Volume 2 — LETTERS FROM ITALY.

TO THOMAS LOVE PEACOCK.

Milan, April, 1818.

My dear Peacock,

Behold us arrived at length at the end of our journey—that is, within a few miles of it—because we design to spend the summer on the shore of the Lake of Como. Our journey was somewhat painful from the cold—and in no other manner interesting until we passed the Alps: of course I except the Alps themselves; but no sooner had we arrived at Italy, than the loveliness of the earth and the serenity of the sky made the greatest difference in my sensations. I depend on these things for life; for in the smoke of cities, and the tumult of human kind, and the chilling fogs and rain of our own country, I can hardly be said to live. With what delight did I hear the woman, who conducted us to see the triumphal arch of Augustus at Susa, speak the clear and complete language of Italy, though half unintelligible to me, after that nasal and abbreviated cacophony of the French! A ruined arch of magnificent proportions, in the Greek taste, standing in a kind of road of green lawn, overgrown with violets and primroses, and in the midst of stupendous mountains, and a blonde woman, of light and graceful manners, something in the style of Fuseli’s Eve, were the first things we met in Italy.

This city is very agreeable. We went to the opera last night—which is a most splendid exhibition. The opera itself was not a favourite, and the singers very inferior to our own. But the ballet, or rather a kind of melodrame or pantomimic drama, was the most splendid spectacle I ever saw. We have no Miss Melanie here—in every other respect, Milan is unquestionably superior. The manner in which language is translated into gesture, the complete and full effect of the whole as illustrating the history in question, the unaffected self-possession of each of the actors, even to the children, made this choral drama more impressive than I could have conceived possible. The story is Othello, and strange to say, it left no disagreeable impression.

I write, but I am not in the humour to write, and you must expect longer, if not more entertaining, letters soon—that is, in a week or so—when I am a little recovered from my journey. Pray tell us all the news with regard to our own offspring, whom we left at nurse in England; as well as those of our friends. Mention Cobbett and politics too—and Hunt—to whom Mary is now writing—and particularly your own plans and yourself. You shall hear more of me and my plans soon. My health is improved already—and my spirits something—and I have many literary schemes, and one in particular—which I thirst to be settled that I may begin. I have ordered Ollier to send you some sheets &c. for revision.

Adieu.—Always faithfully yours, P. B. S.

TO THOMAS LOVE PEACOCK.

Milan, April 20, 1818.

My dear Peacock,

I had no conception that the distance between us, measured by time in respect of letters, was so great. I have but just received yours dated the 2d—and when you will receive mine written from this city somewhat later than the same date, I cannot know. I am sorry to hear that you have been obliged to remain at Marlow; a certain degree of society being almost a necessity of life, particularly as we are not to see you this summer in Italy. But this, I suppose, must be as it is. I often revisit Marlow in thought. The curse of this life is, that whatever is once known, can never be unknown. You inhabit a spot, which before you inhabit it, is as indifferent to you as any other spot upon earth, and when, persuaded by some necessity, you think to leave it, you leave it not; it clings to you—and with memories of things, which, in your experience of them, gave no such promise, revenges your desertion. Time flows on, places are changed; friends who were with us, are no longer with us; yet what has been seems yet to be, but barren and stripped of life. See, I have sent you a study for Nightmare Abbey.

Since I last wrote to you we have been to Como, looking for a house. This lake exceeds any thing I ever beheld in beauty, with the exception of the arbutus islands of Killarney. It is long and narrow, and has the appearance of a mighty river winding among the mountains and the forests. We sailed from the town of Como to a tract of country called the Tremezina, and saw the various aspects presented by that part of the lake. The mountains between Como and that village, or rather cluster of villages, are covered on high with chesnut forests (the eating chesnuts, on which the inhabitants of the country subsist in time of scarcity), which sometimes descend to the very verge of the lake, overhanging it with their hoary branches. But usually the immediate border of this shore is composed of laurel-trees, and bay, and myrtle, and wild-fig trees, and olives, which grow in the crevices of the rocks, and overhang the caverns, and shadow the deep glens, which are filled with the flashing light of the waterfalls. Other flowering shrubs, which I cannot name, grow there also. On high, the towers of village churches are seen white among the dark forests. Beyond, on the opposite shore, which faces the south, the mountains descend less precipitously to the lake, and although they are much higher, and some covered with perpetual snow, there intervenes between them and the lake a range of lower hills, which have glens and rifts opening to the other, such as I should fancy the abysses of Ida or Parnassus. Here are plantations of olive, and orange, and lemon-trees, which are now so loaded with fruit, that there is more fruit than leaves,—and vineyards. This shore of the lake is one continued village, and the Milanese nobility have their villas here. The union of culture and the untameable profusion and loveliness of nature is here so close, that the line where they are divided can hardly be discovered. But the finest scenery is that of the Villa Pliniana; so called from a fountain which ebbs and flows every three hours, described by the younger Pliny, which is in the court-yard. This house, which was once a magnificent palace, and is now half in ruins, we are endeavouring to procure. It is built upon terraces raised from the bottom of the lake, together with its garden, at the foot of a semi-circular precipice, overshadowed by profound forests of chesnut. The scene from the colonnade is the most extraordinary, at once, and the most lovely that eye ever beheld. On one side is the mountain, and immediately over you are clusters of cypress-trees of an astonishing height, which seem to pierce the sky. Above you, from among the clouds, as it were, descends a waterfall of immense size, broken by the woody rocks into a thousand channels to the lake. On the other side is seen the blue extent of the lake and the mountains, speckled with sails and spires. The apartments of the Pliniana are immensely large, but ill furnished and antique. The terraces, which overlook the lake, and conduct under the shade of such immense laurel-trees as deserve the epithet of Pythian, are most delightful. We stayed at Como two days, and have now returned to Milan, waiting the issue of our negotiation about a house. Como is only six leagues from Milan, and its mountains are seen from the cathedral.

This cathedral is a most astonishing work of art. It is built of white marble, and cut into pinnacles of immense height, and the utmost delicacy of workmanship, and loaded with sculpture. The effect of it, piercing the solid blue with those groups of dazzling spires, relieved by the serene depth of this Italian heaven, or by moonlight when the stars seem gathered among those clustered shapes, is beyond any thing I had imagined architecture capable of producing. The interior, though very sublime, is of a more earthly character, and with its stained glass and massy granite columns overloaded with antique figures, and the silver lamps, that burn forever under the canopy of black cloth beside the brazen altar and the marble fretwork of the dome, give it the aspect of some gorgeous sepulchre. There is one solitary spot among those aisles, behind the altar, where the light of day is dim and yellow under the storied window, which I have chosen to visit, and read Dante there.

I have devoted this summer, and indeed the next year, to the composition of a tragedy on the subject of Tasso’s madness, which I find upon inspection is, if properly treated, admirably dramatic and poetical. But, you will say, I have no dramatic talent; very true, in a certain sense; but I have taken the resolution to see what kind of a tragedy a person without dramatic talent could write. It shall be better morality than Fazio, and better poetry than Bertram, at least. You tell me nothing of Rhododaphne, a book from which, I confess, I expected extraordinary success.

Who lives in my house at Marlow now, or what is to be done with it? I am seriously persuaded that the situation was injurious to my health, or I should be tempted to feel a very absurd interest in who is to be its next possessor. The expense of our journey here has been very considerable—but we are now living at the hotel here, in a kind of pension, which is very reasonable in respect of price, and when we get into a ménage of our own, we have every reason to expect that we shall experience something of the boasted cheapness of Italy. The finest bread, made of a sifted flour, the whitest and the best I ever tasted, is only one English penny a pound. All the necessaries of life bear a proportional relation to this. But then the luxuries, tea, &c., are very dear,—and the English, as usual, are cheated in a way that is quite ridiculous, if they have not their wits about them. We do not know a single human being, and the opera, until last night, has been always the same. Lord Byron, we hear, has taken a house for three years, at Venice; whether we shall see him or not, I do not know. The number of English who pass through this town is very great. They ought to be in their own country in the present crisis. Their conduct is wholly inexcusable. The people here, though inoffensive enough, seem both in body and soul a miserable race. The men are hardly men; they look like a tribe of stupid and shrivelled slaves, and I do not think that I have seen a gleam of intelligence in the countenance of man since I passed the Alps. The women in enslaved countries are always better than the men; but they have tight-laced figures, and figures and mien which express (O how unlike the French!) a mixture of the coquette and prude, which reminds me of the worst characteristics of the English. Everything but humanity is in much greater perfection here than in France. The cleanliness and comfort of the inns is something quite English. The country is beautifully cultivated; and altogether, if you can, as one ought always to do, find your happiness in yourself, it is a most delightful and commodious place to live in.

Adieu.—Your affectionate friend, P. B. S.

TO THOMAS LOVE PEACOCK.

Milan, April 30th, 1818.

My dear Peacock,

I write, simply to tell you, to direct your next letters, Poste Restante, Pisa. We have engaged a vetturino for that city, and leave Milan to-morrow morning. Our journey will occupy six or seven days.

Pisa is not six miles from the Mediterranean, with which it communicates by the river Arno. We shall pass by Piacenza, Parma, Bologna, the Apennines, and Florence, and I will endeavour to tell you something of these celebrated places in my next letter; but I cannot promise much, for, though my health is much improved, my spirits are unequal, and seem to desert me when I attempt to write.

