blooming brown and purple flats and dells of the Campagna and the glowing blue of the Alban Mountains, spotted with their white, high-nestling towns; while to your left is the great grassy space, lined with dwarfish mulberry-trees, which stretches across to the damp little sister-basilica of Santa Croce in Gerusalemme.
Santa Maria Maggiore

The first day of my stay in Rome under the old dispensation I spent in wandering at random through the city, with accident for my valet-de-place. It served me to perfection and introduced me to the best things; among others to an immediate happy relation with Santa Maria Maggiore. First impressions, memorable impressions, are generally irrecoverable; they often leave one the wiser, but they rarely return in the same form. I remember, of my coming uninformed and unprepared into the place of worship and of curiosity that I have named, only that I sat for half an hour on the edge of the base of one of the marble columns of the beautiful nave and enjoyed a perfect revel of - what shall I call it? - taste, intelligence, fancy, perceptive emotion? The place proved so endlessly suggestive that perception became a throbbing confusion of images, and I departed with a sense of knowing a good deal that it is not set down in Murray. I have seated myself more than once again at the base of the same column; but you live your life only once, the parts as well as the whole. The obvious charm of the church is the elegant grandeur of the nave - its perfect shapeliness and its rich simplicity, its long double row of white marble columns and its high flat roof, embossed with intricate gildings and mouldings. It opens into a choir of an extraordinary splendour of effect, which I recommend you to look out for of a fine afternoon. At such a time the glowing western light, entering the high windows of the tribune, kindles the scattered masses of colour into sombre brightness, scintillates on the great solemn mosaic of the vault, touches the porphyry columns of the superb baldachino with ruby lights, and buries its shining shafts in the deep-toned shadows that hang about frescoes and sculptures and mouldings. The deeper charm even than in such things, however, is the social or historic note or tone or atmosphere of the church - I fumble, you see, for my right expression; the sense it gives you, in common with most of the Roman churches, and more than any of them, of having been prayed in for several centuries by an endlessly curious and complex society. It takes no great attention to let it come to you that the authority of Italian Catholicism has lapsed not a little in these days; not less also perhaps than to feel that, as they stand, these deserted temples were the fruit of a society leavened through and through by ecclesiastical manners, and that they formed for ages the constant background of the human drama. They are, as one may say, the churchiest churches in Europe - the fullest of gathered memories, of the experience of their office. There's not a figure one has read of in old-world annals that is n't to be imagined on proper occasion kneeling before the lamp-decked Confession beneath the altar of Santa Maria Maggiore. One sees after all, however, even among the most palpable realities, very much what the play of one's imagination projects there; and I present my remarks simply as a reminder that one's constant excursions into these places are not the least interesting episodes of one's walks in Rome.
St. Peter's

