CHAPTER XXXVII. — AMERICAN ART IN FLORENCE.
I have seen Ibrahim Pacha, the son of old Mehemet Ali, driving in his carriage through the streets. He is hero on a visit from Lucca, where he has been spending some time on account of his health. He is a man of apparently fifty years of age; his countenance wears a stern and almost savage look, very consistent with the character he bears and the political part he has played. He is rather portly in person, the pale olive of his complexion contrasting strongly with a beard perfectly white. In common with all his attendants, he wears the high red cap, picturesque blue tunic and narrow trowsers of the Egyptians. There is scarcely a man of them whose face with its wild, oriental beauty, does not show to advantage among us civilized and prosaic Christians.
In Florence, and indeed through all Italy, there is much reason for our country to be proud of the high stand her artists are taking. The sons of our rude western clime, brought up without other resources than their own genius and energy, now fairly rival those, who from their cradle upwards have drawn inspiration and ambition from the glorious masterpieces of the old painters and sculptors. Wherever our artists are known, they never fail to create a respect for American talent, and to dissipate the false notions respecting our cultivation and refinement, which prevail in Europe. There are now eight or ten of our painters and sculptors in Florence, some of whom, I do not hesitate to say, take the very first rank among living artists.
I have been highly gratified in visiting the studio of Mr. G.L. Brown, who, as a landscape painter, is destined to take a stand second to few, since the days of Claude Lorraine. He is now without a rival in Florence, or perhaps in Italy, and has youth, genius and a plentiful stock of the true poetic enthusiasm for his art, to work for him far greater triumphs. His Italian landscapes have that golden mellowness and transparency of atmosphere which give such a charm to the real scenes, and one would think he used on his pallette, in addition to the more substantial colors, condensed air and sunlight and the liquid crystal of streams. He has wooed Nature like a lover, and she has not withheld her sympathy. She has taught him how to raise and curve her trees, load their boughs with foliage, and spread underneath them the broad, cool shadows—to pile up the shattered crag, and steep the long mountain range in the haze of alluring distance.
He has now nearly finished, a large painting of "Christ Preaching in the Wilderness," which is of surprising beauty. You look upon one of the fairest scenes of Judea. In front, the rude multitude are grouped on one side, in the edge of a magnificent forest; on the other side, towers up a rough wall of rock and foliage that stretches back into the distance, where some grand blue mountains are piled against the sky, and a beautiful stream, winding through the middle of the picture, slides away out of the foreground. Just emerging from the shade of one of the cliffs, is the benign figure of the Saviour, with the warm light which breaks from behind the trees, falling around him as he advances. There is a smaller picture of the "Shipwreck of St. Paul," in which he shows equal skill in painting a troubled sea and breaking storm. He is one of the young artists from whom we have most to hope.
I have been extremely interested in looking over a great number of sketches made by Mr. Kellogg, of Cincinnati, during a tour through Egypt, Arabia Petræa and Palestine. He visited many places out of the general route of travelers, and beside the great number of landscape views, brought away many sketches of the characters and costumes of the Orient. From some of these he has commenced paintings, which, as his genius is equal to his practice, will be of no ordinary value. Indeed, some of these must give him at once an established reputation in America. In Constantinople, where he resided several months, he enjoyed peculiar advantges for the exercise of his art, through the favor and influence of Mr. Carr, the American, and Sir Stratford Canning, the British Minister. I saw a splendid diamond cup, presented to him by Riza Pacha, the late Grand Vizier. The sketches he brought from thence and from the valleys of Phrygia and the mountain solitudes of old Olympus, are of great interest and value. Among his later paintings, I might mention an angel, whose countenance beams with a rapt and glorious beauty. A divine light shines through all the features and heightens the glow of adoration to an expression all spiritual and immortal. If Mr. Kellogg will give us a few more of these heavenly conceptions, we will place him on a pedestal, little lower than that of Guido.
Greenough, who has been sometime in Germany, returned lately to Florence, where he has a colossal group in progress for the portico of the Capitol. I have seen part of it, which is nearly finished in the marble. It shows a backwoodsman just triumphing in the struggle with an Indian; another group to be added, will represent the wife and child of the former. The colossal size of the statues gives a grandeur to the action, as if it were a combat of Titans; there is a consciousness of power, an expression of lofty disdain in the expansion of the hunter's nostril and the proud curve of his lip, that might become a god. The spirit of action, of breathing, life-like exertion, so much more difficult to infuse into the marble than that of repose, is perfectly attained. I will not enter into a more particular description, as it will probably be sent to the United States in a year or two. It is a magnificent work; the best, unquestionably, that Greenough has yet made. The subject, and the grandeur he has given it in the execution, will ensure it a much more favorable reception than a false taste gave to his Washington.