Pisa, they say, is uninhabitable in the midst of summer—we shall do, therefore, what other people do, retire to Florence, or to the mountains. But I will write to you our plans from Pisa, when I shall understand them better myself.

You may easily conjecture the motives which led us to forego the divine solitude of Como. To me, whose chief pleasure in life is the contemplation of nature, you may imagine how great is this loss.

Let us hear from you once a fortnight. Do not forget those who do not forget you.

Adieu.—Ever most sincerely yours, P. B. Shelley.

TO THOMAS LOVE PEACOCK.

Livorno, June 5, 1818.

My dear Peacock,

We have not heard from you since the middle of April—that is, we have received only one letter from you since our departure from England. It necessarily follows that some accident has intercepted them. Address, in future, to the care of Mr. Gisborne, Livorno—and I shall receive them, though sometimes somewhat circuitously, yet always securely.

We left Milan on the first of May, and travelled across the Apennines to Pisa. This part of the Apennine is far less beautiful than the Alps; the mountains are wide and wild, and the whole scenery broad and undetermined—the imagination cannot find a home in it. The plain of the Milanese, and that of Parma, is exquisitely beautiful—it is like one garden, or rather cultivated wilderness; because the corn and the meadow-grass grow under high and thick trees, festooned to one another by regular festoons of vines. On the seventh day we arrived at Pisa, where we remained three or four days. A large disagreeable city, almost without inhabitants. We then proceeded to this great trading town, where we have remained a month, and which, in a few days, we leave for the Bagni di Lucca, a kind of watering-place situated in the depth of the Apennines; the scenery surrounding this village is very fine.

We have made some acquaintance with a very amiable and acccomplished lady, Mrs. Gisborne, who is the sole attraction in this most unattractive of cities. We had no idea of spending a month here, but she has made it even agreeable. We shall see something of Italian society at the Bagni di Lucca, where the most fashionable people resort.

When you send my parcel—which, by-the-bye, I should request you to direct to Mr. Gisborne—I wish you could contrive to enclose the two last parts of Clarke’s Travels, relating to Greece, and belonging to Hookham. You know I subscribe there still—and I have determined to take the Examiner here. You would, therefore, oblige me, by sending it weekly, after having read it yourself, to the same direction, and so clipped, as to make as little weight as possible.

I write as if writing where perhaps my letter may never arrive.

With every good wish from all of us, Believe me most sincerely yours, P. B. S.

TO MR. AND MRS. GISBORNE

(LEGHORN).

Bagni di Lucca, July 10th, 1818.

You cannot know, as some friends in England do, to whom my silence is still more inexcusable, that this silence is no proof of forgetfulness or neglect.

I have, in truth, nothing to say, but that I shall be happy to see you again, and renew our delightful walks, until the desire or the duty of seeing new things hurries us away. We have spent a month here in our accustomed solitude, with the exception of one night at the Casino; and the choice society of all ages, which I took care to pack up in a large trunk before we left England, have revisited us here. I am employed just now, having little better to do, in translating into my fainting and inefficient periods, the divine eloquence of Plato’s Symposium; only as an exercise, or, perhaps, to give Mary some idea of the manners and feelings of the Athenians—so different on many subjects from that of any other community that ever existed.

We have almost finished Ariosto—who is entertaining and graceful, and sometimes a poet. Forgive me, worshippers of a more equal and tolerant divinity in poetry, if Ariosto pleases me less than you. Where is the gentle seriousness, the delicate sensibility, the calm and sustained energy, without which true greatness cannot be? He is so cruel, too, in his descriptions; his most prized virtues are vices almost without disguise. He constantly vindicates and embellishes revenge in its grossest form; the most deadly superstition that ever infested the world. How different from the tender and solemn enthusiasm of Petrarch—or even the delicate moral sensibility of Tasso, though somewhat obscured by an assumed and artificial style.

We read a good deal here—and we read little in Livorno. We have ridden, Mary and I, once only, to a place called Prato Fiorito, on the top of the mountains: the road, winding through forests, and over torrents, and on the verge of green ravines, affords scenery magnificently fine. I cannot describe it to you, but bid you, though vainly, come and see. I take great delight in watching the changes of the atmosphere here, and the growth of the thunder showers with which the noon is often overshadowed, and which break and fade away towards evening into flocks of delicate clouds. Our fire-flies are fading away fast; but there is the planet Jupiter, who rises majestically over the rift in the forest-covered mountains to the south, and the pale summer lightning which is spread out every night, at intervals, over the sky. No doubt Providence has contrived these things, that, when the fire-flies go out, the low-flying owl may see her way home.

Remember me kindly to the Machinista.

With the sentiment of impatience until we see you again in the autumn,

I am, yours most sincerely, P. B. Shelley.

TO WILLIAM GODWIN.

Bagni di Lucca, July 25th, 1818.

My dear Godwin,

We have, as yet, seen nothing of Italy which marks it to us as the habitation of departed greatness. The serene sky, the magnificent scenery, the delightful productions of the climate, are known to us, indeed, as the same with those which the ancients enjoyed. But Rome and Naples—even Florence, are yet to see; and if we were to write you at present a history of our impressions, it would give you no idea that we lived in Italy.

I am exceedingly delighted with the plan you propose of a book, illustrating the character of our calumniated republicans. It is precisely the subject for Mary, and I imagine, that, but for the fear of being excited to refer to books not within her reach, she would attempt to begin it here, and order the works you notice. I am unfortunately little skilled in English history, and the interest which it excites in me is so feeble, that I find it a duty to attain merely to that general knowledge of it which is indispensable.

Mary has just finished Ariosto with me, and, indeed, has attained a very competent knowledge of Italian. She is now reading Livy. I have been constantly occupied in literature, but have written little—except some translations from Plato, in which I exercised myself, in the despair of producing anything original. The Symposium of Plato seems to me one of the most valuable pieces of all antiquity, whether we consider the intrinsic merit of the composition, or the light which it throws on the inmost state of manners and opinions among the ancient Greeks. I have occupied myself in translating this, and it has excited me to attempt an Essay upon the cause of some differences in sentiment between the Ancients and Moderns, with respect to the subject of the dialogue.

Two things give us pleasure in your last letters,—the resumption of Malthus, and the favourable turn of the general election. If Ministers do not find some means, totally inconceivable to me, of plunging the nation in war, do you imagine that they can subsist? Peace is all that a country, in the present state of England, seems to require, to afford it tranquillity and leisure for attempting some remedy not to the universal evils of all constituted society, but to the peculiar system of misrule under which those evils have been exasperated now. I wish that I had health or spirits that would enable me to enter into public affairs, or that I could find words to express all that I feel and know.

The modern Italians seem a miserable people, without sensibility, or imagination, or understanding. Their outside is polished, and an intercourse with them seems to proceed with much facility, though it ends in nothing, and produces nothing. The women are particularly empty, and though possessed of the same kind of superficial grace, are devoid of every cultivation and refinement. They have a ball at the Casino here every Sunday, which we attend—but neither Mary nor C—— dance. I do not know whether they refrain from philosophy or protestantism.

I hear that poor Mary’s book is attacked most violently in the Quarterly Review. We have heard some praise of it, and among others, an article of Walter Scott’s in Blackwood’s Magazine.

If you should have anything to send us—and, I assure you, anything relating to England is interesting to us—commit it to the care of Ollier the bookseller, or P***—they send me a parcel every quarter.

My health is, I think, better, and, I imagine, continues to improve; but I still have busy thoughts and dispiriting cares, which I would shake off—and it is now summer.——A thousand good wishes to yourself and your undertakings.

Ever most affectionately yours, P. B. S.

TO MRS. SHELLEY

(BAGNI DI LUCCA).

Florence, Thursday, 11 o’clock. (20th August, 1818.)

Dearest Mary,

We have been delayed in this city four hours, for the Austrian minister’s passport, but are now on the point of setting out with a vetturino, who engages to take us on the third day to Padua; that is, we shall only sleep three nights on the road. * * * * * Yesterday’s journey, performed in a one-horse cabriolet, almost without springs, over a rough road, was excessively fatiguing. *** suffered most from it; for, as to myself, there are occasions in which fatigue seems a useful medicine, as I have felt no pain in my side—a most delightful respite—since I left you. The country was various and exceedingly beautiful. Sometimes there were those low cultivated lands, with their vine festoons, and large bunches of grapes just becoming purple—at others we passed between high mountains, crowned with some of the most majestic Gothic ruins I ever saw, which frowned from the bare precipices, or were half seen among the olive copses. As we approached Florence, the country became cultivated to a very high degree, the plain was filled with the most beautiful villas, and, as far as the eye could reach, the mountains were covered with them; for the plains are bounded on all sides by blue and misty mountains. The vines are here trailed on low trellises of reeds interwoven into crosses to support them, and the grapes, now almost ripe, are exceedingly abundant. You everywhere meet those teams of beautiful white oxen, which are now labouring the little vine-divided fields with their Virgilian ploughs and carts. Florence itself, that is the Lung’ Arno (for I have seen no more), I think is the most beautiful city I have yet seen. It is surrounded with cultivated hills, and from the bridge which crosses the broad channel of the Arno, the view is the most animated and elegant I ever saw. You see three or four bridges, one apparently supported by Corinthian pillars, and the white sails of the boats, relieved by the deep green of the forest, which comes to the water’s edge, and the sloping hills covered with bright villas on every side. Domes and steeples rise on all sides, and the cleanliness is remarkably great. On the other side there are the foldings of the Vale of Arno above; first the hills of olive and vine, then the chesnut woods, and then the blue and misty pine forests, which invest the aerial Apennines, that fade in the distance. I have seldom seen a city so lovely at first sight as Florence.