Taken as a walk not less than a church, St. Peter's of course reigns alone. Even for the profane"constitutional" it serves where the Boulevards, where Piccadilly and Broadway, fall short, and if it did n't offer to our use the grandest area in the world it would still offer the most diverting. Few great works of art last longer to the curiosity, to the perpetually transcended attention. You think you have taken the whole thing in, but it expands, it rises sublime again, and leaves your measure itself poor. You never let the ponderous leather curtain bang down behind you - your weak lift of a scant edge of whose padded vastness resembles the liberty taken in folding back the parchment corner of some mighty folio page - without feeling all former visits to have been but missed attempts at apprehension and the actual to achieve your first real possession. The conventional question is ever as to whether one has n't been "disappointed in the size", but a few honest folk here and there, I hope, will never cease to say no. The place struck me from the first as the hugest thing conceivable - a real exaltation of one's idea of space; so that one's entrance, even from the great empty square which either glares beneath the deep blue sky or makes of the cool far-cast shadow of the immense front something that resembles a big slate-coloured country on a map, seems not so much a going in somewhere as a going out. The mere man of pleasure in quest of new sensations might well not know where to better his encounter there of the sublime shock that brings him, within the threshold, to an immediate gasping pause. There are days when the vast nave looks mysteriously vaster than on others and the gorgeous baldachino a longer journey beyond the far-spreading tessellated plain of the pavement, and when the light has yet a quality which lets things loom their largest, while the scattered figures - I mean the human, for there are plenty of others - mark happily the scale of items and parts. Then you have only to stroll and stroll and gaze and gaze; to watch the glorious altar-canopy lift its bronze architecture, its colossal embroidered contortions, like a temple within a temple, and feel yourself, at the bottom of the abysmal shaft of the dome, dwindle to a crawling dot.
Much of the constituted beauty resides in the fact that it is all general beauty, that you are appealed to by no specific details, or that these at least, practically never importunate, are as taken for granted as the lieutenants and captains are taken for granted in a great standing army - among whom indeed individual aspects may figure here the rather shifting range of decorative dignity in which details, when observed, often prove poor (though never not massive and substantially precious) and sometimes prove ridiculous. The sculptures, with the sole exception of Michael Angelo's ineffable "Pietà", which lurks obscurely in a side-chapel - this indeed to my sense the rarest artistic combination of the greatest things the hand of man has produced - are either bad or indifferent; and the universal incrustation of marble, though sumptuous enough, has a less brilliant effect than much later work of the same sort, that for instance of St. Paul's without the Walls. The supreme beauty is the splendidly sustained simplicity of the whole. The thing represents a prodigious imagination extraordinarily strained, yet strained; at its happiest pitch, without breaking. Its happiest pitch I say, because this is the only creation of its strenuous author in presence of which you are in presence of serenity. You may invoke the idea of ease at St. Peter's without a sense of sacrilege - which you can hardly do, if you are at all spiritually nervous, in Westminster Abbey or Notre Dame. The vast enclosed clearness has much to do with the idea. There are no shadows to speak of, no marked effects of shade; only effects of light innumerable - points at which this element seems to mass itself in air density and scatter itself in enchanting gradations and cadences. It performs the office of gloom or of mystery in Gothic churches; hangs like a rolling mist along the gilded vault of the nave, melts into bright interfusion the mosaic scintillations of the dome, clings and clusters and lingers, animates the whole huge and otherwise empty shell. A good Catholic, I suppose, is the same Catholic anywhere, before the grandest as well as the humblest altars; but to a visitor not formally enrolled St. Peter's speaks less of aspiration than of full and convenient assurance. The soul infinitely expands there, if one will, but all on its quite human level. It marvels at the reach of our dream and the immensity of our resources. To be so impressed and put in our place, we say, is to be sufficiently "saved"; we can't be more than that in heaven itself; and what specifically celestial beauty such a show or such a substitute may lack it makes up for in certainty and tangibility. And yet if one's hours on the scene are not actually spent in praying, the spirit seeks it again for the finer comfort, for the blessing, exactly, of its example, its protection and its exclusion.
Villa Borghese

.. at Villa Borghese the walkers have the best of it; for they are free of those adorable outlying corners and bosky byways which the rumble of barouches never reaches. In March the place becomes a perfect epitome of the spring. You cease to care much for the melancholy greenness of the disfeatured statues which has been your chief winter's intimation of verdure: and before you are quite conscious of the tender streaks and patches in the great quaint grassy arena round which the Propaganda students, in their long skirts, wander slowly, like dusky seraphs revolving the gossip of Paradise, you spy the brave little violets uncapping their azure brows beneath the high-stemmed pines. One's walks here would take us too far, and one's pauses detain us too long, when in the quiet parts under the wall one comes across a group of charming small school-boys in full-dress suits and white cravats, shouting over their play in clear Italian, while a grave young priest, beneath a tree, watches them over the top of his book. It sounds like nothing, but the force behind it and the frame round it, the setting, the air, the chord struck, make it a hundred wonderful things.
Villa Ludovisi

