THE WIDOW OF CRESCENTIUS.
[“In the reign of Otho III. Emperor of Germany, the Romans, excited by their Consul, Crescentius, who ardently desired to restore the ancient glory of the Republic, made a bold attempt to shake off the Saxon yoke, and the authority of the popes, whose vices rendered them objects of universal contempt. The Consul was besieged by Otho in the Mole of Hadrian, which long afterwards continued to be called the Tower of Crescentius. Otho, after many unavailing attacks upon this fortress, at last entered into negotiations; and, pledging his imperial word to respect the life of Crescentius, and the rights of the Roman citizens, the unfortunate leader was betrayed into his power, and immediately beheaded, with many of his partisans. Stephania, his widow, concealing her affliction and her resentment for the insults to which she had been exposed, secretly resolved to revenge her husband and herself. On the return of Otho from a pilgrimage to Mount Gargano, which perhaps a feeling of remorse had induced him to undertake, she found means to be introduced to him, and to gain his confidence; and a poison administered by her was soon afterwards the cause of his painful death.”—Sismondi, History of the Italian Republics, vol. i.]
“L’orage peut briser en un moment les fleurs qui tiennent encore la tête levée.”—Mad. de Stael.
Midst Tivoli’s luxuriant glades,
Bright-foaming falls, and olive shades,
Where dwelt, in days departed long,
The sons of battle and of song,
No tree, no shrub its foliage rears
But o’er the wrecks of other years,
Temples and domes, which long have been
The soil of that enchanted scene.
There the wild fig-tree and the vine
O’er Hadrian’s mouldering villa twine;[104]
The cypress, in funereal grace,
Usurps the vanish’d column’s place;
O’er fallen shrine and ruin’d frieze
The wall-flower rustles in the breeze;
Acanthus-leaves the marble hide
They once adorn’d in sculptured pride;
And nature hath resumed her throne
O’er the vast works of ages flown.
Was it for this that many a pile,
Pride of Ilissus and of Nile,
To Anio’s banks the image lent
Of each imperial monument?[105]
Now Athens weeps her shatter’d fanes,
Thy temples, Egypt, strew thy plains;
And the proud fabrics Hadrian rear’d
From Tibur’s vale have disappear’d.
We need no prescient sibyl there
The doom of grandeur to declare;
Each stone, where weeds and ivy climb,
Reveals some oracle of Time;
Each relic utters Fate’s decree—
The future as the past shall be.
Halls of the dead! in Tibur’s vale,
Who now shall tell your lofty tale?
Who trace the high patrician’s dome,
The bard’s retreat, the hero’s home?
When moss-clad wrecks alone record
There dwelt the world’s departed lord,
In scenes where verdure’s rich array
Still sheds young beauty o’er decay,
And sunshine on each glowing hill
Midst ruins finds a dwelling still.
Sunk is thy palace—but thy tomb,
Hadrian! hath shared a prouder doom.[106]
Though vanish’d with the days of old
Its pillars of Corinthian mould;
Though the fair forms by sculpture wrought,
Each bodying some immortal thought,
Which o’er that temple of the dead
Serene but solemn beauty shed,
Have found, like glory’s self, a grave
In time’s abyss or Tiber’s wave;[107]
Yet dreams more lofty and more fair
Than art’s bold hand hath imaged e’er.
High thoughts of many a mighty mind
Expanding when all else declined,
In twilight years, when only they
Recall’d the radiance pass’d away,
Have made that ancient pile their home,
Fortress of freedom and of Rome.
There he, who strove in evil days
Again to kindle glory’s rays,
Whose spirit sought a path of light
For those dim ages far too bright—
Crescentius—long maintain’d the strife
Which closed but with its martyr’s life,
And left th’ imperial tomb a name,
A heritage of holier fame.
There closed De Brescia’s mission high,
From thence the patriot came to die;[108]
And thou, whose Roman soul the last
Spoke with the voice of ages past,[109]
Whose thoughts so long from earth had fled
To mingle with the glorious dead,
That midst the world’s degenerate race
They vainly sought a dwelling-place,
Within that house of death didst brood
O’er visions to thy ruin woo’d.
Yet, worthy of a brighter lot,
Rienzi, be thy faults forgot!
For thou, when all around thee lay
Chain’d in the slumbers of decay—
So sunk each heart, that mortal eye
Had scarce a tear for liberty—
Alone, amidst the darkness there,
Couldst gaze on Rome—yet not despair![110]
’Tis morn—and nature’s richest dyes
Are floating o’er Italian skies;
Tints of transparent lustre shine
Along the snow-clad Apennine;
The clouds have left Soracte’s height,
And yellow Tiber winds in light,
Where tombs and fallen fanes have strew’d
The wide Campagna’s solitude.