We shall travel hence within a few hours, with the speed of the post, since the distance is 190 miles, and we are to do it in three days, besides the half day, which is somewhat more than sixty miles a day. We have now got a comfortable carriage and two mules, and, thanks to Paolo, have made a very decent bargain, comprising everything, to Padua. I should say we had delightful fruit for breakfast,—figs, very fine—and peaches, unfortunately gathered before they were ripe, whose smell was like what one fancies of the wakening of Paradise flowers.

Well, my dearest Mary, are you very lonely? Tell me truth, my sweetest, do you ever cry? I shall hear from you once at Venice, and once on my return here. If you love me you will keep up your spirits—and, at all events, tell me truth about it; for, I assure you, I am not of a disposition to be flattered by your sorrow, though I should be by your cheerfulness; and, above all, by seeing such fruits of my absence as were produced when we were at Geneva. What acquaintances have you made? I might have travelled to Padua with a German, who had just come from Rome, and had scarce recovered from a malaria fever, caught in the Pontine Marshes, a week or two since; and I conceded to ***’s entreaties—and to your absent suggestions, and omitted the opportunity, although I have no great faith in such species of contagion. It is not very hot—not at all too much so for my sensations, and the only thing that incommodes me are the gnats at night, who roar like so many humming tops in one’s ear—and I do not always find zanzariere. How is Willmouse and little Clara? They must be kissed for me—and you must particularly remember to speak my name to William, and see that he does not quite forget me before I return. Adieu—my dearest girl, I think that we shall soon meet. I shall write again from Venice. Adieu, dear Mary!

I have been reading the “Noble Kinsmen,” in which, with the exception of that lovely scene, to which you added so much grace in reading to me, I have been disappointed. The Jailor’s Daughter is a poor imitation, and deformed. The whole story wants moral discrimination and modesty. I do not believe Shakespeare wrote a word of it.

TO MRS. SHELLEY

(BAGNI DI LUCCA).

Venice, Sunday morning. (August 23rd, 1818.)

My dearest Mary,

We arrived here last night at twelve o’clock, and it is now before breakfast the next morning. I can, of course, tell you nothing of the future; and though I shall not close this letter till post time, yet I do not know exactly when that is. Yet, if you are very impatient, look along the letter and you will see another date, when I may have something to relate.

I came from Padua hither in a gondola, and the gondoliere, among other things, without any hint on my part, began talking of Lord Byron. He said he was a giovinotto Inglese, with a nome stravagante, who lived very luxuriously, and spent great sums of money. This man, it seems, was one of Lord Byron’s gondolieri. No sooner had we arrived at the inn, than the waiter began talking about him—said, that he frequented Mrs. H.’s conversazioni very much.

Our journey from Florence to Padua contained nothing which may not be related another time. At Padua, as I said, we took a gondola—and left it at three o’clock. These gondolas are the most beautiful and convenient boats in the world. They are finely carpeted and furnished with black, and painted black. The couches on which you lean are extraordinarily soft, and are so disposed as to be the most comfortable to those who lean or sit. The windows have at will either venetian plate-glass flowered, or venetian blinds, or blinds of black cloth to shut out the light. The weather here is extremely cold—indeed, sometimes very painfully so, and yesterday it began to rain. We passed the laguna in the middle of the night in a most violent storm of wind, rain, and lightning. It was very curious to observe the elements above in a state of such tremendous convulsion, and the surface of the water almost calm; for these lagunas, though five miles broad, a space enough in a storm to sink a gondola, are so shallow that the boatmen drive the boat along with a pole. The sea-water, furiously agitated by the wind, shone with sparkles like stars. Venice, now hidden and now disclosed by the driving rain, shone dimly with its lights. We were all this while safe and comfortable. Well, adieu, dearest: I shall, as Miss Byron says,[16] resume the pen in the evening.

Sunday Night, 5 o’clock in the Morning.

Well, I will try to relate everything in its order.

At three o’clock I called on Lord Byron: he was delighted to see me.

He took me in his gondola across the laguna to a long sandy island, which defends Venice from the Adriatic. When we disembarked, we found his horses waiting for us, and we rode along the sands of the sea, talking. Our conversation consisted in histories of his wounded feelings, and questions as to my affairs, and great professions of friendship and regard for me. He said, that if he had been in England at the time of the Chancery affair, he would have moved heaven and earth to have prevented such a decision. We talked of literary matters, his Fourth Canto, which, he says, is very good, and indeed repeated some stanzas of great energy to me. When we returned to his palace—which,

(The letter is here torn.)

The Hoppners are the most amiable people I ever knew. They are much attached to each other, and have a nice little boy, seven months old. Mr. H. paints beautifully, and this excursion, which he has just put off, was an expedition to the Julian Alps, in this neighbourhood—for the sake of sketching, to procure winter employment. He has only a fortnight’s leisure, and he has sacrificed two days of it to strangers whom he never saw before. Mrs. H. has hazel eyes and sweet looks.

(Paper torn.)

Well, but the time presses, I am now going to the banker’s to send you money for the journey, which I shall address to you at Florence, Post-office. Pray come instantly to Este, where I shall be waiting in the utmost anxiety for your arrival. You can pack up directly you get this letter, and employ the next day on that. The day after, get up at four o’clock, and go post to Lucca, where you will arrive at six. Then take a vetturino for Florence to arrive the same evening. From Florence to Este is three days’ vetturino journey—and you could not, I think, do it quicker by the post. Make Paolo take you to good inns, as we found very bad ones, and pray avoid the Tre Mori at Bologna, perche vi sono cose inespressibili nei letti. I do not think you can, but try to get from Florence to Bologna in one day. Do not take the post, for it is not much faster, and very expensive. I have been obliged to decide on all these things without you: I have done for the best—and, my own beloved Mary, you must soon come and scold me if I have done wrong, and kiss me if I have done right—for, I am sure, I do not know which—and it is only the event that can show. We shall at least be saved the trouble of introduction, and have formed acquaintance with a lady who is so good, so beautiful, so angelically mild, that were she as wise too, she would be quite a ***. Her eyes are like a reflection of yours. Her manners are like yours when you know and like a person.

Do you know, dearest, how this letter was written? By scraps and patches, and interrupted every minute. The gondola is now come to take me to the banker’s. Este is a little place, and the house found without difficulty. I shall count four days for this letter: one day for packing, four for coming here—and on the ninth or tenth day we shall meet.

I am too late for the post—but I send an express to overtake it. Enclosed is an order for fifty pounds. If you knew all that I had to do!—

Dearest love, be well, be happy, come to me—confide in your own constant and affectionate,

P. B. S.

Kiss the blue-eyed darlings for me, and do not let William forget me. Clara cannot recollect me.

TO MRS. SHELLEY

(I Cappuccini—Este).

Padua, mezzogiorno. (Sept. 22, 1818.)

My best Mary,

I found at Mount Selice a favourable opportunity for going to Venice, where I shall try to make some arrangement for you and little Ca.[17] to come for some days, and shall meet you, if I do not write anything in the mean time, at Padua, on Thursday morning. C. says she is obliged to come to see the Medico, whom we missed this morning, and who has appointed as the only hour at which he can be at leisure—half-past eight in the morning. You must, therefore, arrange matters so that you should come to the Stella d’Oro a little before that hour—a thing to be accomplished only by setting out at half-past three in the morning. You will by this means arrive at Venice very early in the day, and avoid the heat, which might be bad for the babe, and take the time, when she would at least sleep great part of the time. C. will return with the return carriage, and I shall meet you, or send to you at Padua.

Meanwhile remember Charles the First—and do you be prepared to bring at least some of Myrra translated; bring the book also with you, and the sheets of “Prometheus Unbound,” which you will find numbered from one to twenty-six on the table of the pavilion. My poor little Clara, how is she to-day? Indeed I am somewhat uneasy about her, and though I feel secure that there is no danger, it would be very comfortable to have some reasonable person’s opinion about her. The Medico at Padua is certainly a man in great practice, but I confess he does not satisfy me.

Am I not like a wild swan to be gone so suddenly? But, in fact, to set off alone to Venice required an exertion. I felt myself capable of making it, and I knew that you desired it. What will not be—if so it is destined—the lonely journey through that wide, cold France? But we shall see.

Adieu, my dearest love—remember Charles I. and Myrra. I have been already imagining how you will conduct some scenes. The second volume of “St Leon” begins with this proud and true sentiment—“There is nothing which the human mind can conceive, which it may not execute.” Shakespeare was only a human being.

Adieu till Thursday. Your ever affectionate

P. B. S.

TO THOMAS LOVE PEACOCK.

Este, October 8, 1818.

My dear Peacock,

I have not written to you, I think, for six weeks. But I have been on the point of writing many times, and have often felt that I had many things to say. But I have not been without events to disturb and distract me, amongst which is the death of my little girl. She died of a disorder peculiar to the climate. We have all had bad spirits enough, and I, in addition, bad health. I intend to be better soon: there is no malady, bodily or mental, which does not either kill or is killed.