Villa Ludovisi has been all winter the residence of the lady familiarly known in Roman society as "Rosina", Victor Emmanuel's morganatic wife, the only familiarity, it would seem, that she allows, for the ground were rigidly closed, to the inconsolable regret of old Roman sojourners. Just as the nightingales began to sing, however, the quasi-august padrona departed, and the public, with certain restrictions, have been admitted to hear them. The place takes, where it lies, a princely ease, and there could be no better example of the expansive tendencies of ancient privilege than the fact that its whole vast extent is contained by the city walls. It has in this respect very much the same enviable air of having got up early that marks the great intramural demesne of Magdalen College at Oxford. The stern old ramparts of Rome form the outer enclosure of the villa, and hence a series of "striking scenic effects" which it would be unscrupulous flattery to say you can imagine. The grounds are laid out in the formal last-century manner; but nowhere do the straight black cypresses lead off the gaze into vistas of a melancholy more charged with associations - poetic, romantic, historic; nowhere are there grander, smoother walls of laurel and myrtle.
...A morning with L. B. at Villa Ludovisi, which we agreed that we should n't soon forget. The villa now belongs to the King, who has lodged his morganatic wife there. There is nothing so blissfully right in Rome, nothing more consummately consecrated to style. The grounds and gardens are immense, and the great rusty-red city wall stretches away behind them and makes the burden of the seven hills seem vast without making them seem small. There is everything - dusky avenues trimmed by the clipping of centuries, groves and dells and glades and glowing pastures and reedy fountains and great flowering meadows studded with enormous slanting pines. The day was delicious, the trees all one melody, the whole place a revelation of what Italy and hereditary pomp can do together. Nothing could be more in the grand manner than this garden view of the city ramparts, lifting their fantastic battlements above the trees and flowers. They are all tapestried with vines and made to serve as sunny fruit-walls - grim old defence as they once were; now giving nothing but a splendid buttressed privacy. The sculptures in the little Casino are few, but there are two great ones - the beautiful sitting Mars and the head of the great Juno, the latter thrust into a corner behind a shutter. These things it's almost impossible to praise; we can only mark them well and keep them clear, as we insist on silence to hear great music...If I don't praise Guercino's Aurora in the greater Casino, it's for another reason; this is certainly a very muddy masterpiece. It figures on the ceiling of a small low hall; the painting is coarse and the ceiling too near. Besides, it's unfair to pass straight from the Greek mythology to the Bolognese. We were left to roam at will through the house; the custode shut us in and went to walk in the park. The apartments were all open, and I had an opportunity to reconstruct, from its milieu at least, the character of a morganatic queen. I saw nothing to indicate that it was not amiable; but I should have thought more highly of the lady's discrimination if she had had the Juno removed from behind her shutter. In such a house, girdled about with such a park, methinks I could be amiable - and perhaps discriminating too. The Ludovisi Casino is small, but the perfection of the life of ease might surely be led there. There are English houses enough in wondrous parks, but they expose you to too many small needs and observances, to say nothing of a red-faced butler dropping his h's. You are oppressed with the detail of accommodation. Here the billiard-table is old-fashioned, perhaps a trifle-crooked; but you have Guercino above your head, and Guercino, after all, is almost as good as Guido.The rooms, I noticed, all pleased by their shape, by a lovely proportion, by a mass of delicate ornamentation on the high concave ceilings. One might live over again in them some deliciously benighted life of a forgotten type - with graceful old sale, and immensely thick walls, and a winding stone staircase, and a view from the loggia at the top; a view of twisted parasol-pines balanced, high above a wooden horizon, against a sky of faded sapphire.
The Protestant cemetery

