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Italian Hours, a non-fiction book by Henry James |
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The Autumn In Florence |
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_ Florence too has its "season," not less than Rome, and I have been rejoicing for the past six weeks in the fact that this comparatively crowded parenthesis hasn't yet been opened. Coming here in the first days of October I found the summer still in almost unmenaced possession, and ever since, till within a day or two, the weight of its hand has been sensible. Properly enough, as the city of flowers, Florence mingles the elements most artfully in the spring--during the divine crescendo of March and April, the weeks when six months of steady shiver have still not shaken New York and Boston free of the long Polar reach. But the very quality of the decline of the year as we at present here feel it suits peculiarly the mood in which an undiscourageable gatherer of the sense of things, or taster at least of "charm," moves through these many-memoried streets and galleries and churches. Old things, old places, old people, or at least old races, ever strike us as giving out their secrets most freely in such moist, grey, melancholy days as have formed the complexion of the past fortnight. With Christmas arrives the opera, the only opera worth speaking of--which indeed often means in Florence the only opera worth talking through; the gaiety, the gossip, the reminders in fine of the cosmopolite and watering-place character to which the city of the Medici long ago began to bend her antique temper. Meanwhile it is pleasant enough for the tasters of charm, as I say, and for the makers of invidious distinctions, that the Americans haven't all arrived, however many may be on their way, and that the weather has a monotonous overcast softness in which, apparently, aimless contemplation grows less and less ashamed. There is no crush along the Cascine, as on the sunny days of winter, and the Arno, wandering away toward the mountains in the haze, seems as shy of being looked at as a good picture in a bad light. No light, to my eyes, nevertheless, could be better than this, which reaches us, all strained and filtered and refined, exquisitely coloured and even a bit conspicuously sophisticated, through the heavy air of the past that hangs about the place for ever. I first knew Florence early enough, I am happy to say, to have heard the change for the worse, the taint of the modern order, bitterly lamented by old haunters, admirers, lovers--those qualified to present a picture of the conditions prevailing under the good old Grand-Dukes, the two last of their line in especial, that, for its blest reflection of sweetness and mildness and cheapness and ease, of every immediate boon in life to be enjoyed quite for nothing, could but draw tears from belated listeners. Some of these survivors from the golden age--just the beauty of which indeed was in the gold, of sorts, that it poured into your lap, and not in the least in its own importunity on that head--have needfully lingered on, have seen the ancient walls pulled down and the compact and belted mass of which the Piazza della Signoria was the immemorial centre expand, under the treatment of enterprising syndics, into an ungirdled organism of the type, as they viciously say, of Chicago; one of those places of which, as their grace of a circumference is nowhere, the dignity of a centre can no longer be predicated. Florence loses itself to-day in dusty boulevards and smart beaux quartiers, such as Napoleon III and Baron Haussmann were to set the fashion of to a too mediaeval Europe--with the effect of some precious page of antique text swallowed up in a marginal commentary that smacks of the style of the newspaper. So much for what has happened on this side of that line of demarcation which, by an odd law, makes us, with our preference for what we are pleased to call the picturesque, object to such occurrences even as occurrences. The real truth is that objections are too vain, and that he would be too rude a critic here, just now, who shouldn't be in the humour to take the thick with the thin and to try at least to read something of the old soul into the new forms. There is something to be said moreover for your liking a city (once it's a question of your actively circulating) to pretend to comfort you more by its extent than by its limits; in addition to which Florence was anciently, was in her palmy days peculiarly, a daughter of change and movement and variety, of shifting moods, policies and regimes--just as the Florentine character, as we have it to-day, is a character that takes all things easily for having seen so many come and go. It saw the national capital, a few years since, arrive and sit down by the Arno, and took no further thought than sufficed for the day; then it saw, the odd visitor depart and whistled her cheerfully on her way to Rome. The new boulevards of the Sindaco Peruzzi come, it may be said, but they don't go; which, after all, it isn't from the aesthetic point of view strictly necessary they should. A part of the essential amiability of Florence, of her genius for making you take to your favour on easy terms everything that in any way belongs to her, is that she has already flung an element of her grace over all their undried mortar and plaster. Such modern arrangements as the Piazza d' Azeglio and the viale or Avenue of the Princess Margaret please not a little, I think--for what they are!