We left the Baths of Lucca, I think, the day after I wrote to you—on a visit to Venice—partly for the sake of seeing the city. We made a very delightful acquaintance there with a Mr. and Mrs. Hoppner, the gentleman an Englishman, and the lady a Swissesse, mild and beautiful, and unprejudiced, in the best sense of the word. The kind attentions of these people made our short stay at Venice very pleasant. I saw Lord Byron, and really hardly knew him again; he is changed into the liveliest and happiest-looking man I ever met. He read me the first canto of his “Don Juan”—a thing in the style of Beppo, but infinitely better, and dedicated to Southey, in ten or a dozen stanzas, more like a mixture of wormwood and verdigris than satire. Venice is a wonderfully fine city. The approach to it over the laguna, with its domes and turrets glittering in a long line over the blue waves, is one of the finest architectural delusions in the world. It seems to have—and literally it has—its foundations in the sea. The silent streets are paved with water, and you hear nothing but the dashing of the oars, and the occasional cries of the gondolieri. I heard nothing of Tasso. The gondolas themselves are things of a most romantic and picturesque appearance; I can only compare them to moths of which a coffin might have been the chrysalis. They are hung with black, and painted black, and carpeted with grey; they curl at the prow and stern, and at the former there is a nondescript beak of shining steel, which glitters at the end of its long black mass.

The Doge’s palace, with its library, is a fine monument of aristocratic power. I saw the dungeons, where these scoundrels used to torment their victims. They are of three kinds—one adjoining the place of trial, where the prisoners destined to immediate execution were kept. I could not descend into them, because the day on which I visited it, was festa. Another under the leads of the palace, where the sufferers were roasted to death or madness by the ardours of an Italian sun: and others called the Pozzi—or wells, deep underneath, and communicating with those on the roof by secret passages—where the prisoners were confined sometimes half up to their middles in stinking water. When the French came here, they found only one old man in the dungeons, and he could not speak. But Venice, which was once a tyrant, is now the next worse thing, a slave; for in fact it ceased to be free, or worth our regret as a nation, from the moment that the oligarchy usurped the rights of the people. Yet, I do not imagine that it was ever so degraded as it has been since the French, and especially the Austrian yoke. The Austrians take sixty per cent. in taxes, and impose free quarters on the inhabitants. A horde of German soldiers, as vicious and more disgusting than the Venetians themselves, insult these miserable people. I had no conception of the excess to which avarice, cowardice, superstition, ignorance, passionless lust, and all the inexpressible brutalities which degrade human nature, could be carried, until I had passed a few days at Venice.

We have been living this last month near the little town from which I date this letter, in a very pleasant villa which has been lent to us, and we are now on the point of proceeding to Florence, Rome, and Naples—at which last city we shall spend the winter, and return northwards in the spring. Behind us here are the Euganean hills, not so beautiful as those of the Bagni di Lucca, with Arquà, where Petrarch’s house and tomb are religiously preserved and visited. At the end of our garden is an extensive Gothic castle, now the habitation of owls and bats, where the Medici family resided before they came to Florence. We see before us the wide flat plains of Lombardy, in which we see the sun and moon rise and set, and the evening star, and all the golden magnificence of autumnal clouds. But I reserve wonder for Naples.

I have been writing—and indeed have just finished the first act of a lyric and classical drama, to be called “Prometheus Unbound.” Will you tell me what there is in Cicero about a drama supposed to have been written by Æschylus under this title?

I ought to say that I have just read Malthus in a French translation. Malthus is a very clever man, and the world would be a great gainer if it would seriously take his lessons into consideration, if it were capable of attending seriously to anything but mischief—but what on earth does he mean by some of his inferences?

Yours ever faithfully, P. B. S.

I will write again from Rome and Florence—in better spirits, and to more agreeable purpose, I hope. You saw those beautiful stanzas in the fourth canto[18] about the Nymph Egeria. Well, I did not whisper a word about nympholepsy: I hope you acquit me—and I hope you will not carry delicacy so far as to let this suppress anything nympholeptic.

TO THOMAS LOVE PEACOCK.

Ferrara, Nov. 8th, 1818.

My dear Peacock,

We left Este yesterday on our journey towards Naples. The roads were particularly bad; we have, therefore, accomplished only two days’ journey, of eighteen and twenty-four miles each, and you may imagine that our horses must be tolerably good ones, to drag our carriage, with five people and heavy luggage, through deep and clayey roads. The roads are, however, good during the rest of the way.

The country is flat, but intersected by lines of wood, trellised with vines, whose broad leaves are now stamped with the redness of their decay. Every here and there one sees people employed in agricultural labours, and the plough, the harrow, or the cart, drawn by long teams of milk-white or dove-coloured oxen of immense size and exquisite beauty. This, indeed, might be the country of Pasiphaes. In one farm-yard I was shown sixty-three of these lovely oxen, tied to their stalls, in excellent condition. A farm-yard in this part of Italy is somewhat different from one in England. First, the house, which is large and high, with strange-looking unpainted window-shutters, generally closed, and dreary beyond conception. The farm-yard and out-buildings, however, are usually in the neatest order. The threshing-floor is not under cover, but like that described in the Georgics, usually flattened by a broken column, and neither the mole, nor the toad, nor the ant, can find on its area a crevice for their dwelling. Around it, at this season, are piled the stacks of the leaves and stalks of Indian corn, which has lately been threshed and dried upon its surface. At a little distance are vast heaps of many-coloured zucchi or pumpkins, some of enormous size, piled as winter food for the hogs. There are turkeys, too, and fowls wandering about, and two or three dogs, who bark with a sharp hylactism. The people who are occupied with the care of these things seem neither ill-clothed nor ill-fed, and the blunt incivility of their manners has an English air with it, very discouraging to those who are accustomed to the impudent and polished lying of the inhabitants of the cities. I should judge the agricultural resources of this country to be immense, since it can wear so flourishing an appearance, in spite of the enormous discouragements which the various tyranny of the governments inflicts on it. I ought to say that one of the farms belongs to a Jew banker at Venice, another Shylock.—We arrived late at the inn where I now write; it was once the palace of a Venetian nobleman, and is now an excellent inn. To-morrow we are going to see the sights of Ferrara.

Nov. 9.

We have had heavy rain and thunder all night; and the former still continuing, we went in the carriage about the town. We went first to look at the cathedral, but the beggars very soon made us sound a retreat; so, whether, as it is said, there is a copy of a picture of Michael Angelo there or no, I cannot tell. At the public library we were more successful. This is, indeed, a magnificent establishment, containing, as they say, 160,000 volumes. We saw some illuminated manuscripts of church music, with the verses of the psalms interlined between the square notes, each of which consisted of the most delicate tracery, in colours inconceivably vivid. They belonged to the neighbouring convent of Certolda, and are three or four hundred years old; but their hues are as fresh as if they had been executed yesterday. The tomb of Ariosto occupies one end of the largest saloon of which the library is composed; it is formed of various marbles, surmounted by an expressive bust of the poet, and subscribed with a few Latin verses, in a less miserable taste than those usually employed for similar purposes. But the most interesting exhibitions here, are the writings, &c., of Ariosto and Tasso, which are preserved, and were concealed from the undistinguishing depredations of the French with pious care. There is the arm-chair of Ariosto, an old plain wooden piece of furniture, the hard seat of which was once occupied by, but has now survived its cushion, as it has its master. I could fancy Ariosto sitting in it; and the satires in his own handwriting which they unfold beside it, and the old bronze inkstand, loaded with figures, which belonged also to him, assists the willing delusion. This inkstand has an antique, rather than an ancient appearance. Three nymphs lean forth from the circumference, and on the top of the lid stands a cupid, winged and looking up, with a torch in one hand, his bow in the other, and his quiver beside him. A medal was bound round the skeleton of Ariosto, with his likeness impressed upon it. I cannot say I think it had much native expression, but, perhaps, the artist was in fault. On the reverse is a hand, cutting with a pair of scissors the tongue from a serpent, upraised from the grass, with this legend—Pro bono malum. What this reverse of the boasted Christian maxim means, or how it applies to Ariosto, either as a satirist or a serious writer, I cannot exactly tell. The cicerone attempted to explain, and it is to his commentary that my bewildering is probably due—if, indeed, the meaning be very plain, as is possibly the case.

There is here a manuscript of the entire Gerusalemme Liberata, written by Tasso’s own hand; a manuscript of some poems, written in prison, to the Duke Alfonso; and the satires of Ariosto, written also by his own hand; and the Pastor Fido of Guarini. The Gerusalemme, though it had evidently been copied and recopied, is interlined, particularly towards the end, with numerous corrections. The handwriting of Ariosto is a small, firm, and pointed character, expressing, as I should say, a strong and keen, but circumscribed energy of mind; that of Tasso is large, free, and flowing, except that there is a checked expression in the midst of its flow, which brings the letters into a smaller compass than one expected from the beginning of the word. It is the symbol of an intense and earnest mind, exceeding at times its own depth, and admonished to return by the chillness of the waters of oblivion striking upon its adventurous feet. You know I always seek in what I see the manifestation of something beyond the present and tangible object; and as we do not agree in physiognomy, so we may not agree now. But my business is to relate my own sensations, and not to attempt to inspire others with them. Some of the MSS. of Tasso were sonnets to his persecutor, which contain a great deal of what is called flattery. If Alfonso’s ghost were asked how he felt those praises now, I wonder what he would say. But to me there is much more to pity than to condemn in these entreaties and praises of Tasso. It is as a bigot prays to and praises his god, whom he knows to be the most remorseless, capricious, and inflexible of tyrants, but whom he knows also to be omnipotent. Tasso’s situation was widely different from that of any persecuted being of the present day; for, from the depth of dungeons, public opinion might now at length be awakened to an echo that would startle the oppressor. But then there was no hope. There is something irresistibly pathetic to me in the sight of Tasso’s own handwriting, moulding expressions of adulation and entreaty to a deaf and stupid tyrant, in an age when the most heroic virtue would have exposed its possessor to hopeless persecution, and—such is the alliance between virtue and genius—which unoffending genius could not escape.