I recently spent an afternoon hour at the little Protestant cemetery close to St. Paul's Gate, where the ancient and the modern world are insidiously contrasted. They make between them one of the solemn places of Rome - although indeed when funereal things are so interfused it seems ungrateful to call them sad. Here is a mixture of tears and smiles, of stones and flowers, of mourning cypresses and radiant sky, which gives us the impression of our looking back at death from the brighter side of the grave. The cemetery nestles in an angle of the city wall, and the older graves are sheltered by a mass of ancient brickwork, through whose narrow loopholes you peep at the wide purple of the Campagna. Shelley's grave is here, buried in roses - a happy grave every way for the very type and figure of the Poet. Nothing could be more impenetrably tranquil than this little corner in the bend of the protecting rampart, where a cluster of modern ashes is held tenderly in the rugged hand of the Past. The past is tremendously embodied in the hoary pyramid of Caius Cestius, which rises hard by, half within the wall and half without, cutting solidly into the solid blue of the sky and casting its pagan shadow upon the grass of English graves - that of Keats, among them - with an effect of poetic justice. It is a wonderful confusion of mortality and a grim enough admonition of our helpless promiscuity in the crucible of time. But the most touching element of all is the appeal of the pious English inscriptions among all these Roman memories; touching because of their universal expression of that trouble within trouble, misfortune in a foreign land. Something special stirs the heart through the fine Scriptural language in which everything is recorded. The echoes of massive Latinity with which the atmosphere is charged suggest nothing more majestic and monumental. I may seem unduly to refine, but the injunction to the reader in the monument to Miss Bathurst, drowned in the Tiber in1824, "If thou art young and lovely, build not thereon, for she who lies beneath thy feet in death was the loveliest flower ever cropt in its bloom", affects us irresistibly as a case for tears on the spot. The whole elaborate inscription indeed says something over and beyond all it does say. The English have the reputation of being the most reticent people in the world, and as there is no smoke without fire I suppose they have done something to deserve it; yet who can say that one does n't constantly meet the most startling examples of the insular faculty to "gush"? In this instance the mother of the deceased takes the public into her confidence with surprising frankness and omits no detail, seizing the opportunity to mention by the way that she had already lost her husband by a most mysterious visitation. The appeal to one's attention and the confidence in it are withal most moving. The whole record has an old-fashioned gentility that makes its frankness tragic. You seem to hear the garrulity of passionate grief.
Colonna Gardens

I went yesterday to the Colonna gardens - an adventure that would have reconverted me to Rome if the thing were n't already done. It's a rare old place - rising in mouldy bosky terraces and mossy stairways and winding walks from the back of the palace to the top of the Quirinal. It's the grand style of gardening, and resembles the present natural manner as a chapter of Johnsonian rhetoric resembles a piece of clever contemporary journalism. But it's a better style in horticulture than in literature; I prefer one of the long-drawn blue-green Colonna vistas, with a maimed and mossy-coated garden goddess at the end, to the finest possible quotation from a last-century classic. Perhaps the best thing there is the old orangery with its trees in fantastic terra-cotta tubs. The late afternoon light was gilding the monstrous jars and suspending golden chequers among the golden-fruited leaves. Or perhaps the best thing is the broad terrace with its mossy balustrade and its benches; also its view of the great naked Torre di Nerone (I think), which might look stupid if the rosy brickwork did n't take such a colour in the blue air. Delightful, at any rate, to stroll and talk there in the afternoon sunshine.
St. Paul's without the Walls

The restored Basilica is incredibly splendid. It seems a last pompous effort of formal Catholicism, and there are few more striking emblems of later Rome - the Rome foredoomed to see Victor Emmanuel in the Quirinal, the Rome of abortive councils and unheeded anathemas. It rises there, gorgeous and useless, on its miasmatic site, with an air of conscious bravado - a florid advertisement of the superabundance of faith. Within it's magnificent, and its magnificence has no shabby spots - a rare thing in Rome. Marble and mosaic, alabaster and malachite, lapis and porphyry, incrust it from pavement to cornice and flash back their polished lights at each other with such a splendour of effect that you seem to stand at the heart of some immense prismatic crystal. One has to come to Italy to know marbles and love them.
Santa Sabina

The best is Santa Sabina, a very fine old structure of the fifth century, mouldering in its dusky solitude and consuming its own antiquity. What a massive heritage Christianity and Catholicism are leaving here! What a substantial fact, in all its decay, this memorial Christian temple outliving its uses among the sunny gardens and vineyards! It has a noble nave, filled with a stale smell which (like that of the onion) brought tears to my eyes, and bordered with twenty-four fluted marble columns of Pagan origin. The crudely primitive little mosaics along the entablature are extremely curious. A Dominican monk, still young, who showed us the church, seemed a creature generated from its musty shadows and odours. His physiognomy was wonderfully de l'emploi, and his voice, most agreeable, had the strangest jaded humility. His lugubrious salute and sanctimonious impersonal appropriation of my departing franc would have been a master-touch on the stage. While we were still in the church a bell rang that he had to go and answer, and as he came back and approached us along the nave he made with his white gown and hood and his cadaverous face, against the dark church background, one of those pictures which, thank the Muses, have not yet been reformed out of Italy. It was the exact illustration, for insertion in a text, of heaven knows how many old romantic and conventional literary Italianisms - plays, poems, mysteries of Udolpho.
The Gesù

