One other point may be mentioned with reference to these balls, as a small contribution to the history of a system of social manners and usages which has now passed away. The utmost latitudinarianism, as has been mentioned, was allowed in the matter of costume, but this rule was subject to one exception. On the night of New Year's Day, on which there was always a ball at the Pitti, all those who attended it were expected to appear in proper court-dress. Those who were entitled to any official costume, military or other, donned that. I have seen a clergyman of the Church of England make his academical robes do duty as a court-dress, as indeed they properly do at St. James. But in the rooms at the Pitti His Reverence became the observed of all observers to a remarkable degree. Those who could lay claim to no official costume of any sort had to fall back on the old court-dress of the period of George I., still worn, oddly enough, at the English court. It is a sufficiently handsome dress in itself, and had at all events the advantage of looking extremely unlike the ordinary costume of nineteenth-century mortals, It was often a question with American civilians what dress they should wear on these occasions, and I used to endeavor to persuade my American friends to insist upon their republican right to ignore in Europe court-tailor mummeries of which they knew nothing at home; being perfectly sure that they would have carried the point victoriously, and not unmindful of Talleyrand's remark when Castlereagh at Vienna appeared in a plain black coat, without any decoration, among the crowd of continental diplomatists bedizened with ribbons of every color and stars and crosses of every form and kind: "Ma foi! c'est fort distingué!" But I never could prevail, having, as I take it, the female influence against me on the subject; and Americans used to adopt generally a blue cloth coat and trousers well trimmed with gold lace, and a white waistcoat.
In later days, when popular discontent and the agitation arising from it were gradually boiling up to a dangerous height in every part of Italy, and the hatred felt toward the different sovereigns was reflected in many an audacious squib and satire, the grand duke of Tuscany never shared to any great degree the odium which pursued his fellow-monarchs. It was with a scathing vigor of satire that Giuseppe Giusti characterized each of the Italian crowned heads of that period in burning verses, which were circulated with cautious secresy in manuscript from hand to hand, long before a surreptitious edition, which it was dangerous (anywhere in Italy save in Tuscany) to possess, appeared, to be followed in after years by many an avowed one. These have given the name of Giusti a high and peculiar place on the roll of Italian poets. But the satirist's serpent scourge is changed for a somewhat contemptuously used foolscap when the Tuscan ruler is introduced in the following lines:
Il Toscano Morfeo vien' lemme, lemme,
Di pavavero cinto e di lattuga.
Then comes the Tuscan Morpheus, creepy, crawly,
With poppies and with lettuce crowned.
These lines, however, represent pretty accurately about the worst that his subjects had to say of poor old "Ciuco," as the last of the grand dukes was irreverently and popularly called: "Ciuco," I am sorry to state, means "donkey." And it must be owned that the two lines I have quoted from Giusti's verses, with their untranslatable "lemme, lemme"—of which I have endeavored, with imperfect success, to give the meaning—present a very graphic picture of the man and the nature and characteristics of his government. Everything went "lemme, lemme," in the Sleepy Hollow of Tuscany in those days.