We went afterwards to see his prison in the hospital of Sant’ Anna, and I enclose you a piece of the wood of the very door, which for seven years and three months divided this glorious being from the air and the light which had nourished in him those influences which he has communicated, through his poetry, to thousands. The dungeon is low and dark, and, when I say that it is really a very decent dungeon, I speak as one who has seen the prisons in the Doge’s palace of Venice. But it is a horrible abode for the coarsest and meanest thing that ever wore the shape of man, much more for one of delicate susceptibilities and elevated fancies. It is low, and has a grated window, and being sunk some feet below the level of the earth, is full of unwholesome damps. In the darkest corner is a mark in the wall where the chains were rivetted, which bound him hand and foot. After some time, at the instance of some Cardinal, his friend, the Duke allowed his victim a fireplace; the mark where it was walled up yet remains.

At the entrance of the Liceo, where the library is, we were met by a penitent; his form was completely enveloped in a ghost-like drapery of white flannel; his bare feet were sandalled; and there was a kind of net-work visor drawn over his eyes, so as entirely to conceal his face. I imagine that this man had been adjudged to suffer this penance for some crime known only to himself and his confessor, and this kind of exhibition is a striking instance of the power of the Catholic superstition over the human mind. He passed, rattling his wooden box for charity.

Adieu.—You will hear from me again before I arrive at Naples.

Yours, ever sincerely, P. B. S.

TO THOMAS LOVE PEACOCK.

Bologna, Monday, Nov. 9th, 1818.

My dear Peacock,

I have seen a quantity of things here—churches, palaces, statues, fountains, and pictures; and my brain is at this moment like a portfolio of an architect, or a print-shop, or a common-place book. I will try to recollect something of what I have seen; for, indeed, it requires, if it will obey, an act of volition. First, we went to the cathedral, which contains nothing remarkable, except a kind of shrine, or rather a marble canopy, loaded with sculptures, and supported on four marble columns. We went then to a palace—I am sure I forget the name of it—where we saw a large gallery of pictures. Of course, in a picture gallery you see three hundred pictures you forget, for one you remember. I remember, however, an interesting picture by Guido, of the Rape of Proserpine, in which Proserpine casts back her languid and half-unwilling eyes, as it were, to the flowers she had left ungathered in the fields of Enna. There was an exquisitely executed piece of Correggio, about four saints, one of whom seemed to have a pet dragon in a leash. I was told that it was the devil who was bound in that style—but who can make anything of four saints? For what can they be supposed to be about? There was one painting, indeed, by this master, Christ beatified, inexpressibly fine. It is a half figure, seated on a mass of clouds, tinged with an ethereal, rose-like lustre; the arms are expanded; the whole frame seems dilated with expression; the countenance is heavy, as it were, with the weight of the rapture of the spirit; the lips parted, but scarcely parted, with the breath of intense but regulated passion; the eyes are calm and benignant; the whole features harmonised in majesty and sweetness. The hair is parted on the forehead, and falls in heavy locks on each side. It is motionless, but seems as if the faintest breath would move it. The colouring, I suppose, must be very good, if I could remark and understand it. The sky is of a pale aerial orange, like the tints of latest sunset; it does not seem painted around and beyond the figure, but everything seems to have absorbed, and to have been penetrated by its hues. I do not think we saw any other of Correggio, but this specimen gives me a very exalted idea of his powers.

We went to see heaven knows how many more palaces—Ranuzzi, Marriscalchi, Aldobrandi. If you want Italian names for any purpose, here they are; I should be glad of them if I was writing a novel. I saw many more of Guido. One, a Samson drinking water out of an ass’s jaw-bone, in the midst of the slaughtered Philistines. Why he is supposed to do this, God, who gave him this jaw-bone, alone knows—but certain it is, that the painting is a very fine one. The figure of Samson stands in strong relief in the foreground, coloured, as it were, in the hues of human life, and full of strength and elegance. Round him lie the Philistines in all the attitudes of death. One prone, with the slight convulsion of pain just passing from his forehead, whilst on his lips and chin death lies as heavy as sleep. Another leaning on his arm, with his hand, white and motionless, hanging out beyond. In the distance, more dead bodies; and, still further beyond, the blue sea and the blue mountains, and one white and tranquil sail.

There is a Murder of the Innocents, also, by Guido, finely coloured, with much fine expression—but the subject is very horrible, and it seemed deficient in strength—at least, you require the highest ideal energy, the most poetical and exalted conception of the subject, to reconcile you to such a contemplation. There was a Jesus Christ crucified, by the same, very fine. One gets tired, indeed, whatever may be the conception and execution of it, of seeing that monotonous and agonised form for ever exhibited in one prescriptive attitude of torture. But the Magdalen, clinging to the cross, with the look of passive and gentle despair beaming from beneath her bright flaxen hair, and the figure of St. John, with his looks uplifted in passionate compassion; his hands clasped, and his fingers twisting themselves together, as it were, with involuntary anguish; his feet almost writhing up from the ground with the same sympathy; and the whole of this arrayed in colours of a diviner nature, yet most like nature’s self. Of the contemplation of this one would never weary.

There was a “Fortune” too, of Guido; a piece of mere beauty. There was the figure of Fortune on a globe, eagerly proceeding onwards, and Love was trying to catch her back by the hair, and her face was half turned towards him; her long chesnut hair was floating in the stream of the wind, and threw its shadow over her fair forehead. Her hazel eyes were fixed on her pursuer, with a meaning look of playfulness, and a light smile was hovering on her lips. The colours which arrayed her delicate limbs were ethereal and warm.

But, perhaps, the most interesting of all the pictures of Guido which I saw, was a Madonna Lattante. She is leaning over her child, and the maternal feelings with which she is pervaded are shadowed forth on her soft and gentle countenance, and in her simple and affectionate gestures—there is what an unfeeling observer would call a dulness in the expression of her face; her eyes are almost closed; her lip depressed; there is a serious, and even a heavy relaxation, as it were, of all the muscles which are called into action by ordinary emotions; but it is only as if the spirit of love, almost insupportable from its intensity, were brooding over and weighing down the soul, or whatever it is, without which the material frame is inanimate and inexpressive.

There is another painter here, called Franceschini, a Bolognese, who, though certainly very inferior to Guido, is yet a person of excellent powers. One entire church, that of Santa Catarina, is covered by his works. I do not know whether any of his pictures have ever been seen in England. His colouring is less warm than that of Guido, but nothing can be more clear and delicate, it is as if he could have dipped his pencil in the hues of some serenest and star-shining twilight. His forms have the same delicacy and aerial loveliness; their eyes are all bright with innocence and love; their lips scarce divided by some gentle and sweet emotion. His winged children are the loveliest ideal beings ever created by the human mind. These are generally, whether in the capacity of Cherubim or Cupid, accessories to the rest of the picture; and the underplot of their lovely and infantine play is something almost pathetic, from the excess of its unpretending beauty. One of the best of his pieces is an Annunciation of the Virgin; the Angel is beaming in beauty; the Virgin, soft, retiring, and simple.

We saw besides one picture of Raphael—St. Cecilia: this is in another and higher style; you forget that it is a picture as you look at it; and yet it is most unlike any of those things which we call reality. It is of the inspired and ideal kind, and seems to have been conceived and executed in a similar state of feeling to that which produced among the ancients those perfect specimens of poetry and sculpture which are the baffling models of succeeding generations. There is a unity and a perfection in it of an incommunicable kind. The central figure, St. Cecilia, seems rapt in such inspiration as produced her image in the painter’s mind; her deep, dark, eloquent eyes lifted up; her chesnut hair flung back from her forehead—she holds an organ in her hands—her countenance, as it were, calmed by the depth of its passion and rapture, and penetrated throughout with the warm and radiant light of life. She is listening to the music of heaven, and, as I imagine, has just ceased to sing, for the four figures that surround her evidently point, by their attitudes, towards her; particularly St. John, who, with a tender yet impassioned gesture, bends his countenance towards her, languid with the depth of his emotion. At her feet lie various instruments of music, broken and unstrung. Of the colouring I do not speak; it eclipses nature, yet it has all her truth and softness.

We saw some pictures of Domenichino, Carracci, Albano, Guercino, Elisabetta Sirani. The two former, remember, I do not pretend to taste—I cannot admire. Of the latter there are some beautiful Madonnas. There are several of Guercino, which they said were very fine. I dare say they were, for the strength and complication of his figures made my head turn round. One, indeed, was certainly powerful. It was the representation of the founder of the Carthusians exercising his austerities in the desert, with a youth as his attendant, kneeling beside him at an altar: on another altar stood a skull and a crucifix; and around were the rocks and the trees of the wilderness. I never saw such a figure as this fellow. His face was wrinkled like a dried snake’s skin, and drawn in long hard lines: his very hands were wrinkled. He looked like an animated mummy. He was clothed in a loose dress of death-coloured flannel, such as you might fancy a shroud might be, after it had wrapt a corpse a month or two. It had a yellow, putrefied, ghastly hue, which it cast on all the objects around, so that the hands and face of the Carthusian and his companion were jaundiced by this sepulchral glimmer. Why write books against religion, when we may hang up such pictures? But the world either will not or cannot see. The gloomy effect of this was softened, and, at the same time, its sublimity diminished, by the figure of the Virgin and Child in the sky, looking down with admiration on the monk, and a beautiful flying figure of an angel.

