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Title: The Three Cities Trilogy: Rome, Vol. 2

Author: Emile Zola

Release Date: August, 2005 [EBook #8722]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on August 5, 2003]

Edition: 10

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK THREE CITIES: ROME, VOL. 2 ***




Produced by Dagny [dagnypg@yahoo.com]
and David Widger [widger@cecomet.net]




                          THE THREE CITIES



                               ROME



                                BY

                            EMILE ZOLA



                TRANSLATED BY ERNEST A. VIZETELLY



                              PART II



IV

ON the afternoon of that same day Pierre, having leisure before him, at
once thought of beginning his peregrinations through Rome by a visit on
which he had set his heart. Almost immediately after the publication of
"New Rome" he had been deeply moved and interested by a letter addressed
to him from the Eternal City by old Count Orlando Prada, the hero of
Italian independence and reunion, who, although unacquainted with him,
had written spontaneously after a first hasty perusal of his book. And
the letter had been a flaming protest, a cry of the patriotic faith still
young in the heart of that aged man, who accused him of having forgotten
Italy and claimed Rome, the new Rome, for the country which was at last
free and united. Correspondence had ensued, and the priest, while
clinging to his dream of Neo-Catholicism saving the world, had from afar
grown attached to the man who wrote to him with such glowing love of
country and freedom. He had eventually informed him of his journey, and
promised to call upon him. But the hospitality which he had accepted at
the Boccanera mansion now seemed to him somewhat of an impediment; for
after Benedetta's kindly, almost affectionate, greeting, he felt that he
could not, on the very first day and with out warning her, sally forth to
visit the father of the man from whom she had fled and from whom she now
asked the Church to part her for ever. Moreover, old Orlando was actually
living with his son in a little palazzo which the latter had erected at
the farther end of the Via Venti Settembre.

Before venturing on any step Pierre resolved to confide in the Contessina
herself; and this seemed the easier as Viscount Philibert de la Choue had
told him that the young woman still retained a filial feeling, mingled
with admiration, for the old hero. And indeed, at the very first words
which he uttered after lunch, Benedetta promptly retorted: "But go,
Monsieur l'Abbe, go at once! Old Orlando, you know, is one of our
national glories--you must not be surprised to hear me call him by his
Christian name. All Italy does so, from pure affection and gratitude. For
my part I grew up among people who hated him, who likened him to Satan.
It was only later that I learned to know him, and then I loved him, for
he is certainly the most just and gentle man in the world."

She had begun to smile, but timid tears were moistening her eyes at the
recollection, no doubt, of the year of suffering she had spent in her
husband's house, where her only peaceful hours had been those passed with
the old man. And in a lower and somewhat tremulous voice she added: "As
you are going to see him, tell him from me that I still love him, and,
whatever happens, shall never forget his goodness."

So Pierre set out, and whilst he was driving in a cab towards the Via
Venti Settembre, he recalled to mind the heroic story of old Orlando's
life which had been told him in Paris. It was like an epic poem, full of
faith, bravery, and the disinterestedness of another age.

Born of a noble house of Milan, Count Orlando Prada had learnt to hate
the foreigner at such an early age that, when scarcely fifteen, he
already formed part of a secret society, one of the ramifications of the
antique Carbonarism. This hatred of Austrian domination had been
transmitted from father to son through long years, from the olden days of
revolt against servitude, when the conspirators met by stealth in
abandoned huts, deep in the recesses of the forests; and it was rendered
the keener by the eternal dream of Italy delivered, restored to herself,
transformed once more into a great sovereign nation, the worthy daughter
of those who had conquered and ruled the world. Ah! that land of whilom
glory, that unhappy, dismembered, parcelled Italy, the prey of a crowd of
petty tyrants, constantly invaded and appropriated by neighbouring
nations--how superb and ardent was that dream to free her from such long
opprobrium! To defeat the foreigner, drive out the despots, awaken the
people from the base misery of slavery, to proclaim Italy free and Italy
united--such was the passion which then inflamed the young with
inextinguishable ardour, which made the youthful Orlando's heart leap
with enthusiasm. He spent his early years consumed by holy indignation,
proudly and impatiently longing for an opportunity to give his blood for
his country, and to die for her if he could not deliver her.

Quivering under the yoke, wasting his time in sterile conspiracies, he
was living in retirement in the old family residence at Milan, when,
shortly after his marriage and his twenty-fifth birthday, tidings came to
him of the flight of Pius IX and the Revolution of Rome.* And at once he
quitted everything, wife and hearth, and hastened to Rome as if summoned
thither by the call of destiny. This was the first time that he set out
scouring the roads for the attainment of independence; and how
frequently, yet again and again, was he to start upon fresh campaigns,
never wearying, never disheartened! And now it was that he became
acquainted with Mazzini, and for a moment was inflamed with enthusiasm
for that mystical unitarian Republican. He himself indulged in an ardent
dream of a Universal Republic, adopted the Mazzinian device, "/Dio e
popolo/" (God and the people), and followed the procession which wended
its way with great pomp through insurrectionary Rome. The time was one of
vast hopes, one when people already felt a need of renovated religion,
and looked to the coming of a humanitarian Christ who would redeem the
world yet once again. But before long a man, a captain of the ancient
days, Giuseppe Garibaldi, whose epic glory was dawning, made Orlando
entirely his own, transformed him into a soldier whose sole cause was
freedom and union. Orlando loved Garibaldi as though the latter were a
demi-god, fought beside him in defence of Republican Rome, took part in
the victory of Rieti over the Neapolitans, and followed the stubborn
patriot in his retreat when he sought to succour Venice, compelled as he
was to relinquish the Eternal City to the French army of General Oudinot,
who came thither to reinstate Pius IX. And what an extraordinary and
madly heroic adventure was that of Garibaldi and Venice! Venice, which
Manin, another great patriot, a martyr, had again transformed into a
republican city, and which for long months had been resisting the
Austrians! And Garibaldi starts with a handful of men to deliver the
city, charters thirteen fishing barks, loses eight in a naval engagement,
is compelled to return to the Roman shores, and there in all wretchedness
is bereft of his wife, Anita, whose eyes he closes before returning to
America, where, once before, he had awaited the hour of insurrection. Ah!
that land of Italy, which in those days rumbled from end to end with the
internal fire of patriotism, where men of faith and courage arose in
every city, where riots and insurrections burst forth on all sides like
eruptions--it continued, in spite of every check, its invincible march to
freedom!

  * It was on November 24, 1848, that the Pope fled to Gaeta,
    consequent upon the insurrection which had broken out nine
    days previously.--Trans.

Orlando returned to his young wife at Milan, and for two years lived
there, almost in concealment, devoured by impatience for the glorious
morrow which was so long in coming. Amidst his fever a gleam of happiness
softened his heart; a son, Luigi, was born to him, but the birth killed
the mother, and joy was turned into mourning. Then, unable to remain any
longer at Milan, where he was spied upon, tracked by the police,
suffering also too grievously from the foreign occupation, Orlando
decided to realise the little fortune remaining to him, and to withdraw
to Turin, where an aunt of his wife took charge of the child. Count di
Cavour, like a great statesman, was then already seeking to bring about
independence, preparing Piedmont for the decisive /role/ which it was
destined to play. It was the time when King Victor Emmanuel evinced
flattering cordiality towards all the refugees who came to him from every
part of Italy, even those whom he knew to be Republicans, compromised and
flying the consequences of popular insurrection. The rough, shrewd House
of Savoy had long been dreaming of bringing about Italian unity to the
profit of the Piedmontese monarchy, and Orlando well knew under what
master he was taking service; but in him the Republican already went
behind the patriot, and indeed he had begun to question the possibility
of a united Republican Italy, placed under the protectorate of a liberal
Pope, as Mazzini had at one time dreamed. Was that not indeed a chimera
beyond realisation which would devour generation after generation if one
obstinately continued to pursue it? For his part, he did not wish to die
without having slept in Rome as one of the conquerors. Even if liberty
was to be lost, he desired to see his country united and erect, returning
once more to life in the full sunlight. And so it was with feverish
happiness that he enlisted at the outset of the war of 1859; and his
heart palpitated with such force as almost to rend his breast, when,
after Magenta, he entered Milan with the French army--Milan which he had
quitted eight years previously, like an exile, in despair. The treaty of
Villafranca which followed Solferino proved a bitter deception: Venetia
was not secured, Venice remained enthralled. Nevertheless the Milanese
was conquered from the foe, and then Tuscany and the duchies of Parma and
Modena voted for annexation. So, at all events, the nucleus of the
Italian star was formed; the country had begun to build itself up afresh
around victorious Piedmont.

Then, in the following year, Orlando plunged into epopoeia once more.
Garibaldi had returned from his two sojourns in America, with the halo of
a legend round him--paladin-like feats in the pampas of Uruguay, an
extraordinary passage from Canton to Lima--and he had returned to take
part in the war of 1859, forestalling the French army, overthrowing an
Austrian marshal, and entering Como, Bergamo, and Brescia. And now, all
at once, folks heard that he had landed at Marsala with only a thousand
men--the Thousand of Marsala, the ever illustrious handful of braves!
Orlando fought in the first rank, and Palermo after three days'
resistance was carried. Becoming the dictator's favourite lieutenant, he
helped him to organise a government, then crossed the straits with him,
and was beside him on the triumphal entry into Naples, whose king had
fled. There was mad audacity and valour at that time, an explosion of the
inevitable; and all sorts of supernatural stories were current--Garibaldi
invulnerable, protected better by his red shirt than by the strongest
armour, Garibaldi routing opposing armies like an archangel, by merely
brandishing his flaming sword! The Piedmontese on their side had defeated
General Lamoriciere at Castelfidardo, and were invading the States of the
Church. And Orlando was there when the dictator, abdicating power, signed
the decree which annexed the Two Sicilies to the Crown of Italy; even as
subsequently he took part in that forlorn attempt on Rome, when the
rageful cry was "Rome or Death!"--an attempt which came to a tragic issue
at Aspromonte, when the little army was dispersed by the Italian troops,
and Garibaldi, wounded, was taken prisoner, and sent back to the solitude
of his island of Caprera, where he became but a fisherman and a tiller of
the rocky soil.*

  * M. Zola's brief but glowing account of Garibaldi's glorious
    achievements has stirred many memories in my mind. My uncle,
    Frank Vizetelly, the war artist of the /Illustrated London
    News/, whose bones lie bleaching somewhere in the Soudan, was
    one of Garibaldi's constant companions throughout the memorable
    campaign of the Two Sicilies, and afterwards he went with him
    to Caprera. Later, in 1870, my brother, Edward Vizetelly, acted
    as orderly-officer to the general when he offered the help of
    his sword to France.--Trans.

Six years of waiting again went by, and Orlando still dwelt at Turin,
even after Florence had been chosen as the new capital. The Senate had
acclaimed Victor Emmanuel, King of Italy; and Italy was indeed almost
built, it lacked only Rome and Venice. But the great battles seemed all
over, the epic era was closed; Venice was to be won by defeat. Orlando
took part in the unlucky battle of Custozza, where he received two
wounds, full of furious grief at the thought that Austria should be
triumphant. But at that same moment the latter, defeated at Sadowa,
relinquished Venetia, and five months later Orlando satisfied his desire
to be in Venice participating in the joy of triumph, when Victor Emmanuel
made his entry amidst the frantic acclamations of the people. Rome alone
remained to be won, and wild impatience urged all Italy towards the city;
but friendly France had sworn to maintain the Pope, and this acted as a
check. Then, for the third time, Garibaldi dreamt of renewing the feats
of the old-world legends, and threw himself upon Rome like a soldier of
fortune illumined by patriotism and free from every tie. And for the
third time Orlando shared in that fine heroic madness destined to be
vanquished at Mentana by the Pontifical Zouaves supported by a small
French corps. Again wounded, he came back to Turin in almost a dying
condition. But, though his spirit quivered, he had to resign himself; the
situation seemed to have no outlet; only an upheaval of the nations could
give Rome to Italy.

All at once the thunderclap of Sedan, of the downfall of France,
resounded through the world; and then the road to Rome lay open, and
Orlando, having returned to service in the regular army, was with the
troops who took up position in the Campagna to ensure the safety of the
Holy See, as was said in the letter which Victor Emmanuel wrote to Pius
IX. There was, however, but the shadow of an engagement: General
Kanzler's Pontifical Zouaves were compelled to fall back, and Orlando was
one of the first to enter the city by the breach of the Porta Pia. Ah!
that twentieth of September--that day when he experienced the greatest
happiness of his life--a day of delirium, of complete triumph, which
realised the dream of so many years of terrible contest, the dream for
which he had sacrificed rest and fortune, and given both body and mind!

Then came more than ten happy years in conquered Rome--in Rome adored,
flattered, treated with all tenderness, like a woman in whom one has
placed one's entire hope. From her he awaited so much national vigour,
such a marvellous resurrection of strength and glory for the endowment of
the young nation. Old Republican, old insurrectional soldier that he was,
he had been obliged to adhere to the monarchy, and accept a senatorship.
But then did not Garibaldi himself--Garibaldi his divinity--likewise call
upon the King and sit in parliament? Mazzini alone, rejecting all
compromises, was unwilling to rest content with a united and independent
Italy that was not Republican. Moreover, another consideration influenced
Orlando, the future of his son Luigi, who had attained his eighteenth
birthday shortly after the occupation of Rome. Though he, Orlando, could
manage with the crumbs which remained of the fortune he had expended in
his country's service, he dreamt of a splendid destiny for the child of
his heart. Realising that the heroic age was over, he desired to make a
great politician of him, a great administrator, a man who should be
useful to the mighty nation of the morrow; and it was on this account
that he had not rejected royal favour, the reward of long devotion,
desiring, as he did, to be in a position to help, watch, and guide Luigi.
Besides, was he himself so old, so used-up, as to be unable to assist in
organisation, even as he had assisted in conquest? Struck by his son's
quick intelligence in business matters, perhaps also instinctively
divining that the battle would now continue on financial and economic
grounds, he obtained him employment at the Ministry of Finances. And
again he himself lived on, dreaming, still enthusiastically believing in
a splendid future, overflowing with boundless hope, seeing Rome double
her population, grow and spread with a wild vegetation of new districts,
and once more, in his loving enraptured eyes, become the queen of the
world.

But all at once came a thunderbolt. One morning, as he was going
downstairs, Orlando was stricken with paralysis. Both his legs suddenly
became lifeless, as heavy as lead. It was necessary to carry him up
again, and never since had he set foot on the street pavement. At that
time he had just completed his fifty-sixth year, and for fourteen years
since he had remained in his arm-chair, as motionless as stone, he who
had so impetuously trod every battlefield of Italy. It was a pitiful
business, the collapse of a hero. And worst of all, from that room where
he was for ever imprisoned, the old soldier beheld the slow crumbling of
all his hopes, and fell into dismal melancholy, full of unacknowledged
fear for the future. Now that the intoxication of action no longer dimmed
his eyes, now that he spent his long and empty days in thought, his
vision became clear. Italy, which he had desired to see so powerful, so
triumphant in her unity, was acting madly, rushing to ruin, possibly to
bankruptcy. Rome, which to him had ever been the one necessary capital,
the city of unparalleled glory, requisite for the sovereign people of
to-morrow, seemed unwilling to take upon herself the part of a great
modern metropolis; heavy as a corpse she weighed with all her centuries
on the bosom of the young nation. Moreover, his son Luigi distressed him.
Rebellious to all guidance, the young man had become one of the devouring
offsprings of conquest, eager to despoil that Italy, that Rome, which his
father seemed to have desired solely in order that he might pillage them
and batten on them. Orlando had vainly opposed Luigi's departure from the
ministry, his participation in the frantic speculations on land and house
property to which the mad building of the new districts had given rise.
But at the same time he loved his son, and was reduced to silence,
especially now when everything had succeeded with Luigi, even his most
risky financial ventures, such as the transformation of the Villa
Montefiori into a perfect town--a colossal enterprise in which many of
great wealth had been ruined, but whence he himself had emerged with
millions. And it was in part for this reason that Orlando, sad and
silent, had obstinately restricted himself to one small room on the third
floor of the little palazzo erected by Luigi in the Via Venti
Settembre--a room where he lived cloistered with a single servant,
subsisting on his own scanty income, and accepting nothing but that
modest hospitality from his son.

As Pierre reached that new Via Venti Settembre* which climbs the side and
summit of the Viminal hill, he was struck by the heavy sumptuousness of
the new "palaces," which betokened among the moderns the same taste for
the huge that marked the ancient Romans. In the warm afternoon glow,
blent of purple and old gold, the broad, triumphant thoroughfare, with
its endless rows of white house-fronts, bore witness to new Rome's proud
hope of futurity and sovereign power. And Pierre fairly gasped when he
beheld the Palazzo delle Finanze, or Treasury, a gigantic erection, a
cyclopean cube with a profusion of columns, balconies, pediments, and
sculptured work, to which the building mania had given birth in a day of
immoderate pride. And on the other side of the street, a little higher
up, before reaching the Villa Bonaparte, stood Count Prada's little
palazzo.

  * The name--Twentieth September Street--was given to the
    thoroughfare to commemorate the date of the occupation
    of Rome by Victor Emmanuel's army.--Trans.

After discharging his driver, Pierre for a moment remained somewhat
embarrassed. The door was open, and he entered the vestibule; but, as at
the mansion in the Via Giulia, no door porter or servant was to be seen.
So he had to make up his mind to ascend the monumental stairs, which with
their marble balustrades seemed to be copied, on a smaller scale, from
those of the Palazzo Boccanera. And there was much the same cold
bareness, tempered, however, by a carpet and red door-hangings, which
contrasted vividly with the white stucco of the walls. The
reception-rooms, sixteen feet high, were on the first floor, and as a
door chanced to be ajar he caught a glimpse of two /salons/, one
following the other, and both displaying quite modern richness, with a
profusion of silk and velvet hangings, gilt furniture, and lofty mirrors
reflecting a pompous assemblage of stands and tables. And still there was
nobody, not a soul, in that seemingly forsaken abode, which exhaled
nought of woman's presence. Indeed Pierre was on the point of going down
again to ring, when a footman at last presented himself.

"Count Prada, if you please."

The servant silently surveyed the little priest, and seemed to
understand. "The father or the son?" he asked.

"The father, Count Orlando Prada."

"Oh! that's on the third floor." And he condescended to add: "The little
door on the right-hand side of the landing. Knock loudly if you wish to
be admitted."

Pierre indeed had to knock twice, and then a little withered old man of
military appearance, a former soldier who had remained in the Count's
service, opened the door and apologised for the delay by saying that he
had been attending to his master's legs. Immediately afterwards he
announced the visitor, and the latter, after passing through a dim and
narrow ante-room, was lost in amazement on finding himself in a
relatively small chamber, extremely bare and bright, with wall-paper of a
light hue studded with tiny blue flowers. Behind a screen was an iron
bedstead, the soldier's pallet, and there was no other furniture than the
arm-chair in which the cripple spent his days, with a table of black wood
placed near him, and covered with books and papers, and two old
straw-seated chairs which served for the accommodation of the infrequent
visitors. A few planks, fixed to one of the walls, did duty as
book-shelves. However, the broad, clear, curtainless window overlooked
the most admirable panorama of Rome that could be desired.

Then the room disappeared from before Pierre's eyes, and with a sudden
shock of deep emotion he only beheld old Orlando, the old blanched lion,
still superb, broad, and tall. A forest of white hair crowned his
powerful head, with its thick mouth, fleshy broken nose, and large,
sparkling, black eyes. A long white beard streamed down with the vigour
of youth, curling like that of an ancient god. By that leonine muzzle one
divined what great passions had growled within; but all, carnal and
intellectual alike, had erupted in patriotism, in wild bravery, and
riotous love of independence. And the old stricken hero, his torso still
erect, was fixed there on his straw-seated arm-chair, with lifeless legs
buried beneath a black wrapper. Alone did his arms and hands live, and
his face beam with strength and intelligence.

Orlando turned towards his servant, and gently said to him: "You can go
away, Batista. Come back in a couple of hours." Then, looking Pierre full
in the face, he exclaimed in a voice which was still sonorous despite his
seventy years: "So it's you at last, my dear Monsieur Froment, and we
shall be able to chat at our ease. There, take that chair, and sit down
in front of me."

He had noticed the glance of surprise which the young priest had cast
upon the bareness of the room, and he gaily added: "You will excuse me
for receiving you in my cell. Yes, I live here like a monk, like an old
invalided soldier, henceforth withdrawn from active life. My son long
begged me to take one of the fine rooms downstairs. But what would have
been the use of it? I have no needs, and I scarcely care for feather
beds, for my old bones are accustomed to the hard ground. And then too I
have such a fine view up here, all Rome presenting herself to me, now
that I can no longer go to her."

With a wave of the hand towards the window he sought to hide the
embarrassment, the slight flush which came to him each time that he thus
excused his son; unwilling as he was to tell the true reason, the scruple
of probity which had made him obstinately cling to his bare pauper's
lodging.

"But it is very nice, the view is superb!" declared Pierre, in order to
please him. "I am for my own part very glad to see you, very glad to be
able to grasp your valiant hands, which accomplished so many great
things."

Orlando made a fresh gesture, as though to sweep the past away. "Pooh!
pooh! all that is dead and buried. Let us talk about you, my dear
Monsieur Froment, you who are young and represent the present; and
especially about your book, which represents the future! Ah! if you only
knew how angry your book, your 'New Rome,' made me first of all."

He began to laugh, and took the book from off the table near him; then,
tapping on its cover with his big, broad hand, he continued: "No, you
cannot imagine with what starts of protest I read your book. The Pope,
and again the Pope, and always the Pope! New Rome to be created by the
Pope and for the Pope, to triumph thanks to the Pope, to be given to the
Pope, and to fuse its glory in the glory of the Pope! But what about us?
What about Italy? What about all the millions which we have spent in
order to make Rome a great capital? Ah! only a Frenchman, and a Frenchman
of Paris, could have written such a book! But let me tell you, my dear
sir, if you are ignorant of it, that Rome has become the capital of the
kingdom of Italy, that we here have King Humbert, and the Italian people,
a whole nation which must be taken into account, and which means to keep
Rome--glorious, resuscitated Rome--for itself!"

This juvenile ardour made Pierre laugh in turn. "Yes, yes," said he, "you
wrote me that. Only what does it matter from my point of view? Italy is
but one nation, a part of humanity, and I desire concord and fraternity
among all the nations, mankind reconciled, believing, and happy. Of what
consequence, then, is any particular form of government, monarchy or
republic, of what consequence is any question of a united and independent
country, if all mankind forms but one free people subsisting on truth and
justice?"

To only one word of this enthusiastic outburst did Orlando pay attention.
In a lower tone, and with a dreamy air, he resumed: "Ah! a republic. In
my youth I ardently desired one. I fought for one; I conspired with
Mazzini, a saintly man, a believer, who was shattered by collision with
the absolute. And then, too, one had to bow to practical necessities; the
most obstinate ended by submitting. And nowadays would a republic save
us? In any case it would differ but little from our parliamentary
monarchy. Just think of what goes on in France! And so why risk a
revolution which would place power in the hands of the extreme
revolutionists, the anarchists? We fear all that, and this explains our
resignation. I know very well that a few think they can detect salvation
in a republican federation, a reconstitution of all the former little
states in so many republics, over which Rome would preside. The Vatican
would gain largely by any such transformation; still one cannot say that
it endeavours to bring it about; it simply regards the eventuality
without disfavour. But it is a dream, a dream!"

