Through all the middle ages the marvellous did not fail from the earth: it simply receded farther from the centres of life, drawing after it the hearts of the adventurous. The Polo brothers were no doubt clear-sighted practical men while they drove their trade in Venice; but wonders pressed upon them when they set foot in the Great Khan’s domains. If an astute Italian prince, who lived till the middle of the fifteenth century with the light of the new humanism flooding his court, could yet, on his travels to the Holy Land and Greece, discover castles inhabited by enchanted snakes, as well as wonder-working shrines of his own creed, how could the simple hearts of the anchorite and solitary remain closed to the old wonders?
Shapes which have once inhabited the imagination of man pass reluctantly out of existence. Centuries of poetic belief had peopled the old world with a race of superhuman beings, and as many centuries would be needed to lay their ghosts. It must be remembered, moreover, that no sudden cataclysm, political or intellectual, marked the introduction of the Christian faith. For three centuries after the sacrifice on Calvary, hardly an allusion to the new god is to be found in the pages of the pagan historians and philosophers. Even after he had led the legions of Constantine to victory, and so won official allegiance throughout the Roman world, no violent change marked the beginning of the new era. For centuries still, men ploughed the same fields with ploughs fashioned on the same lines, kept the same holidays with the same rites, and lived on the same store of accumulated beliefs. And in the hearts of the solitaries these beliefs must have lingered longest. For in fleeing the world they were returning to the native habitations of the old gods. They were nature-spirits every one, sprung from the wave, the cloud, the tree. To the cities they had been borne triumphant by the will of men, and from the cities they might be banished at its behest; but who should drive them from their old stronghold in the breast of nature? Their temples might be re-dedicated to the new god, but none could banish them from the temples not made with hands. Daylight might deny them, but twilight confessed them still. They made no effort to recover the supremacy which had been wrested from them: the gods know when their hour has come. But they lived on, shrinking back more and more into their primitive forms, into the vapour, the tree-trunk, the moon-track on the lonely sea; or revealing themselves, in wistful fugitive glimpses, to the mortals who had come to share their forest exile.
In what gentle guise they showed themselves, one may see in many pictures of the Italian quattro cento, some of whose lesser painters seem to have been in actual communion with this pale woodland Olympus. The gods they depict are not the shining lords of the Greek heaven, but half-human, half-sylvan creatures, shy suppliants for mortal recognition, hovering gently on the verge of evanescence. Robetta, the Florentine engraver, transferred them to some of his plates, Luini caught their tender grace in his Sacrifice to Pan and Metamorphosis of Daphne, and Lorenzo Costa gives a glimpse of their sylvan revels in the Mythological Scene of the Louvre; but it was Piero di Cosimo who had the clearest intuition of them. The gentle furred creature of the Death of Procris might have been the very faun who showed Saint Anthony the way; and in all Cosimo’s mythological pictures one has the same impression of that intermediate world, the twilight world of the conquered, Christianized, yet still lingering gods, so different from the clear upper air of classic art.
Was it, as the scholars would have us believe, mere lack of book-learning and technical skill that kept the painters of the quattro cento spell-bound in this mediæval Olympus? Were these vanishing gods and half-gods merely a clumsy attempt to formulate the classic conception of divinity? But the Pisani had discovered Greek plastic art two centuries earlier; but the uncovered wonders of Rome were being daily drawn and measured by skilful hands; but the silhouettes of the antique temples were still outlined against the skies of Greater Greece! No—these lesser artists were not struggling to embody a half-understood ideal. Kept nearer the soil and closer to the past by the very limitations of their genius, they left to the great masters the task of reconstituting classical antiquity, content to go on painting the gods who still lived in their blood, the gods their own forbears had known in the familiar streets and fields, the fading gods whom the hermits were last to see in the lost recesses of the mountain.
A TUSCAN SHRINE
One of the rarest and most delicate pleasures of the continental tourist is to circumvent the compiler of his guide-book. The red volumes which accompany the traveller through Italy have so completely anticipated the most whimsical impulses of their readers that it is now almost impossible to plan a tour of exploration without finding, on reference to them, that their author has already been over the ground, has tested the inns, measured the kilometres, and distilled from the massive tomes of Kugler, Burckhardt and Morelli a portable estimate of the local art and architecture. Even the discovery of incidental lapses scarcely consoles the traveller for the habitual accuracy of his statements; and the only refuge left from his omniscience lies in approaching the places he describes by a route which he has not taken.
Those to whom one of the greatest charms of travel in over-civilized countries consists in such momentary escapes from the expected, will still find here and there, even in Italy, a few miles unmeasured by the guide-book; and it was to enjoy the brief exhilaration of such a discovery that we stepped out of the train one morning at Certaldo, determined to find our way thence to San Vivaldo.
For some months we had been vaguely aware that, somewhere among the hills between Volterra and the Arno, there lay an obscure monastery containing a series of terra-cotta groups which were said to represent the scenes of the Passion. No one in Florence seemed to know much about them; and many of the people whom we questioned had never even heard of San Vivaldo. Professor Enrico Ridolfi, at that time the director of the Royal Museums at Florence, knew by hearsay of the existence of the groups, and told me that there was every reason to accept the local tradition which has always attributed them to Giovanni Gonnelli, the blind modeller of Gambassi, an obscure artist of the seventeenth century, much praised by contemporary authors, but since fallen into merited oblivion. Professor Ridolfi, however, had never seen any photographs of the groups, and was not unnaturally disposed to believe that they were of small artistic merit, since Gonnelli worked much later, and in a more debased period of taste, than the modeller of the well-known groups at Varallo. Still, even when the more pretentious kind of Italian sculpture was at its lowest, a spark of its old life smouldered here and there in the improvisations of the plasticatore, or stucco modeller; and I hoped to find, in the despised groups of San Vivaldo, something of the coarse naïveté and brutal energy which animate their more famous rivals of Varallo. In this hope we started in search of San Vivaldo; and as the guide-books told us that it could be reached only by way of Castel Fiorentino, we promptly determined to attack it from San Gimignano.