Enough of pictures. I saw the place where Guido and his mistress, Elisabetta Sirani, were buried. This lady was poisoned at the age of twenty-six, by another lover, a rejected one, of course. Our guide said she was very ugly, and that we might see her portrait to-morrow.

Well, good-night, for the present. “To-morrow to fresh fields and pastures new.”

Nov. 10.

To-day we first went to see those divine pictures of Raffael and Guido again, and then rode up the mountains, behind this city, to visit a chapel dedicated to the Madonna. It made me melancholy to see that they had been varnishing and restoring some of these pictures, and that even some had been pierced by the French bayonets. These are symptoms of the mortality of man; and, perhaps, few of his works are more evanescent than paintings. Sculpture retains its freshness for twenty centuries—the Apollo and the Venus are as they were. But books are perhaps the only productions of man coeval with the human race. Sophocles and Shakespeare can be produced and reproduced for ever. But how evanescent are paintings, and must necessarily be. Those of Zeuxis and Apelles are no more, and perhaps they bore the same relation to Homer and Æschylus, that those of Guido and Raffael bear to Dante and Petrarch. There is one refuge from the despondency of this contemplation. The material part, indeed, of their works must perish, but they survive in the mind of man, and the remembrances connected with them are transmitted from generation to generation. The poet embodies them in his creations; the systems of philosophers are modelled to gentleness by their contemplation; opinion, that legislator, is infected with their influence; men become better and wiser; and the unseen seeds are perhaps thus sown, which shall produce a plant more excellent even than that from which they fell. But all this might as well be said or thought at Marlow as Bologna.

The chapel of the Madonna is a very pretty Corinthian building—very beautiful, indeed. It commands a fine view of these fertile plains, the many-folded Apennines, and the city. I have just returned from a moonlight walk through Bologna. It is a city of colonnades, and the effect of moonlight is strikingly picturesque. There are two towers here—one 400 feet high—ugly things, built of brick, which lean both different ways; and with the delusion of moonlight shadows, you might almost fancy that the city is rocked by an earthquake. They say they were built so on purpose; but I observe in all the plain of Lombardy the church towers lean.

Adieu.—God grant you patience to read this long letter, and courage to support the expectation of the next. Pray part them from the Cobbetts on your breakfast table—they may fight it out in your mind.

Yours ever, most sincerely, P. B. S.

TO THOMAS LOVE PEACOCK.

Rome, November 20th, 1818.

My dear Peacock,

Behold me in the capital of the vanished world. But I have seen nothing except St. Peter’s and the Vatican, overlooking the city in the mist of distance, and the Dogana, where they took us to have our luggage examined, which is built between the ruins of a temple to Antoninus Pius. The Corinthian columns rise over the dwindled palaces of the modern town, and the wrought cornice is changed on one side, as it were, to masses of wave-worn precipice, which overhang you, far, far on high.

I take advantage of this rainy evening, and before Rome has effaced all other recollections, to endeavour to recall the vanished scenes through which we have passed. We left Bologna, I forget on what day, and passing by Rimini, Fano, and Foligno, along the Via Flaminia and Terni, have arrived at Rome after ten days’ somewhat tedious, but most interesting, journey. The most remarkable things we saw were the Roman excavations in the rock, and the great waterfall of Terni. Of course you have heard that there are a Roman bridge and a triumphal arch at Rimini, and in what excellent taste they are built. The bridge is not unlike the Strand bridge, but more bold in proportion, and of course infinitely smaller. From Fano we left the coast of the Adriatic, and entered the Apennines, following the course of the Metaurus, the banks of which were the scene of the defeat of Asdrubal: and it is said (you can refer to the book) that Livy has given a very exact and animated description of it. I forget all about it, but shall look as soon as our boxes are opened. Following the river, the vale contracts, the banks of the river become steep and rocky, the forests of oak and ilex which overhang its emerald-coloured stream, cling to their abrupt precipices. About four miles from Fossombrone, the river forces for itself a passage between the walls and toppling precipices of the loftiest Apennines, which are here rifted to their base, and undermined by the narrow and tumultuous torrent. It was a cloudy morning, and we had no conception of the scene that awaited us. Suddenly the low clouds were struck by the clear north wind, and like curtains of the finest gauze, removed one by one, were drawn from before the mountain, whose heaven-cleaving pinnacles and black crags overhanging one another, stood at length defined in the light of day. The road runs parallel to the river, at a considerable height, and is carried through the mountain by a vaulted cavern. The marks of the chisel of the legionaries of the Roman Consul are yet evident.

We passed on day after day, until we came to Spoleto, I think the most romantic city I ever saw. There is here an aqueduct of astonishing elevation, which unites two rocky mountains,—there is the path of a torrent below, whitening the green dell with its broad and barren track of stones, and above there is a castle, apparently of great strength and of tremendous magnitude, which overhangs the city, and whose marble bastions are perpendicular with the precipice. I never saw a more impressive picture; in which the shapes of nature are of the grandest order, but over which the creations of man, sublime from their antiquity and greatness, seem to predominate. The castle was built by Belisarius or Narses, I forget which, but was of that epoch.

From Spoleto we went to Terni, and saw the cataract of the Velino. The glaciers of Montanvert and the source of the Arveiron is the grandest spectacle I ever saw. This is the second. Imagine a river sixty feet in breadth, with a vast volume of waters, the outlet of a great lake among the higher mountains, falling 300 feet into a sightless gulf of snow-white vapour, which bursts up for ever and for ever from a circle of black crags, and thence leaping downwards, makes five or six other cataracts, each fifty or a hundred feet high, which exhibit, on a smaller scale, and with beautiful and sublime variety, the same appearances. But words (and far less could painting) will not express it. Stand upon the brink of the platform of cliff, which is directly opposite. You see the ever-moving water stream down. It comes in thick and tawny folds, flaking off like solid snow gliding down a mountain. It does not seem hollow within, but without it is unequal, like the folding of linen thrown carelessly down; your eye follows it, and it is lost below; not in the black rocks which gird it around, but in its own foam and spray, in the cloud-like vapours boiling up from below, which is not like rain, nor mist, nor spray, nor foam, but water, in a shape wholly unlike anything I ever saw before. It is as white as snow, but thick and impenetrable to the eye. The very imagination is bewildered in it. A thunder comes up from the abyss wonderful to hear; for, though it ever sounds, it is never the same, but, modulated by the changing motion, rises and falls intermittingly; we passed half an hour in one spot looking at it, and thought but a few minutes had gone by. The surrounding scenery is, in its kind, the loveliest and most sublime that can be conceived. In our first walk we passed through some olive groves, of large and ancient trees, whose hoary and twisted trunks leaned in all directions. We then crossed a path of orange trees by the river side, laden with their golden fruit, and came to a forest of ilex of a large size, whose evergreen and acorn-bearing boughs were intertwined over our winding path. Around, hemming in the narrow vale, were pinnacles of lofty mountains of pyramidical rock clothed with all evergreen plants and trees; the vast pine whose feathery foliage trembled in the blue air, the ilex, that ancestral inhabitant of these mountains, the arbutus with its crimson-coloured fruit and glittering leaves. After an hour’s walk, we came beneath the cataract of Terni, within the distance of half a mile; nearer you cannot approach, for the Nar, which has here its confluence with the Velino, bars the passage. We then crossed the river formed by this confluence, over a narrow natural bridge of rock, and saw the cataract from the platform I first mentioned. We think of spending some time next year near this waterfall. The inn is very bad, or we should have stayed there longer.

We came from Terni last night to a place called Nepi, and to-day arrived at Rome across the much-belied Campagna di Roma, a place I confess infinitely to my taste. It is a flattering picture of Bagshot Heath. But then there are the Apennines on one side, and Rome and St. Peter’s on the other, and it is intersected by perpetual dells clothed with arbutus and ilex.

Adieu—very faithfully yours, P. B. S.

TO THOMAS LOVE PEACOCK.

Naples, December 22, 1818.

My dear Peacock

I have received a letter from you here, dated November 1st; you see the reciprocation of letters from the term of our travels is more slow. I entirely agree with what you say about Childe Harold. The spirit in which it is written is, if insane, the most wicked and mischievous insanity that ever was given forth. It is a kind of obstinate and self-willed folly, in which he hardens himself. I remonstrated with him in vain on the tone of mind from which such a view of things alone arises. For its real root is very different from its apparent one. Nothing can be less sublime than the true source of these expressions of contempt and desperation. The fact is, that first, the Italian women with whom he associates, are perhaps the most contemptible of all who exist under the moon—the most ignorant, the most disgusting, the most bigoted; * * * * an ordinary Englishman cannot approach them. Well, Lord Byron is familiar with the lowest sort of these women, the people his gondolieri pick up in the streets. He associates with wretches who seem almost to have lost the gait and physiognomy of man, and who do not scruple to avow practices, which are not only not named, but I believe seldom even conceived in England. He says he disapproves, but he endures. He is heartily and deeply discontented with himself; and contemplating in the distorted mirror of his own thoughts the nature and the destiny of man, what can he behold but objects of contempt and despair? But that he is a great poet, I think the address to Ocean proves. And he has a certain degree of candour while you talk to him, but unfortunately it does not outlast your departure. No, I do not doubt, and, for his sake, I ought to hope, that his present career must end soon in some violent circumstance.