At this Orlando's gaiety came back to him, with even a little gentle
irony: "You don't know, I suppose, what it was that took my fancy in your
book--for, in spite of all my protests, I have read it twice. Well, what
pleased me was that Mazzini himself might almost have written it at one
time. Yes! I found all my youth again in your pages, all the wild hope of
my twenty-fifth year, the new religion of a humanitarian Christ, the
pacification of the world effected by the Gospel! Are you aware that,
long before your time, Mazzini desired the renovation of Christianity? He
set dogma and discipline on one side and only retained morals. And it was
new Rome, the Rome of the people, which he would have given as see to the
universal Church, in which all the churches of the past were to be
fused--Rome, the eternal and predestined city, the mother and queen,
whose domination was to arise anew to ensure the definitive happiness of
mankind! Is it not curious that all the present-day Neo-Catholicism, the
vague, spiritualistic awakening, the evolution towards communion and
Christian charity, with which some are making so much stir, should be
simply a return of the mystical and humanitarian ideas of 1848? Alas! I
saw all that, I believed and burned, and I know in what a fine mess those
flights into the azure of mystery landed us! So it cannot be helped, I
lack confidence."

Then, as Pierre on his side was growing impassioned and sought to reply,
he stopped him: "No, let me finish. I only want to convince you how
absolutely necessary it was that we should take Rome and make her the
capital of Italy. Without Rome new Italy could not have existed; Rome
represented the glory of ancient time; in her dust lay the sovereign
power which we wished to re-establish; she brought strength, beauty,
eternity to those who possessed her. Standing in the middle of our
country, she was its heart, and must assuredly become its life as soon as
she should be awakened from the long sleep of ruin. Ah! how we desired
her, amidst victory and amidst defeat, through years and years of
frightful impatience! For my part I loved her, and longed for her, far
more than for any woman, with my blood burning, and in despair that I
should be growing old. And when we possessed her, our folly was a desire
to behold her huge, magnificent, and commanding all at once, the equal of
the other great capitals of Europe--Berlin, Paris, and London. Look at
her! she is still my only love, my only consolation now that I am
virtually dead, with nothing alive in me but my eyes."

With the same gesture as before, he directed Pierre's attention to the
window. Under the glowing sky Rome stretched out in its immensity,
empurpled and gilded by the slanting sunrays. Across the horizon, far,
far away, the trees of the Janiculum stretched a green girdle, of a
limpid emerald hue, whilst the dome of St. Peter's, more to the left,
showed palely blue, like a sapphire bedimmed by too bright a light. Then
came the low town, the old ruddy city, baked as it were by centuries of
burning summers, soft to the eye and beautiful with the deep life of the
past, an unbounded chaos of roofs, gables, towers, /campanili/, and
cupolas. But, in the foreground under the window, there was the new
city--that which had been building for the last five and twenty
years--huge blocks of masonry piled up side by side, still white with
plaster, neither the sun nor history having as yet robed them in purple.
And in particular the roofs of the colossal Palazzo delle Finanze had a
disastrous effect, spreading out like far, bare steppes of cruel
hideousness. And it was upon the desolation and abomination of all the
newly erected piles that the eyes of the old soldier of conquest at last
rested.

Silence ensued. Pierre felt the faint chill of hidden, unacknowledged
sadness pass by, and courteously waited.

"I must beg your pardon for having interrupted you just now," resumed
Orlando; "but it seems to me that we cannot talk about your book to any
good purpose until you have seen and studied Rome closely. You only
arrived yesterday, did you not? Well, stroll about the city, look at
things, question people, and I think that many of your ideas will change.
I shall particularly like to know your impression of the Vatican since
you have cone here solely to see the Pope and defend your book against
the Index. Why should we discuss things to-day, if facts themselves are
calculated to bring you to other views, far more readily than the finest
speeches which I might make? It is understood, you will come to see me
again, and we shall then know what we are talking about, and, maybe,
agree together."

"Why certainly, you are too kind," replied Pierre. "I only came to-day to
express my gratitude to you for having read my book so attentively, and
to pay homage to one of the glories of Italy."

Orlando was not listening, but remained for a moment absorbed in thought,
with his eyes still resting upon Rome. And overcome, despite himself, by
secret disquietude, he resumed in a low voice as though making an
involuntary confession: "We have gone too fast, no doubt. There were
expenses of undeniable utility--the roads, ports, and railways. And it
was necessary to arm the country also; I did not at first disapprove of
the heavy military burden. But since then how crushing has been the war
budget--a war which has never come, and the long wait for which has
ruined us. Ah! I have always been the friend of France. I only reproach
her with one thing, that she has failed to understand the position in
which we were placed, the vital reasons which compelled us to ally
ourselves with Germany. And then there are the thousand millions of
/lire/* swallowed up in Rome! That was the real madness; pride and
enthusiasm led us astray. Old and solitary as I've been for many years
now, given to deep reflection, I was one of the first to divine the
pitfall, the frightful financial crisis, the deficit which would bring
about the collapse of the nation. I shouted it from the housetops, to my
son, to all who came near me; but what was the use? They didn't listen;
they were mad, still buying and selling and building, with no thought but
for gambling booms and bubbles. But you'll see, you'll see. And the worst
is that we are not situated as you are; we haven't a reserve of men and
money in a dense peasant population, whose thrifty savings are always at
hand to fill up the gaps caused by big catastrophes. There is no social
rise among our people as yet; fresh men don't spring up out of the lower
classes to reinvigorate the national blood, as they constantly do in your
country. And, besides, the people are poor; they have no stockings to
empty. The misery is frightful, I must admit it. Those who have any money
prefer to spend it in the towns in a petty way rather than to risk it in
agricultural or manufacturing enterprise. Factories are but slowly built,
and the land is almost everywhere tilled in the same primitive manner as
it was two thousand years ago. And then, too, take Rome--Rome, which
didn't make Italy, but which Italy made its capital to satisfy an ardent,
overpowering desire--Rome, which is still but a splendid bit of scenery,
picturing the glory of the centuries, and which, apart from its
historical splendour, has only given us its degenerate papal population,
swollen with ignorance and pride! Ah! I loved Rome too well, and I still
love it too well to regret being now within its walls. But, good heavens!
what insanity its acquisition brought us, what piles of money it has cost
us, and how heavily and triumphantly it weighs us down! Look! look!"

  * 40,000,000 pounds.

He waved his hand as he spoke towards the livid roofs of the Palazzo
delle Finanze, that vast and desolate steppe, as though he could see the
harvest of glory all stripped off and bankruptcy appear with its fearful,
threatening bareness. Restrained tears were dimming his eyes, and he
looked superbly pitiful with his expression of baffled hope and grievous
disquietude, with his huge white head, the muzzle of an old blanched lion
henceforth powerless and caged in that bare, bright room, whose
poverty-stricken aspect was instinct with so much pride that it seemed,
as it were, a protest against the monumental splendour of the whole
surrounding district! So those were the purposes to which the conquest
had been put! And to think that he was impotent, henceforth unable to
give his blood and his soul as he had done in the days gone by.

"Yes, yes," he exclaimed in a final outburst; "one gave everything, heart
and brain, one's whole life indeed, so long as it was a question of
making the country one and independent. But, now that the country is
ours, just try to stir up enthusiasm for the reorganisation of its
finances! There's no ideality in that! And this explains why, whilst the
old ones are dying off, not a new man comes to the front among the young
ones--"

All at once he stopped, looking somewhat embarrassed, yet smiling at his
feverishness. "Excuse me," he said, "I'm off again, I'm incorrigible. But
it's understood, we'll leave that subject alone, and you'll come back
here, and we'll chat together when you've seen everything."

From that moment he showed himself extremely pleasant, and it was
apparent to Pierre that he regretted having said so much, by the
seductive affability and growing affection which he now displayed. He
begged the young priest to prolong his sojourn, to abstain from all hasty
judgments on Rome, and to rest convinced that, at bottom, Italy still
loved France. And he was also very desirous that France should love
Italy, and displayed genuine anxiety at the thought that perhaps she
loved her no more. As at the Boccanera mansion, on the previous evening,
Pierre realised that an attempt was being made to persuade him to
admiration and affection. Like a susceptible woman with secret misgivings
respecting the attractive power of her beauty, Italy was all anxiety with
regard to the opinion of her visitors, and strove to win and retain their
love.

However, Orlando again became impassioned when he learnt that Pierre was
staying at the Boccanera mansion, and he made a gesture of extreme
annoyance on hearing, at that very moment, a knock at the outer door.
"Come in!" he called; but at the same time he detained Pierre, saying,
"No, no, don't go yet; I wish to know--"

But a lady came in--a woman of over forty, short and extremely plump, and
still attractive with her small features and pretty smile swamped in fat.
She was a blonde, with green, limpid eyes; and, fairly well dressed in a
sober, nicely fitting mignonette gown, she looked at once pleasant,
modest, and shrewd.

"Ah! it's you, Stefana," said the old man, letting her kiss him.

"Yes, uncle, I was passing by and came up to see how you were getting
on."

The visitor was the Signora Sacco, niece of Prada and a Neapolitan by
birth, her mother having quitted Milan to marry a certain Pagani, a
Neapolitan banker, who had afterwards failed. Subsequent to that disaster
Stefana had married Sacco, then merely a petty post-office clerk. He,
later on, wishing to revive his father-in-law's business, had launched
into all sorts of terrible, complicated, suspicious affairs, which by
unforeseen luck had ended in his election as a deputy. Since he had
arrived in Rome, to conquer the city in his turn, his wife had been
compelled to assist his devouring ambition by dressing well and opening a
/salon/; and, although she was still a little awkward, she rendered him
many real services, being very economical and prudent, a thorough good
housewife, with all the sterling, substantial qualities of Northern Italy
which she had inherited from her mother, and which showed conspicuously
beside the turbulence and carelessness of her husband, in whom flared
Southern Italy with its perpetual, rageful appetite.

Despite his contempt for Sacco, old Orlando had retained some affection
for his niece, in whose veins flowed blood similar to his own. He thanked
her for her kind inquiries, and then at once spoke of an announcement
which he had read in the morning papers, for he suspected that the deputy
had sent his wife to ascertain his opinion.

"Well, and that ministry?" he asked.

The Signora had seated herself and made no haste to reply, but glanced at
the newspapers strewn over the table. "Oh! nothing is settled yet," she
at last responded; "the newspapers spoke out too soon. The Prime Minister
sent for Sacco, and they had a talk together. But Sacco hesitates a good
deal; he fears that he has no aptitude for the Department of Agriculture.
Ah! if it were only the Finances--However, in any case, he would not have
come to a decision without consulting you. What do you think of it,
uncle?"

He interrupted her with a violent wave of the hand: "No, no, I won't mix
myself up in such matters!"

To him the rapid success of that adventurer Sacco, that schemer and
gambler who had always fished in troubled waters, was an abomination, the
beginning of the end. His son Luigi certainly distressed him; but it was
even worse to think that--whilst Luigi, with his great intelligence and
many remaining fine qualities, was nothing at all--Sacco, on the other
hand, Sacco, blunderhead and ever-famished battener that he was, had not
merely slipped into parliament, but was now, it seemed, on the point of
securing office! A little, swarthy, dry man he was, with big, round eyes,
projecting cheekbones, and prominent chin. Ever dancing and chattering,
he was gifted with a showy eloquence, all the force of which lay in his
voice--a voice which at will became admirably powerful or gentle! And
withal an insinuating man, profiting by every opportunity, wheedling and
commanding by turn.

"You hear, Stefana," said Orlando; "tell your husband that the only
advice I have to give him is to return to his clerkship at the
post-office, where perhaps he may be of use."

What particularly filled the old soldier with indignation and despair was
that such a man, a Sacco, should have fallen like a bandit on Rome--on
that Rome whose conquest had cost so many noble efforts. And in his turn
Sacco was conquering the city, was carrying it off from those who had won
it by such hard toil, and was simply using it to satisfy his wild passion
for power and its attendant enjoyments. Beneath his wheedling air there
was the determination to devour everything. After the victory, while the
spoil lay there, still warm, the wolves had come. It was the North that
had made Italy, whereas the South, eager for the quarry, simply rushed
upon the country, preyed upon it. And beneath the anger of the old
stricken hero of Italian unity there was indeed all the growing
antagonism of the North towards the South--the North industrious,
economical, shrewd in politics, enlightened, full of all the great modern
ideas, and the South ignorant and idle, bent on enjoying life
immediately, amidst childish disorder in action, and an empty show of
fine sonorous words.

Stefana had begun to smile in a placid way while glancing at Pierre, who
had approached the window. "Oh, you say that, uncle," she responded; "but
you love us well all the same, and more than once you have given me
myself some good advice, for which I'm very thankful to you. For
instance, there's that affair of Attilio's--"

She was alluding to her son, the lieutenant, and his love affair with
Celia, the little Princess Buongiovanni, of which all the drawing-rooms,
white and black alike, were talking.

"Attilio--that's another matter!" exclaimed Orlando. "He and you are both
of the same blood as myself, and it's wonderful how I see myself again in
that fine fellow. Yes, he is just the same as I was at his age,
good-looking and brave and enthusiastic! I'm paying myself compliments,
you see. But, really now, Attilio warms my heart, for he is the future,
and brings me back some hope. Well, and what about his affair?"

"Oh! it gives us a lot of worry, uncle. I spoke to you about it before,
but you shrugged your shoulders, saying that in matters of that kind all
that the parents had to do was to let the lovers settle their affairs
between them. Still, we don't want everybody to repeat that we are urging
our son to get the little princess to elope with him, so that he may
afterwards marry her money and title."

At this Orlando indulged in a frank outburst of gaiety: "That's a fine
scruple! Was it your husband who instructed you to tell me of it? I know,
however, that he affects some delicacy in this matter. For my own part, I
believe myself to be as honest as he is, and I can only repeat that, if I
had a son like yours, so straightforward and good, and candidly loving, I
should let him marry whomsoever he pleased in his own way. The
Buongiovannis--good heavens! the Buongiovannis--why, despite all their
rank and lineage and the money they still possess, it will be a great
honour for them to have a handsome young man with a noble heart as their
son-in-law!"

Again did Stefana assume an expression of placid satisfaction. She had
certainly only come there for approval. "Very well, uncle," she replied,
"I'll repeat that to my husband, and he will pay great attention to it;
for if you are severe towards him he holds you in perfect veneration. And
as for that ministry--well, perhaps nothing will be done, Sacco will
decide according to circumstances."

She rose and took her leave, kissing the old soldier very affectionately
as on her arrival. And she complimented him on his good looks, declaring
that she found him as handsome as ever, and making him smile by speaking
of a lady who was still madly in love with him. Then, after acknowledging
the young priest's silent salutation by a slight bow, she went off, once
more wearing her modest and sensible air.

For a moment Orlando, with his eyes turned towards the door, remained
silent, again sad, reflecting no doubt on all the difficult, equivocal
present, so different from the glorious past. But all at once he turned
to Pierre, who was still waiting. "And so, my friend," said he, "you are
staying at the Palazzo Boccanera? Ah! what a grievous misfortune there
has been on that side too!"

However, when the priest had told him of his conversation with Benedetta,
and of her message that she still loved him and would never forget his
goodness to her, no matter whatever happened, he appeared moved and his
voice trembled: "Yes, she has a good heart, she has no spite. But what
would you have? She did not love Luigi, and he was possibly violent.
There is no mystery about the matter now, and I can speak to you freely,
since to my great grief everybody knows what has happened."

Then Orlando abandoned himself to his recollections, and related how keen
had been his delight on the eve of the marriage at the thought that so
lovely a creature would become his daughter, and set some youth and charm
around his invalid's arm-chair. He had always worshipped beauty, and
would have had no other love than woman, if his country had not seized
upon the best part of him. And Benedetta on her side loved him, revered
him, constantly coming up to spend long hours with him, sharing his poor
little room, which at those times became resplendent with all the divine
grace that she brought with her. With her fresh breath near him, the pure
scent she diffused, the caressing womanly tenderness with which she
surrounded him, he lived anew. But, immediately afterwards, what a
frightful drama and how his heart had bled at his inability to reconcile
the husband and the wife! He could not possibly say that his son was in
the wrong in desiring to be the loved and accepted spouse. At first
indeed he had hoped to soften Benedetta, and throw her into Luigi's arms.
But when she had confessed herself to him in tears, owning her old love
for Dario, and her horror of belonging to another, he realised that she
would never yield. And a whole year had then gone by; he had lived for a
whole year imprisoned in his arm-chair, with that poignant drama
progressing beneath him in those luxurious rooms whence no sound even
reached his ears. How many times had he not listened, striving to hear,
fearing atrocious quarrels, in despair at his inability to prove still
useful by creating happiness. He knew nothing by his son, who kept his
own counsel; he only learnt a few particulars from Benedetta at intervals
when emotion left her defenceless; and that marriage in which he had for
a moment espied the much-needed alliance between old and new Rome, that
unconsummated marriage filled him with despair, as if it were indeed the
defeat of every hope, the final collapse of the dream which had filled
his life. And he himself had ended by desiring the divorce, so unbearable
had become the suffering caused by such a situation.

"Ah! my friend!" he said to Pierre; "never before did I so well
understand the fatality of certain antagonism, the possibility of working
one's own misfortune and that of others, even when one has the most
loving heart and upright mind!"

But at that moment the door again opened, and this time, without
knocking, Count Luigi Prada came in. And after rapidly bowing to the
visitor, who had risen, he gently took hold of his father's hands and
felt them, as if fearing that they might be too warm or too cold.

"I've just arrived from Frascati, where I had to sleep," said he; "for
the interruption of all that building gives me a lot of worry. And I'm
told that you spent a bad night!"

"No, I assure you."

"Oh! I knew you wouldn't own it. But why will you persist in living up
here without any comfort? All this isn't suited to your age. I should be
so pleased if you would accept a more comfortable room where you might
sleep better."

"No, no--I know that you love me well, my dear Luigi. But let me do as my
old head tells me. That's the only way to make me happy."

Pierre was much struck by the ardent affection which sparkled in the eyes
of the two men as they gazed at one another, face to face. This seemed to
him very touching and beautiful, knowing as he did how many contrary
ideas and actions, how many moral divergencies separated them. And he
next took an interest in comparing them physically. Count Luigi Prada,
shorter, more thick-set than his father, had, however, much the same
strong energetic head, crowned with coarse black hair, and the same frank
but somewhat stern eyes set in a face of clear complexion, barred by
thick moustaches. But his mouth differed--a sensual, voracious mouth it
was, with wolfish teeth--a mouth of prey made for nights of rapine, when
the only question is to bite, and tear, and devour others. And for this
reason, when some praised the frankness in his eyes, another would
retort: "Yes, but I don't like his mouth." His feet were large, his hands
plump and over-broad, but admirably cared for.

And Pierre marvelled at finding him such as he had anticipated. He knew
enough of his story to picture in him a hero's son spoilt by conquest,
eagerly devouring the harvest garnered by his father's glorious sword.
And he particularly studied how the father's virtues had deflected and
become transformed into vices in the son--the most noble qualities being
perverted, heroic and disinterested energy lapsing into a ferocious
appetite for possession, the man of battle leading to the man of booty,
since the great gusts of enthusiasm no longer swept by, since men no
longer fought, since they remained there resting, pillaging, and
devouring amidst the heaped-up spoils. And the pity of it was that the
old hero, the paralytic, motionless father beheld it all--beheld the
degeneration of his son, the speculator and company promoter gorged with
millions!

However, Orlando introduced Pierre. "This is Monsieur l'Abbe Pierre
Froment, whom I spoke to you about," he said, "the author of the book
which I gave you to read."

Luigi Prada showed himself very amiable, at once talking of home with an
intelligent passion like one who wished to make the city a great modern
capital. He had seen Paris transformed by the Second Empire; he had seen
Berlin enlarged and embellished after the German victories; and,
according to him, if Rome did not follow the movement, if it did not
become the inhabitable capital of a great people, it was threatened with
prompt death: either a crumbling museum or a renovated, resuscitated
city--those were the alternatives.*

  * Personally I should have thought the example of Berlin a great
    deterrent. The enlargement and embellishment of the Prussian
    capital, after the war of 1870, was attended by far greater
    roguery and wholesale swindling than even the previous
    transformation of Paris. Thousands of people too were ruined,
    and instead of an increase of prosperity the result was the
    very reverse.--Trans.

Greatly struck, almost gained over already, Pierre listened to this
clever man, charmed with his firm, clear mind. He knew how skilfully
Prada had manoeuvred in the affair of the Villa Montefiori, enriching
himself when every one else was ruined, having doubtless foreseen the
fatal catastrophe even while the gambling passion was maddening the
entire nation. However, the young priest could already detect marks of
weariness, precocious wrinkles and a fall of the lips, on that
determined, energetic face, as though its possessor were growing tired of
the continual struggle that he had to carry on amidst surrounding
downfalls, the shock of which threatened to bring the most firmly
established fortunes to the ground. It was said that Prada had recently
had grave cause for anxiety; and indeed there was no longer any solidity
to be found; everything might be swept away by the financial crisis which
day by day was becoming more and more serious. In the case of Luigi,
sturdy son though he was of Northern Italy, a sort of degeneration had
set in, a slow rot, caused by the softening, perversive influence of
Rome. He had there rushed upon the satisfaction of every appetite, and
prolonged enjoyment was exhausting him. This, indeed, was one of the
causes of the deep silent sadness of Orlando, who was compelled to
witness the swift deterioration of his conquering race, whilst Sacco, the
Italian of the South--served as it were by the climate, accustomed to the
voluptuous atmosphere, the life of those sun-baked cities compounded of
the dust of antiquity--bloomed there like the natural vegetation of a
soil saturated with the crimes of history, and gradually grasped
everything, both wealth and power.

As Orlando spoke of Stefana's visit to his son, Sacco's name was
mentioned. Then, without another word, the two men exchanged a smile. A
rumour was current that the Minister of Agriculture, lately deceased,
would perhaps not be replaced immediately, and that another minister
would take charge of the department pending the next session of the
Chamber.

Next the Palazzo Boccanera was mentioned, and Pierre, his interest
awakened, became more attentive. "Ah!" exclaimed Count Luigi, turning to
him, "so you are staying in the Via Giulia? All the Rome of olden time
sleeps there in the silence of forgetfulness."

With perfect ease he went on to speak of the Cardinal and even of
Benedetta--"the Countess," as he called her. But, although he was careful
to let no sign of anger escape him, the young priest could divine that he
was secretly quivering, full of suffering and spite. In him the
enthusiastic energy of his father appeared in a baser, degenerate form.
Quitting the yet handsome Princess Flavia in his passion for Benedetta,
her divinely beautiful niece, he had resolved to make the latter his own
at any cost, determined to marry her, to struggle with her and overcome
her, although he knew that she loved him not, and that he would almost
certainly wreck his entire life. Rather than relinquish her, however, he
would have set Rome on fire. And thus his hopeless suffering was now
great indeed: this woman was but his wife in name, and so torturing was
the thought of her disdain, that at times, however calm his outward
demeanour, he was consumed by a jealous vindictive sensual madness that
did not even recoil from the idea of crime.

"Monsieur l'Abbe is acquainted with the situation," sadly murmured old
Orlando.

His son responded by a wave of the hand, as though to say that everybody
was acquainted with it. "Ah! father," he added, "but for you I should
never have consented to take part in those proceedings for annulling the
marriage! The Countess would have found herself compelled to return here,
and would not nowadays be deriding us with her lover, that cousin of
hers, Dario!"

At this Orlando also waved his hand, as if in protest.

"Oh! it's a fact, father," continued Luigi. "Why did she flee from here
if it wasn't to go and live with her lover? And indeed, in my opinion,
it's scandalous that a Cardinal's palace should shelter such goings-on!"

This was the report which he spread abroad, the accusation which he
everywhere levelled against his wife, of publicly carrying on a shameless
/liaison/. In reality, however, he did not believe a word of it, being
too well acquainted with Benedetta's firm rectitude, and her
determination to belong to none but the man she loved, and to him only in
marriage. However, in Prada's eyes such accusations were not only fair
play but also very efficacious.

And now, although he turned pale with covert exasperation, and laughed a
hard, vindictive, cruel laugh, he went on to speak in a bantering tone of
the proceedings for annulling the marriage, and in particular of the plea
put forward by Benedetta's advocate Morano. And at last his language
became so free that Orlando, with a glance towards the priest, gently
interposed: "Luigi! Luigi!"