--and do so even in a degree, by some fine local privilege just because they are Florentine. The afternoon lights rest on them as if to thank them for not being worse, and their vistas. are liberal where they look toward the hills. They carry you close to these admirable elevations, which hang over Florence on all sides, and if in the foreground your sense is a trifle perplexed by the white pavements dotted here and there with a policeman or a nursemaid, you have only to reach beyond and see Fiesole turn to violet, on its ample eminence, from the effect of the opposite sunset. Facing again then to Florence proper you have local colour enough and to spare--which you enjoy the more, doubtless, from standing off to get your light and your point of view. The elder streets abutting on all this newness bore away into the heart of the city in narrow, dusky perspectives that quite refine, in certain places, by an art of their own, on the romantic appeal. There are temporal and other accidents thanks to which, as you pause to look down them and to penetrate the deepening shadows that accompany their retreat, they resemble little corridors leading out from the past, mystical like the ladder in Jacob's dream; so that when you see a single figure advance and draw nearer you are half afraid to wait till it arrives--it must be too much of the nature of a ghost, a messenger from an underworld. However this may be, a place paved with such great mosaics of slabs and lined with palaces of so massive a tradition, structures which, in their large dependence on pure proportion for interest and beauty, reproduce more than other modern styles the simple nobleness of Greek architecture, must ever have placed dignity first in the scale of invoked effect and laid up no great treasure of that ragged picturesqueness--the picturesqueness of large poverty--on which we feast our idle eyes at Rome and Naples. Except in the unfinished fronts of the churches, which, however, unfortunately, are mere ugly blankness, one finds less of the poetry of ancient over-use, or in other words less romantic southern shabbiness, than in most Italian cities. At two or three points, none the less, this sinister grace exists in perfection--just such perfection as so often proves that what is literally hideous may be constructively delightful and what is intrinsically tragic play on the finest chords of appreciation. On the north side of the Arno, between Ponte Vecchio and Ponte Santa Trinita, is a row of immemorial houses that back on the river, in whose yellow flood they bathe their sore old feet. Anything more battered and befouled, more cracked and disjointed, dirtier, drearier, poorer, it would be impossible to conceive. They look as if fifty years ago the liquid mud had risen over their chimneys and then subsided again and left them coated for ever with its unsightly slime. And yet forsooth, because the river is yellow, and the light is yellow, and here and there, elsewhere, some mellow mouldering surface, some hint of colour, some accident of atmosphere, takes up the foolish tale and repeats the note--because, in short, it is Florence, it is Italy, and the fond appraiser, the infatuated alien, may have had in his eyes, at birth and afterwards, the micaceous sparkle of brown- stone fronts no more interesting than so much sand-paper, these miserable dwellings, instead of suggesting mental invocations to an enterprising board of health, simply create their own standard of felicity and shamelessly live in it. Lately, during the misty autumn nights, the moon has shone on them faintly and refined their shabbiness away into something ineffably strange and spectral. The turbid stream sweeps along without a sound, and the pale tenements hang above it like a vague miasmatic exhalation. The dimmest back-scene at the opera, when the tenor is singing his sweetest, seems hardly to belong to a world more detached from responsibility. [Illustration: ON THE ARNO, FLORENCE.] What it is that infuses so rich an interest into the general charm is difficult to say in a few words; yet as we wander hither and thither in quest of sacred canvas and immortal bronze and stone we still feel the genius of the place hang about. Two industrious English ladies, the Misses Horner, have lately published a couple of volumes of "Walks" by the Arno-side, and their work is a long enumeration of great artistic deeds. These things remain for the most part in sound preservation, and, as the weeks go by and you spend a constant portion of your days among them the sense of one of the happiest periods of human Taste--to put it only at that--settles