Mr. C.B. Ives, a young sculptor from Connecticut, has not disappointed the high promise he gave before leaving home. I was struck with some of his busts in Philadelphia, particularly those of Mrs. Sigourney and Joseph R. Chandler, and it has been no common pleasure to visit his studio here in Florence, and look on some of his ideal works. He has lately made two models, which, when finished in marble, will be works of great beauty. They will contribute greatly to his reputation here and in America. One of these represents a child of four or five years of age, holding in his hand a dead bird, on which he is gazing, with childish grief and wonder, that it is so still and drooping. It is a beautiful thought; the boy is leaning forward as he sits, holding the lifeless playmate close in his hands, his sadness touched with a vague expression, as if he could not yet comprehend the idea of death.
The other is of equal excellence, in a different style; it is a bust of "Jephthah's daughter," when the consciousness of her doom first flashes upon her. The face and bust are beautiful with the bloom of perfect girlhood. A simple robe covers her breast, and her rich hair is gathered up behind, and bound with a slender fillet. Her head, of the pure classical mould, is bent forward, as if weighed down by the shock, and there is a heavy drooping in the mouth and eyelids, that denotes a sudden and sickening agony. It is not a violent, passionate grief, but a deep and almost paralyzing emotion—a shock from which the soul will finally rebound, strengthened to make the sacrifice.
Would it not be better for some scores of our rich merchants to lay out their money on statues and pictures, instead of balls and spendthrift sons? A few such expenditures, properly directed, would do much for the advancement of the fine arts. An occasional golden blessing, bestowed on genius, might be returned on the giver, in the fame he had assisted in creating. There seems, however, to be at present a rapid increase in refined taste, and a better appreciation of artistic talent, in our country. And as an American, nothing has made me feel prouder than this, and the steadily increasing reputation of our artists.
Of these, no one has done more within the last few years, than Powers. With a tireless and persevering energy, such as could have belonged to few but Americans, he has already gained a name in his art, that posterity will pronounce in the same breath with Phidias, Michael Angelo and Thorwaldsen. I cannot describe the enjoyment I have derived from looking at his matchless works. I should hesitate in giving my own imperfect judgment of their excellence, if I had not found it to coincide with that of many others who are better versed in the rules of art. The sensation which his "Greek Slave" produced in England, has doubtless ere this been breezed across the Atlantic, and I see by the late American papers that they are growing familiar with his fame. When I read a notice seven or eight years ago, of the young sculptor of Cincinnati, whose busts exhibited so much evidence of genius, I little dreamed I should meet him in Florence, with the experience of years of toil added to his early enthusiasm, and every day increasing his renown.
You would like to hear of his statue of Eve, which men of taste pronounce one of the finest works of modern times. A more perfect figure never filled my eye. I have seen the masterpieces of Thorwaldsen, Dannecker and Canova, and the Venus de Medici, but I have seen nothing yet that can exceed the beauty of this glorious statue. So completely did the first view excite my surprise and delight, and thrill every feeling that awakes at the sight of the Beautiful, that my mind dwelt intensely on it for days afterwards. This is the Eve of Scripture—the Eve of Milton—mother of mankind and fairest of all her race. With the full and majestic beauty of ripened womanhood, she wears the purity of a world as yet unknown to sin. With the hearing of a queen, there is in her countenance the softness and grace of a tender, loving woman;
"God-like erect, with native honor clad
In naked majesty."
She holds the fatal fruit extended in her hand, and her face expresses the struggle between conscience, dread and desire. The serpent, whose coiled length under the leaves and flowers entirely surrounds her, thus forming a beautiful allegorical symbol, is watching her decision from an ivied trunk at her side. Her form is said to be fully as perfect as the Venus de Medici, and from its greater size, has an air of conscious and ennobling dignity. The head is far superior in beauty, and soul speaks from every feature of the countenance. I add a few stanzas which the contemplation of this statue called forth. Though unworthy the subject, they may perhaps faintly shadow the sentiment which Powers has so eloquently embodied in marble:
THE "EVE" OF POWERS.
A faultless being from the marble sprung,
She stands in beauty there!
As when the grace of Eden 'round her clung—
Fairest, where all was fair!