On the 31st we went to the musical vesper-service at the Gesù - hitherto done so splendidly before the Pope and the cardinals. The manner of it was eloquent of change - no Pope, no cardinals, and indifferent music, but a great mise-en-scène nevertheless. The church is gorgeous; late Renaissance, of great proportions, and full, like so many others, but in a pre-eminent degree, of seventeenth and eighteenth century Romanism. It does n't impress the imagination, but richly feeds the curiosity, by which I mean one's sense of the curious; suggests no legends, but innumerable anecdotes à la Stendhal. There is a vast dome, filled with a florid concave fresco of tumbling foreshortened angels, and all over the ceilings and cornices a wonderful outlay of dusky gildings and mouldings. There are various Bernini saints and seraphs in stucco-sculpture, astride of the tablets and door-tops, backing against their rusty machinery of coppery nimbi and egg-shaped cloudlets. Marble, damask and tapers in gorgeous profusion. The high altar a great screen of twinkling chandeliers. The choir perched in a little loft high up in the right transept, like a balcony in a side-scene at the opera, and indulging in surprising roulades and flourishes... Near me sat a handsome, opulent-looking nun - possibly an abbess or prioress of noble lineage. Can a holy woman of such a complexion listen to a fine operatic barytone in a sumptuous temple and receive none but ascetic impressions? What a cross-fire of influences does Catholicism provide!
Villa Mellini

A delightful walk last Sunday to Monte Mario. We drove to Porta Angelica, the little gate hidden behind the right wing of Bernini's colonnade, and strolled thence up the winding road to the Villa Mellini, where one of the greasy peasants huddled under the wall in the sun admits you for half a franc into the finest old ilex-walk in Italy. It is all vaulted grey-green shade with blue Campagna stretches in the interstices. The day was perfect; the still sunshine, as we sat at the twisted base of the old trees, seemed to have the drowsy hum of midsummer - with that charm of Italian vegetation that comes to us as its confession of having scenically served, to weariness at last, for some pastoral these many centuries a classic. In a certain cheapness and thinness of substance - as compared with the English stoutness, never left athirst - it reminds me of our own, and it is relatively dry enough and pale enough to explain the contempt of many unimaginative Britons. But it has an idle abundance and wantonness, a romantic shabbiness and dishevelment. At the Villa Mellini is the famous lonely pine which "tells" so in the landscape from other points, bought off from the axe by (I believe) Sir George Beaumont, commemorated in a like connection in Wordsworth's great sonnet. He at least was not an unimaginative Briton. As you stand under it, its far-away shallow dome, supported on a single column almost white enough to be marble, seems to dwell in the dizziest depths of the blue. Its pale grey-blue boughs and its silvery stem make a wonderful harmony with the ambient air. The Villa Mellini is full of the elder Italy of one's imagination - the Italy of Boccaccio and Ariosto. There are twenty places where the Florentine story-tellers might have sat round on the grass. Outside the villa walls, beneath the overcrowding orange-boughs, straggled old Italy as well - but not in Boccaccio's velvet: a row of ragged and livid contadini, some simply stupid in their squalor, but some downright brigands of romance, or of reality, with matted locks and terribly sullen eyes.
The Pincio

