The Three Cities Trilogy: Rome, Volume 2

At the news that his audience was yet again postponed Pierre had felt keenly disappointed. However, as the whole day was at his disposal, he willingly accepted the /attache's/ offer. They lunched in front of St. Peter's, in a little restaurant of the Borgo, most of whose customers were pilgrims, and the fare, as it happened, was far from good. Then at about two o'clock they set off for the museum, skirting the basilica by way of the Piazza della Sagrestia. It was a bright, deserted, burning district; and again, but in a far greater degree, did the young priest experience that sensation of bare, tawny, sun-baked majesty which had come upon him while gazing into the Court of San Damaso. Then, as he passed the apse of St. Peter's, the enormity of the colossus was brought home to him more strongly than ever: it rose like a giant bouquet of architecture edged by empty expanses of pavement sprinkled with fine weeds. And in all the silent immensity there were only two children playing in the shadow of a wall. The old papal mint, the Zecca, now an Italian possession, and guarded by soldiers of the royal army, is on the left of the passage leading to the museums, while on the right, just in front, is one of the entrances of honour to the Vatican where the papal Swiss Guard keeps watch and ward; and this is the entrance by which, according to etiquette, the pair-horse carriages convey the Pope's visitors into the Court of San Damaso.

Following the long lane which ascends between a wing of the palace and its garden wall, Narcisse and Pierre at last reached the Museum of Antiquities. Ah! what a museum it is, with galleries innumerable, a museum compounded of three museums, the Pio-Clementino, Chiaramonti, and the Braccio-Nuovo, and containing a whole world found beneath the soil, then exhumed, and now glorified in full sunlight. For more than two hours Pierre went from one hall to another, dazzled by the masterpieces, bewildered by the accumulation of genius and beauty. It was not only the celebrated examples of statuary, the Laocoon and the Apollo of the cabinets of the Belvedere, the Meleager, or even the torso of Hercules – that astonished him. He was yet more impressed by the /ensemble/, by the innumerable quantities of Venuses, Bacchuses, and deified emperors and empresses, by the whole superb growth of beautiful or August flesh celebrating the immortality of life. Three days previously he had visited the Museum of the Capitol, where he had admired the Venus, the Dying Gaul,13 the marvellous Centaurs of black marble, and the extraordinary collection of busts, but here his admiration became intensified into stupor by the inexhaustible wealth of the galleries. And, with more curiosity for life than for art, perhaps, he again lingered before the busts which so powerfully resuscitate the Rome of history – the Rome which, whilst incapable of realising the ideal beauty of Greece, was certainly well able to create life. The emperors, the philosophers, the learned men, the poets are all there, and live such as they really were, studied and portrayed in all scrupulousness with their deformities, their blemishes, the slightest peculiarities of their features. And from this extreme solicitude for truth springs a wonderful wealth of character and an incomparable vision of the past. Nothing, indeed, could be loftier: the very men live once more, and retrace the history of their city, that history which has been so falsified that the teaching of it has caused generations of school-boys to hold antiquity in horror. But on seeing the men, how well one understands, how fully one can sympathise! And indeed the smallest bits of marble, the maimed statues, the bas-reliefs in fragments, even the isolated limbs – whether the divine arm of a nymph or the sinewy, shaggy thigh of a satyr – evoke the splendour of a civilisation full of light, grandeur, and strength.

At last Narcisse brought Pierre back into the Gallery of the Candelabra, three hundred feet in length and full of fine examples of sculpture. "Listen, my dear Abbe," said he. "It is scarcely more than four o'clock, and we will sit down here for a while, as I am told that the Holy Father sometimes passes this way to go down to the gardens. It would be really lucky if you could see him, perhaps even speak to him – who can tell? At all events, it will rest you, for you must be tired out."

Narcisse was known to all the attendants, and his relationship to Monsignor Gamba gave him the run of almost the entire Vatican, where he was fond of spending his leisure time. Finding two chairs, they sat down, and the /attache/ again began to talk of art.