Since I last wrote to you, I have seen the ruins of Rome, the Vatican, St. Peter’s, and all the miracles of ancient and modern art contained in that majestic city. The impression of it exceeds anything I have ever experienced in my travels. We stayed there only a week, intending to return at the end of February, and devote two or three months to its mines of inexhaustible contemplation, to which period I refer you for a minute account of it. We visited the Forum and the ruins of the Coliseum every day. The Coliseum is unlike any work of human hands I ever saw before. It is of enormous height and circuit, and the arches built of massy stones are piled on one another, and jut into the blue air, shattered into the forms of overhanging rocks. It has been changed by time into the image of an amphitheatre of rocky hills overgrown by the wild olive, the myrtle, and the fig-tree, and threaded by little paths, which wind among its ruined stairs and immeasurable galleries: the copse-wood overshadows you as you wander through its labyrinths, and the wild weeds of this climate of flowers bloom under your feet. The arena is covered with grass, and pierces, like the skirts of a natural plain, the chasms of the broken arches around. But a small part of the exterior circumference remains—it is exquisitely light and beautiful; and the effect of the perfection of its architecture, adorned with ranges of Corinthian pilasters, supporting a bold cornice, is such, as to diminish the effect of its greatness. The interior is all ruin. I can scarcely believe that when encrusted with Dorian marble and ornamented by columns of Egyptian granite its effect could have been so sublime and so impressive as in its present state. It is open to the sky, and it was the clear and sunny weather of the end of November in this climate when we visited it, day after day.

Near it is the arch of Constantine, or rather the arch of Trajan; for the servile and avaricious senate of degraded Rome ordered that the monument of his predecessor should be demolished in order to dedicate one to the Christian reptile, who had crept among the blood of his murdered family to the supreme power. It is exquisitely beautiful and perfect. The Forum is a plain in the midst of Rome, a kind of desert full of heaps of stones and pits, and though so near the habitations of men, is the most desolate place you can conceive. The ruins of temples stand in and around it, shattered columns and ranges of others complete, supporting cornices of exquisite workmanship, and vast vaults of shattered domes distinct with regular compartments, once filled with sculptures of ivory or brass. The temples of Jupiter, and Concord, and Peace, and the Sun, and the Moon, and Vesta, are all within a short distance of this spot. Behold the wrecks of what a great nation once dedicated to the abstractions of the mind! Rome is a city, as it were, of the dead, or rather of those who cannot die, and who survive the puny generations which inhabit and pass over the spot which they have made sacred to eternity. In Rome, at least in the first enthusiasm of your recognition of ancient time, you see nothing of the Italians. The nature of the city assists the delusion, for its vast and antique walls describe a circumference of sixteen miles, and thus the population is thinly scattered over this space, nearly as great as London. Wide wild fields are enclosed within it, and there are grassy lanes and copses winding among the ruins, and a great green hill, lonely and bare, which overhangs the Tiber. The gardens of the modern palaces are like wild woods of cedar, and cypress, and pine, and the neglected walks are overgrown with weeds. The English burying-place is a green slope near the walls, under the pyramidal tomb of Cestius, and is, I think, the most beautiful and solemn cemetery I ever beheld. To see the sun shining on its bright grass, fresh, when we first visited it, with the autumnal dews, and hear the whispering of the wind among the leaves of the trees which have overgrown the tomb of Cestius, and the soil which is stirring in the sun-warm earth, and to mark the tombs, mostly of women and young people who were buried there, one might, if one were to die, desire the sleep they seem to sleep. Such is the human mind, and so it peoples with its wishes vacancy and oblivion.

I have told you little about Rome; but I reserve the Pantheon, and St. Peter’s, and the Vatican, and Raphael, for my return. About a fortnight ago I left Rome, and Mary and C—— followed in three days, for it was necessary to procure lodgings here without alighting at an inn. From my peculiar mode of travelling I saw little of the country, but could just observe that the wild beauty of the scenery and the barbarous ferocity of the inhabitants progressively increased. On entering Naples, the first circumstance that engaged my attention was an assassination. A youth ran out of a shop, pursued by a woman with a bludgeon, and a man armed with a knife. The man overtook him, and with one blow in the neck laid him dead in the road. On my expressing the emotions of horror and indignation which I felt, a Calabrian priest, who travelled with me, laughed heartily, and attempted to quiz me, as what the English call a flat. I never felt such an inclination to beat any one. Heaven knows I have little power, but he saw that I looked extremely displeased, and was silent. This same man, a fellow of gigantic strength and stature, had expressed the most frantic terror of robbers on the road; he cried at the sight of my pistol, and it had been with great difficulty that the joint exertions of myself and the vetturino had quieted his hysterics.

But external nature in these delightful regions contrasts with and compensates for the deformity and degradation of humanity. We have a lodging divided from the sea by the royal gardens, and from our windows we see perpetually the blue waters of the bay, forever changing, yet forever the same, and encompassed by the mountainous island of Capreæ, the lofty peaks which overhang Salerno, and the woody hill of Posilipo, whose promontories hide from us Misenum and the lofty isle Inarime,[19] which, with its divided summit, forms the opposite horn of the bay. From the pleasant walks of the garden we see Vesuvius; a smoke by day and a fire by night is seen upon its summit, and the glassy sea often reflects its light or shadow. The climate is delicious. We sit without a fire, with the windows open, and have almost all the productions of an English summer. The weather is usually like what Wordsworth calls “the first fine day of March;” sometimes very much warmer, though perhaps it wants that “each minute sweeter than before,” which gives an intoxicating sweetness to the awakening of the earth from its winter’s sleep in England. We have made two excursions, one to Baiæ and one to Vesuvius, and we propose to visit, successively, the islands, Pæstum, Pompeii, and Beneventum.

We set off an hour after sunrise one radiant morning in a little boat; there was not a cloud in the sky, nor a wave upon the sea, which was so translucent that you could see the hollow caverns clothed with the glaucous sea-moss, and the leaves and branches of those delicate weeds that pave the unequal bottom of the water. As noon approached, the heat, and especially the light, became intense. We passed Posilipo, and came first to the eastern point of the bay of Puzzoli, which is within the great bay of Naples, and which again encloses that of Baiæ. Here are lofty rocks and craggy islets, with arches and portals of precipice standing in the sea, and enormous caverns, which echoed faintly with the murmur of the languid tide. This is called La Scuola di Virgilio. We then went directly across to the promontory of Misenum, leaving the precipitous island of Nisida on the right. Here we were conducted to see the Mare Morto, and the Elysian fields; the spot on which Virgil places the scenery of the Sixth Æneid, Though extremely beautiful, as a lake, and woody hills, and this divine sky must make it, I confess my disappointment. The guide showed us an antique cemetery, where the niches used for placing the cinerary urns of the dead yet remain. We then coasted the bay of Baiæ to the left, in which we saw many picturesque and interesting ruins; but I have to remark that we never disembarked but we were disappointed—while from the boat the effect of the scenery was inexpressibly delightful. The colours of the water and the air breathe over all things here the radiance of their own beauty. After passing the bay of Baiæ, and observing the ruins of its antique grandeur standing like rocks in the transparent sea under our boat, we landed to visit lake Avernus. We passed through the cavern of the Sibyl (not Virgil’s Sibyl), which pierces one of the hills which circumscribe the lake, and came to a calm and lovely basin of water, surrounded by dark woody hills, and profoundly solitary. Some vast ruins of the temple of Pluto stand on a lawny hill on one side of it, and are reflected in its windless mirror. It is far more beautiful than the Elysian fields—but there are all the materials for beauty in the latter, and the Avernus was once a chasm of deadly and pestilential vapours. About half a mile from Avernus, a high hill, called Monte Novo, was thrown up by volcanic fire.

Passing onward we came to Pozzoli, the ancient Dicæarchea, where there are the columns remaining of a temple to Serapis, and the wreck of an enormous amphitheatre, changed, like the Coliseum, into a natural hill of the overteeming vegetation. Here also is the Solfatara, of which there is a poetical description in the Civil War of Petronius, beginning—“Est locus,”[20] and in which the verses of the poet are infinitely finer than what he describes, for it is not a very curious place. After seeing these things we returned by moonlight to Naples in our boat. What colours there were in the sky, what radiance in the evening star, and how the moon was encompassed by a light unknown to our regions!

Our next excursion was to Vesuvius. We went to Resina in a carriage, where Mary and I mounted mules, and C—— was carried in a chair on the shoulders of four men, much like a member of parliament after he has gained his election, and looking, with less reason, quite as frightened. So we arrived at the hermitage of San Salvador, where an old hermit, belted with rope, set forth the plates for our refreshment.

