This morning was as bright as morning could be, even in Italy, and in this transparent mountain atmosphere. We at first declined the services of a cicerone, and went out in the hopes of finding our way to whatever we wished to see, by our own instincts. This proved to be a mistaken hope, however; and we wandered about the upper city, much persecuted by a shabby old man who wished to guide us; so, at last, Miss Shepard went back in quest of the cicerone at the hotel, and, meanwhile, we climbed to the summit of the hill of Perugia, and, leaning over a wall, looked forth upon a most magnificent view of mountain and valley, terminating in some peaks, lofty and dim, which surely must be the Apennines. There again a young man accosted us, offering to guide us to the Cambio or Exchange; and as this was one of the places which we especially wished to see, we accepted his services. By the by, I ought to have mentioned that we had already entered a church (San Luigi, I believe), the interior of which we found very impressive, dim with the light of stained and painted windows, insomuch that it at first seemed almost dark, and we could only see the bright twinkling of the tapers at the shrines; but, after a few minutes, we discerned the tall octagonal pillars of the nave, marble, and supporting a beautiful roof of crossed arches. The church was neither Gothic nor classic, but a mixture of both, and most likely barbarous; yet it had a grand effect in its tinted twilight, and convinced me more than ever how desirable it is that religious edifices should have painted windows.
The door of the Cambio proved to be one that we had passed several times, while seeking for it, and was very near the church just mentioned, which fronts on one side of the same piazza. We were received by an old gentleman, who appeared to be a public officer, and found ourselves in a small room, wainscoted with beautifully carved oak, roofed with a coved ceiling, painted with symbols of the planets, and arabesqued in rich designs by Raphael, and lined with splendid frescos of subjects, scriptural and historical, by Perugino. When the room was in its first glory, I can conceive that the world had not elsewhere to show, within so small a space, such magnificence and beauty as were then displayed here. Even now, I enjoyed (to the best of my belief, for we can never feel sure that we are not bamboozling ourselves in such matters) some real pleasure in what I saw; and especially seemed to feel, after all these ages, the old painter's devout sentiment still breathing forth from the religious pictures, the work of a hand that had so long been dust.
When we had looked long at these, the old gentleman led us into a chapel, of the same size as the former room, and built in the same fashion, wainscoted likewise with old oak. The walls were also frescoed, entirely frescoed, and retained more of their original brightness than those we had already seen, although the pictures were the production of a somewhat inferior hand, a pupil of Perugino. They seemed to be very striking, however, not the less so, that one of them provoked an unseasonable smile. It was the decapitation of John the Baptist; and this holy personage was represented as still on his knees, with his hands clasped in prayer, although the executioner was already depositing the head in a charger, and the blood was spouting from the headless trunk, directly, as it were, into the face of the spectator.
While we were in the outer room, the cicerone who first offered his services at the hotel had come in; so we paid our chance guide, and expected him to take his leave. It is characteristic of this idle country, however, that if you once speak to a person, or connect yourself with him by the slightest possible tie, you will hardly get rid of him by anything short of main force. He still lingered in the room, and was still there when I came away; for, having had as many pictures as I could digest, I left my wife and U—— with the cicerone, and set out on a ramble with J——-. We plunged from the upper city down through some of the strangest passages that ever were called streets; some of them, indeed, being arched all over, and, going down into the unknown darkness, looked like caverns; and we followed one of them doubtfully, till it opened out upon the light. The houses on each side were divided only by a pace or two, and communicated with one another, here and there, by arched passages. They looked very ancient, and may have been inhabited by Etruscan princes, judging from the massiveness of some of the foundation stones. The present inhabitants, nevertheless, are by no means princely,—shabby men, and the careworn wives and mothers of the people,—one of whom was guiding a child in leading-strings through these antique alleys, where hundreds of generations have trod before those little feet. Finally we came out through a gateway, the same gateway at which we entered last night.
I ought to have mentioned, in the narrative of yesterday, that we crossed the Tiber shortly before reaching Perugia, already a broad and rapid stream, and already distinguished by the same turbid and mud-puddly quality of water that we see in it at Rome. I think it will never be so disagreeable to me hereafter, now that I find this turbidness to be its native color, and not (like that of the Thames) accruing from city sewers or any impurities of the lowlands.
As I now remember, the small Chapel of Santa Maria degl' Angeli seems to have been originally the house of St. Francis.
May 29th.—This morning we visited the Church of the Dominicans, where we saw some quaint pictures by Fra Angelico, with a good deal of religious sincerity in them; also a picture of St. Columba by Perugino, which unquestionably is very good. To confess the truth, I took more interest in a fair Gothic monument, in white marble, of Pope Benedict XII., representing him reclining under a canopy, while two angels draw aside the curtain, the canopy being supported by twisted columns, richly ornamented. I like this overflow and gratuity of device with which Gothic sculpture works out its designs, after seeing so much of the simplicity of classic art in marble.
We then tried to find the Church of San Pietro in Martire, but without success, although every person of whom we inquired immediately attached himself or herself to us, and could hardly be got rid of by any efforts on our part. Nobody seemed to know the church we wished for, but all directed us to another Church of San Pietro, which contains nothing of interest; whereas the right church is supposed to contain a celebrated picture by Perugino.
Finally, we ascended the hill and the city proper of Perugia (for our hotel is in one of the suburbs), and J——- and I set out on a ramble about the city. It was market-day, and the principal piazza, with the neighboring streets, was crowded with people. . . .
The best part of Perugia, that in which the grand piazzas and the principal public edifices stand, seems to be a nearly level plateau on the summit of the hill; but it is of no very great extent, and the streets rapidly run downward on either side. J——- and I followed one of these descending streets, and were led a long way by it, till we at last emerged from one of the gates of the city, and had another view of the mountains and valleys, the fertile and sunny wilderness in which this ancient civilization stands.