Pure, as when first from God's creating hand
She came, on man to shine;
So seems she now, in living stone to stand—
A mortal, yet divine!
The spark the Grecian from Olympus caught,
Left not a loftier trace;
The daring of the sculptor's hand has wrought
A soul in that sweet face!
He won as well the sacred fire from heaven.
God-sent, not stolen down,
And no Promethean doom for him is given,
But ages of renown!
The soul of beauty breathes around that form
A more enchanting spell;
There blooms each virgin grace, ere yet the storm
On blighted Eden fell!
The first desire upon her lovely brow,
Raised by an evil power;
Doubt, longing, dread, are in her features now—
It is the trial-hour!
How every thought that strives within her breast,
In that one glance is shown!
Say, can that heart of marble be at rest,
Since spirit warms the stone?
Will not those limbs, of so divine a mould,
Move, when her thought is o'er—
When she has yielded to the tempter's hold
And Eden blooms no more?
Art, like a Phoenix, springs from dust again—
She cannot pass away!
Bound down in gloom, she breaks apart the chain
And struggles up today!
The flame, first kindled in the ages gone,
Has never ceased to burn,
And westward now, appears the kindling dawn,
Which marks the day's return!
The "Greek Slave" is now in the possession of Mr. Grant, of London, and I only saw the clay model. Like the Eve, it is a form that one's eye tells him is perfect, unsurpassed; but it is the budding loveliness of a girl, instead of the perfected beauty of a woman. In England it has been pronounced superior to Canova's works, and indeed I have seen nothing of his, that could be placed beside it.
Powers has now nearly finished a most exquisite figure of a fisher-boy, standing on the shore, with his net and rudder in one hand, while with the other he holds a shell to his ear and listens if it murmur to him of a gathering storm. His slight, boyish limbs are full of grace and delicacy—you feel that the youthful frame could grow up into nothing less than an Apollo. Then the head—how beautiful! Slightly bent on one side, with the rim of the shell thrust under his locks, lips gently parted, and the face wrought up to the most hushed and breathless expression, he listens whether the sound be deeper than its wont. It makes you hold your breath and listen, to look at it. Mrs. Jameson somewhere remarks that repose or suspended motion, should be always chosen for a statue that shall present a perfect, unbroken impression to the mind. If this be true, the enjoyment must be much more complete where not only the motion, but almost breath and thought are suspended, and all the faculties wrought into one hushed and intense sensation. In gazing on this exquisite conception, I feel my admiration filled to the utmost, without that painful, aching impression, so often left by beautiful works. It glides into my vision like a form long missed from the gallery of beauty I am forming in my mind, and I gaze on it with an ever new and increasing delight.
Now I come to the last and fairest of all—the divine Proserpine. Not the form, for it is but a bust rising from a capital of acanthus leaves, which curve around the breast and arms and turn gracefully outward, but the face, whose modest maiden beauty can find no peer among goddesses or mortals. So looked she on the field of Ennæ—that "fairer flower," so soon to be gathered by "gloomy Dis." A slender crown of green wheatblades, showing alike her descent from Ceres and her virgin years, circles her head. Truly, if Pygmalion stole his fire to warm such a form as this, Jove should have pardoned him. Of Powers' busts it is unnecessary for me to speak. He has lately finished a very beautiful one of the Princess Demidoff, daughter of Jerome Bonaparte.
We will soon, I hope, have the "Eve" in America. Powers has generously refused many advantageous offers for it, that he might finally send it home; and his country, therefore, will possess this statue, his first ideal work. She may well be proud of the genius and native energy of her young artist, and she should repay them by a just and liberal encouragement.
CHAPTER XXXVIII. — AN ADVENTURE ON THE GREAT ST. BERNARD—WALKS AROUND FLORENCE.
Nov. 9.—A few days ago I received a letter from my cousin at Heidelberg, describing his solitary walk from Genoa over the Alps, and through the western part of Switzerland. The news of his safe arrival dissipated the anxiety we were beginning to feel, on account of his long silence, while it proved that our fears concerning the danger of such a journey were not altogether groundless. He met with a startling adventure on the Great St. Bernard, which will be best described by an extract from his own letter:
"Such were my impressions of Rome. But leaving the 'Eternal City,' I must hasten on to give you a description of an adventure I met with in crossing the Alps, omitting for the present an account of the trip from Rome to Genoa, and my lonely walk through Sardinia. When I had crossed the mountain range north of Genoa, the plains of Piedmont stretched out before me. I could see the snowy sides and summits of the Alps more than one hundred miles distant, looking like white, fleecy clouds on a summer day. It was a magnificent prospect, and I wonder not that the heart of the Swiss soldier, after years of absence in foreign service, beats with joy when he again looks on his native mountains.
