Pilgrimage from the Alps to the Tiber

by J. A. Wylie

What an air of languor and weariness on the faces of the people! Amid these heavy-hearted and dull-eyed loiterers, what a relief it would have been to have met the soiled jacket, the brawny arm, and the manly brow, of one of our own artizans! I felt there were worse things in the world than hard work. Better it were to roll the stone of Sisyphus all life-long, than spend it in such idleness as weighs upon the cities of Italy. Better the clang of the forge than the rattle of the sabre. The Milanese seemed looking into the future; and a dismal future it is, if one may judge from their looks,—a future full of revolutions, to conduct, mayhap, to freedom; more probably to the scaffold.

I turned sharply round the corner of a street, and there, as if it had risen from the earth, was the Cathedral. As the sun breaking through a fog, or an Alpine peak flashing through mists, so burst this magnificent pile upon me; and its sudden revelation dispelled on the instant all my gloomy musings. I could only stand and gaze. Beauty, not sublimity, is the attribute of this pile. Beauty it rains around it in a never-ending, overflowing shower, as the sun does light, or Mont Blanc glory. I sought for some one presiding idea, simple and grand, which might take its place in the mind, and dwell there as an image of glory, never more to fade; but I could find no such idea. The pile is the slow creation of centuries, and the united conception of innumerable minds, which have clubbed their ideas, so to speak, to produce this Cathedral. Quarries of marble and millions of money have been expended upon it; and there is scarce an architect or sculptor of eminence who has flourished since the fourteenth century, who has not contributed to it some separate grace or glory; and now the Cathedral of Milan is perhaps the most numerous assemblage of beauties in stone which the world contains. Impossible it were to enumerate the elegances that cover it from top to bottom,—its carved portals, its flying buttresses, its arabesque pilasters, its richly mullioned windows, its basso-reliefs, its beautiful tracery, and its forest of snow-white pinnacles soaring in the sunlight, so calm and moveless, and yet so airy and light, that you fear the nest breeze will scatter them. You can compare it only to some Alpine group, whose flashing peaks shoot up by hundreds around some snow-white central summit.

The building, too, is populous as a city. There are upwards of three thousand statues upon it, and places for a thousand more. Here stands a monk, busy with his beads,—there a mailed warrior,—there a mitred bishop,—there a pilgrim, staff in hand,—there a nun, gracefully veiled,—and yonder hundreds of seraphs perched upon the loftier pinnacles, and looking as if a white cloud of winged creatures from the sky had just lighted upon it.

I purposed to-morrow to climb to the roof, and thence survey the plains of Lombardy and the chain of the Alps; so, turning away from the door, I made the tour of the square in which the Cathedral stands. I came first upon a row of cannon, so pointed as to sweep the square. Behind the guns, piled on the pavement, were stacks of arms, and soldiers loitering beside them. Ah! thought I, these are the loving ties that bind the people of Lombardy to the House of Hapsburg. The priest's chant is heard all day long within that temple; and outside there blend with it the sentinel's tramp and the drum's roll. I passed on, and came next upon a most unusual display of literature. Four-paged pamphlets in hundreds lay piled upon stalls, or were ranged in rows against the wall. The subjects discussed in these pamphlets were of a high spiritual cast, and woodcuts were freely employed to aid the reader's apprehension. These latter belonged to a very different style of art from that conspicuous in the Cathedral, but they had the merit of great plainness; and a glance at the woodcut enabled one to read at once the story of the pamphlet. The wall was all a-blaze with flames; and I saw the advantage of an infallible Church to teach one secrets which the Bible does not reveal. The sin chiefly insisted on was that of despising the priest; and the punishment awaiting it was set before me in a way I could not possibly mistake. Here, for instance, was a wealthy sinner, who lay dying in a splendid mansion. With horrible impiety, the man had refused the wafer, and ordered the priest about his business, despite the imploring tears of wife and family, who surrounded his bed. A glance at the other compartment of the picture showed the consequence of this. There you found the man just launched into the other world. A crowd of black fiends, hideous to behold, had seized upon the poor soul, and were dragging it down into a weltering gulf of lurid flame. In another picture you had an equally graphic illustration of the happiness of obeying Mother Church. Here lay one dying amid beads, crucifixes, and shaven crowns. The devil was fleeing from the house in terror; and in the compartment devoted to the spiritual world, the soul was following a benevolent-looking gentleman, who carried a big key, and was walking in the direction of a very magnificent mansion on a high hill, where, I doubt not, a welcome and hospitable reception waited both. The same lesson was repeated along the wall times without number.

