The Three Cities Trilogy: Rome, Volume 1

by Émile Zola

* The Corso was so called on account of the horse races held in
it at carnival time.—Trans.

At last the driver turned and pointed to a large square building at the corner of a lane running towards the Tiber.

"Palazzo Boccanera."

Pierre raised his head and was pained by the severe aspect of the structure, so bare and massive and blackened by age. Like its neighbours the Farnese and Sacchetti palaces, it had been built by Antonio da Sangallo in the early part of the sixteenth century, and, as with the former of those residences, the tradition ran that in raising the pile the architect had made use of stones pilfered from the Colosseum and the Theatre of Marcellus. The vast, square-looking facade had three upper stories, each with seven windows, and the first one very lofty and noble. Down below, the only sign of decoration was that the high ground-floor windows, barred with huge projecting gratings as though from fear of siege, rested upon large consoles, and were crowned by attics which smaller consoles supported. Above the monumental entrance, with folding doors of bronze, there was a balcony in front of the central first-floor window. And at the summit of the facade against the sky appeared a sumptuous entablature, whose frieze displayed admirable grace and purity of ornamentation. The frieze, the consoles, the attics, and the door-case were of white marble, but marble whose surface had so crumbled and so darkened that it now had the rough yellowish grain of stone. Right and left of the entrance were two antique seats upheld by griffons also of marble; and incrusted in the wall at one corner, a lovely Renascence fountain, its source dried up, still lingered; and on it a cupid riding a dolphin could with difficulty be distinguished, to such a degree had the wear and tear of time eaten into the sculpture.

Pierre's eyes, however, had been more particularly attracted by an escutcheon carved above one of the ground-floor windows, the escutcheon of the Boccaneras, a winged dragon venting flames, and underneath it he could plainly read the motto which had remained intact: "/Bocca nera, Alma rossa/" (black mouth, red soul). Above another window, as a pendant to the escutcheon, there was one of those little shrines which are still common in Rome, a satin-robed statuette of the Blessed Virgin, before which a lantern burnt in the full daylight.

The cabman was about to drive through the dim and gaping porch, according to custom, when the young priest, overcome by timidity, stopped him. "No, no," he said; "don't go in, it's useless."

Then he alighted from the vehicle, paid the man, and, valise in hand, found himself first under the vaulted roof, and then in the central court without having met a living soul.

It was a square and fairly spacious court, surrounded by a porticus like a cloister. Some remnants of statuary, marbles discovered in excavating, an armless Apollo, and the trunk of a Venus, were ranged against the walls under the dismal arcades; and some fine grass had sprouted between the pebbles which paved the soil as with a black and white mosaic. It seemed as if the sun-rays could never reach that paving, mouldy with damp. A dimness and a silence instinct with departed grandeur and infinite mournfulness reigned there.

Surprised by the emptiness of this silent mansion, Pierre continued seeking somebody, a porter, a servant; and, fancying that he saw a shadow flit by, he decided to pass through another arch which led to a little garden fringing the Tiber. On this side the facade of the building was quite plain, displaying nothing beyond its three rows of symmetrically disposed windows. However, the abandonment reigning in the garden brought Pierre yet a keener pang. In the centre some large box-plants were growing in the basin of a fountain which had been filled up; while among the mass of weeds, some orange-trees with golden, ripening fruit alone indicated the tracery of the paths which they had once bordered. Between two huge laurel-bushes, against the right-hand wall, there was a sarcophagus of the second century—with fauns offering violence to nymphs, one of those wild /baccanali/, those scenes of eager passion which Rome in its decline was wont to depict on the tombs of its dead; and this marble sarcophagus, crumbling with age and green with moisture, served as a tank into which a streamlet of water fell from a large tragic mask incrusted in the wall. Facing the Tiber there had formerly been a sort of colonnaded loggia, a terrace whence a double flight of steps descended to the river. For the construction of the new quays, however, the river bank was being raised, and the terrace was already lower than the new ground level, and stood there crumbling and useless amidst piles of rubbish and blocks of stone, all the wretched chalky confusion of the improvements which were ripping up and overturning the district.

Pierre, however, was suddenly convinced that he could see somebody crossing the court. So he returned thither and found a woman somewhat short of stature, who must have been nearly fifty, though as yet she had not a white hair, but looked very bright and active. At sight of the priest, however, an expression of distrust passed over her round face and clear eyes.