"Yes, you are right, father, I'll say no more," thereupon added the young
Count. "But it's really abominable and ridiculous. Lisbeth, you know, is
highly amused at it."

Orlando again looked displeased, for when visitors were present he did
not like his son to refer to the person whom he had just named. Lisbeth
Kauffmann, very blonde and pink and merry, was barely thirty years of
age, and belonged to the Roman foreign colony. For two years past she had
been a widow, her husband having died at Rome whither he had come to
nurse a complaint of the lungs. Thenceforward free, and sufficiently well
off, she had remained in the city by taste, having a marked predilection
for art, and painting a little, herself. In the Via Principe Amadeo, in
the new Viminal district, she had purchased a little palazzo, and
transformed a large apartment on its second floor into a studio hung with
old stuffs, and balmy in every season with the scent of flowers. The
place was well known to tolerant and intellectual society. Lisbeth was
there found in perpetual jubilation, clad in a long blouse, somewhat of a
/gamine/ in her ways, trenchant too and often bold of speech, but
nevertheless capital company, and as yet compromised with nobody but
Prada. Their /liaison/ had begun some four months after his wife had left
him, and now Lisbeth was near the time of becoming a mother. This she in
no wise concealed, but displayed such candid tranquillity and happiness
that her numerous acquaintances continued to visit her as if there were
nothing in question, so facile and free indeed is the life of the great
cosmopolitan continental cities. Under the circumstances which his wife's
suit had created, Prada himself was not displeased at the turn which
events had taken with regard to Lisbeth, but none the less his incurable
wound still bled.

There could be no compensation for the bitterness of Benedetta's disdain,
it was she for whom his heart burned, and he dreamt of one day wreaking
on her a tragic punishment.

Pierre, knowing nothing of Lisbeth, failed to understand the allusions of
Orlando and his son. But realising that there was some embarrassment
between them, he sought to take countenance by picking from off the
littered table a thick book which, to his surprise, he found to be a
French educational work, one of those manuals for the /baccalaureat/,*
containing a digest of the knowledge which the official programmes
require. It was but a humble, practical, elementary work, yet it
necessarily dealt with all the mathematical, physical, chemical, and
natural sciences, thus broadly outlining the intellectual conquests of
the century, the present phase of human knowledge.

  * The examination for the degree of bachelor, which degree is
    the necessary passport to all the liberal professions in France.
    M. Zola, by the way, failed to secure it, being ploughed for
    "insufficiency in literature"!--Trans.

"Ah!" exclaimed Orlando, well pleased with the diversion, "you are
looking at the book of my old friend Theophile Morin. He was one of the
thousand of Marsala, you know, and helped us to conquer Sicily and
Naples. A hero! But for more than thirty years now he has been living in
France again, absorbed in the duties of his petty professorship, which
hasn't made him at all rich. And so he lately published that book, which
sells very well in France it seems; and it occurred to him that he might
increase his modest profits on it by issuing translations, an Italian one
among others. He and I have remained brothers, and thinking that my
influence would prove decisive, he wishes to utilise it. But he is
mistaken; I fear, alas! that I shall be unable to get anybody to take up
his book."

At this Luigi Prada, who had again become very composed and amiable,
shrugged his shoulders slightly, full as he was of the scepticism of his
generation which desired to maintain things in their actual state so as
to derive the greatest profit from them. "What would be the good of it?"
he murmured; "there are too many books already!"

"No, no!" the old man passionately retorted, "there can never be too many
books! We still and ever require fresh ones! It's by literature, not by
the sword, that mankind will overcome falsehood and injustice and attain
to the final peace of fraternity among the nations--Oh! you may smile; I
know that you call these ideas my fancies of '48, the fancies of a
greybeard, as people say in France. But it is none the less true that
Italy is doomed, if the problem be not attacked from down below, if the
people be not properly fashioned. And there is only one way to make a
nation, to create men, and that is to educate them, to develop by
educational means the immense lost force which now stagnates in ignorance
and idleness. Yes, yes, Italy is made, but let us make an Italian nation.
And give us more and more books, and let us ever go more and more forward
into science and into light, if we wish to live and to be healthy, good,
and strong!"

With his torso erect, with his powerful leonine muzzle flaming with the
white brightness of his beard and hair, old Orlando looked superb. And in
that simple, candid chamber, so touching with its intentional poverty, he
raised his cry of hope with such intensity of feverish faith, that before
the young priest's eyes there arose another figure--that of Cardinal
Boccanera, erect and black save for his snow-white hair, and likewise
glowing with heroic beauty in his crumbling palace whose gilded ceilings
threatened to fall about his head! Ah! the magnificent stubborn men of
the past, the believers, the old men who still show themselves more
virile, more ardent than the young! Those two represented the opposite
poles of belief; they had not an idea, an affection in common, and in
that ancient city of Rome, where all was being blown away in dust, they
alone seemed to protest, indestructible, face to face like two parted
brothers, standing motionless on either horizon. And to have seen them
thus, one after the other, so great and grand, so lonely, so detached
from ordinary life, was to fill one's day with a dream of eternity.

Luigi, however, had taken hold of the old man's hands to calm him by an
affectionate filial clasp. "Yes, yes, you are right, father, always
right, and I'm a fool to contradict you. Now, pray don't move about like
that, for you are uncovering yourself, and your legs will get cold
again."

So saying, he knelt down and very carefully arranged the wrapper; and
then remaining on the floor like a child, albeit he was two and forty, he
raised his moist eyes, full of mute, entreating worship towards the old
man who, calmed and deeply moved, caressed his hair with a trembling
touch.

Pierre had been there for nearly two hours, when he at last took leave,
greatly struck and affected by all that he had seen and heard. And again
he had to promise that he would return and have a long chat with Orlando.
Once out of doors he walked along at random. It was barely four o'clock,
and it was his idea to ramble in this wise, without any predetermined
programme, through Rome at that delightful hour when the sun sinks in the
refreshed and far blue atmosphere. Almost immediately, however, he found
himself in the Via Nazionale, along which he had driven on arriving the
previous day. And he recognised the huge livid Banca d'Italia, the green
gardens climbing to the Quirinal, and the heaven-soaring pines of the
Villa Aldobrandini. Then, at the turn of the street, as he stopped short
in order that he might again contemplate the column of Trajan which now
rose up darkly from its low piazza, already full of twilight, he was
surprised to see a victoria suddenly pull up, and a young man courteously
beckon to him.

"Monsieur l'Abbe Froment! Monsieur l'Abbe Froment!"

It was young Prince Dario Boccanera, on his way to his daily drive along
the Corso. He now virtually subsisted on the liberality of his uncle the
Cardinal, and was almost always short of money. But, like all the Romans,
he would, if necessary, have rather lived on bread and water than have
forgone his carriage, horse, and coachman. An equipage, indeed, is the
one indispensable luxury of Rome.

"If you will come with me, Monsieur l'Abbe Froment," said the young
Prince, "I will show you the most interesting part of our city."

He doubtless desired to please Benedetta, by behaving amiably towards her
protege. Idle as he was, too, it seemed to him a pleasant occupation to
initiate that young priest, who was said to be so intelligent, into what
he deemed the inimitable side, the true florescence of Roman life.

Pierre was compelled to accept, although he would have preferred a
solitary stroll. Yet he was interested in this young man, the last born
of an exhausted race, who, while seemingly incapable of either thought or
action, was none the less very seductive with his high-born pride and
indolence. Far more a Roman than a patriot, Dario had never had the
faintest inclination to rally to the new order of things, being well
content to live apart and do nothing; and passionate though he was, he
indulged in no follies, being very practical and sensible at heart, as
are all his fellow-citizens, despite their apparent impetuosity. As soon
as his carriage, after crossing the Piazza di Venezia, entered the Corso,
he gave rein to his childish vanity, his desire to shine, his passion for
gay, happy life in the open under the lovely sky. All this, indeed, was
clearly expressed in the simple gesture which he made whilst exclaiming:
"The Corso!"

As on the previous day, Pierre was filled with astonishment. The long
narrow street again stretched before him as far as the white dazzling
Piazza del Popolo, the only difference being that the right-hand houses
were now steeped in sunshine, whilst those on the left were black with
shadow. What! was that the Corso then, that semi-obscure trench, close
pressed by high and heavy house-fronts, that mean roadway where three
vehicles could scarcely pass abreast, and which serried shops lined with
gaudy displays? There was neither space, nor far horizon, nor refreshing
greenery such as the fashionable drives of Paris could boast! Nothing but
jostling, crowding, and stifling on the little footways under the narrow
strip of sky. And although Dario named the pompous and historical
palaces, Bonaparte, Doria, Odescalchi, Sciarra, and Chigi; although he
pointed out the column of Marcus Aurelius on the Piazza Colonna, the most
lively square of the whole city with its everlasting throng of lounging,
gazing, chattering people; although, all the way to the Piazza del
Popolo, he never ceased calling attention to churches, houses, and
side-streets, notably the Via dei Condotti, at the far end of which the
Trinity de' Monti, all golden in the glory of the sinking sun, appeared
above that famous flight of steps, the triumphal Scala di Spagna--Pierre
still and ever retained the impression of disillusion which the narrow,
airless thoroughfare had conveyed to him: the "palaces" looked to him
like mournful hospitals or barracks, the Piazza Colonna suffered terribly
from a lack of trees, and the Trinity de' Monti alone took his fancy by
its distant radiance of fairyland.

But it was necessary to come back from the Piazza del Popolo to the
Piazza di Venezia, then return to the former square, and come back yet
again, following the entire Corso three and four times without wearying.
The delighted Dario showed himself and looked about him, exchanging
salutations. On either footway was a compact crowd of promenaders whose
eyes roamed over the equipages and whose hands could have shaken those of
the carriage folks. So great at last became the number of vehicles that
both lines were absolutely unbroken, crowded to such a point that the
coachmen could do no more than walk their horses. Perpetually going up
and coming down the Corso, people scrutinised and jostled one another. It
was open-air promiscuity, all Rome gathered together in the smallest
possible space, the folks who knew one another and who met here as in a
friendly drawing-room, and the folks belonging to adverse parties who did
not speak together but who elbowed each other, and whose glances
penetrated to each other's soul. Then a revelation came to Pierre, and he
suddenly understood the Corso, the ancient custom, the passion and glory
of the city. Its pleasure lay precisely in the very narrowness of the
street, in that forced elbowing which facilitated not only desired
meetings but the satisfaction of curiosity, the display of vanity, and
the garnering of endless tittle-tattle. All Roman society met here each
day, displayed itself, spied on itself, offering itself in spectacle to
its own eyes, with such an indispensable need of thus beholding itself
that the man of birth who missed the Corso was like one out of his
element, destitute of newspapers, living like a savage. And withal the
atmosphere was delightfully balmy, and the narrow strip of sky between
the heavy, rusty mansions displayed an infinite azure purity.

Dario never ceased smiling, and slightly inclining his head while he
repeated to Pierre the names of princes and princesses, dukes and
duchesses--high-sounding names whose flourish had filled history, whose
sonorous syllables conjured up the shock of armour on the battlefield and
the splendour of papal pomp with robes of purple, tiaras of gold, and
sacred vestments sparkling with precious stones. And as Pierre listened
and looked he was pained to see merely some corpulent ladies or
undersized gentlemen, bloated or shrunken beings, whose ill-looks seemed
to be increased by their modern attire. However, a few pretty women went
by, particularly some young, silent girls with large, clear eyes. And
just as Dario had pointed out the Palazzo Buongiovanni, a huge
seventeenth-century facade, with windows encompassed by foliaged
ornamentation deplorably heavy in style, he added gaily:

"Ah! look--that's Attilio there on the footway. Young Lieutenant
Sacco--you know, don't you?"

Pierre signed that he understood. Standing there in uniform, Attilio, so
young, so energetic and brave of appearance, with a frank countenance
softly illumined by blue eyes like his mother's, at once pleased the
priest. He seemed indeed the very personification of youth and love, with
all their enthusiastic, disinterested hope in the future.

"You'll see by and by, when we pass the palace again," said Dario. "He'll
still be there and I'll show you something."

Then he began to talk gaily of the girls of Rome, the little princesses,
the little duchesses, so discreetly educated at the convent of the Sacred
Heart, quitting it for the most part so ignorant and then completing
their education beside their mothers, never going out but to accompany
the latter on the obligatory drive to the Corso, and living through
endless days, cloistered, imprisoned in the depths of sombre mansions.
Nevertheless what tempests raged in those mute souls to which none had
ever penetrated! what stealthy growth of will suddenly appeared from
under passive obedience, apparent unconsciousness of surroundings! How
many there were who stubbornly set their minds on carving out their lives
for themselves, on choosing the man who might please them, and securing
him despite the opposition of the entire world! And the lover was chosen
there from among the stream of young men promenading the Corso, the lover
hooked with a glance during the daily drive, those candid eyes speaking
aloud and sufficing for confession and the gift of all, whilst not a
breath was wafted from the lips so chastely closed. And afterwards there
came love letters, furtively exchanged in church, and the winning-over of
maids to facilitate stolen meetings, at first so innocent. In the end, a
marriage often resulted.

Celia, for her part, had determined to win Attilio on the very first day
when their eyes had met. And it was from a window of the Palazzo
Buongiovanni that she had perceived him one afternoon of mortal
weariness. He had just raised his head, and she had taken him for ever
and given herself to him with those large, pure eyes of hers as they
rested on his own. She was but an /amorosa/--nothing more; he pleased
her; she had set her heart on him--him and none other. She would have
waited twenty years for him, but she relied on winning him at once by
quiet stubbornness of will. People declared that the terrible fury of the
Prince, her father, had proved impotent against her respectful, obstinate
silence. He, man of mixed blood as he was, son of an American woman, and
husband of an English woman, laboured but to retain his own name and
fortune intact amidst the downfall of others; and it was rumoured that as
the result of a quarrel which he had picked with his wife, whom he
accused of not sufficiently watching over their daughter, the Princess
had revolted, full not only of the pride of a foreigner who had brought a
huge dowry in marriage, but also of such plain, frank egotism that she
had declared she no longer found time enough to attend to herself, let
alone another. Had she not already done enough in bearing him five
children? She thought so; and now she spent her time in worshipping
herself, letting Celia do as she listed, and taking no further interest
in the household through which swept stormy gusts.

However, the carriage was again about to pass the Buongiovanni mansion,
and Dario forewarned Pierre. "You see," said he, "Attilio has come back.
And now look up at the third window on the first floor."

It was at once rapid and charming. Pierre saw the curtain slightly drawn
aside and Celia's gentle face appear. Closed, candid lily, she did not
smile, she did not move. Nothing could be read on those pure lips, or in
those clear but fathomless eyes of hers. Yet she was taking Attilio to
herself, and giving herself to him without reserve. And soon the curtain
fell once more.

"Ah, the little mask!" muttered Dario. "Can one ever tell what there is
behind so much innocence?"

As Pierre turned round he perceived Attilio, whose head was still raised,
and whose face was also motionless and pale, with closed mouth, and
widely opened eyes. And the young priest was deeply touched, for this was
love, absolute love in its sudden omnipotence, true love, eternal and
juvenescent, in which ambition and calculation played no part.

Then Dario ordered the coachman to drive up to the Pincio; for, before or
after the Corso, the round of the Pincio is obligatory on fine, clear
afternoons. First came the Piazza del Popolo, the most airy and regular
square of Rome, with its conjunction of thoroughfares, its churches and
fountains, its central obelisk, and its two clumps of trees facing one
another at either end of the small white paving-stones, betwixt the
severe and sun-gilt buildings. Then, turning to the right, the carriage
began to climb the inclined way to the Pincio--a magnificent winding
ascent, decorated with bas-reliefs, statues, and fountains--a kind of
apotheosis of marble, a commemoration of ancient Rome, rising amidst
greenery. Up above, however, Pierre found the garden small, little better
than a large square, with just the four necessary roadways to enable the
carriages to drive round and round as long as they pleased. An
uninterrupted line of busts of the great men of ancient and modern Italy
fringed these roadways. But what Pierre most admired was the trees--trees
of the most rare and varied kinds, chosen and tended with infinite care,
and nearly always evergreens, so that in winter and summer alike the spot
was adorned with lovely foliage of every imaginable shade of verdure. And
beside these trees, along the fine, breezy roadways, Dario's victoria
began to turn, following the continuous, unwearying stream of the other
carriages.

Pierre remarked one young woman of modest demeanour and attractive
simplicity who sat alone in a dark-blue victoria, drawn by a
well-groomed, elegantly harnessed horse. She was very pretty, short, with
chestnut hair, a creamy complexion, and large gentle eyes. Quietly robed
in dead-leaf silk, she wore a large hat, which alone looked somewhat
extravagant. And seeing that Dario was staring at her, the priest
inquired her name, whereat the young Prince smiled. Oh! she was nobody,
La Tonietta was the name that people gave her; she was one of the few
/demi-mondaines/ that Roman society talked of. Then, with the freeness
and frankness which his race displays in such matters, Dario added some
particulars. La Tonietta's origin was obscure; some said that she was the
daughter of an innkeeper of Tivoli, and others that of a Neapolitan
banker. At all events, she was very intelligent, had educated herself,
and knew thoroughly well how to receive and entertain people at the
little palazzo in the Via dei Mille, which had been given to her by old
Marquis Manfredi now deceased. She made no scandalous show, had but one
protector at a time, and the princesses and duchesses who paid attention
to her at the Corso every afternoon, considered her nice-looking. One
peculiarity had made her somewhat notorious. There was some one whom she
loved and from whom she never accepted aught but a bouquet of white
roses; and folks would smile indulgently when at times for weeks together
she was seen driving round the Pincio with those pure, white bridal
flowers on the carriage seat.

Dario, however, suddenly paused in his explanations to address a
ceremonious bow to a lady who, accompanied by a gentleman, drove by in a
large landau. Then he simply said to the priest: "My mother."

Pierre already knew of her. Viscount de la Choue had told him her story,
how, after Prince Onofrio Boccanera's death, she had married again,
although she was already fifty; how at the Corso, just like some young
girl, she had hooked with her eyes a handsome man to her liking--one,
too, who was fifteen years her junior. And Pierre also knew who that man
was, a certain Jules Laporte, an ex-sergeant of the papal Swiss Guard, an
ex-traveller in relics, compromised in an extraordinary "false relic"
fraud; and he was further aware that Laporte's wife had made a
fine-looking Marquis Montefiori of him, the last of the fortunate
adventurers of romance, triumphing as in the legendary lands where
shepherds are wedded to queens.

At the next turn, as the large landau again went by, Pierre looked at the
couple. The Marchioness was really wonderful, blooming with all the
classical Roman beauty, tall, opulent, and very dark, with the head of a
goddess and regular if somewhat massive features, nothing as yet
betraying her age except the down upon her upper lip. And the Marquis,
the Romanised Swiss of Geneva, really had a proud bearing, with his solid
soldierly figure and long wavy moustaches. People said that he was in no
wise a fool but, on the contrary, very gay and very supple, just the man
to please women. His wife so gloried in him that she dragged him about
and displayed him everywhere, having begun life afresh with him as if she
were still but twenty, spending on him the little fortune which she had
saved from the Villa Montefiori disaster, and so completely forgetting
her son that she only saw the latter now and again at the promenade and
acknowledged his bow like that of some chance acquaintance.

"Let us go to see the sun set behind St. Peter's," all at once said
Dario, conscientiously playing his part as a showman of curiosities.

The victoria thereupon returned to the terrace, where a military band was
now playing with a terrific blare of brass instruments. In order that
their occupants might hear the music, a large number of carriages had
already drawn up, and a growing crowd of loungers on foot had assembled
there. And from that beautiful terrace, so broad and lofty, one of the
most wonderful views of Rome was offered to the gaze. Beyond the Tiber,
beyond the pale chaos of the new district of the castle meadows,* and
between the greenery of Monte Mario and the Janiculum arose St. Peter's.
Then on the left came all the olden city, an endless stretch of roofs, a
rolling sea of edifices as far as the eye could reach. But one's glances
always came back to St. Peter's, towering into the azure with pure and
sovereign grandeur. And, seen from the terrace, the slow sunsets in the
depths of the vast sky behind the colossus were sublime.

  * See /ante/ note on castle meadows.

Sometimes there are topplings of sanguineous clouds, battles of giants
hurling mountains at one another and succumbing beneath the monstrous
ruins of flaming cities. Sometimes only red streaks or fissures appear on
the surface of a sombre lake, as if a net of light has been flung to fish
the submerged orb from amidst the seaweed. Sometimes, too, there is a
rosy mist, a kind of delicate dust which falls, streaked with pearls by a
distant shower, whose curtain is drawn across the mystery of the horizon.
And sometimes there is a triumph, a /cortege/ of gold and purple chariots
of cloud rolling along a highway of fire, galleys floating upon an azure
sea, fantastic and extravagant pomps slowly sinking into the less and
less fathomable abyss of the twilight.

But that night the sublime spectacle presented itself to Pierre with a
calm, blinding, desperate grandeur. At first, just above the dome of St.
Peter's, the sun, descending in a spotless, deeply limpid sky, proved yet
so resplendent that one's eyes could not face its brightness. And in this
resplendency the dome seemed to be incandescent, you would have said a
dome of liquid silver; whilst the surrounding districts, the house-roofs
of the Borgo, were as though changed into a lake of live embers. Then, as
the sun was by degrees inclined, it lost some of its blaze, and one could
look; and soon afterwards sinking with majestic slowness it disappeared
behind the dome, which showed forth darkly blue, while the orb, now
entirely hidden, set an aureola around it, a glory like a crown of
flaming rays. And then began the dream, the dazzling symbol, the singular
illumination of the row of windows beneath the cupola which were
transpierced by the light and looked like the ruddy mouths of furnaces,
in such wise that one might have imagined the dome to be poised upon a
brazier, isolated, in the air, as though raised and upheld by the
violence of the fire. It all lasted barely three minutes. Down below the
jumbled roofs of the Borgo became steeped in violet vapour, sank into
increasing gloom, whilst from the Janiculum to Monte Mario the horizon
showed its firm black line. And it was the sky then which became all
purple and gold, displaying the infinite placidity of a supernatural
radiance above the earth which faded into nihility. Finally the last
window reflections were extinguished, the glow of the heavens departed,
and nothing remained but the vague, fading roundness of the dome of St.
Peter's amidst the all-invading night.

And, by some subtle connection of ideas, Pierre at that moment once again
saw rising before him the lofty, sad, declining figures of Cardinal
Boccanera and old Orlando. On the evening of that day when he had learnt
to know them, one after the other, both so great in the obstinacy of
their hope, they seemed to be there, erect on the horizon above their
annihilated city, on the fringe of the heavens which death apparently was
about to seize. Was everything then to crumble with them? was everything
to fade away and disappear in the falling night following upon
accomplished Time?



V

ON the following day Narcisse Habert came in great worry to tell Pierre
that Monsignor Gamba del Zoppo complained of being unwell, and asked for
a delay of two or three days before receiving the young priest and
considering the matter of his audience. Pierre was thus reduced to
inaction, for he dared not make any attempt elsewhere in view of seeing
the Pope. He had been so frightened by Nani and others that he feared he
might jeopardise everything by inconsiderate endeavours. And so he began
to visit Rome in order to occupy his leisure.

His first visit was for the ruins of the Palatine. Going out alone one
clear morning at eight o'clock, he presented himself at the entrance in
the Via San Teodoro, an iron gateway flanked by the lodges of the
keepers. One of the latter at once offered his services, and though
Pierre would have preferred to roam at will, following the bent of his
dream, he somehow did not like to refuse the offer of this man, who spoke
French very distinctly, and smiled in a very good-natured way. He was a
squatly built little man, a former soldier, some sixty years of age, and
his square-cut, ruddy face was barred by thick white moustaches.