How astonishing had been the destiny of Rome, what a singular, borrowed royalty had been hers! She seemed like a centre whither the whole world converged, but where nothing grew from the soil itself, which from the outset appeared to be stricken with sterility. The arts required to be acclimatised there; it was necessary to transplant the genius of neighbouring nations, which, once there, however, flourished magnificently. Under the emperors, when Rome was the queen of the earth, the beauty of her monuments and sculpture came to her from Greece. Later, when Christianity arose in Rome, it there remained impregnated with paganism; it was on another soil that it produced Gothic art, the Christian Art /par excellence/. Later still, at the Renascence, it was certainly at Rome that the age of Julius II and Leo X shone forth; but the artists of Tuscany and Umbria prepared the evolution, brought it to Rome that it might thence expand and soar. For the second time, indeed, art came to Rome from without, and gave her the royalty of the world by blossoming so triumphantly within her walls. Then occurred the extraordinary awakening of antiquity, Apollo and Venus resuscitated worshipped by the popes themselves, who from the time of Nicholas V dreamt of making papal Rome the equal of the imperial city. After the precursors, so sincere, tender, and strong in their art – Fra Angelico, Perugino, Botticelli, and so many others – came the two sovereigns, Michael Angelo and Raffaelle, the superhuman and the divine. Then the fall was sudden, years elapsed before the advent of Caravaggio with power of colour and modelling, all that the science of painting could achieve when bereft of genius. And afterwards the decline continued until Bernini was reached – Bernini, the real creator of the Rome of the present popes, the prodigal child who at twenty could already show a galaxy of colossal marble wenches, the universal architect who with fearful activity finished the facade, built the colonnade, decorated the interior of St. Peter's, and raised fountains, churches, and palaces innumerable. And that was the end of all, for since then Rome has little by little withdrawn from life, from the modern world, as though she, who always lived on what she derived from others, were dying of her inability to take anything more from them in order to convert it to her own glory.

"Ah! Bernini, that delightful Bernini!" continued Narcisse with his rapturous air. "He is both powerful and exquisite, his verve always ready, his ingenuity invariably awake, his fecundity full of grace and magnificence. As for their Bramante with his masterpiece, that cold, correct Cancelleria, we'll dub him the Michael Angelo and Raffaelle of architecture and say no more about it. But Bernini, that exquisite Bernini, why, there is more delicacy and refinement in his pretended bad taste than in all the hugeness and perfection of the others! Our own age ought to recognise itself in his art, at once so varied and so deep, so triumphant in its mannerisms, so full of a perturbing solicitude for the artificial and so free from the baseness of reality. Just go to the Villa Borghese to see the group of Apollo and Daphne which Bernini executed when he was eighteen,14 and in particular see his statue of Santa Teresa in ecstasy at Santa Maria della Vittoria! Ah! that Santa Teresa! It is like heaven opening, with the quiver that only a purely divine enjoyment can set in woman's flesh, the rapture of faith carried to the point of spasm, the creature losing breath and dying of pleasure in the arms of the Divinity! I have spent hours and hours before that work without exhausting the infinite scope of its precious, burning symbolisation."

Narcisse's voice died away, and Pierre, no longer astonished at his covert, unconscious hatred of health, simplicity, and strength, scarcely listened to him. The young priest himself was again becoming absorbed in the idea he had formed of pagan Rome resuscitating in Christian Rome and turning it into Catholic Rome, the new political, sacerdotal, domineering centre of earthly government. Apart from the primitive age of the Catacombs, had Rome ever been Christian? The thoughts that had come to him on the Palatine, in the Appian Way, and in St. Peter's were gathering confirmation. Genius that morning had brought him fresh proof. No doubt the paganism which reappeared in the art of Michael Angelo and Raffaelle was tempered, transformed by the Christian spirit. But did it not still remain the basis? Had not the former master peered across Olympus when snatching his great nudities from the terrible heavens of Jehovah? Did not the ideal figures of Raffaelle reveal the superb, fascinating flesh of Venus beneath the chaste veil of the Virgin? It seemed so to Pierre, and some embarrassment mingled with his despondency, for all those beautiful forms glorifying the ardent passions of life, were in opposition to his dream of rejuvenated Christianity giving peace to the world and reviving the simplicity and purity of the early ages.