"As I approached nearer, the weather changed, and dark, gloomy clouds enveloped them, so that they seemed to present an impassible barrier to the lands beyond them. At Ivrea, I entered the interesting valley of Aosta. The whole valley, fifty miles in length, is inhabited by miserable looking people, nearly one half of them being afflicted with goitre and cretinism. They looked more idiotic and disgusting than any I have ever seen, and it was really painful to behold such miserable specimens of humanity dwelling amid the grandest scenes of nature. Immediately after arriving in the town of Aosta, situated at the upper end of the valley, I began, alone, the ascent of the Great St. Bernard. It was just noon, and the clouds on the mountains indicated rain. The distance from Aosta to the monastery or hospice of St. Bernard, is about twenty English miles.
"At one o'clock it commenced raining vary hard, and to gain shelter I went into a rude hut; but it was filled with so many of those idiotic cretins, lying down on the earthy floor with the dogs and other animals, that I was glad to leave them as soon as the storm had abated in some degree. I walked rapidly for three hours, when I met a traveler and his guide descending the mountain. I asked him in Italian the distance to the hospice, and he undertook to answer me in French, but the words did not seem to flow very fluently, so I said quickly, observing then that he was an Englishman: 'Try some other language, if you please, sir!' He replied instantly in his vernacular: 'You have a d—d long walk before you, and you'll have to hurry to get to the top before night!' Thanking him, we shook hands and hurried on, he downward and I upward. About eight miles from the summit, I was directed into the wrong path by an ignorant boy who was tending sheep, and went a mile out of the course, towards Mont Blanc, before I discovered my mistake. I hurried back into the right path again, and soon overtook another boy ascending the mountain, who asked me if he might accompany me as he was alone, to which I of course answered, yes; but when we began to enter the thick clouds that covered the mountains, he became alarmed, and said he would go no farther. I tried to encourage him by saying we had only five miles more to climb, but, turning quickly, he ran down the path and was soon out of sight.
"After a long and most toilsome ascent, spurred on as I was by the storm and the approach of night, I saw at last through the clouds a little house, which I supposed might be a part of the monastery, but it turned out to be only a house of refuge, erected by the monks to take in travelers in extreme cases or extraordinary danger. The man who was staying there, told me the monastery was a mile and a half further, and thinking therefore that I could soon reach it, I started out again, although darkness was approaching. In a short time the storm began in good earnest, and the cold winds blew with the greatest fury. It grew dark very suddenly and I lost sight of the poles which are placed along the path to guide the traveler. I then ran on still higher, hoping to find them again, but without success. The rain and snow fell thick, and although I think I am tolerably courageous, I began to be alarmed, for it was impossible to know in what direction I was going. I could hear the waterfalls dashing and roaring down the mountain hollows on each side of me; in the gloom, the foam and leaping waters resembled streaming fires. I thought of turning back to find the little house of refuge again, but it seemed quite as dangerous and uncertain as to go forward. After the fatigue I had undergone since noon, it would have been dangerous to be obliged to stay, out all night in the driving storm, which was every minute increasing in coldness and intensity.
"I stopped and shouted aloud, hoping I might be somewhere near the monastery, but no answer came—no noise except the storm and the roar of the waterfalls. I climbed up the rocks nearly a quarter of a mile higher, and shouted again. I listened with anxiety for two or three minutes, but hearing no response, I concluded to find a shelter for the night under a ledge of rocks. While looking around me, I fancied I heard in the distance a noise like the trampling of hoofs over the rocks, and thinking travelers might be near, I called aloud for the third time. After wailing a moment, a voice came ringing on my ears through the clouds, like one from Heaven in response to my own. My heart beat quickly; I hurried in the direction from which the sound came, and to my joy found two men—servants of the monastery—who were driving their mules into shelter. Never in my whole life was I more glad to hear the voice of man. These men conducted me to the monastery, one-fourth of a mile higher, built by the side of a lake at the summit of the pass, while on each side, the mountains, forever covered with snow, tower some thousands of feet higher.