’Tis sad amidst that scene to trace
Those relics of a vanish’d race;
Yet, o’er the ravaged path of time—
Such glory sheds that brilliant clime,
Where nature still, though empires fall,
Holds her triumphant festival—
E’en desolation wears a smile,
Where skies and sunbeams laugh the while;
And heaven’s own light, earth’s richest bloom,
Array the ruin and the tomb.
But she, who from yon convent tower
Breathes the pure freshness of the hour;
She, whose rich flow of raven hair
Streams wildly on the morning air,
Heeds not how fair the scene below,
Robed in Italia’s brightest glow.
Though throned midst Latium’s classic plains
Th’ Eternal City’s towers and fanes,
And they, the Pleiades of earth,
The seven proud hills of Empire’s birth,
Lie spread beneath; not now her glance
Roves o’er that vast sublime expanse;
Inspired, and bright with hope,’tis thrown
On Adrian’s massy tomb alone;
There, from the storm, when Freedom fled,
His faithful few Crescentius led;
While she, his anxious bride, who now
Bends o’er the scene her youthful brow,
Sought refuge in the hallow’d fane,
Which then could shelter, not in vain.
But now the lofty strife is o’er,
And Liberty shall weep no more.
At length imperial Otho’s voice
Bids her devoted sons rejoice;
And he, who battled to restore
The glories and the rights of yore,
Whose accents, like the clarion’s sound,
Could burst the dead repose around,
Again his native Rome shall see
The sceptred city of the free!
And young Stephania waits the hour
When leaves her lord his fortress-tower—
Her ardent heart with joy elate,
That seems beyond the reach of fate;
Her mien, like creature from above,
All vivified with hope and love.
Fair is her form, and in her eye
Lives all the soul of Italy;
A meaning lofty and inspired,
As by her native day-star fired;
Such wild and high expression, fraught
With glances of impassion’d thought,
As fancy sheds, in visions bright,
O’er priestess of the God of Light;
And the dark locks that lend her face
A youthful and luxuriant grace,
Wave o’er her cheek, whose kindling dyes
Seem from the fire within to rise,
But deepen’d by the burning heaven
To her own land of sunbeams given.
Italian art that fervid glow
Would o’er ideal beauty throw,
And with such ardent life express
Her high-wrought dreams of loveliness,—
Dreams which, surviving Empire’s fall,
The shade of glory still recall.
But see!—the banner of the brave
O’er Adrian’s tomb hath ceased to wave.
’Tis lower’d—and now Stephania’s eye
Can well the martial train descry,
Who, issuing from that ancient dome,
Pour through the crowded streets of Rome.
Now from her watch-tower on the height,
With step as fabled wood-nymph’s light,
She flies—and swift her way pursues
Through the lone convent’s avenues.
Dark cypress groves, and fields o’erspread
With records of the conquering dead,
And paths which track a glowing waste,
She traverses in breathless haste;
And by the tombs where dust is shrined
Once tenanted by loftiest mind,
Still passing on, hath reach’d the gate
Of Rome, the proud, the desolate!
Throng’d are the streets, and, still renew’d,
Rush on the gathering multitude.
—Is it their high-soul’d chief to greet
That thus the Roman thousands meet?
With names that bid their thoughts ascend,
Crescentius! thine in song to blend;
And of triumphal days gone by
Recall th’ inspiring pageantry?
—There is an air of breathless dread,
An eager glance, a hurrying tread;
And now a fearful silence round,
And now a fitful murmuring sound,
Midst the pale crowds, that almost seem
Phantoms of some tumultuous dream.
Quick is each step and wild each mien,
Portentous of some awful scene.
Bride of Crescentius! as the throng
Bore thee with whelming force along,
How did thine anxious heart beat high,
Till rose suspense to agony!—
Too brief suspense, that soon shall close,
And leave thy heart to deeper woes.
Who midst yon guarded precinct stands,
With fearless mien but fetter’d hands?
The ministers of death are nigh,
Yet a calm grandeur lights his eye;
And in his glance there fives a mind
Which was not form’d for chains to bind,
But cast in such heroic mould
As theirs, th’ ascendant ones of old.
Crescentius! freedom’s daring son,
Is this the guerdon thou hast won?
Oh, worthy to have lived and died
In the bright days of Latium’s pride!
Thus must the beam of glory close
O’er the seven hills again that rose,
When at thy voice, to burst the yoke,
The soul of Rome indignant woke?