Used as he was to be laughed at, Leopold could occasionally be made sleepily half angry by impertinences which had something of a sting in them. Here is an amusing instance of that fact, and of the way in which things used to be done in Tuscany. Most of the Italian provinces—or larger cities, rather—- have been from time immemorial personated in the popular fancy by certain comic types, supposed to represent with more or less accuracy the special characteristics of each district. Venice, as all the world knows, has, and still more had, her "Pantaloon," Naples her "Pulcinello," etc. The specialties of the Florentine character are popularly supposed to be embodied in "Stenterello," who comes on the Florentine stage, in pieces written for the purpose, every Carnival, to the never-failing delight of the populace. Stenterello is an absurd figure with a curling pigtail, large cocked hat, and habiliments meant to represent those of a Tuscan citizen of some hundred years or so ago. He is a sort of shrewd fool, doing the most absurd things, lying through thick and thin with a sort of simple, self-confuting mendacity, yet contriving to cheat everybody, and always having, amid all his follies, a shrewd eye to his own interest. He talks with the broadest possible Florentine accent and idiom, and despite his cunning is continually getting more kicks than halfpence. Well, there was in those days a famous Stenterello, really a very clever fellow in his way, who for many years had been the delight of the Florentines every Carnival. But one year a rival theatre produced a new and rival Stenterello. Of course the old and established Stenterello could not stand this without using the license of the popular stage to overwhelm his rival with ridicule. "This sort of thing," said he, "will never do! How many Stenterelli are we to have? Two is the regular established number in Florence. There are I and my brother over there at the great house on the other side of the Arno: we are the Florentine Stenterelli by right divine, as is well known. Who is this pretender who comes to interfere with us?" etc. Now, this was a little too much, even for Florence. And a day or two afterward the old original Stenterello was ordered to go to prison. Nobody was ever arrested, as we should call it, or taken to prison. A man who for any cause was to suffer imprisonment used to be told to go to prison. Stenterello told the officer who announced his doom that it was out of the question that he should go just then: he had to appear on the boards that night. This was deemed to be a just impediment, and he was told to go next day. The next day was a "festa:" of course a sufficient reason for putting off everything. The day after, on presenting himself at the prison-door, the actor was told that the governor of the prison was out of Florence, and he must "call again" in a few days. When the governor returned, Stenterello was indisposed for a few days. When he got well the governor was indisposed, and when he got well there was another "festa;" and when at last the offending actor did apply to the prison official to be imprisoned, he was told there was no room for him. Long before that the higher authorities had totally forgotten all about the matter. That was the way things were done in Tuscany in the good old time.
The more serious faults with which Leopold II. was chargeable were due to the narrowness of his religious bigotry, and, in the difficult and trying circumstances of the latter years of his reign, the lack of the courage needed to enable him to be truthful and to keep faith with his people. When the frightened and fickle pope ran away from Rome, strong influences were brought to bear on the grand duke of Tuscany to induce him to refrain from following the example and to ally himself with Piedmont. His confessor of course took the opposite side, and strove with every weapon he could bring to bear on his Serene penitent to induce him to throw in his lot with the pope. At last the invisible world had to be appealed to. Saint Philomena, who had been a special object of the devotion of the grand ducal family, took to appearing to the confessor, and expressing her earnest hope that her devotee would not risk the salvation of a soul in which she took so tender an interest by refusing to follow the path marked out for him by the Holy Father. The saint became very importunate upon the subject, and each one of her celestial visitations was duly reported to the grand duke, and made the occasion of fresh exhortations on the part of the holy man who had been favored by them. The upshot is well known: Ciuco followed the advice of Saint Philomena and lost his dukedom.
Sometimes, however, this submission of his mind to his clergy was not altogether proof against a certain simple shrewdness, aided perhaps by an inclination to save money, to which he was said not to be insensible. Of course his grandfather, the enlightened and reforming Duke Leopold I., had not been at all in the good graces of the Church, and for a series of years Leopold II. had been in the habit of giving a sum of money for masses for the repose of the soul of his grandfather. But upon one occasion it happened that the archbishop of Lucca (a very special hierarchical big-wig, and the greatest ecclesiastical authority in those parts, being, by reason of some ancient and peculiar privileges, a greater man than even the archbishop of Florence), in the course of an argument with the grand duke, the object of which was to induce the latter to modify in some respects some of those anti-ecclesiastical measures by which the elder Leopold had made the prosperity of Tuscany, was so far carried away by his zeal as to declare that the author of the obnoxious constitutions which he wished altered had incurred eternal damnation by the enactment of them. The grand duke bent his head humbly before the archiepiscopal denunciation, and said nothing in reply. But when the time came round for the disbursement of the annual sum for masses for Leopold I., his pious grandson declared that it was useless to spend any more money for that purpose, for that the archbishop of Lucca had informed him that his unhappy predecessor's soul was in hell, and accordingly past help and past being prayed—or paid—for.