Tuscan folk-lore and sketches, together with some other papers

by Isabella Mary Anderton

The earliest among the buildings that tell of the past importance of the island is the Castle of Volterraio. A ride along the hills overhanging the gulf of Portoferraio brings us to the foot of the precipice on which it stands, rising, with the sheer rocks that form part of the building, out of a tangled mass of low growth, from which, every now and again springs a graceful wild olive. By only one path is the place accessible. Path is a courtesy title. The way up is a scramble, often on hands and feet, up smooth, slippery, slanting masses of jasper rock in whose crevices flourish rounded, hedgehog-like cushions of the most cross-grained thorns. Ten minutes’ climb brings us to an ancient wall with a gap, where was once a gate, and a strongly built, vaulted guard-house. Up again, over short grass this time, and we come to the low, narrow doorway at the top of a steep flight of steps sheer down on one side, without any trace of railing. At the bottom of the steps a hole in the ground gives evidence that an upright there supported a further defence of some sort. Inside, where armed men fought, a couple of fig-trees flourish greatly, and the ground is a series of heaps of grass-covered débris that sound strangely hollow as one stamps on them. The sentinel’s round within the castellation of the walls is still intact. At some little distance on each side of the tower, which forms the south-eastern corner, it stops short, and deep holes for uprights in the parapet show clearly that a drawbridge on each side enabled the defenders to isolate the tower and fight to the last gasp. At one place it widens out. A number of men could make a stand there; the inner wall is pierced with many loopholes, and these all converge on one place: the steps leading up to the wall, and the well at the bottom of them. One can creep too, into a number of dungeon-like recesses in the walls, or clamber through a hole down a steeply inclined ledge of rock to a little underground chamber having a recess like a rough bed on one side, lighted by a hole in the rock that forms the roof, and another in that which looks over the gulf. A small opening, defended by an outwork, puts this underground cell into communication with the outer world; but the outwork is evidently a comparatively late structure.

All this is absolutely lonely, save for a few goats that now and again make their way up, and the falcon that screams and wheels overhead. Once it was the storehouse of the Etruscans of Volterra, who, drawing iron, copper[11] and other minerals from the island, built the Volterraio as a defence for themselves and their treasures in case of sudden assault. It has stood many sieges, has heard the oaths of many nations in Roman and Mediæval times and is now falling to decay; for Turks and Saracens roam the seas no more, and the island it helped so long to guard has become part of a united peaceful kingdom.

Quite the most curious proofs of the ancient importance of the island are to be found between the little villages, of S. Ilario and St. Piero di Campo, overlooking the southern coast. We are in a granite country from which the stone is exported for sculptural and architectural purposes. No need of quarries to obtain it, though; it lies scattered over hill and valley in huge blocks, as though some prehistoric giant had dumped cart-load after cart-load with the idea of raising some enormous building, but had been cut off by a god in the midst of his operations. They have a certain defiant air about them, still, those masses of granite. They shrug a shoulder at you from under the houses, they poke out a rounded back in the very middle of the church wall, they lie across your path in winking, slippery masses, nourishing thorns in their bosoms on to which you may fall, and then, if you look up suddenly, you may see one that has climbed on to the shoulders of his brethren and with feathered cap stuck awry, and big empty eye-sockets, is grinning down at you with unholy, sardonic mirth. Every little fold in the hillside, shut in strangely from the outside world, has its chestnut grove and its running stream; but even here there is something uncanny, and no peasant will put his lips to that water without making the sign of the cross above it; he fears he may become possessed by the spirits that haunt it. It is curious, however, that if he takes the water in a glass he considers himself free from the danger.

In the midst of all this weird desolation rise two Roman buildings at some little distance from each other; one a spacious ancient church, the other a square tower. They are built of beautifully hewn blocks of granite, oblong or square, but mostly square, at the surface, put together without mortar. The door of the church is low and square, not arched; its face is pierced just under the roof (now fallen in) by a rounded window formed of smaller slabs of stone, also without mortar, in which a bell formerly hung, but which does not give one the idea of having been built for a belfry. The building is rather oblong than square, and was apparently divided into two unequal portions by a low granite wall, which does not seem to have much in common with an altar-railing—it is too much towards the middle of the church and appears to have been altogether too strong a construction. The apse is extraordinarily shallow, pierced by three of the loopholes that at long intervals serve as windows to the church. There are no traces of pillars.