The last three of four days I have regularly spent a couple of hours from noon baking myself in the sun of the Pincio to get rid of a cold. The weather perfect and the crowd (especially to-day) amazing. Such a staring, longing, dandified, amiable crowd! Who does the vulgar stay-at-home work of Rome? All the grandees and half the foreigners are there in their carriages, the bourgeoisie on foot staring at them and the beggars lining all their approaches. The great difference between public places in America and Europe is in the number of unoccupied people of every age and condition sitting about early and late on benches and gazing at you, from your hat to your boots, as you pass. Europe is certainly the continent of the practised stare. The ladies on the Pincio have to run the gauntlet; but they seem to do so complacently enough. The European woman is brought up to the sense of having a definite part in the way of manners or manner to play in public. To lie back in a barouche alone, balancing a parasol and seeming to ignore the extremely immediate gaze of two serried ranks of male creatures on each side of her path, save here and there to recognise one of them with an imperceptible nod, is one of her daily duties. ...Yesterday Prince Humbert's little primogenito was on the Pincio in an open landau with his governess. He's a sturdy blond little man and the image of the King. They had stopped to listen to the music, and the crowd was planted about the carriage-wheels, staring and criticising under the child's snub little nose. It appeared bold cynical curiosity, without the slightest manifestation of "loyalty", and it gave me a singular sense of the vulgarisation of Rome under the new régime. When the Pope drove abroad it was a solemn spectacle; even if you neither kneeled nor uncovered you were irresistibly impressed. But the Pope never stopped to listen to opera tunes, and he had no little popelings, under the charge of superior nurse-maids, whom you might take liberties with. The family at the Quirinal make something of a merit, I believe, of their modest and inexpensive way of life. The merit is great; yet, representationally, what a change for the worse from an order which proclaimed stateliness a part of its essence! The divinity that doth hedge a king must be pretty well on the wane. But how many more fine old traditions will the extremely sentimental traveller miss in the Italians over whom that little jostled prince in the landau will have come into his kinghood?... The Pincio continues to beguile; it's a great resource. I am for ever being reminded of the "aestethic luxury", as I called it above, of living in Rome. To be able to choose of an afternoon for a lounge (respectfully speaking) between St. Peter's and the high precinct you approach by the gate just beyond Villa Medici - counting nothing else - is a proof that if in Rome you may suffer from ennui, at least your ennui has a throbbing soul in it. It is something to say for the Pincio that you don't always choose St. Peter's. Sometimes I lose patience with its parade of eternal idleness, but at others this very idleness is balm to one's conscience. Life on just these terms seems so easy, so monotonously sweet, that you feel it would be unwise, would be really unsafe, to change. The Roman air is charged with an elixir, the Roman cup seasoned with some insidious drop, of which the action is fatally, yet none the less agreeably, "lowering".
Villa Medici

With S. to the Villa Medici - perhaps on the whole the most enchanting place in Rome. The part of the garden called the Boschetto has an incredible, impossible charm; an upper terrace, behind locked gates, covered with a little dusky forest of evergreen oaks. Such a dim light as of a fabled, haunted place, such a soft suffusion of tender grey-green tones, such a company of gnarled and twisted little miniature trunks - dwarfs playing with each other at being giants - and such a shower of golden sparkles drifting in from the vivid west! At the end of the wood is a steep, circular mound, up which the short trees scramble amain, with a long mossy staircase climbing up to a belvedere. This staircase, rising suddenly out of the leafy dusk to you don't see where, is delightfully fantastic. You expect to see an old woman in a crimson petticoat and with a distaff come hobbling down and turn into a fairy and offer you three wishes. I should name for my own first wish that one did n't have to be a Frenchman to come and live and dream and work at the Académie de France. Can there be for a while a happier destiny than that of a young artist conscious of talent and of no errand but to educate, polish and perfect it, transplanted to these sacred shades? One has fancied Plato's Academy - his gleaming colonnades, his blooming gardens and Athenian sky; but was it as good as this one, where Monsieur Hébert does the Platonic? The blessing in Rome is not that this or that or the other isolated object is so very unsurpassable; but that the general air so contributes to interest, to impressions that are not as any other impressions anywhere in the world. And from this general air the Villa Medici has distilled an essence of its own - walled it in and made it delightfully private. The great façade on the gardens is like an enormous rococo clock-face all incrusted with images and arabesques and tablets. What mornings and afternoons one might spend there, brush in hand, unpreoccupied, untormented, pensioned, satisfied - either persuading one's self that one would be "doing something" in consequence or not caring if one should n't be.
Villa Madama

