From the Oak to the Olive: A Plain record of a Pleasant Journey

by Julia Ward Howe

"I cannot but remember such things were

That were most precious to me."

Yet of this career, so often coveted by those to whom its attainment does not open, I cannot speak in terms of supreme recognition. The office of art is always as precious as its true ministers are rare. But the relative importance of sculptural and pictorial art is not to-day what it was in days of less thought, of smaller culture. Every one who likes the Bible to-day, likes it best without illustrations. Were Christ here to speak anew, he would speak without parables. In ruder times, heavenly fancies could only be illustrated on the one hand, received on the other, through the mediation of a personal embodiment. Only through human sympathy was the assent to divine truth obtained. The necessity which added a feminine personality to the worship of Christ, and completed the divided Godhead by making it female as well as male, was a philosophical one, but not recognized as such. The device of the Virgin was its practical result, counterbalancing the partiality of the one-sided personal culte of the Savior. Modern religious thought gets far beyond this, makes in spiritual things no distinction of male and female, and does not apply sex to the Divine, save in the most vague and poetic sense. The inner convictions of heart and conscience may now be spoken in plain prose, or sung in ringing verse. The vates, prophet or reformer, may proclaim his system and publish his belief; and his audience will best apprehend it in its simplest and most direct form. The wide spaces of the new continent allow room for the most precious practical experimentation; and speculative and theoretical liberty keep pace with liberty of action. The only absolute restraint, the best one, is a moral one. "Thou shalt not" applies only to what is intrinsically inhuman and profane. And now, there is no need to puzzle simple souls with a marble gospel. Faith needs not to digest whole side-walls of saints and madonnas, who once stood for something, no one now knows what. The Italian school was to art what the Greek school was to literature—an original creation and beginning. But life has surpassed Plato and Aristotle. We are forced to piece their short experiences, and to say to both, "You are matchless, but insufficient." And so, though Raphael's art remains immortal and unsurpassed, we are forced to say of his thought, "It is too small." No one can settle, govern, or moralize a country by it. It will not even suffice to reform Italy. The golden transfigurations hang quiet on the walls, and let pope and cardinal do their worst. We want a world peopled with faithful and intelligent men and women. The Prometheus of the present day is needed rather to animate statues than to make them.

PIAZZA NAVONA—THE TOMBOLA.

When, O, when does the bee make his honey? Not while he is sipping from flower to flower, levying his dainty tribute as lightly as love—enriching the world with what the flower does not miss, and cannot.

This question suggests itself in the course of these busy days in Rome, where pleasures are offered oftener than sensibilities can ripen, and the edge of appetite is blunted with sweets, instead of rusting with disuse. In these scarce three weeks how much have we seen, how little recorded and described! So sweet has been the fable, that the intended moral has passed like an act in a dream—a thing of illusion and intention, not of fact. Impotent am I, indeed, to describe the riches of this Roman world,—its treasures, its pleasures, its flatteries, its lessons. Of so much that one receives, one can give again but the smallest shred,—a leaf of each flower, a scrap of each garment, a proverb for a sermon, a stave for a song. So be it; so, perhaps, is it best.

Last Sunday I attended a Tombola at Piazza Navona—not a state lottery, but a private enterprise brought to issue in the most public manner. I know the Piazza of old. Sixteen years since I made many a pilgrimage thither, in search of Roman trash. I was not then past the poor amusement of spending money for the sake of spending it. The foolish things I brought home moved the laughter of my little Roman public. I appeared in public with some forlorn brooch or dilapidated earring; the giddy laughed outright, and the polite gazed quietly. My rooms were the refuge of all broken-down vases and halting candelabra. I lived on the third floor of a modest lodging, and all the wrecks of art that neither first, second, nor fourth would buy, found their way into my parlor, and staid there at my expense. I recall some of these adornments to-day. Two heroes, in painted wood, stood in my dark little entry. A gouty Cupid in bas-relief encumbered my mantel-piece. Two forlorn figures in black and white glass recalled the auction whose unlucky prize they had been. And Horace Wallace, coming to talk of art and poetry, on my red sofa, sometimes saluted me with a paroxysm of merriment, provoked by the sight of my last purchase. Those days are not now. Of their accumulations I retain but a fragment or two. Of their delights remain a tender memory, a childish wonder at my own childishness. To-day, in heathen Rome, I can find better amusements than those shards and rags were ever able to represent.

Going now to Piazza Navona with a sober and reasonable companion, I scarcely recognize it. At the Braschi Palace, which borders it, we pause, and enter to observe the square hall and the fine staircase of polished marble. This palace is now offered in a lottery, at five francs the ticket; and all orders in Rome, no doubt, participate in the venture it presents. The immense piazza is so filled and thronged with people that its distinctive features are quite lost. Its numerous balconies are crowded with that doubtful community comprehended in the title of the "better class." From many of its windows hang the red cotton draperies, edged with gilt lace, which supply so much of the color in Roman festas. Soldiers are everywhere mingled with the crowd, so skilfully as to present no contrast with them, but so effectually that any popular disorder would be instantly suppressed. The dragoons, mounted and bearing sabres, are seen here and there in the streets leading to the piazza. These constitute the police of Rome; and where with us a civil man with a badge interposes himself and says, "No entrance here, sir," in Rome an arbitrary, ignorant beast, mounted upon a lesser brute, waves his sabre at you, shrieks unintelligible threats and orders, and has the pleasure of bringing your common sense to a fault, and of making all understanding of what is or is not to be done impossible. Their greatest glory, however, culminates on public festas, when there are foreigners as well as Romans to be intimidated. At the Tombola they are only an en cas.

