[88] "Into which we might put your large room—I wish we could!—away in one corner, and dine without knowing it."
[89] "Very vast you will say, and very dreary; but it is not so really. The paintings are so fresh, and the proportions so agreeable to the eye, that the effect is not only cheerful but snug. . . . We are a little incommoded by applications from strangers to go over the interior. The paintings were designed by Michael Angelo, and have a great reputation. . . . Certain of these frescoes were reported officially to the Fine Art Commissioners by Wilson as the best in Italy . . . I allowed a party of priests to be shown the great hall yesterday . . . It is in perfect repair, and the doors almost shut—which is quite a miraculous circumstance. I wish you could see it, my dear F. Gracious Heavens! if you could only come back with me, wouldn't I soon flash on your astonished sight." (6th of October.)
[90] "I began this letter, my dear friend" (he wrote it from Venice on Tuesday night the 12th of November), "with the intention of describing my travels as I went on. But I have seen so much, and travelled so hard (seldom dining, and being almost always up by candle light), that I must reserve my crayons for the greater leisure of the Peschiere after we have met, and I have again returned to it. As soon as I have fixed a place in my mind, I bolt—at such strange seasons and at such unexpected angles, that the brave C stares again. But in this way, and by insisting on having everything shewn to me whether or no, and against all precedents and orders of proceeding, I get on wonderfully." Two days before he had written to me from Ferrara, after the very pretty description of the vineyards between Piacenza and Parma which will be found in the Pictures from Italy (pp. 203-4): "If you want an antidote to this, I may observe that I got up, this moment, to fasten the window; and the street looked as like some byeway in Whitechapel—or—I look again—like Wych Street, down by the little barber's shop on the same side of the way as Holywell Street—or—I look again—as like Holywell Street itself—as ever street was like to street, or ever will be, in this world."
[91] Four months later, after he had seen the galleries at Rome and the other great cities, he sent me a remark which has since had eloquent reinforcement from critics of undeniable authority. "The most famous of the oil paintings in the Vatican you know through the medium of the finest line-engravings in the world; and as to some of them I much doubt, if you had seen them with me, whether you might not think you had lost little in having only known them hitherto in that translation. Where the drawing is poor and meagre, or alloyed by time,—it is so, and it must be, often; though no doubt it is a heresy to hint at such a thing—the engraving presents the forms and the idea to you, in a simple majesty which such defects impair. Where this is not the case, and all is stately and harmonious, still it is somehow in the very grain and nature of a delicate engraving to suggest to you (I think) the utmost delicacy, finish, and refinement, as belonging to the original. Therefore, though the Picture in this latter case will greatly charm and interest you, it does not take you by surprise. You are quite prepared beforehand for the fullest excellence of which it is capable." In the same letter he wrote of what remained always a delight in his memory, the charm of the more private collections. He found magnificent portraits and paintings in the private palaces, where he thought them seen to greater advantage than in galleries; because in numbers not so large as to distract attention or confuse the eye. "There are portraits innumerable by Titian, Rubens, Rembrandt and Vandyke; heads by Guido, and Domenichino, and Carlo Dolci; subjects by Raphael, and Correggio, and Murillo, and Paul Veronese, and Salvator; which it would be difficult indeed to praise too highly, or to praise enough. It is a happiness to me to think that they cannot be felt, as they should be felt, by the profound connoisseurs who fall into fits upon the longest notice and the most unreasonable terms. Such tenderness and grace, such noble elevation, purity, and beauty, so shine upon me from some well-remembered spots in the walls of these galleries, as to relieve my tortured memory from legions of whining friars and waxy holy families. I forgive, from the bottom of my soul, whole orchestras of earthy angels, and whole groves of St. Sebastians stuck as full of arrows according to pattern as a lying-in pincushion is stuck with pins. And I am in no humour to quarrel even with that priestly infatuation, or priestly doggedness of purpose, which persists in reducing every mystery of our religion to some literal development in paint and canvas, equally repugnant to the reason and the sentiment of any thinking man."
[92] The last two lines he has printed in the Pictures, p. 249, "certain of" being inserted before "his employers."
[93] I find the evening mentioned in the diary which Mr. Barham's son quotes in his Memoir. "December 5, 1844. Dined at Forster's with Charles Dickens, Stanfield, Maclise, and Albany Fonblanque. Dickens read with remarkable effect his Christmas story, the Chimes, from the proofs. . . ." (ii. 191.)
[94] In a previous letter he had told me that history. "Apropos of servants, I must tell you of a child-bearing handmaiden of some friends of ours, a thorough out and outer, who, by way of expiating her sins, caused herself, the other day, to be received into the bosom of the infallible church. She had two marchionesses for her sponsors; and she is heralded in the Genoa newspapers as Miss B—, an English lady, who has repented of her errors and saved her soul alive."
[95] "I feel the distance between us now, indeed. I would to Heaven, my dearest friend, that I could remind you in a manner more lively and affectionate than this dull sheet of paper can put on, that you have a Brother left. One bound to you by ties as strong as ever Nature forged. By ties never to be broken, weakened, changed in any way—but to be knotted tighter up, if that be possible, until the same end comes to them as has come to these. That end but the bright beginning of a happier union, I believe; and have never more strongly and religiously believed (and oh! Forster, with what a sore heart I have thanked God for it) than when that shadow has fallen on my own hearth, and made it cold and dark as suddenly as in the home of that poor girl you tell me of. . . . When you write to me again, the pain of this will have passed. No consolation can be so certain and so lasting to you as that softened and manly sorrow which springs up from the memory of the Dead. I read your heart as easily as if I held it in my hand, this moment. And I know—I know, my dear friend—that before the ground is green above him, you will be content that what was capable of death in him, should lie there. . . . I am glad to think it was so easy, and full of peace. What can we hope for more, when our own time comes!—The day when he visited us in our old house is as fresh to me as if it had been yesterday. I remember him as well as I remember you. . . . I have many things to say, but cannot say them now. Your attached and loving friend for life, and far, I hope, beyond it. C. D." (8th of January, 1845.)
[96] "A Yorkshireman, who talks Yorkshire Italian with the drollest and pleasantest effect; a jolly, hospitable excellent fellow; as odd yet kindly a mixture of shrewdness and simplicity as I have ever seen. He is the only Englishman in these parts who has been able to erect an English household out of Italian servants, but he has done it to admiration. It would be a capital country-house at home; and for staying in 'first-rate.' (I find myself inadvertently quoting Tom Thumb.) Mr. Walton is a man of an extraordinarily kind heart, and has a compassionate regard for Fletcher to whom his house is open as a home, which is half affecting and half ludicrous. He paid the other day a hundred pounds for him, which he knows he will never see a penny of again." C. D. to J. F. (25th of January, 1845.)
[97] "Do you think," he wrote from Ronciglione on the 29th January, "in your state room, when the fog makes your white blinds yellow, and the wind howls in the brick and mortar gulf behind that square perspective, with a middle distance of two ladder-tops and a background of Drury-lane sky—when the wind howls, I say, as if its eldest brother, born in Lincoln's-inn-fields, had gone to sea and was making a fortune on the Atlantic—at such times do you ever think of houseless Dick?"