A drive the other day with a friend to Villa Madama, on the side of Monte Mario; a place like a page out of one of Browning's richest evocations of this clime and civilisation. Wondrous in its haunting melancholy, it might have inspired half "The Ring and the Book" at a stroke. What a grim commentary on history such a scene - what an irony of the past! The road up to it through the outer enclosure is almost impassable with mud and stones. At the end, on a terrace, rises the once elegant Casino, with hardly a whole pane of glass in its façade, reduced to its sallow stucco and degraded ornaments. The front away from Rome has in the basement a great loggia, now walled in from the weather, preceded by a grassy belittered platform with an immense sweeping view of the Campagna; the sad-looking, more than sad-looking, evil-looking, Tiber beneath (the colour of gold, the sentimentalists say, the colour of mustard, the realists); a great vague stretch beyond, of various complexions and uses: and on the horizon the ever-iridescent mountains. The place has become the shabbiest farmhouse, with muddy water in the old pièces d'eau and dunghills on the old parterres. The "feature" is the contents of the loggia: a vaulted roof decorated by Giulio Romano; exquisite stucco-work and still brilliant frescoes; arabesques and figurini, nymphs and fauns, animals and flowers - gracefully lavish designs of every sort. Much of the colour - especially the blues - still almost vivid, and all the work wonderfully ingenious, elegant and charming. Apartments so decorated can have been meant only for the recreation of people greater than any we know, people for whom life was impudent ease and success. Margaret Farnese was the lady of the house, but where she trailed her cloth of gold the chickens now scamper between your legs over rotten straw. It is all inexpressibly dreary. A stupid peasant scratching his head, a couple of critical Americans picking their steps, the walls tattered and befouled breast-high, dampness and decay striking in on your heart, and the scene overbowed by these heavenly frescoes, mouldering there in their airy artistry! It's poignant; it provokes tears; it tells so of the waste of effort. Something human seems to pant beneath the grey pall of time and to implore to rescue it, to pity it, to stand by it somehow. But you leave it to its lingering death without compunction, almost with pleasure; for the place seems vaguely crime-haunted - paying at least the penalty of some hard immorality. The end of a Renaissance pleasure-house. Endless for the didactic observer the moral, abysmal for the story-seeker the tale.
Villa Albani

Yesterday to the Villa Albani. Over-formal and (as my companion says) too much like a tea-garden; but with beautiful stairs and splendid geometrical lines of immense box-hedge, intersected with high pedestals supporting little antique busts. The light to-day magnificent; the Alban Hills of an intenser broken purple than I had yet seen them - their white towns blooming upon it like vague projected lights. It was like a piece of very modern painting, and a good example of how Nature has at times a sort of mannerism which ought to make us careful how we condemn out of hand the more refined and affected artists. The collection of marbles in the Casino (Winckelmann's) admirable and to be seen again. The famous Antinous crowned with lotus a strangely beautiful and impressive thing. The "Greek manner", on the showing of something now and again encountered here, moves one to feel that even for purely romantic and imaginative effects it surpasses any since invented. If there be not imagination, even in our comparatively modern sense of the word, in the baleful beauty of that perfect young profile there is none in "Hamlet" or in "Lycidas". There is five hundred times as much as in "The Transfiguration". With this at any rate to point to it's not for sculpture not professedly to produce any emotion producible by painting. There are numbers of small and delicate fragments of bas-reliefs of exquisite grace, and a huge piece (two combatants - one on horseback, beating down another - murder made eternal and beautiful) attributed to the Parthenon and certainly as grandly impressive as anything in the Elgin marbles. S. W. suggested again the Roman villas as a "subject". Excellent if one could find a feast of facts à la Stendhal. A lot of vague ecstatic descriptions and anecdotes would n't at all pay. There have been too many already. Enough facts are recorded, I suppose; one should discover them and soak in them for a twelvemonth. And yet a Roman villa, in spite of statues, ideas and atmosphere, affects me as of a scanter human and social portée, a shorter, thinner reverberation, than an old English country-house, round which experience seems piled so thick. But this perhaps is either hair-splitting or "racial" prejudice.