"Then will you please follow me, Monsieur l'Abbe," said he. "I can see
that you are French, Monsieur l'Abbe. I'm a Piedmontese myself, but I
know the French well enough; I was with them at Solferino. Yes, yes,
whatever people may say, one can't forget old friendships. Here, this
way, please, to the right."

Raising his eyes, Pierre had just perceived the line of cypresses edging
the plateau of the Palatine on the side of the Tiber; and in the delicate
blue atmosphere the intense greenery of these trees showed like a black
fringe. They alone attracted the eye; the slope, of a dusty, dirty grey,
stretched out bare and devastated, dotted by a few bushes, among which
peeped fragments of ancient walls. All was instinct with the ravaged,
leprous sadness of a spot handed over to excavation, and where only men
of learning could wax enthusiastic.

"The palaces of Tiberius, Caligula, and the Flavians are up above,"
resumed the guide. "We must keep then for the end and go round."
Nevertheless he took a few steps to the left, and pausing before an
excavation, a sort of grotto in the hillside, exclaimed: "This is the
Lupercal den where the wolf suckled Romulus and Remus. Just here at the
entry used to stand the Ruminal fig-tree which sheltered the twins."

Pierre could not restrain a smile, so convinced was the tone in which the
old soldier gave these explanations, proud as he was of all the ancient
glory, and wont to regard the wildest legends as indisputable facts.
However, when the worthy man pointed out some vestiges of Roma
Quadrata--remnants of walls which really seemed to date from the
foundation of the city--Pierre began to feel interested, and a first
touch of emotion made his heart beat. This emotion was certainly not due
to any beauty of scene, for he merely beheld a few courses of tufa
blocks, placed one upon the other and uncemented. But a past which had
been dead for seven and twenty centuries seemed to rise up before him,
and those crumbling, blackened blocks, the foundation of such a mighty
eclipse of power and splendour, acquired extraordinary majesty.

Continuing their inspection, they went on, skirting the hillside. The
outbuildings of the palaces must have descended to this point; fragments
of porticoes, fallen beams, columns and friezes set up afresh, edged the
rugged path which wound through wild weeds, suggesting a neglected
cemetery; and the guide repeated the words which he had used day by day
for ten years past, continuing to enunciate suppositions as facts, and
giving a name, a destination, a history, to every one of the fragments.

"The house of Augustus," he said at last, pointing towards some masses of
earth and rubbish.

Thereupon Pierre, unable to distinguish anything, ventured to inquire:
"Where do you mean?"

"Oh!" said the man, "it seems that the walls were still to be seen at the
end of the last century. But it was entered from the other side, from the
Sacred Way. On this side there was a huge balcony which overlooked the
Circus Maximus so that one could view the sports. However, as you can
see, the greater part of the palace is still buried under that big garden
up above, the garden of the Villa Mills. When there's money for fresh
excavations it will be found again, together with the temple of Apollo
and the shrine of Vesta which accompanied it."

Turning to the left, he next entered the Stadium, the arena erected for
foot-racing, which stretched beside the palace of Augustus; and the
priest's interest was now once more awakened. It was not that he found
himself in presence of well-preserved and monumental remains, for not a
column had remained erect, and only the right-hand walls were still
standing. But the entire plan of the building had been traced, with the
goals at either end, the porticus round the course, and the colossal
imperial tribune which, after being on the left, annexed to the house of
Augustus, had afterwards opened on the right, fitting into the palace of
Septimius Severus. And while Pierre looked on all the scattered remnants,
his guide went on chattering, furnishing the most copious and precise
information, and declaring that the gentlemen who directed the
excavations had mentally reconstructed the Stadium in each and every
particular, and were even preparing a most exact plan of it, showing all
the columns in their proper order and the statues in their niches, and
even specifying the divers sorts of marble which had covered the walls.

"Oh! the directors are quite at ease," the old soldier eventually added
with an air of infinite satisfaction. "There will be nothing for the
Germans to pounce on here. They won't be allowed to set things
topsy-turvy as they did at the Forum, where everybody's at sea since they
came along with their wonderful science!"

Pierre--a Frenchman--smiled, and his interest increased when, by broken
steps and wooden bridges thrown over gaps, he followed the guide into the
great ruins of the palace of Severus. Rising on the southern point of the
Palatine, this palace had overlooked the Appian Way and the Campagna as
far as the eye could reach. Nowadays, almost the only remains are the
substructures, the subterranean halls contrived under the arches of the
terraces, by which the plateau of the hill was enlarged; and yet these
dismantled substructures suffice to give some idea of the triumphant
palace which they once upheld, so huge and powerful have they remained in
their indestructible massiveness. Near by arose the famous Septizonium,
the tower with the seven tiers of arcades, which only finally disappeared
in the sixteenth century. One of the palace terraces yet juts out upon
cyclopean arches and from it the view is splendid. But all the rest is a
commingling of massive yet crumbling walls, gaping depths whose ceilings
have fallen, endless corridors and vast halls of doubtful destination.
Well cared for by the new administration, swept and cleansed of weeds,
the ruins have lost their romantic wildness and assumed an aspect of bare
and mournful grandeur. However, flashes of living sunlight often gild the
ancient walls, penetrate by their breaches into the black halls, and
animate with their dazzlement the mute melancholy of all this dead
splendour now exhumed from the earth in which it slumbered for centuries.
Over the old ruddy masonry, stripped of its pompous marble covering, is
the purple mantle of the sunlight, draping the whole with imperial glory
once more.

For more than two hours already Pierre had been walking on, and yet he
still had to visit all the earlier palaces on the north and east of the
plateau. "We must go back," said the guide, "the gardens of the Villa
Mills and the convent of San Bonaventura stop the way. We shall only be
able to pass on this side when the excavations have made a clearance. Ah!
Monsieur l'Abbe, if you had walked over the Palatine merely some fifty
years ago! I've seen some plans of that time. There were only some
vineyards and little gardens with hedges then, a real campagna, where not
a soul was to be met. And to think that all these palaces were sleeping
underneath!"

Pierre followed him, and after again passing the house of Augustus, they
ascended the slope and reached the vast Flavian palace,* still half
buried by the neighbouring villa, and composed of a great number of halls
large and small, on the nature of which scholars are still arguing. The
aula regia, or throne-room, the basilica, or hall of justice, the
triclinium, or dining-room, and the peristylium seem certainties; but for
all the rest, and especially the small chambers of the private part of
the structure, only more or less fanciful conjectures can be offered.
Moreover, not a wall is entire; merely foundations peep out of the
ground, mutilated bases describing the plan of the edifice. The only ruin
preserved, as if by miracle, is the house on a lower level which some
assert to have been that of Livia,* a house which seems very small beside
all the huge palaces, and where are three halls comparatively intact,
with mural paintings of mythological scenes, flowers, and fruits, still
wonderfully fresh. As for the palace of Tiberius, not one of its stones
can be seen; its remains lie buried beneath a lovely public garden;
whilst of the neighbouring palace of Caligula, overhanging the Forum,
there are only some huge substructures, akin to those of the house of
Severus--buttresses, lofty arcades, which upheld the palace, vast
basements, so to say, where the praetorians were posted and gorged
themselves with continual junketings. And thus this lofty plateau
dominating the city merely offered some scarcely recognisable vestiges to
the view, stretches of grey, bare soil turned up by the pick, and dotted
with fragments of old walls; and it needed a real effort of scholarly
imagination to conjure up the ancient imperial splendour which once had
triumphed there.

  * Begun by Vespasian and finished by Domitian.--Trans.

  ** Others assert it to have been the house of Germanicus,
     father of Caligula.--Trans.

Nevertheless Pierre's guide, with quiet conviction, persisted in his
explanations, pointing to empty space as though the edifices still rose
before him. "Here," said he, "we are in the Area Palatina. Yonder, you
see, is the facade of Domitian's palace, and there you have that of
Caligula's palace, while on turning round the temple of Jupiter Stator is
in front of you. The Sacred Way came up as far as here, and passed under
the Porta Mugonia, one of the three gates of primitive Rome."

He paused and pointed to the northwest portion of the height. "You will
have noticed," he resumed, "that the Caesars didn't build yonder. And
that was evidently because they had to respect some very ancient
monuments dating from before the foundation of the city and greatly
venerated by the people. There stood the temple of Victory built by
Evander and his Arcadians, the Lupercal grotto which I showed you, and
the humble hut of Romulus constructed of reeds and clay. Oh! everything
has been found again, Monsieur l'Abbe; and, in spite of all that the
Germans say there isn't the slightest doubt of it."

Then, quite abruptly, like a man suddenly remembering the most
interesting thing of all, he exclaimed: "Ah! to wind up we'll just go to
see the subterranean gallery where Caligula was murdered."

Thereupon they descended into a long crypto-porticus, through the
breaches of which the sun now casts bright rays. Some ornaments of stucco
and fragments of mosaic-work are yet to be seen. Still the spot remains
mournful and desolate, well fitted for tragic horror. The old soldier's
voice had become graver as he related how Caligula, on returning from the
Palatine games, had been minded to descend all alone into this gallery to
witness certain sacred dances which some youths from Asia were practising
there. And then it was that the gloom gave Cassius Chaereas, the chief of
the conspirators, an opportunity to deal him the first thrust in the
abdomen. Howling with pain, the emperor sought to flee; but the
assassins, his creatures, his dearest friends, rushed upon him, threw him
down, and dealt him blow after blow, whilst he, mad with rage and fright,
filled the dim, deaf gallery with the howling of a slaughtered beast.
When he had expired, silence fell once more, and the frightened murderers
fled.

The classical visit to the Palatine was now over, and when Pierre came up
into the light again, he wished to rid himself of his guide and remain
alone in the pleasant, dreamy garden on the summit of the height. For
three hours he had been tramping about with the guide's voice buzzing in
his ears. The worthy man was now talking of his friendship for France and
relating the battle of Magenta in great detail. He smiled as he took the
piece of silver which Pierre offered him, and then started on the battle
of Solferino. Indeed, it seemed impossible to stop him, when fortunately
a lady came up to ask for some information. And, thereupon, he went off
with her. "Good-evening, Monsieur l'Abbe," he said; "you can go down by
way of Caligula's palace."

Delightful was Pierre's relief when he was at last able to rest for a
moment on one of the marble seats in the garden. There were but few
clumps of trees, cypresses, box-trees, palms, and some fine evergreen
oaks; but the latter, sheltering the seat, cast a dark shade of exquisite
freshness around. The charm of the spot was also largely due to its
dreamy solitude, to the low rustle which seemed to come from that ancient
soil saturated with resounding history. Here formerly had been the
pleasure grounds of the Villa Farnese which still exists though greatly
damaged, and the grace of the Renascence seems to linger here, its breath
passing caressingly through the shiny foliage of the old evergreen oaks.
You are, as it were, enveloped by the soul of the past, an ethereal
conglomeration of visions, and overhead is wafted the straying breath of
innumerable generations buried beneath the sod.

After a time, however, Pierre could no longer remain seated, so powerful
was the attraction of Rome, scattered all around that august summit. So
he rose and approached the balustrade of a terrace; and beneath him
appeared the Forum, and beyond it the Capitoline hill. To the eye the
latter now only presented a commingling of grey buildings, lacking both
grandeur and beauty. On the summit one saw the rear of the Palace of the
Senator, flat, with little windows, and surmounted by a high, square
campanile. The large, bare, rusty-looking walls hid the church of Santa
Maria in Ara Coeli and the spot where the temple of Capitoline Jove had
formerly stood, radiant in all its royalty. On the left, some ugly houses
rose terrace-wise upon the slope of Monte Caprino, where goats were
pastured in the middle ages; while the few fine trees in the grounds of
the Caffarelli palace, the present German embassy, set some greenery
above the ancient Tarpeian rock now scarcely to be found, lost, hidden as
it is, by buttress walls. Yet this was the Mount of the Capitol, the most
glorious of the seven hills, with its citadel and its temple, the temple
to which universal dominion was promised, the St. Peter's of pagan Rome;
this indeed was the hill--steep on the side of the Forum, and a precipice
on that of the Campus Martius--where the thunder of Jupiter fell, where
in the dimmest of the far-off ages the Asylum of Romulus rose with its
sacred oaks, a spot of infinite savage mystery. Here, later, were
preserved the public documents of Roman grandeur inscribed on tablets of
brass; hither climbed the heroes of the triumphs; and here the emperors
became gods, erect in statues of marble. And nowadays the eye inquires
wonderingly how so much history and so much glory can have had for their
scene so small a space, such a rugged, jumbled pile of paltry buildings,
a mole-hill, looking no bigger, no loftier than a hamlet perched between
two valleys.

Then another surprise for Pierre was the Forum, starting from the Capitol
and stretching out below the Palatine: a narrow square, close pressed by
the neighbouring hills, a hollow where Rome in growing had been compelled
to rear edifice close to edifice till all stifled for lack of breathing
space. It was necessary to dig very deep--some fifty feet--to find the
venerable republican soil, and now all you see is a long, clean, livid
trench, cleared of ivy and bramble, where the fragments of paving, the
bases of columns, and the piles of foundations appear like bits of bone.
Level with the ground the Basilica Julia, entirely mapped out, looks like
an architect's ground plan. On that side the arch of Septimius Severus
alone rears itself aloft, virtually intact, whilst of the temple of
Vespasian only a few isolated columns remain still standing, as if by
miracle, amidst the general downfall, soaring with a proud elegance, with
sovereign audacity of equilibrium, so slender and so gilded, into the
blue heavens. The column of Phocas is also erect; and you see some
portions of the Rostra fitted together out of fragments discovered near
by. But if the eye seeks a sensation of extraordinary vastness, it must
travel beyond the three columns of the temple of Castor and Pollux,
beyond the vestiges of the house of the Vestals, beyond the temple of
Faustina, in which the Christian Church of San Lorenzo has so composedly
installed itself, and even beyond the round temple of Romulus, to light
upon the Basilica of Constantine with its three colossal, gaping
archways. From the Palatine they look like porches built for a nation of
giants, so massive that a fallen fragment resembles some huge rock hurled
by a whirlwind from a mountain summit. And there, in that illustrious,
narrow, overflowing Forum the history of the greatest of nations held for
centuries, from the legendary time of the Sabine women, reconciling their
relatives and their ravishers, to that of the proclamation of public
liberty, so slowly wrung from the patricians by the plebeians. Was not
the Forum at once the market, the exchange, the tribunal, the open-air
hall of public meeting? The Gracchi there defended the cause of the
humble; Sylla there set up the lists of those whom he proscribed; Cicero
there spoke, and there, against the rostra, his bleeding head was hung.
Then, under the emperors, the old renown was dimmed, the centuries buried
the monuments and temples with such piles of dust that all that the
middle ages could do was to turn the spot into a cattle market! Respect
has come back once more, a respect which violates tombs, which is full of
feverish curiosity and science, which is dissatisfied with mere
hypotheses, which loses itself amidst this historical soil where
generations rise one above the other, and hesitates between the fifteen
or twenty restorations of the Forum that have been planned on paper, each
of them as plausible as the other. But to the mere passer-by, who is not
a professional scholar and has not recently re-perused the history of
Rome, the details have no significance. All he sees on this searched and
scoured spot is a city's cemetery where old exhumed stones are whitening,
and whence rises the intense sadness that envelops dead nations. Pierre,
however, noting here and there fragments of the Sacred Way, now turning,
now running down, and now ascending with their pavement of silex indented
by the chariot-wheels, thought of the triumphs, of the ascent of the
triumpher, so sorely shaken as his chariot jolted over that rough
pavement of glory.

But the horizon expanded towards the southeast, and beyond the arches of
Titus and Constantine he perceived the Colosseum. Ah! that colossus, only
one-half or so of which has been destroyed by time as with the stroke of
a mighty scythe, it rises in its enormity and majesty like a stone
lace-work with hundreds of empty bays agape against the blue of heaven!
There is a world of halls, stairs, landings, and passages, a world where
one loses oneself amidst death-like silence and solitude. The furrowed
tiers of seats, eaten into by the atmosphere, are like shapeless steps
leading down into some old extinct crater, some natural circus excavated
by the force of the elements in indestructible rock. The hot suns of
eighteen hundred years have baked and scorched this ruin, which has
reverted to a state of nature, bare and golden-brown like a
mountain-side, since it has been stripped of its vegetation, the flora
which once made it like a virgin forest. And what an evocation when the
mind sets flesh and blood and life again on all that dead osseous
framework, fills the circus with the 90,000 spectators which it could
hold, marshals the games and the combats of the arena, gathers a whole
civilisation together, from the emperor and the dignitaries to the
surging plebeian sea, all aglow with the agitation and brilliancy of an
impassioned people, assembled under the ruddy reflection of the giant
purple velum. And then, yet further, on the horizon, were other cyclopean
ruins, the baths of Caracalla, standing there like relics of a race of
giants long since vanished from the world: halls extravagantly and
inexplicably spacious and lofty; vestibules large enough for an entire
population; a /frigidarium/ where five hundred people could swim
together; a /tepidarium/ and a /calidarium/* on the same proportions,
born of a wild craving for the huge; and then the terrific massiveness of
the structures, the thickness of the piles of brick-work, such as no
feudal castle ever knew; and, in addition, the general immensity which
makes passing visitors look like lost ants; such an extraordinary riot of
the great and the mighty that one wonders for what men, for what
multitudes, this monstrous edifice was reared. To-day, you would say a
mass of rocks in the rough, thrown from some height for building the
abode of Titans.

  * Tepidarium, warm bath; calidarium, vapour bath.--Trans.

And as Pierre gazed, he became more and more immersed in the limitless
past which encompassed him. On all sides history rose up like a surging
sea. Those bluey plains on the north and west were ancient Etruria; those
jagged crests on the east were the Sabine Mountains; while southward, the
Alban Mountains and Latium spread out in the streaming gold of the
sunshine. Alba Longa was there, and so was Monte Cavo, with its crown of
old trees, and the convent which has taken the place of the ancient
temple of Jupiter. Then beyond the Forum, beyond the Capitol, the greater
part of Rome stretched out, whilst behind Pierre, on the margin of the
Tiber, was the Janiculum. And a voice seemed to come from the whole city,
a voice which told him of Rome's eternal life, resplendent with past
greatness. He remembered just enough of what he had been taught at school
to realise where he was; he knew just what every one knows of Rome with
no pretension to scholarship, and it was more particularly his artistic
temperament which awoke within him and gathered warmth from the flame of
memory. The present had disappeared, and the ocean of the past was still
rising, buoying him up, carrying him away.

And then his mind involuntarily pictured a resurrection instinct with
life. The grey, dismal Palatine, razed like some accursed city, suddenly
became animated, peopled, crowned with palaces and temples. There had
been the cradle of the Eternal City, founded by Romulus on that summit
overlooking the Tiber. There assuredly the seven kings of its two and a
half centuries of monarchical rule had dwelt, enclosed within high,
strong walls, which had but three gateways. Then the five centuries of
republican sway spread out, the greatest, the most glorious of all the
centuries, those which brought the Italic peninsula and finally the known
world under Roman dominion. During those victorious years of social and
war-like struggle, Rome grew and peopled the seven hills, and the
Palatine became but a venerable cradle with legendary temples, and was
even gradually invaded by private residences. But at last Caesar, the
incarnation of the power of his race, after Gaul and after Pharsalia
triumphed in the name of the whole Roman people, having completed the
colossal task by which the five following centuries of imperialism were
to profit, with a pompous splendour and a rush of every appetite. And
then Augustus could ascend to power; glory had reached its climax;
millions of gold were waiting to be filched from the depths of the
provinces; and the imperial gala was to begin in the world's capital,
before the eyes of the dazzled and subjected nations. Augustus had been
born on the Palatine, and after Actium had given him the empire, he set
his pride in reigning from the summit of that sacred mount, venerated by
the people. He bought up private houses and there built his palace with
luxurious splendour: an atrium upheld by four pilasters and eight
columns; a peristylium encompassed by fifty-six Ionic columns; private
apartments all around, and all in marble; a profusion of marble, brought
at great cost from foreign lands, and of the brightest hues, resplendent
like gems. And he lodged himself with the gods, building near his own
abode a large temple of Apollo and a shrine of Vesta in order to ensure
himself divine and eternal sovereignty. And then the seed of the imperial
palaces was sown; they were to spring up, grow and swarm, and cover the
entire mount.

Ah! the all-powerfulness of Augustus, his four and forty years of total,
absolute, superhuman power, such as no despot has known even in his
dreams! He had taken to himself every title, united every magistracy in
his person. Imperator and consul, he commanded the armies and exercised
executive power; pro-consul, he was supreme in the provinces; perpetual
censor and princeps, he reigned over the senate; tribune, he was the
master of the people. And, formerly called Octavius, he had caused
himself to be declared Augustus, sacred, god among men, having his
temples and his priests, worshipped in his lifetime like a divinity
deigning to visit the earth. And finally he had resolved to be supreme
pontiff, annexing religious to civil power, and thus by a stroke of
genius attaining to the most complete dominion to which man can climb. As
the supreme pontiff could not reside in a private house, he declared his
abode to be State property. As the supreme pontiff could not leave the
vicinity of the temple of Vesta, he built a temple to that goddess near
his own dwelling, leaving the guardianship of the ancient altar below the
Palatine to the Vestal virgins. He spared no effort, for he well realised
that human omnipotence, the mastery of mankind and the world, lay in that
reunion of sovereignty, in being both king and priest, emperor and pope.
All the sap of a mighty race, all the victories achieved, and all the
favours of fortune yet to be garnered, blossomed forth in Augustus, in a
unique splendour which was never again to shed such brilliant radiance.
He was really the master of the world, amidst the conquered and pacified
nations, encompassed by immortal glory in literature and in art. In him
would seem to have been satisfied the old intense ambition of his people,
the ambition which it had pursued through centuries of patient conquest,
to become the people-king. The blood of Rome, the blood of Augustus, at
last coruscated in the sunlight, in the purple of empire. And the blood
of Augustus, of the divine, triumphant, absolute sovereign of bodies and
souls, of the man in whom seven centuries of national pride had
culminated, was to descend through the ages, through an innumerable
posterity with a heritage of boundless pride and ambition. For it was
fatal: the blood of Augustus was bound to spring into life once more and
pulsate in the veins of all the successive masters of Rome, ever haunting
them with the dream of ruling the whole world. And later on, after the
decline and fall, when power had once more become divided between the
king and the priest, the popes--their hearts burning with the red,
devouring blood of their great forerunner--had no other passion, no other
policy, through the centuries, than that of attaining to civil dominion,
to the totality of human power.

But Augustus being dead, his palace having been closed and consecrated,
Pierre saw that of Tiberius spring up from the soil. It had stood where
his feet now rested, where the beautiful evergreen oaks sheltered him. He
pictured it with courts, porticoes, and halls, both substantial and
grand, despite the gloomy bent of the emperor who betook himself far from
Rome to live amongst informers and debauchees, with his heart and brain
poisoned by power to the point of crime and most extraordinary insanity.
Then the palace of Caligula followed, an enlargement of that of Tiberius,
with arcades set up to increase its extent, and a bridge thrown over the
Forum to the Capitol, in order that the prince might go thither at his
ease to converse with Jove, whose son he claimed to be. And sovereignty
also rendered this one ferocious--a madman with omnipotence to do as he
listed! Then, after Claudius, Nero, not finding the Palatine large
enough, seized upon the delightful gardens climbing the Esquiline in
order to set up his Golden House, a dream of sumptuous immensity which he
could not complete and the ruins of which disappeared in the troubles
following the death of this monster whom pride demented. Next, in
eighteen months, Galba, Otho, and Vitellius fell one upon the other, in
mire and in blood, the purple converting them also into imbeciles and
monsters, gorged like unclean beasts at the trough of imperial enjoyment.
And afterwards came the Flavians, at first a respite, with commonsense
and human kindness: Vespasian; next Titus, who built but little on the
Palatine; but then Domitian, in whom the sombre madness of omnipotence
burst forth anew amidst a /regime/ of fear and spying, idiotic atrocities
and crimes, debauchery contrary to nature, and building enterprises born
of insane vanity instinct with a desire to outvie the temples of the
gods. The palace of Domitian, parted by a lane from that of Tiberius,
arose colossal-like--a palace of fairyland. There was the hall of
audience, with its throne of gold, its sixteen columns of Phrygian and
Numidian marble and its eight niches containing colossal statues; there
were the hall of justice, the vast dining-room, the peristylium, the
sleeping apartments, where granite, porphyry, and alabaster overflowed,
carved and decorated by the most famous artists, and lavished on all
sides in order to dazzle the world. And finally, many years later, a last
palace was added to all the others--that of Septimius Severus: again a
building of pride, with arches supporting lofty halls, terraced storeys,
towers o'er-topping the roofs, a perfect Babylonian pile, rising up at
the extreme point of the mount in view of the Appian Way, so that the
emperor's compatriots--those from the province of Africa, where he was
born--might, on reaching the horizon, marvel at his fortune and worship
him in his glory.