All at once he was surprised to hear Narcisse, by what transition he could not tell, speaking to him of the daily life of Leo XIII. "Yes, my dear Abbe, at eighty-four15 the Holy Father shows the activity of a young man and leads a life of determination and hard work such as neither you nor I would care for! At six o'clock he is already up, says his mass in his private chapel, and drinks a little milk for breakfast. Then, from eight o'clock till noon, there is a ceaseless procession of cardinals and prelates, all the affairs of the congregations passing under his eyes, and none could be more numerous or intricate. At noon the public and collective audiences usually begin. At two he dines. Then comes the siesta which he has well earned, or else a promenade in the gardens until six o'clock. The private audiences then sometimes keep him for an hour or two. He sups at nine and scarcely eats, lives on nothing, in fact, and is always alone at his little table. What do you think, eh, of the etiquette which compels him to such loneliness? There you have a man who for eighteen years has never had a guest at his table, who day by day sits all alone in his grandeur! And as soon as ten o'clock strikes, after saying the Rosary with his familiars, he shuts himself up in his room. But, although he may go to bed, he sleeps very little; he is frequently troubled by insomnia, and gets up and sends for a secretary to dictate memoranda or letters to him. When any interesting matter requires his attention he gives himself up to it heart and soul, never letting it escape his thoughts. And his life, his health, lies in all this. His mind is always busy; his will and strength must always be exerting themselves. You may know that he long cultivated Latin verse with affection; and I believe that in his days of struggle he had a passion for journalism, inspired the articles of the newspapers he subsidised, and even dictated some of them when his most cherished ideas were in question."

Silence fell. At every moment Narcisse craned his neck to see if the little papal /cortege/ were not emerging from the Gallery of the Tapestries to pass them on its way to the gardens. "You are perhaps aware," he resumed, "that his Holiness is brought down on a low chair which is small enough to pass through every doorway. It's quite a journey, more than a mile, through the /loggie/, the /stanze/ of Raffaelle, the painting and sculpture galleries, not to mention the numerous staircases, before he reaches the gardens, where a pair-horse carriage awaits him. It's quite fine this evening, so he will surely come. We must have a little patience."

Whilst Narcisse was giving these particulars Pierre again sank into a reverie and saw the whole extraordinary history pass before him. First came the worldly, ostentatious popes of the Renascence, those who resuscitated antiquity with so much passion and dreamt of draping the Holy See with the purple of empire once more. There was Paul II, the magnificent Venetian who built the Palazzo di Venezia; Sixtus IV, to whom one owes the Sixtine Chapel; and Julius II and Leo X, who made Rome a city of theatrical pomp, prodigious festivities, tournaments, ballets, hunts, masquerades, and banquets. At that time the papacy had just rediscovered Olympus amidst the dust of buried ruins, and as though intoxicated by the torrent of life which arose from the ancient soil, it founded the museums, thus reviving the superb temples of the pagan age, and restoring them to the cult of universal admiration. Never had the Church been in such peril of death, for if the Christ was still honoured at St. Peter's, Jupiter and all the other gods and goddesses, with their beauteous, triumphant flesh, were enthroned in the halls of the Vatican. Then, however, another vision passed before Pierre, one of the modern popes prior to the Italian occupation – notably Pius IX, who, whilst yet free, often went into his good city of Rome. His huge red and gold coach was drawn by six horses, surrounded by Swiss Guards and followed by Noble Guards; but now and again he would alight in the Corso, and continue his promenade on foot, and then the mounted men of the escort galloped forward to give warning and stop the traffic. The carriages drew up, the gentlemen had to alight and kneel on the pavement, whilst the ladies simply rose and devoutly inclined their heads, as the Holy Father, attended by his Court, slowly wended his way to the Piazza del Popolo, smiling and blessing at every step. And now had come Leo XIII, the voluntary prisoner, shut up in the Vatican for eighteen years, and he, behind the high, silent walls, in the unknown sphere where each of his days flowed by so quietly, had acquired a more exalted majesty, instinct with sacred and redoubtable mysteriousness.