Grotta Ferrata is a very dirty little village, with a number of raw new houses baking on the hot hillside and nothing to charm the fond gazer but its situation and its old fortified abbey. I was glad to retire to a comparatively uninvaded corner of the abbey and divert myself with the view. This grey eclesiastical stronghold is a thoroughly scenic affair, hanging over the hillside on plunging foundations which bury themselves among the dense olives. It has massive round towers at the corners and a grass-grown moat, enclosing a church and a monastery.
... I was careful to visit the famous frescoes of Domenichino in the adjoining church. It sounds rather brutal perhaps to say that, when I came back into the clamorous little piazza, the sight of the peasants swilling down their sour wine appealed to me more than the masterpieces - Murray calls them so - of the famous Bolognese.
..after coming out of the church I found a delightful nook - a queer little terrace before a more retired and tranquil drinking-shop -where I called for a bottle of wine to help me to guess why I "drew the line" at Domenichino.
This little terrace was a capricious excrescence at the end of the piazza, itself simply a greater terrace; and one reached it, picturesquely, by ascending a short inclined plane of grass-grown cobble-stones and passing across a dusty kitchen through whose narrow windows the light of the mighty landscape beyond touched up old earthen pots. The terrace was oblong and so narrow that it held but a single small table, placed lengthwise; yet nothing could be pleasanter than to place one's bottle on the polished parapet. Here you seemed by the time you had emptied it to be swinging forward into immensity - hanging poised over the Campagna. A beautiful gorge with a twinkling stream wandered down the hill far below you, beyond which Marino and Castel Gandolfo peeped above the trees. In front you could count the towers of Rome and the tombs of the Appian Way. I don't know that I came to any very distinct conclusion about Domenichino; but it was perhaps because the view was perfection that he struck me as more than ever mediocrity.
Tivoli - Villa d'Este ensured me me at the afternoon's end a solitary stroll through the Villa d'Este, where the day's invasion, whatever it might have been, had left no traces and where I met nobody in the great rococo passages and chambers, and in the prodigious alleys and on the repeated flights of torturous steps, but the haunting Genius of Style, into whose noble battered old face, as if it had come out clearer in the golden twilight and on recognition of response so deeply moved, I seemed to exhale my sympathy. This was truly, amid a conception and order of things all mossed over from disuse, but still without a form abandoned or a principle disowned, one of the hours that one does n't forget. The ruined fountains seemed strangely to wait, in the stillness and under cover of the approaching dusk, not to begin ever again to play, also, but just only to be tenderly imagined to do so; quite as everything held its breath, at the mystic moment, for the drop of the cruel and garish exposure, for the Spirit of the place to steal forth and go his round. The vistas of the innumerable mighty cypresses ranged themselves, in their files and companies, like beaten heroes for their captain's review; the great artificial "works" of every description, cascades, hemicycles, all graded and grassed and stone-seated as for floral games, mazes and bowers and alcoves and grottos, brave indissoluble unions of the planted and builded symmetry, with the terraces and staircases that overhang and and the arcades and the cloisters that underspread, made common cause together as for one's taking up a little, in kindly lingering wonder, the "feeling" out of which they have sprung. One did n't see it, under the actual influence, one would n't for the world have seen it, as that they longed to be justified, during a few minutes in the twenty-four hours, of their absurdity of pomp and circumstance - but only that they asked for company, once in a way, as they were splendidly formed to give it, and that the best company, in a changed world, at the end of time, what could they hope it to be but just the lone, the dawdling person of taste, the visitor with a flicker of fancy, not to speak of a pang of pity, to spare for them? It was in the flicker of fancy, no doubt, that as I hung about the great top-most terrace in especial, and then again took my way through the high gaunt corridors and the square and bare alcoved and recessed saloons, all overscored with such a dim waste of those painted, those delicate and capricious decorations which the loggie of the Vatican promptly borrowed from the ruins of the Palatine, or from whatever other revealed and inspiring ancientries, and which make ghostly confession here of that descent, I gave the rein to my sense of the sinister too, of that vague after-taste as of evil things that lurks so often, for a suspicious sensibility, wherever the terrible game of the life of the Renaissance was played as the Italians played it; wherever the huge tessellated chessboard seems to stretch about us, swept bare, almost always violently swept-bare, of its chiselled and shifting figures, of every value and degree, but with this echoing desolation itself representing the long gasp, as it were, of overstrained time, the great after-hush that follows on things too wonderful or dreadful.

Read What Dante Saw.
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Read What Lord Byron Saw.
Read What Charles Dickens Saw.
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