And now Pierre beheld all those palaces which he had conjured up around
him, resuscitated, resplendent in the full sunlight. They were as if
linked together, parted merely by the narrowest of passages. In order
that not an inch of that precious summit might be lost, they had sprouted
thickly like the monstrous florescence of strength, power, and unbridled
pride which satisfied itself at the cost of millions, bleeding the whole
world for the enjoyment of one man. And in truth there was but one palace
altogether, a palace enlarged as soon as one emperor died and was placed
among the deities, and another, shunning the consecrated pile where
possibly the shadow of death frightened him, experienced an imperious
need to build a house of his own and perpetuate in everlasting stone the
memory of his reign. All the emperors were seized with this building
craze; it was like a disease which the very throne seemed to carry from
one occupant to another with growing intensity, a consuming desire to
excel all predecessors by thicker and higher walls, by a more and more
wonderful profusion of marbles, columns, and statues. And among all these
princes there was the idea of a glorious survival, of leaving a testimony
of their greatness to dazzled and stupefied generations, of perpetuating
themselves by marvels which would not perish but for ever weigh heavily
upon the earth, when their own light ashes should long since have been
swept away by the winds. And thus the Palatine became but the venerable
base of a monstrous edifice, a thick vegetation of adjoining buildings,
each new pile being like a fresh eruption of feverish pride; while the
whole, now showing the snowy brightness of white marble and now the
glowing hues of coloured marble, ended by crowning Rome and the world
with the most extraordinary and most insolent abode of sovereignty--
whether palace, temple, basilica, or cathedral--that omnipotence and
dominion have ever reared under the heavens.

But death lurked beneath this excess of strength and glory. Seven hundred
and thirty years of monarchy and republic had sufficed to make Rome
great; and in five centuries of imperial sway the people-king was to be
devoured down to its last muscles. There was the immensity of the
territory, the more distant provinces gradually pillaged and exhausted;
there was the fisc consuming everything, digging the pit of fatal
bankruptcy; and there was the degeneration of the people, poisoned by the
scenes of the circus and the arena, fallen to the sloth and debauchery of
their masters, the Caesars, while mercenaries fought the foe and tilled
the soil. Already at the time of Constantine, Rome had a rival,
Byzantium; disruption followed with Honorius; and then some ten emperors
sufficed for decomposition to be complete, for the bones of the dying
prey to be picked clean, the end coming with Romulus Augustulus, the
sorry creature whose name is, so to say, a mockery of the whole glorious
history, a buffet for both the founder of Rome and the founder of the
empire.

The palaces, the colossal assemblage of walls, storeys, terraces, and
gaping roofs, still remained on the deserted Palatine; many ornaments and
statues, however, had already been removed to Byzantium. And the empire,
having become Christian, had afterwards closed the temples and
extinguished the fire of Vesta, whilst yet respecting the ancient
Palladium. But in the fifth century the barbarians rush upon Rome, sack
and burn it, and carry the spoils spared by the flames away in their
chariots. As long as the city was dependent on Byzantium a custodian of
the imperial palaces remained there watching over the Palatine. Then all
fades and crumbles in the night of the middle ages. It would really seem
that the popes then slowly took the place of the Caesars, succeeding them
both in their abandoned marble halls and their ever-subsisting passion
for domination. Some of them assuredly dwelt in the palace of Septimius
Severus; a council of the Church was held in the Septizonium; and, later
on, Gelasius II was elected in a neighbouring monastery on the sacred
mount. It was as if Augustus were again rising from the tomb, once more
master of the world, with a Sacred College of Cardinals resuscitating the
Roman Senate. In the twelfth century the Septizonium belonged to some
Benedictine monks, and was sold by them to the powerful Frangipani
family, who fortified it as they had already fortified the Colosseum and
the arches of Constantine and Titus, thus forming a vast fortress round
about the venerable cradle of the city. And the violent deeds of civil
war and the ravages of invasion swept by like whirlwinds, throwing down
the walls, razing the palaces and towers. And afterwards successive
generations invaded the ruins, installed themselves in them by right of
trover and conquest, turned them into cellars, store-places for forage,
and stables for mules. Kitchen gardens were formed, vines were planted on
the spots where fallen soil had covered the mosaics of the imperial
halls. All around nettles and brambles grew up, and ivy preyed on the
overturned porticoes, till there came a day when the colossal assemblage
of palaces and temples, which marble was to have rendered eternal, seemed
to dive beneath the dust, to disappear under the surging soil and
vegetation which impassive Nature threw over it. And then, in the hot
sunlight, among the wild flowerets, only big, buzzing flies remained,
whilst herds of goats strayed in freedom through the throne-room of
Domitian and the fallen sanctuary of Apollo.

A great shudder passed through Pierre. To think of so much strength,
pride, and grandeur, and such rapid ruin--a world for ever swept away! He
wondered how entire palaces, yet peopled by admirable statuary, could
thus have been gradually buried without any one thinking of protecting
them. It was no sudden catastrophe which had swallowed up those
masterpieces, subsequently to be disinterred with exclamations of
admiring wonder; they had been drowned, as it were--caught progressively
by the legs, the waist, and the neck, till at last the head had sunk
beneath the rising tide. And how could one explain that generations had
heedlessly witnessed such things without thought of putting forth a
helping hand? It would seem as if, at a given moment, a black curtain
were suddenly drawn across the world, as if mankind began afresh, with a
new and empty brain which needed moulding and furnishing. Rome had become
depopulated; men ceased to repair the ruins left by fire and sword; the
edifices which by their very immensity had become useless were utterly
neglected, allowed to crumble and fall. And then, too, the new religion
everywhere hunted down the old one, stole its temples, overturned its
gods. Earthly deposits probably completed the disaster--there were, it is
said, both earthquakes and inundations--and the soil was ever rising, the
alluvia of the young Christian world buried the ancient pagan society.
And after the pillaging of the temples, the theft of the bronze roofs and
marble columns, the climax came with the filching of the stones torn from
the Colosseum and the Theatre of Marcellus, with the pounding of the
statuary and sculpture-work, thrown into kilns to procure the lime needed
for the new monuments of Catholic Rome.

It was nearly one o'clock, and Pierre awoke as from a dream. The sun-rays
were streaming in a golden rain between the shiny leaves of the
ever-green oaks above him, and down below Rome lay dozing, overcome by
the great heat. Then he made up his mind to leave the garden, and went
stumbling over the rough pavement of the Clivus Victoriae, his mind still
haunted by blinding visions. To complete his day, he had resolved to
visit the old Appian Way during the afternoon, and, unwilling to return
to the Via Giulia, he lunched at a suburban tavern, in a large, dim room,
where, alone with the buzzing flies, he lingered for more than two hours,
awaiting the sinking of the sun.

Ah! that Appian Way, that ancient queen of the high roads, crossing the
Campagna in a long straight line with rows of proud tombs on either
hand--to Pierre it seemed like a triumphant prolongation of the Palatine.
He there found the same passion for splendour and domination, the same
craving to eternise the memory of Roman greatness in marble and daylight.
Oblivion was vanquished; the dead refused to rest, and remained for ever
erect among the living, on either side of that road which was traversed
by multitudes from the entire world. The deified images of those who were
now but dust still gazed on the passers-by with empty eyes; the
inscriptions still spoke, proclaiming names and titles. In former times
the rows of sepulchres must have extended without interruption along all
the straight, level miles between the tomb of Caecilia Metella and that
of Casale Rotondo, forming an elongated cemetery where the powerful and
wealthy competed as to who should leave the most colossal and lavishly
decorated mausoleum: such, indeed, was the craving for survival, the
passion for pompous immortality, the desire to deify death by lodging it
in temples; whereof the present-day monumental splendour of the Genoese
Campo Santo and the Roman Campo Verano is, so to say, a remote
inheritance. And what a vision it was to picture all the tremendous tombs
on the right and left of the glorious pavement which the legions trod on
their return from the conquest of the world! That tomb of Caecilia
Metella, with its bond-stones so huge, its walls so thick that the middle
ages transformed it into the battlemented keep of a fortress! And then
all the tombs which follow, the modern structures erected in order that
the marble fragments discovered might be set in place, the old blocks of
brick and concrete, despoiled of their sculptured-work and rising up like
seared rocks, yet still suggesting their original shapes as shrines,
/cippi/, and /sarcophagi/. There is a wondrous succession of high reliefs
figuring the dead in groups of three and five; statues in which the dead
live deified, erect; seats contrived in niches in order that wayfarers
may rest and bless the hospitality of the dead; laudatory epitaphs
celebrating the dead, both the known and the unknown, the children of
Sextius Pompeius Justus, the departed Marcus Servilius Quartus, Hilarius
Fuscus, Rabirius Hermodorus; without counting the sepulchres venturously
ascribed to Seneca and the Horatii and Curiatii. And finally there is the
most extraordinary and gigantic of all the tombs, that known as Casale
Rotondo, which is so large that it has been possible to establish a
farmhouse and an olive garden on its substructures, which formerly upheld
a double rotunda, adorned with Corinthian pilasters, large candelabra,
and scenic masks.*

  * Some believe this tomb to have been that of Messalla Corvinus,
    the historian and poet, a friend of Augustus and Horace; others
    ascribe it to his son, Aurelius Messallinus Cotta.--Trans.

Pierre, having driven in a cab as far as the tomb of Caecilia Metella,
continued his excursion on foot, going slowly towards Casale Rotondo. In
many places the old pavement appears--large blocks of basaltic lava, worn
into deep ruts that jolt the best-hung vehicles. Among the ruined tombs
on either hand run bands of grass, the neglected grass of cemeteries,
scorched by the summer suns and sprinkled with big violet thistles and
tall sulphur-wort. Parapets of dry stones, breast high, enclose the
russet roadsides, which resound with the crepitation of grasshoppers;
and, beyond, the Campagna stretches, vast and bare, as far as the eye can
see. A parasol pine, a eucalyptus, some olive or fig trees, white with
dust, alone rise up near the road at infrequent intervals. On the left
the ruddy arches of the Acqua Claudia show vigorously in the meadows, and
stretches of poorly cultivated land, vineyards, and little farms, extend
to the blue and lilac Sabine and Alban hills, where Frascati, Rocca di
Papa, and Albano set bright spots, which grow and whiten as one gets
nearer to them. Then, on the right, towards the sea, the houseless,
treeless plain grows and spreads with vast, broad ripples, extraordinary
ocean-like simplicity and grandeur, a long, straight line alone parting
it from the sky. At the height of summer all burns and flares on this
limitless prairie, then of a ruddy gold; but in September a green tinge
begins to suffuse the ocean of herbage, which dies away in the pink and
mauve and vivid blue of the fine sunsets.

As Pierre, quite alone and in a dreary mood, slowly paced the endless,
flat highway, that resurrection of the past which he had beheld on the
Palatine again confronted his mind's eye. On either hand the tombs once
more rose up intact, with marble of dazzling whiteness. Had not the head
of a colossal statue been found, mingled with fragments of huge sphinxes,
at the foot of yonder vase-shaped mass of bricks? He seemed to see the
entire colossal statue standing again between the huge, crouching beasts.
Farther on a beautiful headless statue of a woman had been discovered in
the cella of a sepulchre, and he beheld it, again whole, with features
expressive of grace and strength smiling upon life. The inscriptions also
became perfect; he could read and understand them at a glance, as if
living among those dead ones of two thousand years ago. And the road,
too, became peopled: the chariots thundered, the armies tramped along,
the people of Rome jostled him with the feverish agitation of great
communities. It was a return of the times of the Flavians or the
Antonines, the palmy years of the empire, when the pomp of the Appian
Way, with its grand sepulchres, carved and adorned like temples, attained
its apogee. What a monumental Street of Death, what an approach to Rome,
that highway, straight as an arrow, where with the extraordinary pomp of
their pride, which had survived their dust, the great dead greeted the
traveller, ushered him into the presence of the living! He may well have
wondered among what sovereign people, what masters of the world, he was
about to find himself--a nation which had committed to its dead the duty
of telling strangers that it allowed nothing whatever to perish--that its
dead, like its city, remained eternal and glorious in monuments of
extraordinary vastness! To think of it--the foundations of a fortress,
and a tower sixty feet in diameter, that one woman might be laid to rest!
And then, far away, at the end of the superb, dazzling highway, bordered
with the marble of its funereal palaces, Pierre, turning round,
distinctly beheld the Palatine, with the marble of its imperial
palaces--the huge assemblage of palaces whose omnipotence had dominated
the world!

But suddenly he started: two carabiniers had just appeared among the
ruins. The spot was not safe; the authorities watched over tourists even
in broad daylight. And later on came another meeting which caused him
some emotion. He perceived an ecclesiastic, a tall old man, in a black
cassock, edged and girt with red; and was surprised to recognise Cardinal
Boccanera, who had quitted the roadway, and was slowly strolling along
the band of grass, among the tall thistles and sulphur-wort. With his
head lowered and his feet brushing against the fragments of the tombs,
the Cardinal did not even see Pierre. The young priest courteously turned
aside, surprised to find him so far from home and alone. Then, on
perceiving a heavy coach, drawn by two black horses, behind a building,
he understood matters. A footman in black livery was waiting motionless
beside the carriage, and the coachman had not quitted his box. And Pierre
remembered that the Cardinals were not expected to walk in Rome, so that
they were compelled to drive into the country when they desired to take
exercise. But what haughty sadness, what solitary and, so to say,
ostracised grandeur there was about that tall, thoughtful old man, thus
forced to seek the desert, and wander among the tombs, in order to
breathe a little of the evening air!

Pierre had lingered there for long hours; the twilight was coming on, and
once again he witnessed a lovely sunset. On his left the Campagna became
blurred, and assumed a slaty hue, against which the yellowish arcades of
the aqueduct showed very plainly, while the Alban hills, far away, faded
into pink. Then, on the right, towards the sea, the planet sank among a
number of cloudlets, figuring an archipelago of gold in an ocean of dying
embers. And excepting the sapphire sky, studded with rubies, above the
endless line of the Campagna, which was likewise changed into a sparkling
lake, the dull green of the herbage turning to a liquid emerald tint,
there was nothing to be seen, neither a hillock nor a flock--nothing,
indeed, but Cardinal Boccanera's black figure, erect among the tombs, and
looking, as it were, enlarged as it stood out against the last purple
flush of the sunset.

Early on the following morning Pierre, eager to see everything, returned
to the Appian Way in order to visit the catacomb of St. Calixtus, the
most extensive and remarkable of the old Christian cemeteries, and one,
too, where several of the early popes were buried. You ascend through a
scorched garden, past olives and cypresses, reach a shanty of boards and
plaster in which a little trade in "articles of piety" is carried on, and
there a modern and fairly easy flight of steps enables you to descend.
Pierre fortunately found there some French Trappists, who guard these
catacombs and show them to strangers. One brother was on the point of
going down with two French ladies, the mother and daughter, the former
still comely and the other radiant with youth. They stood there smiling,
though already slightly frightened, while the monk lighted some long,
slim candles. He was a man with a bossy brow, the large, massive jaw of
an obstinate believer and pale eyes bespeaking an ingenuous soul.

"Ah! Monsieur l'Abbe," he said to Pierre, "you've come just in time. If
the ladies are willing, you had better come with us; for three Brothers
are already below with people, and you would have a long time to wait.
This is the great season for visitors."

The ladies politely nodded, and the Trappist handed a candle to the
priest. In all probability neither mother nor daughter was devout, for
both glanced askance at their new companion's cassock, and suddenly
became serious. Then they all went down and found themselves in a narrow
subterranean corridor. "Take care, mesdames," repeated the Trappist,
lighting the ground with his candle. "Walk slowly, for there are
projections and slopes."

Then, in a shrill voice full of extraordinary conviction, he began his
explanations. Pierre had descended in silence, his heart beating with
emotion. Ah! how many times, indeed, in his innocent seminary days, had
he not dreamt of those catacombs of the early Christians, those asylums
of the primitive faith! Even recently, while writing his book, he had
often thought of them as of the most ancient and venerable remains of
that community of the lowly and simple, for the return of which he
called. But his brain was full of pages written by poets and great prose
writers. He had beheld the catacombs through the magnifying glass of
those imaginative authors, and had believed them to be vast, similar to
subterranean cities, with broad highways and spacious halls, fit for the
accommodation of vast crowds. And now how poor and humble the reality!

"Well, yes," said the Trappist in reply to the ladies' questions, "the
corridor is scarcely more than a yard in width; two persons could not
pass along side by side. How they dug it? Oh! it was simple enough. A
family or a burial association needed a place of sepulchre. Well, a first
gallery was excavated with pickaxes in soil of this description--granular
tufa, as it is called--a reddish substance, as you can see, both soft and
yet resistant, easy to work and at the same time waterproof. In a word,
just the substance that was needed, and one, too, that has preserved the
remains of the buried in a wonderful way." He paused and brought the
flamelet of his candle near to the compartments excavated on either hand
of the passage. "Look," he continued, "these are the /loculi/. Well, a
subterranean gallery was dug, and on both sides these compartments were
hollowed out, one above the other. The bodies of the dead were laid in
them, for the most part simply wrapped in shrouds. Then the aperture was
closed with tiles or marble slabs, carefully cemented. So, as you can
see, everything explains itself. If other families joined the first one,
or the burial association became more numerous, fresh galleries were
added to those already filled. Passages were excavated on either hand, in
every sense; and, indeed, a second and lower storey, at times even a
third, was dug out. And here, you see, we are in a gallery which is
certainly thirteen feet high. Now, you may wonder how they raised the
bodies to place them in the compartments of the top tier. Well, they did
not raise them to any such height; in all their work they kept on going
lower and lower, removing more and more of the soil as the compartments
became filled. And in this wise, in these catacombs of St. Calixtus, in
less than four centuries, the Christians excavated more than ten miles of
galleries, in which more than a million of their dead must have been laid
to rest. Now, there are dozens of catacombs; the environs of Rome are
honeycombed with them. Think of that, and perhaps you will be able to
form some idea of the vast number of people who were buried in this
manner."

Pierre listened, feeling greatly impressed. He had once visited a coal
pit in Belgium, and he here found the same narrow passages, the same
heavy, stifling atmosphere, the same nihility of darkness and silence.
The flamelets of the candles showed merely like stars in the deep gloom;
they shed no radiance around. And he at last understood the character of
this funereal, termite-like labour--these chance burrowings continued
according to requirements, without art, method, or symmetry. The rugged
soil was ever ascending and descending, the sides of the gallery snaked:
neither plumb-line nor square had been used. All this, indeed, had simply
been a work of charity and necessity, wrought by simple, willing
grave-diggers, illiterate craftsmen, with the clumsy handiwork of the
decline and fall. Proof thereof was furnished by the inscriptions and
emblems on the marble slabs. They reminded one of the childish drawings
which street urchins scrawl upon blank walls.

"You see," the Trappist continued, "most frequently there is merely a
name; and sometimes there is no name, but simply the words /In Pace/. At
other times there is an emblem, the dove of purity, the palm of
martyrdom, or else the fish whose name in Greek is composed of five
letters which, as initials, signify: 'Jesus Christ, Son of God,
Saviour.'"

He again brought his candle near to the marble slabs, and the palm could
be distinguished: a central stroke, whence started a few oblique lines;
and then came the dove or the fish, roughly outlined, a zigzag indicating
a tail, two bars representing the bird's feet, while a round point
simulated an eye. And the letters of the short inscriptions were all
askew, of various sizes, often quite misshapen, as in the coarse
handwriting of the ignorant and simple.

However, they reached a crypt, a sort of little hall, where the graves of
several popes had been found; among others that of Sixtus II, a holy
martyr, in whose honour there was a superbly engraved metrical
inscription set up by Pope Damasus. Then, in another hall, a family vault
of much the same size, decorated at a later stage, with naive mural
paintings, the spot where St. Cecilia's body had been discovered was
shown. And the explanations continued. The Trappist dilated on the
paintings, drawing from them a confirmation of every dogma and belief,
baptism, the Eucharist, the resurrection, Lazarus arising from the tomb,
Jonas cast up by the whale, Daniel in the lions' den, Moses drawing water
from the rock, and Christ--shown beardless, as was the practice in the
early ages--accomplishing His various miracles.

"You see," repeated the Trappist, "all those things are shown there; and
remember that none of the paintings was specially prepared: they are
absolutely authentic."

At a question from Pierre, whose astonishment was increasing, he admitted
that the catacombs had been mere cemeteries at the outset, when no
religious ceremonies had been celebrated in them. It was only later, in
the fourth century, when the martyrs were honoured, that the crypts were
utilised for worship. And in the same way they only became places of
refuge during the persecutions, when the Christians had to conceal the
entrances to them. Previously they had remained freely and legally open.
This was indeed their true history: cemeteries four centuries old
becoming places of asylum, ravaged at times during the persecutions;
afterwards held in veneration till the eighth century; then despoiled of
their holy relics, and subsequently blocked up and forgotten, so that
they remained buried during more than seven hundred years, people
thinking of them so little that at the time of the first searches in the
fifteenth century they were considered an extraordinary discovery--an
intricate historical problem--one, moreover, which only our own age has
solved.

"Please stoop, mesdames," resumed the Trappist. "In this compartment here
is a skeleton which has not been touched. It has been lying here for
sixteen or seventeen hundred years, and will show you how the bodies were
laid out. Savants say that it is the skeleton of a female, probably a
young girl. It was still quite perfect last spring; but the skull, as you
can see, is now split open. An American broke it with his walking stick
to make sure that it was genuine."

The ladies leaned forward, and the flickering light illumined their pale
faces, expressive of mingled fright and compassion. Especially noticeable
was the pitiful, pain-fraught look which appeared on the countenance of
the daughter, so full of life with her red lips and large black eyes.
Then all relapsed into gloom, and the little candles were borne aloft and
went their way through the heavy darkness of the galleries. The visit
lasted another hour, for the Trappist did not spare a detail, fond as he
was of certain nooks and corners, and as zealous as if he desired to work
the redemption of his visitors.