Ah! that Pope whom you no longer meet or see, that Pope hidden from the common of mankind like some terrible divinity whom the priests alone dare to approach! It is in that sumptuous Vatican which his forerunners of the Renascence built and adorned for giant festivities that he has secluded himself; it is there he lives, far from the crowd, in prison with the handsome men and the lovely women of Michael Angelo and Raffaelle, with the gods and goddesses of marble, with the whole of resplendent Olympus celebrating around him the religion of life and light. With him the entire Papacy is there steeped in paganism. What a spectacle when the slender, weak old man, all soul, so purely white, passes along the galleries of the Museum of Antiquities on his way to the gardens. Right and left the statues behold him pass with all their bare flesh. There is Jupiter, there is Apollo, there is Venus the /dominatrix/, there is Pan, the universal god in whose laugh the joys of earth ring out. Nereids bathe in transparent water. Bacchantes roll, unveiled, in the warm grass. Centaurs gallop by carrying lovely girls, faint with rapture, on their steaming haunches. Ariadne is surprised by Bacchus, Ganymede fondles the eagle, Adonis fires youth and maiden with his flame. And on and on passes the weak, white old man, swaying on his low chair, amidst that splendid triumph, that display and glorification of the flesh, which shouts aloud the omnipotence of Nature, of everlasting matter! Since they have found it again, exhumed it, and honoured it, that it is which once more reigns there imperishable; and in vain have they set vine leaves on the statues, even as they have swathed the huge figures of Michael Angelo; sex still flares on all sides, life overflows, its germs course in torrents through the veins of the world. Near by, in that Vatican library of incomparable wealth, where all human science lies slumbering, there lurks a yet more terrible danger – the danger of an explosion which would sweep away everything, Vatican and St. Peter's also, if one day the books in their turn were to awake and speak aloud as speak the beauty of Venus and the manliness of Apollo. But the white, diaphanous old man seems neither to see nor to hear, and the huge heads of Jupiter, the trunks of Hercules, the equivocal statues of Antinous continue to watch him as he passes on!

However, Narcisse had become impatient, and, going in search of an attendant, he learnt from him that his Holiness had already gone down. To shorten the distance, indeed, the /cortege/ often passes along a kind of open gallery leading towards the Mint. "Well, let us go down as well," said Narcisse to Pierre; "I will try to show you the gardens."

Down below, in the vestibule, a door of which opened on to a broad path, he spoke to another attendant, a former pontifical soldier whom he personally knew. The man at once let him pass with Pierre, but was unable to tell him whether Monsignor Gamba del Zoppo had accompanied his Holiness that day.

"No matter," resumed Narcisse when he and his companion were alone in the path; "I don't despair of meeting him – and these, you see, are the famous gardens of the Vatican."

They are very extensive grounds, and the Pope can go quite two and a half miles by passing along the paths of the wood, the vineyard, and the kitchen garden. Occupying the plateau of the Vatican hill, which the medieval wall of Leo IV still girdles, the gardens are separated from the neighbouring valleys as by a fortified rampart. The wall formerly stretched to the castle of Sant' Angelo, thereby forming what was known as the Leonine City. No inquisitive eyes can peer into the grounds excepting from the dome of St. Peter's, which casts its huge shadow over them during the hot summer weather. They are, too, quite a little world, which each pope has taken pleasure in embellishing. There is a large parterre with lawns of geometrical patterns, planted with handsome palms and adorned with lemon and orange trees in pots; there is a less formal, a shadier garden, where, amidst deep plantations of yoke-elms, you find Giovanni Vesanzio's fountain, the Aquilone, and Pius IV's old Casino; then, too, there are the woods with their superb evergreen oaks, their thickets of plane-trees, acacias, and pines, intersected by broad avenues, which are delightfully pleasant for leisurely strolls; and finally, on turning to the left, beyond other clumps of trees, come the kitchen garden and the vineyard, the last well tended.

Whilst walking through the wood Narcisse told Pierre of the life led by the Holy Father in these gardens. He strolls in them every second day when the weather allows. Formerly the popes left the Vatican for the Quirinal, which is cooler and healthier, as soon as May arrived; and spent the dog days at Castle Gandolfo on the margins of the Lake of Albano. But nowadays the only summer residence possessed by his Holiness is a virtually intact tower of the old rampart of Leo IV. He here spends the hottest days, and has even erected a sort of pavilion beside it for the accommodation of his suite. Narcisse, like one at home, went in and secured permission for Pierre to glance at the one room occupied by the Pope, a spacious round chamber with semispherical ceiling, on which are painted the heavens with symbolical figures of the constellations; one of the latter, the lion, having two stars for eyes – stars which a system of lighting causes to sparkle during the night. The walls of the tower are so thick that after blocking up a window, a kind of room, for the accommodation of a couch, has been contrived in the embrasure. Beside this couch the only furniture is a large work-table, a dining-table with flaps, and a large regal arm-chair, a mass of gilding, one of the gifts of the Pope's episcopal jubilee. And you dream of the days of solitude and perfect silence, spent in that low donjon hall, where the coolness of a tomb prevails whilst the heavy suns of August are scorching overpowered Rome.

