III.
In Naples everywhere one is surprised by the great number of English names which appear on business houses, but it was entirely bewildering to read a bill affixed to the gate of one of the villas on this road: "This Desirable Property for Sale." I should scarcely have cared to buy that desirable property, though the neighborhood seemed to be a favorite summer resort, and there were villas, as I said, nearly the whole way to Portici. Those which stood with their gardens toward the bay would have been tolerable, no doubt, if they could have kept their windows shut to the vile street before their doors; but the houses opposite could have had no escape from its stench and noisomeness. It was absolutely the filthiest street I have seen anywhere outside of New York, excepting only that little street which, in Herculaneum, leads from the theatre to the House of Argo.
This pleasant avenue has a stream of turbid water in its centre, bordered by begging children, and is either fouler or cleaner for the water, but I shall never know which. It is at a depth of some fifty or sixty feet below the elevation on which the present city of Portici is built, and is part of the excavation made long ago to reach the plain on which Herculaneum stands, buried under its half-score of successive layers of lava, and ashes, and Portici. We had the aid of all the virtuous poverty and leisure of the modern town—there was a vast deal of both, we found—in our search for the staircase by which you descend to the classic plain, and it proved a discovery involving the outlay of all the copper coin about us, while the sight of the famous theatre of Herculaneum was much more expensive than it would have been had we come there in the old time to see a play of Plautus or Terence.
As for the theatre, "the large and highly ornamented theatre" of which I read, only a little while ago, in an encyclopedia, we found it, by the light of our candles, a series of gloomy hollows, of the general complexion of coal-bins and potato-cellars. It was never perfectly dug out of the lava, and, as is known, it was filled up in the last century, together with other excavations, when they endangered the foundations of worthless Portici overhead. (I am amused to find myself so hot upon the poor property-holders of Portici. I suppose I should not myself, even for the cause of antiquity and the knowledge of classic civilization, like to have my house tumbled about my ears.) But though it was impossible in the theatre of Herculaneum to gain any idea of its size or richness, I remembered there the magnificent bronzes which had been found in it, and did a hasty reverence to the place. Indeed, it is amazing, when one sees how small a part of Herculaneum has been uncovered, to consider the number of fine works of art in the Museo Borbonico which were taken thence, and which argue a much richer and more refined community than that of Pompeii. A third of the latter city has now been restored to the light of day; but though it has yielded abundance of all the things that illustrate the domestic and public life, and the luxury and depravity of those old times, and has given the once secret rooms of the museum their worst attraction, it still falls far below Herculaneum in the value of its contributions to the treasures of classic art, except only in the variety and beauty of its exquisite frescos.
The effect of this fact is to stimulate the imagination of the visitor to that degree that nothing short of the instant destruction of Portici and the excavation of all Herculaneum will satisfy him. If the opening of one theatre, and the uncovering of a basilica and two or three houses, have given such richness to us, what delight and knowledge would not the removal of these obdurate hills of ashes and lava bestow!
Emerging from the coal-bins and potato-cellars, the visitor extinguishes his candle with a pathetic sigh, profusely rewards the custodian (whom he connects in some mysterious way with the ancient population of the injured city about him), and, thoughtfully removing the tallow from his fingers, follows the course of the vile stream already sung, and soon arrives at the gate opening into the exhumed quarter of Herculaneum. And there he finds a custodian who enters perfectly into his feelings; a custodian who has once been a guide in Pompeii, but now despises that wretched town, and would not be guide there for any money since he has known the superior life of Herculaneum; who, in fine, feels toward Pompeii as a Bostonian feels toward New York. Yet the reader would be wrong to form the idea that there is bitterness in the disdain of this custodian. On the contrary, he is one of the best-natured men in the world. He is a mighty mass of pinguid bronze, with a fat lisp, and a broad, sunflower smile, and he lectures us with a vast and genial breadth of manner on the ruins, contradicting all our guesses at things with a sweet "Perdoni, signori! ma——." At the end, we find that he has some medallions of lava to sell: there is Victor Emanuel, or, if we are of the partito d'azione, there is Garibaldi; both warm yet from the crater of Vesuvius, and of the same material which destroyed Herculaneum. We decline to buy and the custodian makes the national shrug and grimace (signifying that we are masters of the situation, and that he washes his hands of the consequence of our folly) on the largest scale that we have ever seen: his mighty hands are rigidly thrust forth, his great lip protruded, his enormous head thrown back to bring his face on a level with his chin. The effect is tremendous, but we nevertheless feel that he loves us the same.