Well, the office of the Tombola is solemnized upon a raised stage, whereon stand divers officials, two seedy trumpeters, and a small boy in fancy costume, whose duty soon becomes apparent. Before him rests a rotatory machine, composed of two disks of glass, bound together by a band of brass: this urn of fate revolves upon a pivot, and is provided with an opening, through which the papers bearing the numbers are put in, to be drawn out, one by one, after certain revolutions of the machine. Not quite so fast, however, with your drawing. The numbers are not all in yet. A grave man, in a black coat, holds up each number to the public view, calls it in his loudest tones, and then hands it to another, who folds and slips it into the receptacle. When all of the numbers have been verified and deposited, the opening is closed up, the trumpeters sound a bar or two, the wheel revolves, the fancy boy paws the air with his right hand, puts the hand into the opening, and draws forth a number, which the second black coat presents to the first, who unfolds it, and announces it to the multitude. At the same moment, a huge card, some two feet square in dimensions, is placed in a frame, and upon this we read the number just drawn out. The number is also shown upon several large wooden frames in other parts of the square. Upon these it remains, so that the whole count of the drawing may be apparent to the eager public. This course of action is repeated until a stir in one part of the piazza announces a candidate for one of the smaller prizes. A white flag, repeated at all the counting frames, arrests the public attention. The candidate brings forward his ticket and is examined. Finally, a quaterna is announced, formed by the agreement of four numbers on a ticket with four in the order of the drawing. The crowd applaud, the trumpets sound again, and the drawing proceeds. Unhappily, at one moment the persons on duty forget to close the valve through which the numbers are taken out. The omission is not perceived until several rotations have shaken out many of the precious papers. A roar of indignation is heard from the populace; the wheel is arrested, the numbers eagerly sought, counted, and replaced, under the jealous scrutiny of the public eye. Meanwhile, one of two copious brass bands, provided with five ophicleides each, and cornets, etc., to match, discoursed tarantellas and polkas. And we see the quinquina (formed by five numbers) drawn, and then the first Tombola, and the second. And lo! there are four tombolas: but we await them not. But in all this crowd, busy with emotion and reeking with tobacco and Roman filth in all its varieties, who shall interest us like the limonaro with his basket of fruit, his bottles of water, his lemon squeezer, and his eager thrifty countenance? A father of family, surely, he loves no plays as thou dost, Anthony. Pale, in shirt sleeves, he keeps the sharpest lookout for a customer, and in voice whose measure is not to be given, hammers out his endless sentence, "Chi vuol bere? Ecco, il limonaro." To the most doubtful order he responds, carrying his glasses into the thickest of the throng, and thundering, "Chi ha comandato questo limone?" For half a bajoco he gives a quarter of a lemon, wrung out in a glass of tepid water, which his customers absorb with relish. Sometimes he varies this procedure by the sale of an orzata, produced by pouring a few drops of a milky fluid into a glass of water. On our way from the piazza we encounter other limonari,—dark, sleepy, Italian, not trenchant nor incisive in their offers. But our man, a blond, yet remains a picture to us, with his business zeal and economy of time. A thread of good blood he possibly has. We adopt and pity him as a misplaced Yankee.

SUNDAYS IN ROME.

Our first Sunday in Rome was Easter, in St. Peter's, of which we have elsewhere given a sufficient description. Our second was divided between the Tombola just described, in the afternoon, and the quiet of the American Chapel in the morning. We found this an upper chamber, quietly and appropriately furnished, with a pleasant and well-dressed attendance of friends and fellow country-people. The prayers of the Episcopal service were simply read, with no extra formality or aping of more traditional forms. It was pleasant to find ourselves called upon once more to pray for the President of the United States, although in our own country he is considered as past praying for. Still, we remembered the old adage, "while there is life there is hope," and were able, with a good conscience, to beseech that he might be plenteously endowed with heavenly grace, although the reception of such a gift might seriously compromise him with his own party. The sermon, like others we have heard of late, shows a certain progress and liberalization even in the holding of the absolute tenets which constitute what has been hitherto held as orthodoxy. In our youth, the Episcopal church, like the orthodox dissenters, preached atonement, atonement, atonement, wrath of God, birth in sin,—position of sentimental reprobation towards the one fact, of unavailing repentance concerning the other. The doctrine of atonement in those days was as literal in the Protestant church as in the Catholic, while the possibility of profiting by it was hedged about and encumbered by frightful perils and intangible difficulties. But to-day, while these doctrines are not repudiated by the denominations which then held them, they are comparatively set out of sight. The charity and diligence of Paul are preached, and even the sublime theistic simplicity of Jesus is not altogether contraband; though he, alas! is as little understood in doctrine as followed in example. For he has hitherto been like a beautiful figure set to point out a certain way, and people at large have been so entranced with worshipping the figure, that they have neglected to follow the direction it indicates.