Here was the doctrine of purgatory as incontestably proved as painted flames, and images of creatures with tails who tormented other creatures who had no tails, could prove it. If there was no purgatory, how could the painters of an infallible Church ever have given so exact a representation of it? And exact it must have been, else the priests would never have allowed these pictures to be hung up here, under their very eye. This was as much as to write "cum privilegio" underneath them. The whole scenery of purgatory was here most vividly depicted. There were fiends flying off with souls, or tossing them with pitchforks into the flames. There were boiling cauldrons, red-hot gridirons, cataracts of fire, and innumerable other modes of torment. A walk along this infernal gallery was enough, one would have thought, to make the boldest purgatory-despiser quail. But no one who has a little spare cash, and is willing to part with it, need fear either purgatory or the devil. In the large marble house in the centre of the square one might buy at a reasonable rate an excision of some thousands of years from his appointed sojourn in that gloomy region. And doubtless that was one reason for bringing this purgatorial gallery and the indulgence-market into such close proximity. It reminded the people of the latter inestimable blessing; and without some such salutary impulse the traffic in indulgences might flag.

I could not but remark, that the only person for whom these extraordinary representations appeared to have any attractions was myself. Not so the exhibition on the other side of the square. Having perused with no ordinary interest, though, I fear, with not much profit, this "Theory of a Future State," I crossed the quadrangle, passing right under the eastern towers of the Cathedral, and came suddenly upon a knot of persons gathered round a tall rectangular box, in which was enacting the melo-drama of Punch. These persons were enjoying the fun with a relish which was noways abated by the spectacle over the way. The whole thing was acted exactly as I had seen it before; but to me it was a novelty to hear Punch, and all the other interlocutors in the piece, discourse in the language in which Dante had sung, and in which I had heard, just before leaving Scotland, Gavazzi declaim. In all lands Punch is an astute scoundrel; but, strange to say, in all lands the popular feeling is on his side. His imperturbable coolness and truculent villany procured him plaudits among the Milanese, as I had seen them do elsewhere. Courage and self-possession are valuable qualities, and for their sake we sometimes forgive bad men and bad causes; whereas, from nothing do we more instinctively recoil than from hypocrisy. On this principle it is, perhaps, that we have a sort of liking for Punch, incorrigible scoundrel as he is; and that great criminals, who rob and murder at the head of armies, we deify, while little ones we hang.

I had now completed my tour of the Cathedral, and could not help reflecting on the miscellaneous, and apparently incongruous, character of the spectacles grouped together in the square. In the middle was the great temple, in which priests, in stole and mitre, celebrated the high mysteries of their Church. In one of the angles were rows of mounted cannon, and a forest of bayonets. In another was seen the whole process of refining souls in purgatory. Strange, that if men here are shut up in prisons and hulks amid desperadoes, they come out more finished villains than they entered; whereas hereafter, if men are shut up with even worse characters, amid blazing fires, glowing gridirons, and cauldrons of boiling lead, they come out perfected in virtue. They pass at once from the society of fiends, where they have been whipped, roasted, and I know not what, to the society of angels. This is a strange schooling to give dignity to the character and conscious purity to the mind. And yet Rome subjects all her sons to this discipline for a longer or shorter period. Much do we marvel, that the same process which unfits men for associating with respectable people here should be the very thing to prepare them for good society hereafter. The other side of the square Punch had all to himself; and Punch, I saw, was the favourite. The inhabitants of Milan kept as respectable a distance from the painted fiends as if they had been veritable Satans, ready to clutch the incautious passer-by, and carry him off to their den. They kept the same respectable distance from the Austrian cannon; and these were no painted terrors. And as regards the Cathedral, scarce a solitary foot crossed its threshold, though there,—astounding prodigy!—He who made the worlds was Himself made many times every day by the priests. But Punch had a dense crowd of delighted spectators around him; and yet he competed with the priest at immense disadvantage. Punch played his part in a humble wooden shed, while the priest played his in a magnificent marble Cathedral, with a splendid wardrobe to boot. Still the people seemed to feel, that the only play in which there was any earnestness was that which was enacted in the wooden box. A stranger from India or China, who was not learned in either the religion or the drama of Europe, would probably have been unable to see any great difference between the two, and would have taken both for religious performances; concluding, perhaps, that that in the Cathedral was the established form, while that in the wooden box was the disestablished; in short, that Punch had been a priest at some former period of his life, and sung mass and sold indulgences; but that, imbibing some heterodox notions, or having fallen into some peccadillo, such as eating flesh on Friday, he had been unfrocked and driven out, and compelled to play the priest in a wooden tabernacle.

