So at six the next morning they went flying over the sea, over the lagoons, over the marshes, over the plains, away toward Lombardy.
[Illustration: Formalities.]
They had to stop for a while at Verona, waiting to comply with "some formalities." They had time to walk about the town and see the Roman ruins and the fortifications. Of all these much might be said, if it were not to be found already in Guide-books, Letters of Correspondents, Books of Travel, Gazetteers, and Illustrated Newspapers. Our travellers saw enough of the mighty military works, in a brief survey, to make them thoroughly comprehend the Peace of Villafranca. In the neighborhood of Solferino they left the train to inspect the scene of battle. Only a month had passed since the terrific contest, and the traces remained visible on every side. The peasants had made two trenches of enormous size. In one of these the bodies of the Austrians had been buried, in the other those of the French and Italians. In one place there was a vast heap of arms, which had been gathered from off the field. There was no piece among them which was not bent or broken. All were of the best construction and latest pattern, but had seen their day. Shattered trees, battered walls, crumbling houses, deep ruts in the earth, appeared on every side to show where the battle had raged; yet already the grass, in its swift growth, had obliterated the chief marks of the tremendous conflict.
At length they arrived at Milan. The city presented a most imposing appearance. Its natural situation, its magnificent works of architecture, its stately arches and majestic avenues presented an appearance which was now heightened by the presence of victory. It was as though the entire population had given themselves up to rejoicing. The evil spirit had been cast out, and the house thoroughly swept and garnished. The streets were filled with gay multitudes; the avenues resounded with the thrilling strains of the Marseillaise, repeated everywhere; every window displayed the portrait of Napoleon, Victor Emanuel, or Garibaldi, and from every house-top flaunted the tri-color. The heavy weight imposed by the military rule--the iron hand, the cruelty, the bands of spies, the innumerable soldiers sent forth by Austria--had been lifted off, and in the first reaction of perfect liberty the whole population rushed into the wildest demonstrations of joy and gayety. The churches were all marked by the perpetual presence of the emblems of Holy Peace, and Heavenly Faith, and Immortal Hope. The sublime Cathedral, from all its marble population of sculptured saints and from all its thousands of pinnacles, sent up one constant song. Through the streets marched soldiers--regular, irregular, horse, foot, and dragoons; cannon thundered at intervals through every day; volunteer militia companies sprang up like butterflies to flash their gay uniforms in the sun.
It was not the season for theatres. _La Scala_ had opened for a few nights when Napoleon and Victor Emanuel where here, but had closed again. Not so the smaller theatres. Less dignified, they could burst forth unrestrained. Especially the Day Theatres, places formed somewhat on the ancient model, with open roofs. In these the spectators can smoke. Here the performance begins at five or six and ends at dark. All the theatres on this season, day or night alike, burst forth into joy. The war was the universal subject. Cannon, fighting, soldiers, gunpowder, saltpetre, sulphur, fury, explosions, wounds, bombardments, grenadiers, artillery, drum, gun, trumpet, blunderbuss, and thunder! Just at that time the piece which was having the greatest run was THE VICTORY Of SOLFERINO!
Two theatres exhibited this piece with all the pomp and circumstance of glorious war. Another put out in a pantomime "The Battle of Malegnano!"
Another, "The Fight at Magenta!" But perhaps the most popular of all was "GARIBALDI IN VARESE, _od_ I CACCIATORI DEGLI ALPI!"
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