While Pierre followed the others, a complete evolution took place within
him. As he looked about him, and formed a more and more complete idea of
his surroundings, his first stupefaction at finding the reality so
different from the embellished accounts of story-tellers and poets, his
disillusion at being plunged into such rudely excavated mole-burrows,
gave way to fraternal emotion. It was not that he thought of the fifteen
hundred martyrs whose sacred bones had rested there. But how humble,
resigned, yet full of hope had been those who had chosen such a place of
sepulchre! Those low, darksome galleries were but temporary
sleeping-places for the Christians. If they did not burn the bodies of
their dead, as the Pagans did, it was because, like the Jews, they
believed in the resurrection of the body; and it was that lovely idea of
sleep, of tranquil rest after a just life, whilst awaiting the celestial
reward, which imparted such intense peacefulness, such infinite charm, to
the black, subterranean city. Everything there spoke of calm and silent
night; everything there slumbered in rapturous quiescence, patient until
the far-off awakening. What could be more touching than those terra-cotta
tiles, those marble slabs, which bore not even a name--nothing but the
words /In Pace/--at peace. Ah! to be at peace--life's work at last
accomplished; to sleep in peace, to hope in peace for the advent of
heaven! And the peacefulness seemed the more delightful as it was enjoyed
in such deep humility. Doubtless the diggers worked chance-wise and
clumsily; the craftsmen no longer knew how to engrave a name or carve a
palm or a dove. Art had vanished; but all the feebleness and ignorance
were instinct with the youth of a new humanity. Poor and lowly and meek
ones swarmed there, reposing beneath the soil, whilst up above the sun
continued its everlasting task. You found there charity and fraternity
and death; husband and wife often lying together with their offspring at
their feet; the great mass of the unknown submerging the personage, the
bishop, or the martyr; the most touching equality--that springing from
modesty--prevailing amidst all that dust, with compartments ever similar
and slabs destitute of ornament, so that rows and rows of the sleepers
mingled without distinctive sign. The inscriptions seldom ventured on a
word of praise, and then how prudent, how delicate it was: the men were
very worthy, very pious: the women very gentle, very beautiful, very
chaste. A perfume of infancy arose, unlimited human affection spread:
this was death as understood by the primitive Christians--death which hid
itself to await the resurrection, and dreamt no more of the empire of the
world!

And all at once before Pierre's eyes arose a vision of the sumptuous
tombs of the Appian Way, displaying the domineering pride of a whole
civilisation in the sunlight--tombs of vast dimensions, with a profusion
of marbles, grandiloquent inscriptions, and masterpieces of
sculptured-work. Ah! what an extraordinary contrast between that pompous
avenue of death, conducting, like a highway of triumph, to the regal
Eternal City, when compared with the subterranean necropolis of the
Christians, that city of hidden death, so gentle, so beautiful, and so
chaste! Here only quiet slumber, desired and accepted night, resignation
and patience were to be found. Millions of human beings had here laid
themselves to rest in all humility, had slept for centuries, and would
still be sleeping here, lulled by the silence and the gloom, if the
living had not intruded on their desire to remain in oblivion so long as
the trumpets of the Judgment Day did not awaken them. Death had then
spoken of Life: nowhere had there been more intimate and touching life
than in these buried cities of the unknown, lowly dead. And a mighty
breath had formerly come from them--the breath of a new humanity destined
to renew the world. With the advent of meekness, contempt for the flesh,
terror and hatred of nature, relinquishment of terrestrial joys, and a
passion for death, which delivers and opens the portals of Paradise,
another world had begun. And the blood of Augustus, so proud of purpling
in the sunlight, so fired by the passion for sovereign dominion, seemed
for a moment to disappear, as if, indeed, the new world had sucked it up
in the depths of its gloomy sepulchres.

However, the Trappist insisted on showing the ladies the steps of
Diocletian, and began to tell them the legend. "Yes," said he, "it was a
miracle. One day, under that emperor, some soldiers were pursuing several
Christians, who took refuge in these catacombs; and when the soldiers
followed them inside the steps suddenly gave way, and all the persecutors
were hurled to the bottom. The steps remain broken to this day. Come and
see them; they are close by."

But the ladies were quite overcome, so affected by their prolonged
sojourn in the gloom and by the tales of death which the Trappist had
poured into their ears that they insisted on going up again. Moreover,
the candles were coming to an end. They were all dazzled when they found
themselves once more in the sunlight, outside the little hut where
articles of piety and souvenirs were sold. The girl bought a paper
weight, a piece of marble on which was engraved the fish symbolical of
"Jesus Christ, Son of God, Saviour of Mankind."

On the afternoon of that same day Pierre decided to visit St. Peter's. He
had as yet only driven across the superb piazza with its obelisk and twin
fountains, encircled by Bernini's colonnades, those four rows of columns
and pilasters which form a girdle of monumental majesty. At the far end
rises the basilica, its facade making it look smaller and heavier than it
really is, but its sovereign dome nevertheless filling the heavens.

Pebbled, deserted inclines stretched out, and steps followed steps, worn
and white, under the burning sun; but at last Pierre reached the door and
went in. It was three o'clock. Broad sheets of light streamed in through
the high square windows, and some ceremony--the vesper service, no
doubt--was beginning in the Capella Clementina on the left. Pierre,
however, heard nothing; he was simply struck by the immensity of the
edifice, as with raised eyes he slowly walked along. At the entrance came
the giant basins for holy water with their boy-angels as chubby as
Cupids; then the nave, vaulted and decorated with sunken coffers; then
the four cyclopean buttress-piers upholding the dome, and then again the
transepts and apsis, each as large as one of our churches. And the proud
pomp, the dazzling, crushing splendour of everything, also astonished
him: he marvelled at the cupola, looking like a planet, resplendent with
the gold and bright colours of its mosaic-work, at the sumptuous
/baldacchino/ of bronze, crowning the high altar raised above the very
tomb of St. Peter, and whence descend the double steps of the Confession,
illumined by seven and eighty lamps, which are always kept burning. And
finally he was lost in astonishment at the extraordinary profusion of
marble, both white and coloured. Oh! those polychromatic marbles,
Bernini's luxurious passion! The splendid pavement reflecting the entire
edifice, the facings of the pilasters with their medallions of popes, the
tiara and the keys borne aloft by chubby angels, the walls covered with
emblems, particularly the dove of Innocent X, the niches with their
colossal statues uncouth in taste, the /loggie/ and their balconies, the
balustrade and double steps of the Confession, the rich altars and yet
richer tombs--all, nave, aisles, transepts, and apsis, were in marble,
resplendent with the wealth of marble; not a nook small as the palm of
one's hand appearing but it showed the insolent opulence of marble. And
the basilica triumphed, beyond discussion, recognised and admired by
every one as the largest and most splendid church in the whole world--the
personification of hugeness and magnificence combined.

Pierre still wandered on, gazing, overcome, as yet not distinguishing
details. He paused for a moment before the bronze statue of St. Peter,
seated in a stiff, hierarchical attitude on a marble pedestal. A few of
the faithful were there kissing the large toe of the Saint's right foot.
Some of them carefully wiped it before applying their lips; others, with
no thought of cleanliness, kissed it, pressed their foreheads to it, and
then kissed it again. Next, Pierre turned into the transept on the left,
where stand the confessionals. Priests are ever stationed there, ready to
confess penitents in every language. Others wait, holding long staves,
with which they lightly tap the heads of kneeling sinners, who thereby
obtain thirty days' indulgence. However, there were few people present,
and inside the small wooden boxes the priests occupied their leisure time
in reading and writing, as if they were at home. Then Pierre again found
himself before the Confession, and gazed with interest at the eighty
lamps, scintillating like stars. The high altar, at which the Pope alone
can officiate, seemed wrapped in the haughty melancholy of solitude under
its gigantic, flowery /baldacchino/, the casting and gilding of which
cost two and twenty thousand pounds. But suddenly Pierre remembered the
ceremony in the Capella Clementina, and felt astonished, for he could
hear nothing of it. As he drew near a faint breath, like the far-away
piping of a flute, was wafted to him. Then the volume of sound slowly
increased, but it was only on reaching the chapel that he recognised an
organ peal. The sunlight here filtered through red curtains drawn before
the windows, and thus the chapel glowed like a furnace whilst resounding
with the grave music. But in that huge pile all became so slight, so
weak, that at sixty paces neither voice nor organ could be distinguished.

On entering the basilica Pierre had fancied that it was quite empty and
lifeless. There were, however, some people there, but so few and far
between that their presence was not noticed. A few tourists wandered
about wearily, guide-book in hand. In the grand nave a painter with his
easel was taking a view, as in a public gallery. Then a French seminary
went by, conducted by a prelate who named and explained the tombs. But in
all that space these fifty or a hundred people looked merely like a few
black ants who had lost themselves and were vainly seeking their way. And
Pierre pictured himself in some gigantic gala hall or tremendous
vestibule in an immeasurable palace of reception. The broad sheets of
sunlight streaming through the lofty square windows of plain white glass
illumined the church with blending radiance. There was not a single stool
or chair: nothing but the superb, bare pavement, such as you might find
in a museum, shining mirror-like under the dancing shower of sunrays. Nor
was there a single corner for solitary reflection, a nook of gloom and
mystery, where one might kneel and pray. In lieu thereof the sumptuous,
sovereign dazzlement of broad daylight prevailed upon every side. And, on
thus suddenly finding himself in this deserted opera-house, all aglow
with flaring gold and purple, Pierre could but remember the quivering
gloom of the Gothic cathedrals of France, where dim crowds sob and
supplicate amidst a forest of pillars. In presence of all this ceremonial
majesty--this huge, empty pomp, which was all Body--he recalled with a
pang the emaciate architecture and statuary of the middle ages, which
were all Soul. He vainly sought for some poor, kneeling woman, some
creature swayed by faith or suffering, yielding in a modest half-light to
thoughts of the unknown, and with closed lips holding communion with the
invisible. These he found not: there was but the weary wandering of the
tourists, and the bustle of the prelates conducting the young priests to
the obligatory stations; while the vesper service continued in the
left-hand chapel, nought of it reaching the ears of the visitors save,
perhaps, a confused vibration, as of the peal of a bell penetrating from
outside through the vaults above.

And Pierre then understood that this was the splendid skeleton of a
colossus whence life was departing. To fill it, to animate it with a
soul, all the gorgeous display of great religious ceremonies was needed;
the eighty thousand worshippers which it could hold, the great pontifical
pomps, the festivals of Christmas and Easter, the processions and
/corteges/ displaying all the luxury of the Church amidst operatic
scenery and appointments. And he tried to conjure up a picture of the
past magnificence--the basilica overflowing with an idolatrous multitude,
and the superhuman /cortege/ passing along whilst every head was lowered;
the cross and the sword opening the march, the cardinals going two by
two, like twin divinities, in their rochets of lace and their mantles and
robes of red moire, which train-bearers held up behind them; and at last,
with Jove-like pomp, the Pope, carried on a stage draped with red velvet,
seated in an arm-chair of red velvet and gold, and dressed in white
velvet, with cope of gold, stole of gold, and tiara of gold. The bearers
of the /Sedia gestatoria/* shone bravely in red tunics broidered with
gold. Above the one and only Sovereign Pontiff of the world the
/flabelli/ waved those huge fans of feathers which formerly were waved
before the idols of pagan Rome. And around the seat of triumph what a
dazzling, glorious court there was! The whole pontifical family, the
stream of assistant prelates, the patriarchs, the archbishops, and the
bishops, with vestments and mitres of gold, the /Camerieri segreti
partecipanti/ in violet silk, the /Camerieri partecipanti/ of the cape
and the sword in black velvet Renascence costumes, with ruffs and golden
chains, the whole innumerable ecclesiastical and laical suite, which not
even a hundred pages of the "Gerarchia" can completely enumerate, the
prothonotaries, the chaplains, the prelates of every class and degree,
without mentioning the military household, the gendarmes with their
busbies, the Palatine Guards in blue trousers and black tunics, the Swiss
Guards costumed in red, yellow, and black, with breastplates of silver,
suggesting the men at arms of some drama of the Romantic school, and the
Noble Guards, superb in their high boots, white pigskins, red tunics,
gold lace, epaulets, and helmets! However, since Rome had become the
capital of Italy the doors were no longer thrown wide open; on the rare
occasions when the Pope yet came down to officiate, to show himself as
the supreme representative of the Divinity on earth, the basilica was
filled with chosen ones. To enter it you needed a card of invitation. You
no longer saw the people--a throng of fifty, even eighty, thousand
Christians--flocking to the Church and swarming within it promiscuously;
there was but a select gathering, a congregation of friends convened as
for a private function. Even when, by dint of effort, thousands were
collected together there, they formed but a picked audience invited to
the performance of a monster concert.

  * The chair and stage are known by that name.--Trans.

And as Pierre strolled among the bright, crude marbles in that cold if
gorgeous museum, the feeling grew upon him that he was in some pagan
temple raised to the deity of Light and Pomp. The larger temples of
ancient Rome were certainly similar piles, upheld by the same precious
columns, with walls covered with the same polychromatic marbles and
vaulted ceilings having the same gilded panels. And his feeling was
destined to become yet more acute after his visits to the other
basilicas, which could but reveal the truth to him. First one found the
Christian Church quietly, audaciously quartering itself in a pagan
church, as, for instance, San Lorenzo in Miranda installed in the temple
of Antoninus and Faustina, and retaining the latter's rare porticus in
/cipollino/ marble and its handsome white marble entablature. Then there
was the Christian Church springing from the ruins of the destroyed pagan
edifice, as, for example, San Clemente, beneath which centuries of
contrary beliefs are stratified: a very ancient edifice of the time of
the kings or the republic, then another of the days of the empire
identified as a temple of Mithras, and next a basilica of the primitive
faith. Then, too, there was the Christian Church, typified by that of
Saint Agnes-beyond-the-walls which had been built on exactly the same
pattern as the Roman secular basilica--that Tribunal and Exchange which
accompanied every Forum. And, in particular, there was the Christian
Church erected with material stolen from the demolished pagan temples. To
this testified the sixteen superb columns of that same Saint Agnes,
columns of various marbles filched from various gods; the one and twenty
columns of Santa Maria in Trastevere, columns of all sorts of orders torn
from a temple of Isis and Serapis, who even now are represented on their
capitals; also the six and thirty white marble Ionic columns of Santa
Maria Maggiore derived from the temple of Juno Lucina; and the two and
twenty columns of Santa Maria in Ara Coeli, these varying in substance,
size, and workmanship, and certain of them said to have been stolen from
Jove himself, from the famous temple of Jupiter Capitolinus which rose
upon the sacred summit. In addition, the temples of the opulent Imperial
period seemed to resuscitate in our times at San Giovanni in Laterano and
San Paolo-fuori-le-mura. Was not that Basilica of San Giovanni--"the
Mother and Head of all the churches of the city and the earth"--like the
abode of honour of some pagan divinity whose splendid kingdom was of this
world? It boasted five naves, parted by four rows of columns; it was a
profusion of bas-reliefs, friezes, and entablatures, and its twelve
colossal statues of the Apostles looked like subordinate deities lining
the approach to the master of the gods! And did not San Paolo, lately
completed, its new marbles shimmering like mirrors, recall the abode of
the Olympian immortals, typical temple as it was with its majestic
colonnade, its flat, gilt-panelled ceiling, its marble pavement
incomparably beautiful both in substance and workmanship, its violet
columns with white bases and capitals, and its white entablature with
violet frieze: everywhere, indeed, you found, the mingling of those two
colours so divinely carnal in their harmony. And there, as at St.
Peter's, not one patch of gloom, not one nook of mystery where one might
peer into the invisible, could be found! And, withal, St. Peter's
remained the monster, the colossus, larger than the largest of all
others, an extravagant testimony of what the mad passion for the huge can
achieve when human pride, by dint of spending millions, dreams of lodging
the divinity in an over-vast, over-opulent palace of stone, where in
truth that pride itself, and not the divinity, triumphs!

And to think that after long centuries that gala colossus had been the
outcome of the fervour of primitive faith! You found there a blossoming
of that ancient sap, peculiar to the soil of Rome, which in all ages has
thrown up preposterous edifices, of exaggerated hugeness and dazzling and
ruinous luxury. It would seem as if the absolute masters successively
ruling the city brought that passion for cyclopean building with them,
derived it from the soil in which they grew, for they transmitted it one
to the other, without a pause, from civilisation to civilisation, however
diverse and contrary their minds. It has all been, so to say, a
continuous blossoming of human vanity, a passionate desire to set one's
name on an imperishable wall, and, after being master of the world, to
leave behind one an indestructible trace, a tangible proof of one's
passing glory, an eternal edifice of bronze and marble fit to attest that
glory until the end of time. At the bottom the spirit of conquest, the
proud ambition to dominate the world, subsists; and when all has
crumbled, and a new society has sprung up from the ruins of its
predecessor, men have erred in imagining it to be cured of the sin of
pride, steeped in humility once more, for it has had the old blood in its
veins, and has yielded to the same insolent madness as its ancestors, a
prey to all the violence of its heredity directly it has become great and
strong. Among the illustrious popes there has not been one that did not
seek to build, did not revert to the traditions of the Caesars,
eternising their reigns in stone and raising temples for resting-places,
so as to rank among the gods. Ever the same passion for terrestrial
immortality has burst forth: it has been a battle as to who should leave
the highest, most substantial, most gorgeous monument; and so acute has
been the disease that those who, for lack of means and opportunity, have
been unable to build, and have been forced to content themselves with
repairing, have, nevertheless, desired to bequeath the memory of their
modest achievements to subsequent generations by commemorative marble
slabs engraved with pompous inscriptions! These slabs are to be seen on
every side: not a wall has ever been strengthened but some pope has
stamped it with his arms, not a ruin has been restored, not a palace
repaired, not a fountain cleaned, but the reigning pope has signed the
work with his Roman and pagan title of "Pontifex Maximus." It is a
haunting passion, a form of involuntary debauchery, the fated florescence
of that compost of ruins, that dust of edifices whence new edifices are
ever arising. And given the perversion with which the old Roman soil
almost immediately tarnished the doctrines of Jesus, that resolute
passion for domination and that desire for terrestrial glory which
wrought the triumph of Catholicism in scorn of the humble and pure, the
fraternal and simple ones of the primitive Church, one may well ask
whether Rome has ever been Christian at all!

And whilst Pierre was for the second time walking round the huge
basilica, admiring the tombs of the popes, truth, like a sudden
illumination, burst upon him and filled him with its glow. Ah! those
tombs! Yonder in the full sunlight, in the rosy Campagna, on either side
of the Appian Way--that triumphal approach to Rome, conducting the
stranger to the august Palatine with its crown of circling palaces--there
arose the gigantic tombs of the powerful and wealthy, tombs of
unparalleled artistic splendour, perpetuating in marble the pride and
pomp of a strong race that had mastered the world. Then, near at hand,
beneath the sod, in the shrouding night of wretched mole-holes, other
tombs were hidden--the tombs of the lowly, the poor, and the
suffering--tombs destitute of art or display, but whose very humility
proclaimed that a breath of affection and resignation had passed by, that
One had come preaching love and fraternity, the relinquishment of the
wealth of the earth for the everlasting joys of a future life, and
committing to the soil the good seed of His Gospel, sowing the new
humanity which was to transform the olden world. And, behold, from that
seed, buried in the soil for centuries, behold, from those humble,
unobtrusive tombs, where martyrs slept their last and gentle sleep whilst
waiting for the glorious call, yet other tombs had sprung, tombs as
gigantic and as pompous as the ancient, destroyed sepulchres of the
idolaters, tombs uprearing their marbles among a pagan-temple-like
splendour, proclaiming the same superhuman pride, the same mad passion
for universal sovereignty. At the time of the Renascence Rome became
pagan once more; the old imperial blood frothed up and swept Christianity
away with the greatest onslaught ever directed against it. Ah! those
tombs of the popes at St. Peter's, with their impudent, insolent
glorification of the departed, their sumptuous, carnal hugeness, defying
death and setting immortality upon this earth. There are giant popes of
bronze, allegorical figures and angels of equivocal character wearing the
beauty of lovely girls, of passion-compelling women with the thighs and
the breasts of pagan goddesses! Paul III is seated on a high pedestal,
Justice and Prudence are almost prostrate at his feet. Urban VIII is
between Prudence and Religion, Innocent XI between Religion and Justice,
Innocent XII between Justice and Charity, Gregory XIII between Religion
and Strength. Attended by Prudence and Justice, Alexander VII appears
kneeling, with Charity and Truth before him, and a skeleton rises up
displaying an empty hour-glass. Clement XIII, also on his knees, triumphs
above a monumental sarcophagus, against which leans Religion bearing the
Cross; while the Genius of Death, his elbow resting on the right-hand
corner, has two huge, superb lions, emblems of omnipotence, beneath him.
Bronze bespeaks the eternity of the figures, white marble describes
opulent flesh, and coloured marble winds around in rich draperies,
deifying the monuments under the bright, golden glow of nave and aisles.

And Pierre passed from one tomb to the other on his way through the
magnificent, deserted, sunlit basilica. Yes, these tombs, so imperial in
their ostentation, were meet companions for those of the Appian Way.
Assuredly it was Rome, the soil of Rome, that soil where pride and
domination sprouted like the herbage of the fields that had transformed
the humble Christianity of primitive times, the religion of fraternity,
justice, and hope into what it now was: victorious Catholicism, allied to
the rich and powerful, a huge implement of government, prepared for the
conquest of every nation. The popes had awoke as Caesars. Remote heredity
had acted, the blood of Augustus had bubbled forth afresh, flowing
through their veins and firing their minds with immeasurable ambition. As
yet none but Augustus had held the empire of the world, had been both
emperor and pontiff, master of the body and the soul. And thence had come
the eternal dream of the popes in despair at only holding the spiritual
power, and obstinately refusing to yield in temporal matters, clinging
for ever to the ancient hope that their dream might at last be realised,
and the Vatican become another Palatine, whence they might reign with
absolute despotism over all the conquered nations.



VI

PIERRE had been in Rome for a fortnight, and yet the affair of his book
was no nearer solution. He was still possessed by an ardent desire to see
the Pope, but could in no wise tell how to satisfy it, so frequent were
the delays and so greatly had he been frightened by Monsignor Nani's
predictions of the dire consequences which might attend any imprudent
action. And so, foreseeing a prolonged sojourn, he at last betook himself
to the Vicariate in order that his "celebret" might be stamped, and
afterwards said his mass each morning at the Church of Santa Brigida,
where he received a kindly greeting from Abbe Pisoni, Benedetta's former
confessor.

One Monday evening he resolved to repair early to Donna Serafina's
customary reception in the hope of learning some news and expediting his
affairs. Perhaps Monsignor Nani would look in; perhaps he might be lucky
enough to come across some cardinal or domestic prelate willing to help
him. It was in vain that he had tried to extract any positive information
from Don Vigilio, for, after a short spell of affability and willingness,
Cardinal Pio's secretary had relapsed into distrust and fear, and avoided
Pierre as if he were resolved not to meddle in a business which, all
considered, was decidedly suspicious and dangerous. Moreover, for a
couple of days past a violent attack of fever had compelled him to keep
his room.

Thus the only person to whom Pierre could turn for comfort was Victorine
Bosquet, the old Beauceronne servant who had been promoted to the rank of
housekeeper, and who still retained a French heart after thirty years'
residence in Rome. She often spoke to the young priest of Auneau, her
native place, as if she had left it only the previous day; but on that
particular Monday even she had lost her wonted gay vivacity, and when she
heard that he meant to go down in the evening to see the ladies she
wagged her head significantly. "Ah! you won't find them very cheerful,"
said she. "My poor Benedetta is greatly worried. Her divorce suit is not
progressing at all well."

All Rome, indeed, was again talking of this affair. An extraordinary
revival of tittle-tattle had set both white and black worlds agog. And so
there was no need for reticence on Victorine's part, especially in
conversing with a compatriot. It appeared, then, that, in reply to
Advocate Morano's memoir setting forth that the marriage had not been
consummated, there had come another memoir, a terrible one, emanating
from Monsignor Palma, a doctor in theology, whom the Congregation of the
Council had selected to defend the marriage. As a first point, Monsignor
Palma flatly disputed the alleged non-consummation, questioned the
certificate put forward on Benedetta's behalf, and quoted instances
recorded in scientific text-books which showed how deceptive appearances
often were. He strongly insisted, moreover, on the narrative which Count
Prada supplied in another memoir, a narrative well calculated to inspire
doubt; and, further, he so turned and twisted the evidence of Benedetta's
own maid as to make that evidence also serve against her. Finally he
argued in a decisive way that, even supposing the marriage had not been
consummated, this could only be ascribed to the resistance of the
Countess, who had thus set at defiance one of the elementary laws of
married life, which was that a wife owed obedience to her husband.

Next had come a fourth memoir, drawn up by the reporter of the
Congregation, who analysed and discussed the three others, and
subsequently the Congregation itself had dealt with the matter, opining
in favour of the dissolution of the marriage by a majority of one
vote--such a bare majority, indeed, that Monsignor Palma, exercising his
rights, had hastened to demand further inquiry, a course which brought
the whole /procedure/ again into question, and rendered a fresh vote
necessary.