Vesuvius is, after the glaciers, the most impressive exhibition of the energies of nature I ever saw. It has not the immeasurable greatness, the overpowering magnificence, nor, above all, the radiant beauty of the glaciers; but it has all their character of tremendous and irresistible strength. From Resina to the hermitage you wind up the mountain, and cross a vast stream of hardened lava, which is an actual image of the waves of the sea, changed into hard black stone by enchantment. The lines of the boiling flood seem to hang in the air; and it is difficult to believe that the billows which seem hurrying down upon you are not actually in motion. This plain was once a sea of liquid fire. From the hermitage we crossed another vast stream of lava, and then went on foot up the cone—this is the only part of the ascent in which there is any difficulty, and that difficulty has been much exaggerated. It is composed of rocks of lava, and declivities of ashes; by ascending the former and descending the latter, there is very little fatigue. On the summit is a kind of irregular plain, the most horrible chaos that can be imagined; riven into ghastly chasms, and heaped up with tumuli of great stones and cinders, and enormous rocks blackened and calcined, which had been thrown from the volcano upon one another in terrible confusion. In the midst stands the conical hill from which volumes of smoke, and the fountains of liquid fire, are rolled forth forever. The mountain is at present in a slight state of eruption; and a thick heavy white smoke is perpetually rolled out, interrupted by enormous columns of an impenetrable black bituminous vapour, which is hurled up, fold after fold, into the sky with a deep hollow sound, and fiery stones are rained down from its darkness, and a black shower of ashes fell even where we sat. The lava, like the glacier, creeps on perpetually, with a crackling sound as of suppressed fire. There are several springs of lava; and in one place it gushes precipitously over a high crag, rolling down the half-molten rocks and its own overhanging waves; a cataract of quivering fire. We approached the extremity of one of the rivers of lava; it is about twenty feet in breadth and ten in height; and as the inclined plane was not rapid, its motion was very slow. We saw the masses of its dark exterior surface detach themselves as it moved, and betray the depth of the liquid flame. In the day the fire is but slightly seen; you only observe a tremulous motion in the air, and streams and fountains of white sulphurous smoke.

At length we saw the sun sink between Capreæ and Inarime, and, as the darkness increased, the effect of the fire became more beautiful. We were, as it were, surrounded by streams and cataracts of the red and radiant fire; and in the midst, from the column of bituminous smoke shot up into the air, fell the vast masses of rock, white with the light of their intense heat, leaving behind them through the dark vapour trains of splendour. We descended by torch-light, and I should have enjoyed the scenery on my return, but they conducted me, I know not how, to the hermitage in a state of intense bodily suffering, the worst effect of which was spoiling the pleasure of Mary and C——. Our guides on the occasion were complete savages. You have no idea of the horrible cries which they suddenly utter, no one knows why, the clamour, the vociferation, the tumult. C—— in her palanquin suffered most from it; and when I had gone on before, they threatened to leave her in the middle of the road, which they would have done had not my Italian servant promised them a beating, after which they became quiet. Nothing, however, can be more picturesque than the gestures and the physiognomies of these savage people. And when, in the darkness of night, they unexpectedly begin to sing in chorus some fragments of their wild but sweet national music, the effect is exceedingly fine.

Since I wrote this I have seen the museum of this city. Such statues! There is a Venus; an ideal shape of the most winning loveliness. A Bacchus, more sublime than any living being. A Satyr, making love to a youth, in which the expressed life of the sculpture, and the inconceivable beauty of the form of the youth, overcome one’s repugnance to the subject. There are multitudes of wonderfully fine statues found in Herculaneum and Pompeii. We are going to see Pompeii the first day that the sea is waveless. Herculaneum is almost filled up; no more excavations are made; the king bought the ground and built a palace upon it.

You don’t see much of Hunt. I wish you could contrive to see him when you go to town, and ask him what he means to answer to Lord Byron’s invitation. He has now an opportunity, if he likes, of seeing Italy. What do you think of joining his party, and paying us a visit next year; I mean as soon as the reign of winter is dissolved? Write to me your thoughts upon this. I cannot express to you the pleasure it would give me to welcome such a party.

I have depression enough of spirits and not good health, though I believe the warm air of Naples does me good. We see absolutely no one here.

Adieu, my dear Peacock, affectionately your friend, P. B. S.

FOOTNOTES:

TO THOMAS LOVE PEACOCK.

Naples, Jan. 26th, 1819.

My dear Peacock,

Your two letters arrived within a few days of each other, one being directed to Naples, and the other to Livorno. They are more welcome visitors to me than mine can be to you. I writing as from sepulchres, you from the habitations of men yet unburied; though the sexton, Castlereagh, after having dug their grave, stands with his spade in his hand, evidently doubting whether he will not be forced to occupy it himself. Your news about the bank-note trials is excellent good. Do I not recognise in it the influence of Cobbett? You don’t tell me what occupies Parliament. I know you will laugh at my demand, and assure me that it is indifferent. Your pamphlet I want exceedingly to see. Your calculations in the letter are clear, but require much oral explanation. You know I am an infernal arithmetician. If none but me had contemplated “lucentemque globum lunæ, Titaniaque astra,” the world would yet have doubted whether they were many hundred feet higher than the mountain tops.

In my accounts of pictures and things, I am more pleased to interest you than the many; and this is fortunate, because, in the first place, I have no idea of attempting the latter, and if I did attempt it, I should assuredly fail. A perception of the beautiful characterizes those who differ from ordinary men, and those who can perceive it would not buy enough to pay the printer. Besides, I keep no journal, and the only records of my voyage will be the letters I send you. The bodily fatigue of standing for hours in galleries exhausts me; I believe that I don’t see half that I ought, on that account. And, then, we know nobody, and the common Italians are so sullen and stupid, it’s impossible to get information from them. At Rome, where the people seem superior to any in Italy, I cannot fail to stumble on something more. O, if I had health, and strength, and equal spirits, what boundless intellectual improvement might I not gather in this wonderful country! At present I write little else but poetry, and little of that. My first act of Prometheus is complete, and I think you would like it. I consider poetry very subordinate to moral and political science, and if I were well, certainly I would aspire to the latter, for I can conceive a great work, embodying the discoveries of all ages, and harmonizing the contending creeds by which mankind have been ruled. Far from me is such an attempt, and I shall be content, by exercising my fancy, to amuse myself, and perhaps some others, and cast what weight I can into the scale of that balance, which the Giant of Arthegall holds.

Since you last heard from me, we have been to see Pompeii, and are waiting now for the return of spring weather, to visit, first, Pæstum, and then the islands; after which we shall return to Rome. I was astonished at the remains of this city; I had no conception of anything so perfect yet remaining. My idea of the mode of its destruction was this:—First, an earthquake shattered it, and unroofed almost all its temples, and split its columns; then a rain of light, small pumice-stones fell; then torrents of boiling water, mixed with ashes, filled up all its crevices. A wide, flat hill, from which the city was excavated, is now covered by thick woods, and you see the tombs and the theatres, the temples and the houses, surrounded by the uninhabited wilderness. We entered the town from the side towards the sea, and first saw two theatres; one more magnificent than the other, strewn with the ruins of the white marble which formed their seats and cornices, wrought with deep, bold sculpture. In the front, between the stage and the seats, is the circular space, occasionally occupied by the chorus. The stage is very narrow, but long, and divided from this space by a narrow enclosure parallel to it, I suppose for the orchestra. On each side are the consuls’ boxes, and below, in the theatre at Herculaneum, were found two equestrian statues of admirable workmanship, occupying the same place as the great bronze lamps did at Drury Lane. The smallest of the theatres is said to have been comic, though I should doubt. From both you see, as you sit on the seats, a prospect of the most wonderful beauty.

You then pass through the ancient streets; they are very narrow, and the houses rather small, but all constructed on an admirable plan, especially for this climate. The rooms are built round a court, or sometimes two, according to the extent of the house. In the midst is a fountain, sometimes surrounded with a portico, supported on fluted columns of white stucco; the floor is paved with mosaic, sometimes wrought in imitation of vine leaves, sometimes in quaint figures, and more or less beautiful, according to the rank of the inhabitant. There were paintings on all, but most of them have been removed to decorate the royal museums. Little winged figures, and small ornaments of exquisite elegance, yet remain. There is an ideal life in the forms of these paintings of an incomparable loveliness, though most are evidently the work of very inferior artists. It seems as if, from the atmosphere of mental beauty which surrounded them, every human being caught a splendour not his own. In one house you see how the bed-rooms were managed;—a small sofa was built up, where the cushions were placed; two pictures, one representing Diana and Endymion, the other Venus and Mars, decorate the chamber; and a little niche, which contains the statue of a domestic god. The floor is composed of a rich mosaic of the rarest marbles, agate, jasper, and porphyry; it looks to the marble fountain and the snow-white columns, whose entablatures strew the floor of the portico they supported. The houses have only one story, and the apartments, though not large, are very lofty. A great advantage results from this, wholly unknown in our cities. The public buildings, whose ruins are now forests as it were of white fluted columns, and which then supported entablatures, loaded with sculptures, were seen on all sides over the roofs of the houses. This was the excellence of the ancients. Their private expenses were comparatively moderate; the dwelling of one of the chief senators of Pompeii is elegant indeed, and adorned with most beautiful specimens of art, but small. But their public buildings are everywhere marked by the bold and grand designs of an unsparing magnificence. In the little town of Pompeii, (it contained about twenty thousand inhabitants,) it is wonderful to see the number and the grandeur of their public buildings. Another advantage, too, is that, in the present case, the glorious scenery around is not shut out, and that, unlike the inhabitants of the Cimmerian ravines of modern cities, the ancient Pompeians could contemplate the clouds and the lamps of heaven; could see the moon rise high behind Vesuvius, and the sun set in the sea, tremulous with an atmosphere of golden vapour, between Inarime and Misenum.