Vain dream! the sacred shields are gone,[111]
Sunk is the crowning city’s throne:[112]
Th’ illusions, that around her cast
Their guardian spells, have long been past.[113]
Thy life hath been a shot-star’s ray,
Shed o’er her midnight of decay;
Thy death at freedom’s ruin’d shrine
Must rivet every chain—but thine.
Calm is his aspect, and his eye
Now fix’d upon the deep blue sky,
Now on those wrecks of ages fled
Around in desolation spread—
Arch, temple, column, worn and gray,
Recording triumphs pass’d away;
Works of the mighty and the free,
Whose steps on earth no more shall be,
Though their bright course hath left a trace
Nor years nor sorrows can efface.
Why changes now the patriot’s mien,
Erewhile so loftily serene?
Thus can approaching death control
The might of that commanding soul?
No!—Heard ye not that thrilling cry
Which told of bitterest agony?
He heard it, and at once, subdued,
Hath sunk the hero’s fortitude.
He heard it, and his heart too well
Whence rose that voice of woe can tell;
And midst the gazing throngs around
One well-known form his glance hath found—
One fondly loving and beloved,
In grief, in peril, faithful proved.
Yes! in the wildness of despair,
She, his devoted bride, is there.
Pale, breathless, through the crowd she flies,
The light of frenzy in her eyes:
But ere her arms can clasp the form
Which life ere long must cease to warm—
Ere on his agonising breast
Her heart can heave, her head can rest—
Check’d in her course by ruthless hands,
Mute, motionless, at once she stands;
With bloodless cheek and vacant glance,
Frozen and fix’d in horror’s trance;
Spell-bound, as every sense were fled,
And thought o’erwhelm’d, and feeling dead;
And the light waving of her hair,
And veil, far floating on the air,
Alone, in that dread moment, show
She is no sculptured form of woe.
The scene of grief and death is o’er,
The patriot’s heart shall throb no more:
But hers—so vainly form’d to prove
The pure devotedness of love,
And draw from fond affection’s eye
All thought sublime, all feeling high—
When consciousness again shall wake,
Hath now no refuge but to break.
The spirit long inured to pain
May smile at fate in calm disdain,
Survive its darkest hour, and rise
In more majestic energies.
But in the glow of vernal pride,
If each warm hope at once hath died,
Then sinks the mind, a blighted flower,
Dead to the sunbeam and the shower;
A broken gem, whose inborn light
Is scatter’d—ne’er to re-unite.
[104] “J’étais allé passer quelques jours seuls à Tivoli. Je parcourus les environs, et surtout celles de la Villa Adriana. Surpris par la pluie au milieu de ma course, je me réfugiai dans les Salles des Thermes voisins du Pécile, (monumens de la villa,) sous un figuier qui avait renversé le pan d’un mur en s’élevant. Dans un petit salon octogone, ouvert devant moi, une vigne vierge avait percé la voûte de l’édifice, et son gros cep lisse, rouge, et tortueux, montait le long du mur comme un serpent. Autour de moi, à travers les arcades des ruines, s’ouvraient des points de vue sur la Campagne Romaine. Des buissons de sureau remplissaient les salles désertes où venaient se réfugier quelques merles solitaires. Les fragmens de maçonnerie étaient tapissées de feuilles de scolopendre, dont la verdure satinée se dessinait comme un travail en mosaïque sur la blancheur des marbres: çà et là de hauts cyprès remplaçaient les colonnes tombées dans ces palais de la Mort; l’acanthe sauvage rampait à leurs pieds, sur des débris, comme si la nature s’était plu à reproduire sur ces chefs-d’œuvre mutilés d’architecture, l’ornement de leur beauté passée.”—Chateaubriand’s Souvenirs d’ Italie.
[105] The gardens and buildings of Hadrian’s villa were copies of the most celebrated scenes and edifices in his dominions—the Lycæum, the Academia, the Prytaneum of Athens, the Temple of Serapis at Alexandria, the Vale of Tempe, &c.
[106] The mausoleum of Hadrian, now the castle of St Angelo, was first converted into a citadel by Belisarius, in his successful defence of Rome against the Goths. “The lover of the arts,” says Gibbon, “must read with a sigh that the works of Praxiteles and Lysippus were torn from their lofty pedestals, and hurled into the ditch on the heads of the besiegers.” He adds, in a note, that the celebrated Sleeping Faun of the Barberini palace was found, in a mutilated state, when the ditch of St Angelo was cleansed under Urban VIII. In the middle ages, the Moles Hadriani was made a permanent fortress by the Roman government, and bastions, outworks, &c. were added to the original edifice, which had been stripped of its marble covering, its Corinthian pillars, and the brazen cone which crowned its summit.