"Ah! the poor Contessina!" exclaimed Victorine, "she'll surely die of
grief, for, calm as she may seem, there's an inward fire consuming her.
It seems that Monsignor Palma is the master of the situation, and can
make the affair drag on as long as he likes. And then a deal of money had
already been spent, and one will have to spend a lot more. Abbe Pisoni,
whom you know, was very badly inspired when he helped on that marriage;
and though I certainly don't want to soil the memory of my good mistress,
Countess Ernesta, who was a real saint, it's none the less true that she
wrecked her daughter's life when she gave her to Count Prada."

The housekeeper paused. Then, impelled by an instinctive sense of
justice, she resumed. "It's only natural that Count Prada should be
annoyed, for he's really being made a fool of. And, for my part, as there
is no end to all the fuss, and this divorce is so hard to obtain, I
really don't see why the Contessina shouldn't live with her Dario without
troubling any further. Haven't they loved one another ever since they
were children? Aren't they both young and handsome, and wouldn't they be
happy together, whatever the world might say? Happiness, /mon Dieu/! one
finds it so seldom that one can't afford to let it pass."

Then, seeing how greatly surprised Pierre was at hearing such language,
she began to laugh with the quiet composure of one belonging to the
humble classes of France, whose only desire is a quiet and happy life,
irrespective of matrimonial ties. Next, in more discreet language, she
proceeded to lament another worry which had fallen on the household,
another result of the divorce affair. A rupture had come about between
Donna Serafina and Advocate Morano, who was very displeased with the ill
success of his memoir to the congregation, and accused Father
Lorenza--the confessor of the Boccanera ladies--of having urged them into
a deplorable lawsuit, whose only fruit could be a wretched scandal
affecting everybody. And so great had been Morano's annoyance that he had
not returned to the Boccanera mansion, but had severed a connection of
thirty years' standing, to the stupefaction of all the Roman
drawing-rooms, which altogether disapproved of his conduct. Donna
Serafina was, for her part, the more grieved as she suspected the
advocate of having purposely picked the quarrel in order to secure an
excuse for leaving her; his real motive, in her estimation, being a
sudden, disgraceful passion for a young and intriguing woman of the
middle classes.

That Monday evening, when Pierre entered the drawing-room, hung with
yellow brocatelle of a flowery Louis XIV pattern, he at once realised
that melancholy reigned in the dim light radiating from the lace-veiled
lamps. Benedetta and Celia, seated on a sofa, were chatting with Dario,
whilst Cardinal Sarno, ensconced in an arm-chair, listened to the
ceaseless chatter of the old relative who conducted the little Princess
to each Monday gathering. And the only other person present was Donna
Serafina, seated all alone in her wonted place on the right-hand side of
the chimney-piece, and consumed with secret rage at seeing the chair on
the left-hand side unoccupied--that chair which Morano had always taken
during the thirty years that he had been faithful to her. Pierre noticed
with what anxious and then despairing eyes she observed his entrance, her
glance ever straying towards the door, as though she even yet hoped for
the fickle one's return. Withal her bearing was erect and proud; she
seemed to be more tightly laced than ever; and there was all the wonted
haughtiness on her hard-featured face, with its jet-black eyebrows and
snowy hair.

Pierre had no sooner paid his respects to her than he allowed his own
worry to appear by inquiring whether they would not have the pleasure of
seeing Monsignor Nani that evening. Thereupon Donna Serafina could not
refrain from answering: "Oh! Monsignor Nani is forsaking us like the
others. People always take themselves off when they can be of service."

She harboured a spite against the prelate for having done so little to
further the divorce in spite of his many promises. Beneath his outward
show of extreme willingness and caressing affability he doubtless
concealed some scheme of his own which he was tenaciously pursuing.
However, Donna Serafina promptly regretted the confession which anger had
wrung from her, and resumed: "After all, he will perhaps come. He is so
good-natured, and so fond of us."

In spite of the vivacity of her temperament she really wished to act
diplomatically, so as to overcome the bad luck which had recently set in.
Her brother the Cardinal had told her how irritated he was by the
attitude of the Congregation of the Council; he had little doubt that the
frigid reception accorded to his niece's suit had been due in part to the
desire of some of his brother cardinals to be disagreeable to him.
Personally, he desired the divorce, as it seemed to him the only means of
ensuring the perpetuation of the family; for Dario obstinately refused to
marry any other woman than his cousin. And thus there was an accumulation
of disasters; the Cardinal was wounded in his pride, his sister shared
his sufferings and on her own side was stricken in the heart, whilst both
lovers were plunged in despair at finding their hopes yet again deferred.

As Pierre approached the sofa where the young folks were chatting he
found that they were speaking of the catastrophe. "Why should you be so
despondent?" asked Celia in an undertone. "After all, there was a
majority of a vote in favour of annulling the marriage. Your suit hasn't
been rejected; there is only a delay."

But Benedetta shook her head. "No, no! If Monsignor Palma proves
obstinate his Holiness will never consent. It's all over."

"Ah! if one were only rich, very rich!" murmured Dario, with such an air
of conviction that no one smiled. And, turning to his cousin, he added in
a whisper: "I must really have a talk with you. We cannot go on living
like this."

In a breath she responded: "Yes, you are right. Come down to-morrow
evening at five. I will be here alone."

Then dreariness set in; the evening seemed to have no end. Pierre was
greatly touched by the evident despair of Benedetta, who as a rule was so
calm and sensible. The deep eyes which illumined her pure, delicate,
infantile face were now blurred as by restrained tears. He had already
formed a sincere affection for her, pleased as he was with her equable if
somewhat indolent disposition, the semblance of discreet good sense with
which she veiled her soul of fire. That Monday even she certainly tried
to smile while listening to the pretty secrets confided to her by Celia,
whose love affairs were prospering far more than her own. There was only
one brief interval of general conversation, and that was brought about by
the little Princess's aunt, who, suddenly raising her voice, began to
speak of the infamous manner in which the Italian newspapers referred to
the Holy Father. Never, indeed, had there been so much bad feeling
between the Vatican and the Quirinal. Cardinal Sarno felt so strongly on
the subject that he departed from his wonted silence to announce that on
the occasion of the sacrilegious festivities of the Twentieth of
September, celebrating the capture of Rome, the Pope intended to cast a
fresh letter of protest in the face of all the Christian powers, whose
indifference proved their complicity in the odious spoliation of the
Church.

"Yes, indeed! what folly to try and marry the Pope and the King,"
bitterly exclaimed Donna Serafina, alluding to her niece's deplorable
marriage.

The old maid now seemed quite beside herself; it was already so late that
neither Monsignor Nani nor anybody else was expected. However, at the
unhoped-for sound of footsteps her eyes again brightened and turned
feverishly towards the door. But it was only to encounter a final
disappointment. The visitor proved to be Narcisse Habert, who stepped up
to her, apologising for making so late a call. It was Cardinal Sarno, his
uncle by marriage, who had introduced him into this exclusive /salon/,
where he had received a cordial reception on account of his religious
views, which were said to be most uncompromising. If, however, despite
the lateness of the hour, he had ventured to call there that evening, it
was solely on account of Pierre, whom he at once drew on one side.

"I felt sure I should find you here," he said. "Just now I managed to see
my cousin, Monsignor Gamba del Zoppo, and I have some good news for you.
He will see us to-morrow at about eleven in his rooms at the Vatican."
Then, lowering his voice: "I think he will endeavour to conduct you to
the Holy Father. Briefly, the audience seems to me assured."

Pierre was greatly delighted by this promised certainty, which came to
him so suddenly in that dreary drawing-room, where for a couple of hours
he had been gradually sinking into despair! So at last a solution was at
hand!

Meantime Narcisse, after shaking hands with Dario and bowing to Benedetta
and Celia, approached his uncle the Cardinal, who, having rid himself of
the old relation, made up his mind to talk. But his conversation was
confined to the state of his health, and the weather, and sundry
insignificant anecdotes which he had lately heard. Not a word escaped him
respecting the thousand complicated matters with which he dealt at the
Propaganda. It was as though, once outside his office, he plunged into
the commonplace and the unimportant by way of resting from the anxious
task of governing the world. And after he had spoken for a time every one
got up, and the visitors took leave.

"Don't forget," Narcisse repeated to Pierre, "you will find me at the
Sixtine Chapel to-morrow at ten. And I will show you the Botticellis
before we go to our appointment."

At half-past nine on the following morning Pierre, who had come on foot,
was already on the spacious Piazza of St. Peter's; and before turning to
the right, towards the bronze gate near one corner of Bernini's
colonnade, he raised his eyes and lingered, gazing at the Vatican.
Nothing to his mind could be less monumental than the jumble of buildings
which, without semblance of architectural order or regularity of any
kind, had grown up in the shadow cast by the dome of the basilica. Roofs
rose one above the other and broad, flat walls stretched out chance-wise,
just as wings and storeys had been added. The only symmetry observable
above the colonnade was that of the three sides of the court of San
Damaso, where the lofty glass-work which now encloses the old /loggie/
sparkled in the sun between the ruddy columns and pilasters, suggesting,
as it were, three huge conservatories.

And this was the most beautiful palace in the world, the largest of all
palaces, comprising no fewer than eleven thousand apartments and
containing the most admirable masterpieces of human genius! But Pierre,
disillusioned as he was, had eyes only for the lofty facade on the right,
overlooking the piazza, for he knew that the second-floor windows there
were those of the Pope's private apartments. And he contemplated those
windows for a long time, and remembered having been told that the fifth
one on the right was that of the Pope's bed-room, and that a lamp could
always be seen burning there far into the night.

What was there, too, behind that gate of bronze which he saw before
him--that sacred portal by which all the kingdoms of the world
communicated with the kingdom of heaven, whose august vicar had secluded
himself behind those lofty, silent walls? From where he stood Pierre
gazed on that gate with its metal panels studded with large square-headed
nails, and wondered what it defended, what it concealed, what it shut off
from the view, with its stern, forbidding air, recalling that of the gate
of some ancient fortress. What kind of world would he find behind it,
what treasures of human charity jealously preserved in yonder gloom, what
revivifying hope for the new nations hungering for fraternity and
justice? He took pleasure in fancying, in picturing the one holy pastor
of humanity, ever watching in the depths of that closed palace, and,
while the nations strayed into hatred, preparing all for the final reign
of Jesus, and at last proclaiming the advent of that reign by
transforming our democracies into the one great Christian community
promised by the Saviour. Assuredly the world's future was being prepared
behind that bronze portal; assuredly it was that future which would issue
forth.

But all at once Pierre was amazed to find himself face to face with
Monsignor Nani, who had just left the Vatican on his way to the
neighbouring Palace of the Inquisition, where, as Assessor, he had his
residence.

"Ah! Monsignor," said Pierre, "I am very pleased. My friend Monsieur
Habert is going to present me to his cousin, Monsignor Gamba del Zoppo,
and I think I shall obtain the audience I so greatly desire."

Monsignor Nani smiled with his usual amiable yet keen expression. "Yes,
yes, I know." But, correcting himself as it were, he added: "I share your
satisfaction, my dear son. Only, you must be prudent." And then, as if
fearing that the young priest might have understood by his first words
that he had just seen Monsignor Gamba, the most easily terrified prelate
of the whole prudent pontifical family, he related that he had been
running about since an early hour on behalf of two French ladies, who
likewise were dying of a desire to see the Pope. However, he greatly
feared that the help he was giving them would not prove successful.

"I will confess to you, Monsignor," replied Pierre, "that I myself was
getting very discouraged. Yes, it is high time I should find a little
comfort, for my sojourn here is hardly calculated to brace my soul."

He went on in this strain, allowing it to be seen that the sights of Rome
were finally destroying his faith. Such days as those which he had spent
on the Palatine and along the Appian Way, in the Catacombs and at St.
Peter's, grievously disturbed him, spoilt his dream of Christianity
rejuvenated and triumphant. He emerged from them full of doubt and
growing lassitude, having already lost much of his usually rebellious
enthusiasm.

Still smiling, Monsignor Nani listened and nodded approvingly. Yes, no
doubt that was the fatal result. He seemed to have foreseen it, and to be
well satisfied thereat. "At all events, my dear son," said he,
"everything is going on well, since you are now certain that you will see
his Holiness."

"That is true, Monsignor; I have placed my only hope in the very just and
perspicacious Leo XIII. He alone can judge me, since he alone can
recognise in my book his own ideas, which I think I have very faithfully
set forth. Ah! if he be willing he will, in Jesus' name and by democracy
and science, save this old world of ours!"

Pierre's enthusiasm was returning again, and Nani, smiling more and more
affably with his piercing eyes and thin lips, again expressed approval:
"Certainly; quite so, my dear son. You will speak to him, you will see."

Then as they both raised their heads and looked towards the Vatican, Nani
carried his amiability so far as to undeceive Pierre with respect to the
Pope's bed-room. No, the window where a light was seen every evening was
simply that of a landing where the gas was kept burning almost all night.
The window of his Holiness's bed-chamber was the second one farther on.
Then both relapsed into silence, equally grave as they continued to gaze
at the facade.

"Well, till we meet again, my dear son," said Nani at last. "You will
tell me of your interview, I hope."

As soon as Pierre was alone he went in by the bronze portal, his heart
beating violently, as if he were entering some redoubtable sanctuary
where the future happiness of mankind was elaborated. A sentry was on
duty there, a Swiss guard, who walked slowly up and down in a grey-blue
cloak, below which one only caught a glimpse of his baggy red, black, and
yellow breeches; and it seemed as if this cloak of sober hue were
purposely cast over a disguise in order to conceal its strangeness, which
had become irksome. Then, on the right-hand, came the covered stairway
conducting to the Court of San Damaso; but to reach the Sixtine Chapel it
was necessary to follow a long gallery, with columns on either hand, and
ascend the royal staircase, the Scala Regia. And in this realm of the
gigantic, where every dimension is exaggerated and replete with
overpowering majesty, Pierre's breath came short as he ascended the broad
steps.

He was much surprised on entering the Sixtine Chapel, for it at first
seemed to him small, a sort of rectangular and lofty hall, with a
delicate screen of white marble separating the part where guests
congregate on the occasion of great ceremonies from the choir where the
cardinals sit on simple oaken benches, while the inferior prelates remain
standing behind them. On a low platform to the right of the soberly
adorned altar is the pontifical throne; while in the wall on the left
opens the narrow singing gallery with its balcony of marble. And for
everything suddenly to spread out and soar into the infinite one must
raise one's head, allow one's eyes to ascend from the huge fresco of the
Last Judgment, occupying the whole of the end wall, to the paintings
which cover the vaulted ceiling down to the cornice extending between the
twelve windows of white glass, six on either hand.

Fortunately there were only three or four quiet tourists there; and
Pierre at once perceived Narcisse Habert occupying one of the cardinals'
seats above the steps where the train-bearers crouch. Motionless, and
with his head somewhat thrown back, the young man seemed to be in
ecstasy. But it was not the work of Michael Angelo that he thus
contemplated. His eyes never strayed from one of the earlier frescoes
below the cornice; and on recognising the priest he contented himself
with murmuring: "Ah! my friend, just look at the Botticelli." Then, with
dreamy eyes, he relapsed into a state of rapture.

Pierre, for his part, had received a great shock both in heart and in
mind, overpowered as he was by the superhuman genius of Michael Angelo.
The rest vanished; there only remained, up yonder, as in a limitless
heaven, the extraordinary creations of the master's art. That which at
first surprised one was that the painter should have been the sole
artisan of the mighty work. No marble cutters, no bronze workers, no
gilders, no one of another calling had intervened. The painter with his
brush had sufficed for all--for the pilasters, columns, and cornices of
marble, for the statues and the ornaments of bronze, for the /fleurons/
and roses of gold, for the whole of the wondrously rich decorative work
which surrounded the frescoes. And Pierre imagined Michael Angelo on the
day when the bare vault was handed over to him, covered with plaster,
offering only a flat white surface, hundreds of square yards to be
adorned. And he pictured him face to face with that huge white page,
refusing all help, driving all inquisitive folks away, jealously,
violently shutting himself up alone with his gigantic task, spending four
and a half years in fierce solitude, and day by day adding to his
colossal work of creation. Ah! that mighty work, a task to fill a whole
lifetime, a task which he must have begun with quiet confidence in his
own will and power, drawing, as it were, an entire world from his brain
and flinging it there with the ceaseless flow of creative virility in the
full heyday of its omnipotence.

And Pierre was yet more overcome when he began to examine these
presentments of humanity, magnified as by the eyes of a visionary,
overflowing in mighty sympathetic pages of cyclopean symbolisation. Royal
grace and nobility, sovereign peacefulness and power--every beauty shone
out like natural florescence. And there was perfect science, the most
audacious foreshortening risked with the certainty of success--an
everlasting triumph of technique over the difficulty which an arched
surface presented. And, in particular, there was wonderful simplicity of
medium; matter was reduced almost to nothingness; a few colours were used
broadly without any studied search for effect or brilliancy. Yet that
sufficed, the blood seethed freely, the muscles projected, the figures
became animated and stood out of their frames with such energy and dash
that it seemed as if a flame were flashing by aloft, endowing all those
beings with superhuman and immortal life. Life, aye, it was life, which
burst forth and triumphed--mighty, swarming life, miraculous life, the
creation of one sole hand possessed of the supreme gift--simplicity
blended with power.

That a philosophical system, a record of the whole of human destiny,
should have been found therein, with the creation of the world, of man,
and of woman, the fall, the chastisement, then the redemption, and
finally God's judgment on the last day--this was a matter on which Pierre
was unable to dwell, at this first visit, in the wondering stupor into
which the paintings threw him. But he could not help noticing how the
human body, its beauty, its power, and its grace were exalted! Ah! that
regal Jehovah, at once terrible and paternal, carried off amid the
whirlwind of his creation, his arms outstretched and giving birth to
worlds! And that superb and nobly outlined Adam, with extended hand, whom
Jehovah, though he touch him not, animates with his finger--a wondrous
and admirable gesture, leaving a sacred space between the finger of the
Creator and that of the created--a tiny space, in which, nevertheless,
abides all the infinite of the invisible and the mysterious. And then
that powerful yet adorable Eve, that Eve with the sturdy flanks fit for
the bearing of humanity, that Eve with the proud, tender grace of a woman
bent on being loved even to perdition, that Eve embodying the whole of
woman with her fecundity, her seductiveness, her empire! Moreover, even
the decorative figures of the pilasters at the corners of the frescoes
celebrate the triumph of the flesh: there are the twenty young men
radiant in their nakedness, with incomparable splendour of torso and of
limb, and such intensity of life that a craze for motion seems to carry
them off, bend them, throw them over in superb attitudes. And between the
windows are the giants, the prophets and the sibyls--man and woman
deified, with inordinate wealth of muscle and grandeur of intellectual
expression. There is Jeremiah with his elbow resting on his knee and his
chin on his hand, plunged as he is in reflection--in the very depths of
his visions and his dreams; there is the Sibylla Erithraea, so pure of
profile, so young despite the opulence of her form, and with one finger
resting on the open book of destiny; there is Isaiah with the thick lips
of truth, virile and haughty, his head half turned and his hand raised
with a gesture of command; there is the Sibylla Cumaea, terrifying with
her science and her old age, her wrinkled countenance, her vulture's
nose, her square protruding chin; there is Jonah cast forth by the whale,
and wondrously foreshortened, his torso twisted, his arms bent, his head
thrown back, and his mouth agape and shouting: and there are the others,
all of the same full-blown, majestic family, reigning with the
sovereignty of eternal health and intelligence, and typifying the dream
of a broader, loftier, and indestructible humanity. Moreover, in the
lunettes and the arches over the windows other figures of grace, power,
and beauty appear and throng, the ancestors of the Christ, thoughtful
mothers with lovely nude infants, men with wondering eyes peering into
the future, representatives of the punished weary race longing for the
promised Redeemer; while in the pendentives of the four corners various
biblical episodes, the victories of Israel over the Spirit of Evil,
spring into life. And finally there is the gigantic fresco at the far
end, the Last Judgment with its swarming multitude, so numerous that days
and days are needed to see each figure aright, a distracted crowd, full
of the hot breath of life, from the dead rising in response to the
furious trumpeting of the angels, from the fearsome groups of the damned
whom the demons fling into hell, even to Jesus the justiciar, surrounded
by the saints and apostles, and to the radiant concourse of the blessed
who ascend upheld by angels, whilst higher and still higher other angels,
bearing the instruments of the Passion, triumph as in full glory. And
yet, above this gigantic composition, painted thirty years subsequently,
in the full ripeness of age, the ceiling retains its ethereality, its
unquestionable superiority, for on it the artist bestowed all his virgin
power, his whole youth, the first great flare of his genius.

And Pierre found but one word to express his feelings: Michael Angelo was
the monster dominating and crushing all others. Beneath his immense
achievement you had only to glance at the works of Perugino,
Pinturicchio, Roselli, Signorelli, and Botticelli, those earlier
frescoes, admirable in their way, which below the cornice spread out
around the chapel.

Narcisse for his part had not raised his eyes to the overpowering
splendour of the ceiling. Wrapt in ecstasy, he did not allow his gaze to
stray from one of the three frescoes of Botticelli. "Ah! Botticelli," he
at last murmured; "in him you have the elegance and the grace of the
mysterious; a profound feeling of sadness even in the midst of
voluptuousness, a divination of the whole modern soul, with the most
troublous charm that ever attended artist's work."

Pierre glanced at him in amazement, and then ventured to inquire: "You
come here to see the Botticellis?"

"Yes, certainly," the young man quietly replied; "I only come here for
him, and five hours every week I only look at his work. There, just study
that fresco, Moses and the daughters of Jethro. Isn't it the most
penetrating work that human tenderness and melancholy have produced?"

Then, with a faint, devout quiver in his voice and the air of a priest
initiating another into the delightful but perturbing atmosphere of a
sanctuary, he went on repeating the praises of Botticelli's art; his
women with long, sensual, yet candid faces, supple bearing, and rounded
forms showing from under light drapery; his young men, his angels of
doubtful sex, blending stateliness of muscle with infinite delicacy of
outline; next the mouths he painted, fleshy, fruit-like mouths, at times
suggesting irony, at others pain, and often so enigmatical with their
sinuous curves that one knew not whether the words they left unuttered
were words of purity or filth; then, too, the eyes which he bestowed on
his figures, eyes of languor and passion, of carnal or mystical rapture,
their joy at times so instinct with grief as they peer into the nihility
of human things that no eyes in the world could be more impenetrable. And
finally there were Botticelli's hands, so carefully and delicately
painted, so full of life, wantoning so to say in a free atmosphere, now
joining, caressing, and even, as it were, speaking, the whole evincing
such intense solicitude for gracefulness that at times there seems to be
undue mannerism, though every hand has its particular expression, each
varying expression of the enjoyment or pain which the sense of touch can
bring. And yet there was nothing effeminate or false about the painter's
work: on all sides a sort of virile pride was apparent, an atmosphere of
superb passionate motion, absolute concern for truth, direct study from
life, conscientiousness, veritable realism, corrected and elevated by a
genial strangeness of feeling and character that imparted a
never-to-be-forgotten charm even to ugliness itself.

Pierre's stupefaction, however, increased as he listened to Narcisse,
whose somewhat studied elegance, whose curly hair cut in the Florentine
fashion, and whose blue, mauvish eyes paling with enthusiasm he now for
the first time remarked. "Botticelli," he at last said, "was no doubt a
marvellous artist, only it seems to me that here, at any rate, Michael
Angelo--"

But Narcisse interrupted him almost with violence. "No! no! Don't talk of
him! He spoilt everything, ruined everything! A man who harnessed himself
to his work like an ox, who laboured at his task like a navvy, at the
rate of so many square yards a day! And a man, too, with no sense of the
mysterious and the unknown, who saw everything so huge as to disgust one
with beauty, painting girls like the trunks of oak-trees, women like
giant butchers, with heaps and heaps of stupid flesh, and never a gleam
of a divine or infernal soul! He was a mason--a colossal mason, if you
like--but he was nothing more."