upon your spirit. It was not long; it lasted, in its splendour, for less than a century; but it has stored away in the palaces and churches of Florence a heritage of beauty that these three enjoying centuries since haven't yet exhausted. This forms a clear intellectual atmosphere into which you may turn aside from the modern world and fill your lungs as with the breath of a forgotten creed. The memorials of the past here address us moreover with a friendliness, win us by we scarcely know what sociability, what equal amenity, that we scarce find matched in other great esthetically endowed communities and periods. Venice, with her old palaces cracking under the weight of their treasures, is, in her influence, insupportably sad; Athens, with her maimed marbles and dishonoured memories, transmutes the consciousness of sensitive observers, I am told, into a chronic heartache; but in one's impression of old Florence the abiding felicity, the sense of saving sanity, of something sound and human, predominates, offering you a medium still conceivable for life. The reason of this is partly, no doubt, the "sympathetic" nature, the temperate joy, of Florentine art in general--putting the sole Dante, greatest of literary artists, aside; partly the tenderness of time, in its lapse, which, save in a few cases, has been as sparing of injury as if it knew that when it should have dimmed and corroded these charming things it would have nothing so sweet again for its tooth to feed on. If the beautiful Ghirlandaios and Lippis are fading, this generation will never know it. The large Fra Angelico in the Academy is as clear and keen as if the good old monk stood there wiping his brushes; the colours seem to sing, as it were, like new-fledged birds in June. Nothing is more characteristic of early Tuscan art than the high-reliefs of Luca della Robbia; yet there isn't one of them that, except for the unique mixture of freshness with its wisdom, of candour with its expertness, mightn't have been modelled yesterday. But perhaps the best image of the absence of stale melancholy or wasted splendour, of the positive presence of what I have called temperate joy, in the Florentine impression and genius, is the bell-tower of Giotto, which rises beside the cathedral. No beholder of it will have forgotten how straight and slender it stands there, how strangely rich in the common street, plated with coloured marble patterns, and yet so far from simple or severe in design that we easily wonder how its author, the painter of exclusively and portentously grave little pictures, should have fashioned a building which in the way of elaborate elegance, of the true play of taste, leaves a jealous modern criticism nothing to miss. Nothing can be imagined at once more lightly and more pointedly fanciful; it might have been handed over to the city, as it stands, by some Oriental genie tired of too much detail. Yet for all that suggestion it seems of no particular time--not grey and hoary like a Gothic steeple, not cracked and despoiled like a Greek temple; its marbles shining so little less freshly than when they were laid together, and the sunset lighting up its cornice with such a friendly radiance, that you come at last to regard it simply as the graceful, indestructible soul of the place made visible. The Cathedral, externally, for all its solemn hugeness, strikes the same note of would-be reasoned elegance and cheer; it has conventional grandeur, of course, but a grandeur so frank and ingenuous even in its parti-pris. It has seen so much, and outlived so much, and served so many sad purposes, and yet remains in aspect so full of the fine Tuscan geniality, the feeling for life, one may almost say the feeling for amusement, that inspired it. Its vast many-coloured marble walls become at any rate, with this, the friendliest note of all Florence; there is an unfailing charm in walking past them while they lift their great acres of geometrical mosaic higher in the air than you have time or other occasion to look. You greet them from the deep street as you greet the side of a mountain when you move in the gorge--not twisting back your head to keep looking at the top, but content with the minor accidents, the nestling hollows and soft cloud- shadows, the general protection of the valley. Florence is richer in pictures than we really know till we have begun to look for them in outlying corners. Then, here and there, one comes upon lurking values and hidden gems that it quite seems one might as a good New Yorker quietly "bag" for the so aspiring Museum of that city without their being missed. The Pitti Palace is of course a collection of masterpieces; they jostle each other in their splendour, they perhaps even, in their merciless multitude, rather fatigue our admiration. The Uffizi is almost as fine a show, and together with that long serpentine artery which crosses the Arno and connects them, making you ask yourself, whichever way you take it, what goal can be grand enough to crown such a journey, they form the great central treasure-chamber of the town. But