[107] “Les plus beaux monumens des arts, les plus admirables statues, out étés jetées dans le Tibre, et sont cachées sous ses flots. Qui sait si, pour les chercher, on ne le détournera pas un jour de son lit? Mais quand on songe que les chefs-d’œuvres du génie humain sont peut-être là devant nous, et qu’un œil plus perçant les verrait à travers les ondes, l’on éprouve je ne sais quelle émotion, qui renaît à Rome sans cesse sous diverses formes, et fait trouver une société pour la pensée dans les objets physiques, muets partout ailleurs.”—Mad. de Stael.
[108] Arnold de Brescia, the undaunted and eloquent champion of Roman liberty, after unremitting efforts to restore the ancient constitution of the republic, was put to death in the year 1155 by Adrian IV. This event is thus described by Sismondi, Histoire des Républiques Italiennes, vol. ii. pages 68 and 69. “Le préfet demeura dans le château Saint Ange avec son prisonnier: il le fit transporter un matin sur la place destinée aux exécutions, devant la porte du peuple. Arnaud de Brescia, élevé sur un bûcher, fut attaché à un poteau, en face du Corso. Il pouvoit mésurer des yeux les trois longues rues qui aboutissoient devant son échafaud; elles font presqu’ une moitié de Rome. C’est là qu’habitoient les hommes qu’il avoit si souvent appelés à la liberté. Ils reposoient encore en paix, ignorant le danger de leur législateur. Le tumulte de l’exécution et la flamme du bûcher réveillèrent les Romains; ils s’armèrent, ils accoururent, mais trop tard; et les cohortes du pape repoussèrent, avec leurs lances, ceux qui, n’ayant pu sauver Arnaud, vouloient du moins recueillir ses cendres comme de précieuses reliques.”
[109] “Posterity will compare the virtues and fadings of this extraordinary man; but in a long period of anarchy and servitude, the name of Rienzi has often been celebrated as the deliverer of his country, and the last of the Roman patriots.”—Gibbon’s Decline and Fall, &c. vol. xii. p. 362.
[110] “Le consul Terentius Varron avoit fui honteusement jusqu’à Venouse. Cet homme, de la plus basse naissance, n’avoit été élevé au consulat que pour mortifier la noblesse: mais le sénat ne voulut pas jouir de ce malheureux triomphe; il vit combien il étoit nécessaire qu’il s’attirât dans cette occasion la confiance du peuple—il alla au-devant Varron, et le remercia de ce qu’il n’avoit pas désespéré de la republique.”—Montesquieu’s Grandeur et Décadence des Romains.
[111] Of the sacred bucklers, or ancilia of Rome, which were kept in the temple of Mars, Plutarch gives the following account:—“In the eighth year of Numa’s reign, a pestilence prevailed in Italy; Rome also felt its ravages. While the people were greatly dejected, we are told that a brazen buckler fell from heaven into the hands of Numa. Of this he gave a very wonderful account, received from Egeria and the Muses: that the buckler was sent down for the preservation of the city, and should be kept with great care; that eleven others should be made as like it as possible in size and fashion, in order that, if any person were disposed to steal it, he might not be able to distinguish that which fell from heaven from the rest. He further declared, that the place, and the meadows about it, where he frequently conversed with the Muses, should be consecrated to those divinities; and that the spring which watered the ground should be sacred to the use of the Vestal Virgins, daily to sprinkle and purify their temple. The immediate cessation of the pestilence is said to have confirmed the truth of this account.”—Life of Numa.
[112] “Who hath taken this counsel against Tyre, the crowning city, whose merchants are princes, whose traffickers are the honourable of the earth?”—Isaiah, chap. 23.
[113] “Un mélange bizarre de grandeur d’àme et de foiblesse entroit dès cette époque (l’onzième siècle) dans le caractère des Romains. Un mouvement généreux vers les grandes choses faisoit place tout-à-coup à l’abattement; ils passoient de la liberté la plus orageuse, à la servitude la plus avilissante. On auroit dit que les ruines et les portiques déserts de la capitale du monde, entretenoient ses habitans dans le sentiment de leur impuissance; au milieu de ces monumens de leur domination passée, les citoyens éprouvoient d’une manière trop décourageante leur propre nullité. Le nom des Romains qu’ils portoient ranimoit fréquemment leur enthousiasme, comme il le ranime encore aujourd’hui; mas bientôt la vue de Rome, du forum désert, des sept collines de nouveau rendues au pâturage des troupeaux, des temples désolés, des monumens tombant en ruine, les ramenoit à sentir qu’ils n’étoient plus les Romains d’autrefois.”—Sismondi, Histoire des Républiques Italiennes, vol. i. p. 172.