Weary "modern" that Narcisse was, spoilt by the pursuit of the original
and the rare, he thus unconsciously gave rein to his fated hate of health
and power. That Michael Angelo who brought forth without an effort, who
had left behind him the most prodigious of all artistic creations, was
the enemy. And his crime precisely was that he had created life, produced
life in such excess that all the petty creations of others, even the most
delightful among them, vanished in presence of the overflowing torrent of
human beings flung there all alive in the sunlight.

"Well, for my part," Pierre courageously declared, "I'm not of your
opinion. I now realise that life is everything in art; that real
immortality belongs only to those who create. The case of Michael Angelo
seems to me decisive, for he is the superhuman master, the monster who
overwhelms all others, precisely because he brought forth that
magnificent living flesh which offends your sense of delicacy. Those who
are inclined to the curious, those who have minds of a pretty turn, whose
intellects are ever seeking to penetrate things, may try to improve on
the equivocal and invisible, and set all the charm of art in some
elaborate stroke or symbolisation; but, none the less, Michael Angelo
remains the all-powerful, the maker of men, the master of clearness,
simplicity, and health."

At this Narcisse smiled with indulgent and courteous disdain. And he
anticipated further argument by remarking: "It's already eleven. My
cousin was to have sent a servant here as soon as he could receive us. I
am surprised to have seen nobody as yet. Shall we go up to see the
/stanze/ of Raffaelle while we wait?"

Once in the rooms above, he showed himself perfect, both lucid in his
remarks and just in his appreciations, having recovered all his easy
intelligence as soon as he was no longer upset by his hatred of colossal
labour and cheerful decoration.

It was unfortunate that Pierre should have first visited the Sixtine
Chapel; for it was necessary he should forget what he had just seen and
accustom himself to what he now beheld in order to enjoy its pure beauty.
It was as if some potent wine had confused him, and prevented any
immediate relish of a lighter vintage of delicate fragrance. Admiration
did not here fall upon one with lightning speed; it was slowly,
irresistibly that one grew charmed. And the contrast was like that of
Racine beside Corneille, Lamartine beside Hugo, the eternal pair, the
masculine and feminine genius coupled through centuries of glory. With
Raffaelle it is nobility, grace, exquisiteness, and correctness of line,
and divineness of harmony that triumph. You do not find in him merely the
materialist symbolism so superbly thrown off by Michael Angelo; he
introduces psychological analysis of deep penetration into the painter's
art. Man is shown more purified, idealised; one sees more of that which
is within him. And though one may be in presence of an artist of
sentimental bent, a feminine genius whose quiver of tenderness one can
feel, it is also certain that admirable firmness of workmanship confronts
one, that the whole is very strong and very great. Pierre gradually
yielded to such sovereign masterliness, such virile elegance, such a
vision of supreme beauty set in supreme perfection. But if the "Dispute
on the Sacrament" and the so-called "School of Athens," both prior to the
paintings of the Sixtine Chapel, seemed to him to be Raffaelle's
masterpieces, he felt that in the "Burning of the Borgo," and
particularly in the "Expulsion of Heliodorus from the Temple," and "Pope
St. Leo staying Attila at the Gates of Rome," the artist had lost the
flower of his divine grace, through the deep impression which the
overwhelming grandeur of Michael Angelo had wrought upon him. How
crushing indeed had been the blow when the Sixtine Chapel was thrown open
and the rivals entered! The creations of the monster then appeared, and
the greatest of the humanisers lost some of his soul at sight of them,
thenceforward unable to rid himself of their influence.

From the /stanze/ Narcisse took Pierre to the /loggie/, those glazed
galleries which are so high and so delicately decorated. But here you
only find work which pupils executed after designs left by Raffaelle at
his death. The fall was sudden and complete, and never had Pierre better
understood that genius is everything--that when it disappears the school
collapses. The man of genius sums up his period; at a given hour he
throws forth all the sap of the social soil, which afterwards remains
exhausted often for centuries. So Pierre became more particularly
interested in the fine view that the /loggie/ afford, and all at once he
noticed that the papal apartments were in front of him, just across the
Court of San Damaso. This court, with its porticus, fountain, and white
pavement, had an aspect of empty, airy, sunlit solemnity which surprised
him. There was none of the gloom or pent-up religious mystery that he had
dreamt of with his mind full of the surroundings of the old northern
cathedrals. Right and left of the steps conducting to the rooms of the
Pope and the Cardinal Secretary of State four or five carriages were
ranged, the coachmen stiffly erect and the horses motionless in the
brilliant light; and nothing else peopled that vast square desert of a
court which, with its bareness gilded by the coruscations of its
glass-work and the ruddiness of its stones, suggested a pagan temple
dedicated to the sun. But what more particularly struck Pierre was the
splendid panorama of Rome, for he had not hitherto imagined that the Pope
from his windows could thus behold the entire city spread out before him
as if he merely had to stretch forth his hand to make it his own once
more.

While Pierre contemplated the scene a sound of voices caused him to turn;
and he perceived a servant in black livery who, after repeating a message
to Narcisse, was retiring with a deep bow. Looking much annoyed, the
/attache/ approached the young priest. "Monsignor Gamba del Zoppo," said
he, "has sent word that he can't see us this morning. Some unexpected
duties require his presence." However, Narcisse's embarrassment showed
that he did not believe in the excuse, but rather suspected some one of
having so terrified his cousin that the latter was afraid of compromising
himself. Obliging and courageous as Habert himself was, this made him
indignant. Still he smiled and resumed: "Listen, perhaps there's a means
of forcing an entry. If your time is your own we can lunch together and
then return to visit the Museum of Antiquities. I shall certainly end by
coming across my cousin and we may, perhaps, be lucky enough to meet the
Pope should he go down to the gardens."

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

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

  * Best known in England, through Byron's lines, as the
    Dying Gladiator, though that appellation is certainly
    erroneous.--Trans.

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

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

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

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

  * There is also at the Villa Borghese Bernini's /Anchises carried
    by Aeneas/, which he sculptured when only sixteen. No doubt his
    faults were many; but it was his misfortune to belong to a
    decadent period.--Trans.

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

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

  * The reader should remember that the period selected for this
    narrative is the year 1894. Leo XIII was born in 1810.--Trans.

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

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

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

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

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

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

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

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

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

  * Perhaps so; but what a delightful pastime for the Vicar of the
    Divinity!--Trans.

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

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

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

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

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

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

All at once Narcisse stopped. "Ah!" he exclaimed, "I was certain of it.
There's the Holy Father! But we are not in luck. He won't even see us; he
is about to get into his carriage again."

As he spoke a carriage drew up at the verge of the wood, and a little
/cortege/ emerging from a narrow path, went towards it.

Pierre felt as if he had received a great blow in the heart. Motionless
beside his companion, and half hidden by a lofty vase containing a
lemon-tree, it was only from a distance that he was able to see the white
old man, looking so frail and slender in the wavy folds of his white
cassock, and walking so very slowly with short, gliding steps. The young
priest could scarcely distinguish the emaciated face of old diaphanous
ivory, emphasised by a large nose which jutted out above thin lips.
However, the Pontiff's black eyes were glittering with an inquisitive
smile, while his right ear was inclined towards Monsignor Gamba del
Zoppo, who was doubtless finishing some story at once rich and short,
flowery and dignified. And on the left walked a Noble Guard; and two
other prelates followed.

It was but a familiar apparition; Leo XIII was already climbing into the
closed carriage. And Pierre, in the midst of that large, odoriferous,
burning garden, again experienced the singular emotion which had come
upon him in the Gallery of the Candelabra while he was picturing the Pope
on his way between the Apollos and Venuses radiant in their triumphant
nudity. There, however, it was only pagan art which had celebrated the
eternity of life, the superb, almighty powers of Nature. But here he had
beheld the Pontiff steeped in Nature itself, in Nature clad in the most
lovely, most voluptuous, most passionate guise. Ah! that Pope, that old
man strolling with his Divinity of grief, humility, and renunciation
along the paths of those gardens of love, in the languid evenings of the
hot summer days, beneath the caressing scents of pine and eucalyptus,
ripe oranges, and tall, acrid box-shrubs! The whole atmosphere around him
proclaimed the powers of the great god Pan. How pleasant was the thought
of living there, amidst that magnificence of heaven and of earth, of
loving the beauty of woman and of rejoicing in the fruitfulness of all!
And suddenly the decisive truth burst forth that from a land of such joy
and light it was only possible for a temporal religion of conquest and
political domination to rise; not the mystical, pain-fraught religion of
the North--the religion of the soul!

However, Narcisse led the young priest away, telling him other anecdotes
as they went--anecdotes of the occasional /bonhomie/ of Leo XIII, who
would stop to chat with the gardeners, and question them about the health
of the trees and the sale of the oranges. And he also mentioned the
Pope's former passion for a pair of gazelles, sent him from Africa, two
graceful creatures which he had been fond of caressing, and at whose
death he had shed tears. But Pierre no longer listened. When they found
themselves on the Piazza of St. Peter's, he turned round and gazed at the
Vatican once more.

His eyes had fallen on the gate of bronze, and he remembered having
wondered that morning what there might be behind these metal panels
ornamented with big nails. And he did not yet dare to answer the
question, and decide if the new nations thirsting for fraternity and
justice would really find there the religion necessary for the
democracies of to-morrow; for he had not been able to probe things, and
only carried a first impression away with him. But how keen it was, and
how ill it boded for his dreams! A gate of bronze! Yes, a hard,
impregnable gate, so completely shutting the Vatican off from the rest of
the world that nothing new had entered the palace for three hundred
years. Behind that portal the old centuries, as far as the sixteenth,
remained immutable. Time seemed to have stayed its course there for ever;
nothing more stirred; the very costumes of the Swiss Guards, the Noble
Guards, and the prelates themselves were unchanged; and you found
yourself in the world of three hundred years ago, with its etiquette, its
costumes, and its ideas. That the popes in a spirit of haughty protest
should for five and twenty years have voluntarily shut themselves up in
their palace was already regrettable; but this imprisonment of centuries
within the past, within the grooves of tradition, was far more serious
and dangerous. It was all Catholicism which was thus imprisoned, whose
dogmas and sacerdotal organisation were obstinately immobilised. Perhaps,
in spite of its apparent flexibility, Catholicism was really unable to
yield in anything, under peril of being swept away, and therein lay both
its weakness and its strength. And then what a terrible world was there,
how great the pride and ambition, how numerous the hatreds and rivalries!
And how strange the prison, how singular the company assembled behind the
bars--the Crucified by the side of Jupiter Capitolinus, all pagan
antiquity fraternising with the Apostles, all the splendours of the
Renascence surrounding the pastor of the Gospel who reigns in the name of
the humble and the poor!

The sun was sinking, the gentle, luscious sweetness of the Roman evenings
was falling from the limpid heavens, and after that splendid day spent
with Michael Angelo, Raffaelle, the ancients, and the Pope, in the finest
palace of the world, the young priest lingered, distracted, on the Piazza
of St. Peter's.

"Well, you must excuse me, my dear Abbe," concluded Narcisse. "But I will
now confess to you that I suspect my worthy cousin of a fear that he
might compromise himself by meddling in your affair. I shall certainly
see him again, but you will do well not to put too much reliance on him."

It was nearly six o'clock when Pierre got back to the Boccanera mansion.
As a rule, he passed in all modesty down the lane, and entered by the
little side door, a key of which had been given him. But he had that
morning received a letter from M. de la Choue, and desired to communicate
it to Benedetta. So he ascended the grand staircase, and on reaching the
anteroom was surprised to find nobody there. As a rule, whenever the
man-servant went out Victorine installed herself in his place and busied
herself with some needlework. Her chair was there, and Pierre even
noticed some linen which she had left on a little table when probably
summoned elsewhere. Then, as the door of the first reception-room was
ajar, he at last ventured in. It was almost night there already, the
twilight was softly dying away, and all at once the young priest stopped
short, fearing to take another step, for, from the room beyond, the large
yellow /salon/, there came a murmur of feverish, distracted words, ardent
entreaties, fierce panting, a rustling and a shuffling of footsteps. And
suddenly Pierre no longer hesitated, urged on despite himself by the
conviction that the sounds he heard were those of a struggle, and that
some one was hard pressed.

And when he darted into the further room he was stupefied, for Dario was
there, no longer showing the degenerate elegance of the last scion of an
exhausted race, but maddened by the hot, frantic blood of the Boccaneras
which had bubbled up within him. He had clasped Benedetta by the
shoulders in a frenzy of passion and was scorching her face with his hot,
entreating words: "But since you say, my darling, that it is all over,
that your marriage will never be dissolved--oh! why should we be wretched
for ever! Love me as you do love me, and let me love you--let me love
you!"

But the Contessina, with an indescribable expression of tenderness and
suffering on her tearful face, repulsed him with her outstretched arms,
she likewise evincing a fierce energy as she repeated: "No, no; I love
you, but it must not, it must not be."

At that moment, amidst the roar of his despair, Dario became conscious
that some one was entering the room. He turned and gazed at Pierre with
an expression of stupefied insanity, scarce able even to recognise him.
Then he carried his two hands to his face, to his bloodshot eyes and his
cheeks wet with scalding tears, and fled, heaving a terrible,
pain-fraught sigh in which baffled passion mingled with grief and
repentance.

Benedetta seated herself, breathing hard, her strength and courage
wellnigh exhausted. But as Pierre, too much embarrassed to speak, turned
towards the door, she addressed him in a calmer voice: "No, no, Monsieur
l'Abbe, do not go away--sit down, I pray you; I should like to speak to
you for a moment."

He thereupon thought it his duty to account for his sudden entrance, and
explained that he had found the door of the first /salon/ ajar, and that
Victorine was not in the ante-room, though he had seen her work lying on
the table there.

"Yes," exclaimed the Contessina, "Victorine ought to have been there; I
saw her there but a short time ago. And when my poor Dario lost his head
I called her. Why did she not come?" Then, with sudden expansion, leaning
towards Pierre, she continued: "Listen, Monsieur l'Abbe, I will tell you
what happened, for I don't want you to form too bad an opinion of my poor
Dario. It was all in some measure my fault. Last night he asked me for an
appointment here in order that we might have a quiet chat, and as I knew
that my aunt would be absent at this time to-day I told him to come. It
was only natural--wasn't it?--that we should want to see one another and
come to an agreement after the grievous news that my marriage will
probably never be annulled. We suffer too much, and must form a decision.
And so when he came this evening we began to weep and embrace, mingling
our tears together. I kissed him again and again, telling him how I
adored him, how bitterly grieved I was at being the cause of his
sufferings, and how surely I should die of grief at seeing him so
unhappy. Ah! no doubt I did wrong; I ought not to have caught him to my
heart and embraced him as I did, for it maddened him, Monsieur l'Abbe; he
lost his head, and would have made me break my vow to the Blessed
Virgin."

She spoke these words in all tranquillity and simplicity, without sign of
embarrassment, like a young and beautiful woman who is at once sensible
and practical. Then she resumed: "Oh! I know my poor Dario well, but it
does not prevent me from loving him; perhaps, indeed, it only makes me
love him the more. He looks delicate, perhaps rather sickly, but in truth
he is a man of passion. Yes, the old blood of my people bubbles up in
him. I know something of it myself, for when I was a child I sometimes
had fits of angry passion which left me exhausted on the floor, and even
now, when the gusts arise within me, I have to fight against myself and
torture myself in order that I may not act madly. But my poor Dario does
not know how to suffer. He is like a child whose fancies must be
gratified. And yet at bottom he has a good deal of common sense; he waits
for me because he knows that the only real happiness lies with the woman
who adores him."

As Pierre listened he was able to form a more precise idea of the young
prince, of whose character he had hitherto had but a vague perception.
Whilst dying of love for his cousin, Dario had ever been a man of
pleasure. Though he was no doubt very amiable, the basis of his
temperament was none the less egotism. And, in particular, he was unable
to endure suffering; he loathed suffering, ugliness, and poverty, whether
they affected himself or others. Both his flesh and his soul required
gaiety, brilliancy, show, life in the full sunlight. And withal he was
exhausted, with no strength left him but for the idle life he led, so
incapable of thought and will that the idea of joining the new /regime/
had not even occurred to him. Yet he had all the unbounded pride of a
Roman; sagacity--a keen, practical perception of the real--was mingled
with his indolence; while his inveterate love of woman, more frequently
displayed in charm of manner, burst forth at times in attacks of frantic
sensuality.

"After all he is a man," concluded Benedetta in a low voice, "and I must
not ask impossibilities of him." Then, as Pierre gazed at her, his
notions of Italian jealousy quite upset, she exclaimed, aglow with
passionate adoration: "No, no. Situated as we are, I am not jealous. I
know very well that he will always return to me, and that he will be mine
alone whenever I please, whenever it may be possible."

Silence followed; shadows were filling the room, the gilding of the large
pier tables faded away, and infinite melancholy fell from the lofty, dim
ceiling and the old hangings, yellow like autumn leaves. But soon, by
some chance play of the waning light, a painting stood out above the sofa
on which the Contessina was seated. It was the portrait of the beautiful
young girl with the turban--Cassia Boccanera the forerunner, the
/amorosa/ and avengeress. Again was Pierre struck by the portrait's
resemblance to Benedetta, and, thinking aloud, he resumed: "Passion
always proves the stronger; there invariably comes a moment when one
succumbs--"

But Benedetta violently interrupted him: "I! I! Ah! you do not know me; I
would rather die!" And with extraordinary exaltation, all aglow with
love, as if her superstitious faith had fired her passion to ecstasy, she
continued: "I have vowed to the Madonna that I will belong to none but
the man I love, and to him only when he is my husband. And hitherto I
have kept that vow, at the cost of my happiness, and I will keep it
still, even if it cost me my life! Yes, we will die, my poor Dario and I,
if it be necessary; but the holy Virgin has my vow, and the angels shall
not weep in heaven!"

She was all in those words, her nature all simplicity, intricate,
inexplicable though it might seem. She was doubtless swayed by that idea
of human nobility which Christianity has set in renunciation and purity;
a protest, as it were, against eternal matter, against the forces of
Nature, the everlasting fruitfulness of life. But there was more than
this; she reserved herself, like a divine and priceless gift, to be
bestowed on the one being whom her heart had chosen, he who would be her
lord and master when God should have united them in marriage. For her
everything lay in the blessing of the priest, in the religious
solemnisation of matrimony. And thus one understood her long resistance
to Prada, whom she did not love, and her despairing, grievous resistance
to Dario, whom she did love, but who was not her husband. And how
torturing it was for that soul of fire to have to resist her love; how
continual was the combat waged by duty in the Virgin's name against the
wild, passionate blood of her race! Ignorant, indolent though she might
be, she was capable of great fidelity of heart, and, moreover, she was
not given to dreaming: love might have its immaterial charms, but she
desired it complete.

As Pierre looked at her in the dying twilight he seemed to see and
understand her for the first time. The duality of her nature appeared in
her somewhat full, fleshy lips, in her big black eyes, which suggested a
dark, tempestuous night illumined by flashes of lightning, and in the
calm, sensible expression of the rest of her gentle, infantile face. And,
withal, behind those eyes of flame, beneath that pure, candid skin, one
divined the internal tension of a superstitious, proud, and self-willed
woman, who was obstinately intent on reserving herself for her one love.
And Pierre could well understand that she should be adored, that she
should fill the life of the man she chose with passion, and that to his
own eyes she should appear like the younger sister of that lovely, tragic
Cassia who, unwilling to survive the blow that had rendered self-bestowal
impossible, had flung herself into the Tiber, dragging her brother Ercole
and the corpse of her lover Flavio with her.

However, with a gesture of kindly affection Benedetta caught hold of
Pierre's hands. "You have been here a fortnight, Monsieur l'Abbe," said
she, "and I have come to like you very much, for I feel you to be a
friend. If at first you do not understand us, at least pray do not judge
us too severely. Ignorant as I may be, I always strive to act for the
best, I assure you."

Pierre was greatly touched by her affectionate graciousness, and thanked
her whilst for a moment retaining her beautiful hands in his own, for he
also was becoming much attached to her. A fresh dream was carrying him
off, that of educating her, should he have the time, or, at all events,
of not returning home before winning her soul over to his own ideas of
future charity and fraternity. Did not that adorable, unoccupied,
indolent, ignorant creature, who only knew how to defend her love,
personify the Italy of yesterday? The Italy of yesterday, so lovely and
so sleepy, instinct with a dying grace, charming one even in her
drowsiness, and retaining so much mystery in the fathomless depths of her
black, passionate eyes! And what a /role/ would be that of awakening her,
instructing her, winning her over to truth, making her the rejuvenated
Italy of to-morrow such as he had dreamt of! Even in that disastrous
marriage with Count Prada he tried to see merely a first attempt at
revival which had failed, the modern Italy of the North being over-hasty,
too brutal in its eagerness to love and transform that gentle, belated
Rome which was yet so superb and indolent. But might he not take up the
task? Had he not noticed that his book, after the astonishment of the
first perusal, had remained a source of interest and reflection with
Benedetta amidst the emptiness of her days given over to grief? What! was
it really possible that she might find some appeasement for her own
wretchedness by interesting herself in the humble, in the happiness of
the poor? Emotion already thrilled her at the idea, and he, quivering at
the thought of all the boundless love that was within her and that she
might bestow, vowed to himself that he would draw tears of pity from her
eyes.

But the night had now almost completely fallen, and Benedetta rose to ask
for a lamp. Then, as Pierre was about to take leave, she detained him for
another moment in the gloom. He could no longer see her; he only heard
her grave voice: "You will not go away with too bad an opinion of us,
will you, Monsieur l'Abbe? We love one another, Dario and I, and that is
no sin when one behaves as one ought. Ah! yes, I love him, and have loved
him for years. I was barely thirteen, he was eighteen, and we already
loved one another wildly in those big gardens of the Villa Montefiori
which are now all broken up. Ah! what days we spent there, whole
afternoons among the trees, hours in secret hiding-places, where we
kissed like little angels. When the oranges ripened their perfume
intoxicated us. And the large box-plants, ah, /Dio!/ how they enveloped
us, how their strong, acrid scent made our hearts beat! I can never smell
then nowadays without feeling faint!"

A man-servant brought in the lamp, and Pierre ascended to his room. But
when half-way up the little staircase he perceived Victorine, who started
slightly, as if she had posted herself there to watch his departure from
the /salon/. And now, as she followed him up, talking and seeking for
information, he suddenly realised what had happened. "Why did you not go
to your mistress instead of running off," he asked, "when she called you,
while you were sewing in the ante-room?"

At first she tried to feign astonishment and reply that she had heard
nothing. But her good-natured, frank face did not know how to lie, and
she ended by confessing, with a gay, courageous air. "Well," she said,
"it surely wasn't for me to interfere between lovers! Besides, my poor
little Benedetta is simply torturing herself to death with those ideas of
hers. Why shouldn't they be happy, since they love one another? Life
isn't so amusing as some may think. And how bitterly one regrets not
having seized hold of happiness when the time for it has gone!"

Once alone in his room, Pierre suddenly staggered, quite overcome. The
great box-plants, the great box-plants with their acrid, perturbing
perfume! She, Benedetta, like himself, had quivered as she smelt them;
and he saw them once more in a vision of the pontifical gardens, the
voluptuous gardens of Rome, deserted, glowing under the August sun. And
now his whole day crystallised, assumed clear and full significance. It
spoke to him of the fruitful awakening, of the eternal protest of Nature
and life, Venus and Hercules, whom one may bury for centuries beneath the
soil, but who, nevertheless, one day arise from it, and though one may
seek to wall them up within the domineering, stubborn, immutable Vatican,
reign yet even there, and rule the whole, wide world with sovereign
power!





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