At some distance from the church the granite rocks have piled themselves into a peak that looks straight over the underlying plain to the sea beyond. On this peak stands the tower. “The solidity of its walls,” writes that most conscientious, but not very critical historian, Giuseppe Ninci,[12] “the smallness of its rooms, the great difficulty of access, show it to have been one of those terrible prisons in which pined for long years those unfortunates who, exiled from their native land, were sent off to the islands.” If prisoners were put there, it must have been to starve, and for that they might surely have been shut up in some place which would cost less to build. There is but one side on which it can be approached, and even there a man must twice grasp the edge of the rock above his head and draw himself up by sheer force of biceps before he reaches the base of the tower. Once there he discovers that he must repeat the operation, for there is no door, only a window above his head, which he can reach by stretching up his arms. The tower consists of two low rooms one above the other, with walls a metre thick. Was it really a prison, or was it not rather a watch-tower, or a tower of refuge? Otherwise what should it be doing there all alone on its granite base? Was there once a Roman or an Etruscan city round that large church or temple? Yet, the huge granite blocks look as though man had never attempted to oust them for his advantage. Wanted, an archæologist’s report before these writings of past history become still further obliterated.

St. Piero di Campo is well worth lingering in for a while on one’s return from San Giovanni. It was always a favourite landing-place for hostile ships, the plain below being fertile, and the gulf sheltered. The castle, therefore, contained everything that could be wanted in case of siege: a church, and a graveyard in addition to the usual means of defence. It is a square, massive building, with but one small entrance. The church is extremely ancient. The roof, low and vaulted, is supported on two short, thick granite columns, one having a roughly carved capital which is well worth study, the other none at all. The walls have been barbarously whitewashed, but in two or three places where the whitewash has been chipped off, there stand revealed the figures of early 15th-century frescoes executed by a Tuscan artist. One or two figures have been laid bare as a matter of curiosity, and it appears probable that the whole church is frescoed in the same way. If so, and the Campesi would undo their barbarism, it would be worth a pilgrimage to see.

II.

Surely no city in the world queens it over the waves so completely as does Portoferraio. She rides them imperiously, lifting high the turrets that are her crown and defence; she decks herself in the brightest colours, conscious of her beauty; and sets herself boldly on the very head and front of the dark blue waters that wash her feet or leap up in wrath at her pride, yet never injure her. Genoa is called the Superb, but the epithet rises more spontaneously to the mind on view of the capital of the Island of Elba.

Portoferraio was originally one of those headlands, so characteristic of Elba, that grow out from the mainland on a narrow stalk, and then widen and heighten into rocky peninsulas. It is now, however, an island, for Cosimo I., Duke of Tuscany, cut a moat through the stalk, and severed the peninsula from the mainland. The peninsula consists of two heights, on one of which is the fort known as the Falcone, on the other, that of the Stella; and these are bound together by a lofty wall, within the castellations of which sentinels could walk without descending into the town. Immediately below each fort, a bank of concrete, kept in former times very clean and free from growth, formed a water-shed for the rain which streamed down it into a cistern below. At present the concrete, though still railed in, is quite overgrown, for the city boasts a water-supply brought down from the neighbouring hills. Round the forts are spacious granite-paved squares on which considerable bodies of men could manœuvre; and below cluster the red-roofed, green-shuttered houses, whose inhabitants sleep, in Oriental fashion, through the heat of the day, coming out in the evening to walk among the oleanders of Le Ghiaie—a tiny park above a beach of the whitest gravel (ghiaia)—or to dance with the officers in the new bathing establishment, of which they are so proud. Down again, at the foot of the houses, lies the port, a semi-circle pointed at the southern end by the pink-washed tumble-down offices of the sanitary inspector, at the northern end by the octagonal tower of the convict prison. Soldiers, convicts, “society,” trade, all hive on those two little hills, and the only opening through which workers and drones can pass in and out on the landside is a low-browed gateway, bearing the Medici arms, and overlooking a plank bridge spanning the moat of sea-water. Within the gateway is a wide, open space, through which one passes up the first ramparts of the Falcone, to a wonderful winding tunnel, hewn in the solid rock. This brings one out through another gate, into the flaunting little city. The tunnel is known as La Tromba (the trumpet-shaped), and was the work, as usual, of Cosimo’s engineer.