An astronomical observatory has been installed in another tower, surmounted by a little white cupola, which you espy amidst the greenery; and under the trees there is also a Swiss chalet, where Leo XIII is fond of resting. He sometimes goes on foot to the kitchen garden, and takes much interest in the vineyard, visiting it to see if the grapes are ripening and if the vintage will be a good one. What most astonished Pierre, however, was to learn that the Holy Father had been very fond of "sport" before age had weakened him. He was indeed passionately addicted to bird snaring. Broad-meshed nets were hung on either side of a path on the fringe of a plantation, and in the middle of the path were placed cages containing the decoys, whose songs soon attracted all the birds of the neighbourhood – red-breasts, white-throats, black-caps, nightingales, fig-peckers of all sorts. And when a numerous company of them was gathered together Leo XIII, seated out of sight and watching, would suddenly clap his hands and startle the birds, which flew up and were caught by the wings in the meshes of the nets. All that then remained to be done was to take them out of the nets and stifle them by a touch of the thumb. Roast fig-peckers are delicious.16

As Pierre came back through the wood he had another surprise. He suddenly lighted on a "Grotto of Lourdes," a miniature imitation of the original, built of rocks and blocks of cement. And such was his emotion at the sight that he could not conceal it. "It's true, then!" said he. "I was told of it, but I thought that the Holy Father was of loftier mind – free from all such base superstitions!"

"Oh!" replied Narcisse, "I fancy that the grotto dates from Pius IX, who evinced especial gratitude to our Lady of Lourdes. At all events, it must be a gift, and Leo XIII simply keeps it in repair."

For a few moments Pierre remained motionless and silent before that imitation grotto, that childish plaything. Some zealously devout visitors had left their visiting cards in the cracks of the cement-work! For his part, he felt very sad, and followed his companion with bowed head, lamenting the wretched idiocy of the world. Then, on emerging from the wood, on again reaching the parterre, he raised his eyes.

Ah! how exquisite in spite of everything was that decline of a lovely day, and what a victorious charm ascended from the soil in that part of the gardens. There, in front of that bare, noble, burning parterre, far more than under the languishing foliage of the wood or among the fruitful vines, Pierre realised the strength of Nature. Above the grass growing meagrely over the compartments of geometrical pattern which the pathways traced there were barely a few low shrubs, dwarf roses, aloes, rare tufts of withering flowers. Some green bushes still described the escutcheon of Pius IX in accordance with the strange taste of former times. And amidst the warm silence one only heard the faint crystalline murmur of the water trickling from the basin of the central fountain. But all Rome, its ardent heavens, sovereign grace, and conquering voluptuousness, seemed with their own soul to animate this vast rectangular patch of decorative gardening, this mosaic of verdure, which in its semi-abandonment and scorched decay assumed an aspect of melancholy pride, instinct with the ever returning quiver of a passion of fire that could not die. Some antique vases and statues, whitely nude under the setting sun, skirted the parterres. And above the aroma of eucalyptus and of pine, stronger even than that of the ripening oranges, there rose the odour of the large, bitter box-shrubs, so laden with pungent life that it disturbed one as one passed as if indeed it were the very scent of the fecundity of that ancient soil saturated with the dust of generations.

"It's very strange that we have not met his Holiness," exclaimed Narcisse. "Perhaps his carriage took the other path through the wood while we were in the tower."

Then, reverting to Monsignor Gamba del Zoppo, the /attache/ explained that the functions of /Copiere/, or papal cup-bearer, which his cousin should have discharged as one of the four /Camerieri segreti partecipanti/ had become purely honorary since the dinners offered to diplomatists or in honour of newly consecrated bishops had been given by the Cardinal Secretary of State. Monsignor Gamba, whose cowardice and nullity were legendary, seemed therefore to have no other /role/ than that of enlivening Leo XIII, whose favour he had won by his incessant flattery and the anecdotes which he was ever relating about both the black and the white worlds. Indeed this fat, amiable man, who could even be obliging when his interests were not in question, was a perfect newspaper, brimful of tittle-tattle, disdaining no item of gossip whatever, even if it came from the kitchens. And thus he was quietly marching towards the cardinalate, certain of obtaining the hat without other exertion than that of bringing a budget of gossip to beguile the pleasant hours of the promenade. And Heaven knew that he was always able to garner an abundant harvest of news in that closed Vatican swarming with prelates of every kind, in that womanless pontifical family of old begowned bachelors, all secretly exercised by vast ambitions, covert and revolting rivalries, and ferocious hatreds, which, it is said, are still sometimes carried as far as the good old poison of ancient days.