I have been neglecting them of late for love of the Academy, where there are fewer copyists and tourists, above all fewer pictorial lions, those whose roar is heard from afar and who strike us as expecting overmuch to have it their own way in the jungle. The pictures at the Academy are all, rather, doves-- the whole impression is less pompously tropical. Selection still leaves one too much to say, but I noted here, on my last occasion, an enchanting Botticelli so obscurely hung, in one of the smaller rooms, that I scarce knew whether most to enjoy or to resent its relegation. Placed, in a mean black frame, where you wouldn't have looked for a masterpiece, it yet gave out to a good glass every characteristic of one. Representing as it does the walk of Tobias with the angel, there are really parts of it that an angel might have painted; but I doubt whether it is observed by half-a-dozen persons a year. That was my excuse for my wanting to know, on the spot, though doubtless all sophistically, what dishonour, could the transfer be artfully accomplished, a strong American light and a brave gilded frame would, comparatively speaking, do it. There and then it would, shine with the intense authority that we claim for the fairest things--would exhale its wondrous beauty as a sovereign example. What it comes to is that this master is the most interesting of a great band--the only Florentine save Leonardo and Michael in whom the impulse was original and the invention rare. His imagination is of things strange, subtle and complicated--things it at first strikes us that we moderns have reason to know, and that it has taken us all the ages to learn; so that we permit ourselves to wonder how a "primitive" could come by them. We soon enough reflect, however, that we ourselves have come by them almost only through him, exquisite spirit that he was, and that when we enjoy, or at least when we encounter, in our William Morrises, in our Rossettis and Burne-Joneses, the note of the haunted or over- charged consciousness, we are but treated, with other matters, to repeated doses of diluted Botticelli. He practically set with his own hand almost all the copies to almost all our so-called pre- Raphaelites, earlier and later, near and remote. Let us at the same time, none the less, never fail of response to the great Florentine geniality at large. Fra Angelico, Filippo Lippi, Ghirlandaio, were not "subtly" imaginative, were not even riotously so; but what other three were ever more gladly observant, more vividly and richly true? If there should some time be a weeding out of the world's possessions the best works of the early Florentines will certainly be counted among the flowers. With the ripest performances of the Venetians--by which I don't mean the over-ripe--we can but take them for the most valuable things in the history of art. Heaven forbid we should be narrowed down to a cruel choice; but if it came to a question of keeping or losing between half-a-dozen Raphaels and half-a-dozen things it would be a joy to pick out at the Academy, I fear that, for myself, the memory of the Transfiguration, or indeed of the other Roman relics of the painter, wouldn't save the Raphaels. And yet this was so far from the opinion of a patient artist whom I saw the other day copying the finest of Ghirlandaios--a beautiful Adoration of the Kings at the Hospital of the Innocenti. Here was another sample of the buried art-wealth of Florence. It hangs in an obscure chapel, far aloft, behind an altar, and though now and then a stray tourist wanders in and puzzles a while over the vaguely-glowing forms, the picture is never really seen and enjoyed. I found an aged Frenchman of modest mien perched on a little platform beneath it, behind a great hedge of altar-candlesticks, with an admirable copy all completed. The difficulties of his task had been well-nigh insuperable, and his performance seemed to me a real feat of magic. He could scarcely move or turn, and could find room for his canvas but by rolling it together and painting a small piece at a time, so that he never enjoyed a view of his ensemble. The original is gorgeous with colour and bewildering with decorative detail, but not a gleam of the painter's crimson was wanting, not a curl in his gold arabesques. It seemed to me that if I had copied a Ghirlandaio in such conditions I would at least maintain for my own credit that he was the first painter in the world. "Very good of its kind," said the weary old man with a shrug of reply for my raptures; "but oh, how far short of Raphael!" However that may be, if the reader chances to observe this consummate copy in the so commendable Museum devoted in Paris to such works, let him stop before it with a due reverence; it is one of the patient things of art. Seeing it wrought there, in its dusky nook, under such scant convenience, I found no bar in the painter's foreignness to a thrilled sense that the old art-life of Florence isn't yet extinct. It still at least works spells and almost miracles. 1873. _ |
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