To return once more to the paintings and woodcuts illustrative of the punitive and purgative processes of purgatory, and which were in a style of art that demonstratively shows, that if Italy is advancing in the knowledge of a future life, she is retrograding in the arts of the present,—to recur, I say, to these, there rested some doubt, to say the least of it, over their revelations of the world to come; but there rested no doubt whatever over their revelations of the present condition of Church and State in Italy. On this head the cannon and woodcuts told far more than the priests wished, or perhaps thought. They showed that both the State and the Church in that country are now reduced to their ultima ratio, brute force. The State has lost all hope of governing its subjects by giving them good laws, and inspiring them with loyalty; and the Church has long since abandoned the plan of producing obedience and love by presenting great truths to the mind. Both have found out a shorter and more compendious policy. The State, speaking through her cannon, says, "Obey me or die;" and the Church, speaking through purgatory, says, "Believe me or burn." There is one comfort in this, however,—the present system is obviously the last. When force gives way, all gives way. The Church will stand, doubtless, because they tell us she is founded on a rock; but what will become of the State? When men can be awed neither by painted fiends nor real cannon, what is to awe them? Indeed, we shrewdly suspect, that even now the fiends would count for little, were it not for the fiends incarnate, in the shape of Croats, by which the others are backed. The Lombards would boldly face the gridirons, cauldrons, and stinging creatures gathered in the one corner of the square at Milan, if they but knew how to muzzle the cannon which are assembled in the other.

In truth, things in this part of the world are not looking up. A universal serfdom and barbarism are slowly creeping over all men and all systems. The Government of Austria has become more revolutionary than the Revolution itself. By violating the rights of property, it has indorsed the worst doctrines of Socialism. That Government has, in a great number of instances, seized upon estates, without making out a title to them by any regular process of law. After the attempted outbreak at Milan in 1852, the landed property of well-nigh all the royalist emigrants was swept away by a decree of sequestration. The Milan Gazette published a list of seventy-two political refugees whose property has been laid under sequestration in the provinces of Milan, Como, Mantua, Lodi, Pavia, Brescia, Cremona, Bergamo, and Sondrio. In this list we find the names of many distinguished persons, such as Count Arese, the two Counts Borromeo, General Lechi, Duke Litta, Count Litta, Marquis Pallavicini, Marquis Rosales, Princess Belgioso. The pretext for seizing their estates was, that their owners had contributed to the revolutionary treasury; which was incredible to those who know the difference in feeling and views which separate the royalist emigrant nobles of Lombardy from the democratic republicans that follow Mazzini. In truth, the Government of Vienna needs their estates; and, imitating the example of the French Convention, and furnishing another precedent for Socialism when it shall come into power, it seized them without any colour of right or form of law. Another branch of the scourging tyranny of Austria is the system of forced loans. Some of the wealthiest families of Lombardy have been impoverished by these, and, of course, thrown into the ranks of the disaffected. The Austrian method of making slavery maintain itself is also peculiarly revolting. The hundred millions raised annually in Venetian Lombardy, instead of being spent in the service of these provinces, are devoted to the payment of the troops that keep down Hungary. The soldiers levied in Italy are sent into the German provinces; and those raised in Croatia are employed in keeping down Italy. Thus Italy holds the chain of Hungary, and Hungary, in her turn, that of Italy; and so insult is added to oppression.