"Two or three of the noble St. Bernard dogs barked a welcome as we approached, which brought a young monk to the door. I addressed him in German, but to my surprise he answered in broken English. He took me into a warm room and gave me a suit of clothes, such as are worn by the monks, for my dress, as well as my package of papers, were completely saturated with rain. I sat down to supper in company with till the monks of the Hospice, I in my monkish robe looking like one of the holy order. You would have laughed to have seen me in their costume. Indeed, I felt almost satisfied to turn monk, as everything seemed so comfortable in the warm supper room, with its blazing wood fire, while outside raged the storm still more violently. But when I thought of their voluntary banishment from the world, up in that high pass of the Alps, and that the affection of woman never gladdened their hearts, I was ready to renounce my monkish dress next morning, without reluctance.
"In the address book of the monastery, I found Longfellow's 'Excelsior' written on a piece of paper and signed 'America.' You remember the stanza:
At break of clay, as heavenward,
The pious monks of St. Bernard
Uttered the oft-repeated prayer,
A voice cried through the startled air:
Excelsior!
It seemed to add a tenfold interest to the poem, to read it on old St. Bernard. In the morning I visited the house where are kept the bodies of the travelers, who perish in crossing the mountain. It is filled with corpses, ranged in rows, and looking like mummies, for the cold is so intense that they will keep for years without decaying, and are often recognized and removed by their friends.
"Of my descent to Martigny, my walk down the Rhone, and along the shores of Lake Leman, my visit to the prison of Chilian and other wanderings across Switzerland, my pleasure in seeing the old river Rhine again, and my return to Heidelberg at night, with the bright moon shining on the Neckar and the old ruined castle, I can now say no more, nor is it necessary, for are not all these things 'written in my book of Chronicles,' to be seen by you when we meet again in Paris?
Ever yours, FRANK."
Dec. 16.—I took a walk lately to the tower of Galileo. In company with three friends, I left Florence by the Porta Romana, and ascended the Poggie Imperiale. This beautiful avenue, a mile and a quarter in length, leading up a gradual ascent to a villa of the Grand Duke, is bordered with splendid cypresses and evergreen oaks, and the grass banks are always fresh and green, so that even in winter it calls up a remembrance of summer. In fact, winter does not wear the scowl here that he has at home; he is robed rather in a threadbare garment of autumn, and it is only high up on the mountain tops, out of the reach of his enemy, the sun, that he dares to throw it off, and bluster about with his storms and scatter down his snow-flakes. The roses still bud and bloom in the hedges, the emerald of the meadows is not a whit paler, the sun looks down lovingly as yet, and there are only the white helmets of some of the Appenines, with the leafless mulberries and vines, to tell us that we have changed seasons.
A quarter of an hour's walk, part of it by a path through an olive orchard, brought us to the top of a hill, which was surmounted by a square, broken, ivied tower, forming part of a storehouse for the produce of the estate. We entered, saluted by a dog, and passing through a court-yard, in which stood two or three carts full of brown olives, found our way to the rickety staircase. I spared my sentiment in going up, thinking the steps might have been renewed since Galileo's time, but the glorious landscape which opened around us when we reached the top, time could not change, and I gazed upon it with interest and emotion, as my eye took in those forms which had once been mirrored in the philosopher's. Let me endeavor to describe the features of the scene.
Fancy yourself lifted to the summit of a high hill, whose base slopes down to the valley of the Arno, and looking northward. Behind you is a confusion of hill and valley, growing gradually dimmer away to the horizon. Before and below you is a vale, with Florence and her great domes and towers in its lap, and across its breadth of five miles the mountain of Fiesole. To the west it stretches away unbroken for twenty miles, covered thickly with white villas—like a meadow of daisies, magnified. A few miles to the east the plain is rounded with mountains, between whose interlocking bases we can see the brown current of the Arno. Some of their peaks, as well as the mountain of Vallombrosa, along the eastern sky, are tipped with snow. Imagine the air filled with a thick blue mist, like a semi-transparent veil, which softens every thing into dreamy indistinctness, the sunshine falling slantingly through this in spots, touching the landscape here and there as with a sudden blaze of fire, and you will complete the picture. Does it not repay your mental flight across the Atlantic.
One evening, on coming out of the cafè, the moon was shining so brightly and clearly, that I involuntarily bent my steps towards the river; I walked along the Lung'Arno, enjoying the heavenly moonlight—"the night of cloudless climes and starry skies!" A purer silver light never kissed the brow of Endymion. The brown Arno took into his breast "the redundant glory," and rolled down his pebbly bed with a more musical ripple; opposite stretched the long mass of buildings—the deep arches that rose from the water were filled with black shadow, and the irregular fronts of the houses touched with a mellow glow. The arches of the upper bridge were in shadow, cutting their dark outline on the silvery sweep of the Appenines, far up the stream. A veil of luminous gray covered the hill of San Miniato, with its towers and cypress groves, and there was a crystal depth in the atmosphere, as if it shone with its own light. The whole scene affected me as something too glorious to be real—painful from the very intensity of its beauty. Three moons ago, at the foot of Vallombrosa, I saw the Appenines flooded with the same silvery gush, and thought also, then, that I had seen the same moon amid far dearer scenes, but never before the same dreamy and sublime glory showered down from her pale orb. Some solitary lights were burning along the river, and occasionally a few Italians passed by, wrapped in their mantles. I went home to the Piazza del Granduca as the light, pouring into the square from behind the old palace, fell over the fountain of Neptune and sheathed in silver the back of the colossal god.
Whoever looks on the valley of the Arno from San Miniato, and observes the Appenine range, of which Fiesole is one, bounding it on the north, will immediately notice to the northwest a double peak rising high above all the others. The bare, brown forehead of this, known by the name of Monte Morello, seemed so provokingly to challenge an ascent, that we determined to try it. So we started early, the day before yesterday, from the Porta San Gallo, with nothing but the frosty grass and fresh air to remind us of the middle of December. Leaving the Prato road, at the base of the mountain, we passed Careggi, a favorite farm of Lorenzo the Magnificent, and entered a narrow glen where a little brook was brawling down its rocky channel. Here and there stood a rustic mill, near which women were busy spreading their washed clothes on the grass. Following the footpath, we ascended a long eminence to a chapel where some boys were amusing themselves with a common country game. They have a small wheel, around which they wind a rope, and, running a little distance to increase the velocity, let it off with a sudden jerk. On a level road it can be thrown upwards of a quarter of a mile.
From the chapel, a gradual ascent along the ridge of a hill brought us to the foot of the peak, which rose high before us, covered with bare rocks and stunted oaks. The wind blew coldly from a snowy range to the north, as we commenced ascending with a good will. A few shepherds were leading their flocks along the sides, to browse on the grass and withered bushes, and we started up a large hare occasionally from his leafy covert. The ascent was very toilsome; I was obliged to stop frequently on account of the painful throbbing of my heart, which made it difficult to breathe. When the summit was gained, we lay down awhile on the leeward side to recover ourselves.
We looked on the great valley of the Arno, perhaps twenty-five miles long, and five or six broad, lying like a long elliptical basin sunk among the hills. I can liken it to nothing but a vast sea; for a dense, blue mist covered the level surface, through which the domes of Florence rose up like a craggy island, while the thousands of scattered villas resembled ships, with spread sails, afloat on its surface. The sharp, cutting wind soon drove us down, with a few hundred bounds, to the path again. Three more hungry mortals did not dine at the Cacciatore that day.
The chapel of the Medici, which we visited, is of wonderful beauty. The walls are entirely encrusted with pietra dura and the most precious kinds of marble. The ceiling is covered with gorgeous frescoes by Benevenuto, a modern painter. Around the sides, in magnificent sarcophagi of marble and jasper, repose the ashes of a few Cosmos and Ferdinands. I asked the sacristan for the tomb of Lorenzo the Magnificent. "Oh!" said he, "he lived during the republic—he has no tomb; these are only for Dukes!" I could not repress a sigh at the lavish waste of labor and treasure on this one princely chapel. They might have slumbered unnoted, like Lorenzo, if they had done as much for their country and Italy.
December 19.—It is with a heavy heart, that I sit down tonight to make my closing note in this lovely city and in the journal which has recorded my thoughts and impressions since leaving America. I should find it difficult to analyze my emotions, but I know that they oppress me painfully. So much rushes at once over the mind and heart—memories of what has passed through both, since I made the first note in its pages—alternations of hope and anxiety and aspiration, but never despondency—that it resembles in a manner, the closing of a life. I seem almost to have lived through the common term of a life in this short period. Much spiritual and mental experience has crowded into a short time the sensations of years. Painful though some of it has been, it was still welcome. Difficulty and toil give the soul strength to crush, in a loftier region, the passions which draw strength only from the earth. So long as we listen to the purer promptings within us, there is a Power invisible, though not unfelt, who protects us—amid the toil and tumult and soiling struggle, there is ever an eye that watches, ever a heart that overflows with Infinite and Almighty Love! Let us trust then in that Eternal Spirit, who pours out on us his warm and boundless blessings, through the channels of so many kindred human hearts!