"Ma per altro son uomo ingegnoso,
Non possiedo, ma sono padrone;
Vendo l' acqua con spirto e limone
Finche dura d' estate il calor.
"Ho an capello di paglia,—ma bello!
Un zinale di sopra fino;
Chi mi osserva nel mio tavolino,
Gli vien sete, se sete non ha.
"Spaccio spirti, siroppi, acquavite
Fo 'ranciate di nuova invenzione;
Voi vedete quante persone
Chiedon acqua,—e rispondo,—Son quà!"
The limonaro is the exponent, the algebraic power, of the Church processions which abound this month; and he is as faithful to them as Boswell to Johnson;—wherever they appear, he is there to console and refresh. Nor is his office a sinecure now; and let us hope that he has his small profits, as well as the Church,—though they spell theirs differently.
The great procession of the year takes place this month on Corpus Domini, and is well worth seeing, as being the very finest and most characteristic of all the Church festivals. It was instituted in honor of the famous miracle at Bolsena, when the wafer dripped blood, and is, therefore, in commemoration of one of the cardinal doctrines of the Roman Church, Transubstantiation, and one of its most theological miracles. The Papal procession takes place in the morning, in the piazza of Saint Peter's; and if you would be sure of it, you must be on the spot as soon as eight o'clock at the latest. The whole circle of the piazza itself is covered with an awning, festooned gayly with garlands of box, under which the procession passes; and the ground is covered with yellow sand, over which box and bay are strewn. The celebration commences with morning mass in the basilica, and that over, the procession issues from one door, and, making the whole circuit of the piazza, returns into the church. First come the Seminaristi, or scholars and attendants of the various hospitals and charity-schools, such as San Michele and Santo Spirito,—all in white. Then follow the brown-cowled, long-bearded Franciscans, the white Carmelites, and the black Benedictines, bearing lighted candles and chanting hoarsely as they go. You may see pass before you now all the members of these different conventual orders that there are in Rome, and have an admirable opportunity to study their physiognomies in mass. If you are a convert to Romanism, you will perhaps find in their bald beads and shaven crowns and bearded faces a noble expression of reverence and humility; but, suffering as I do under the misfortune of being a heretic, I could but remark on their heads an enormous development of the two organs of reverence and firmness, and a singular deficiency in the upper forehead, while there was an almost universal enlargement of the lower jaw and of the base of the brain. Being, unfortunately, a friend of Phrenology, as well as a heretic, I drew no very auspicious augury from these developments; and looking into their faces, the physiognomical traits were narrow-mindedness, bigotry, or cunning. The Benedictine heads showed more intellect and will; the Franciscans more dulness and good-nature.
But while I am criticizing them, they are passing by, and a picturesque set of fellows they are. Much as I dislike the conventual creed, I should be sorry to see the costume disappear. Directly on the heels of their poverty come the three splendid triple crowns of the Pope, glittering with gorgeous jewels, and borne in triumph on silken embroidered cushions, and preceded by the court jeweller. After them follow the chapters, canons, and choirs of the seven basilicas, chanting in lofty altos and solid basses and clear ringing tenors from their old Church books, each basilica bearing a typical tent of colored stripes and a wooden campanile and a bell which is constantly rung. Next come the canons of the churches and the monsignori, in splendid dresses and rich capes of beautiful lace falling below their waists; the bishops clad in cloth of silver with mitres on their heads; the cardinals brilliant in gold embroidery and gleaming in the sun; and at last the Pope himself, borne on a platform splendid with silver and gold, with a rich canopy over his head. Beneath this he kneels, or rather, seems to kneel; for, though his splendid draperies and train are skilfully arranged so as to present this semblance, being drawn behind him over two blocks which are so placed as to represent his heels, yet in fact he is seated on a sunken bench or chair, as any careful eye can plainly see. However, kneeling or sitting, just as you will, there he is, before an altar, holding up the ostia, which is the corpus Domini, "the body of God," and surrounded by officers of the Swiss guards in glittering armor, chamberlains in their beautiful black and Spanish dresses with ruffs and swords, attendants in scarlet and purple costumes, and the guardia nobile in their red dress uniforms. Nothing could be more striking than this group. It is the very type of the Church,—pompous, rich, splendid, imposing. After them follow the dragoons mounted,—first a company on black horses, then another on bays, and then a third on grays; foot-soldiers with flashing bayonets bring up the rear, and the procession is over. As the last soldiers enter the church, there is a stir among the gilt equipages of the cardinals which line one side of the piazza,—the horses toss their scarlet plumes, the liveried servants sway as the carriages lumber on, and you may spend a half-hour hunting out your own humble vehicle, if you have one, or throng homeward on foot with the crowd through the Borgo and over the bridge of Sant' Angelo.
This grand procession strikes the note of all the others, and in the afternoon each parish brings out its banners, arrays itself in its choicest dresses, and with pomp and music bears the ostia through the streets, the crowd kneeling before it, and the priests chanting. During the next ottava or eight days, all the processions take place in honor of this festival; and when the week has passed, everything ends with the Papal procession in Saint Peter's piazza, when, without music, and with uncovered heads, the Pope, cardinals, monsignori, canons, and the rest of the priests and officials, make the round of the piazza, bearing great Church banners.
One of the most striking of their celebrations took place this year at the church of San Rocco in the Ripetta, when the church was made splendid with lighted candles and gold bands, and a preacher held forth to a crowded audience in the afternoon. At Ave Maria there was a great procession, with banners, music, and torches, and all the evening the people sauntered to and fro in crowds before the church, where a platform was erected and draped with old tapestries, from which a band played constantly. Do not believe, my dear Presbyterian friend, that these spectacles fail deeply to affect the common mind. So long as human nature remains the same, this splendor and pomp of processions, these lighted torches and ornamented churches, this triumphant music and glad holiday of religion will attract more than your plain conventicles, your ugly meeting-houses, and your compromise with the bass-viol. For my own part, I do not believe that music and painting and all the other arts really belong to the Devil, or that God gave him joy and beauty to deceive with, and kept only the ugly, sour, and sad for himself. We are always better when we are happy; and we are about as sure of being good when we are happy, as of being happy when we are good. Cheerfulness and happiness are, in my humble opinion, duties and habits to be cultivated; but, if you don't think so, I certainly would not deny you the privilege of being wretched: don't let us quarrel about it.
Rather let us turn to the Artists' Festival, which takes place in this month, and is one of the great attractions of the season. Formerly, this festival took place at Cerbara, an ancient Etruscan town on the Campagna, of which only certain subterranean caves remain. But during the revolutionary days which followed the disasters of 1848, it was suspended for two or three years by the interdict of the Papal government, and when it was again instituted, the place of meeting was changed to Fidenae, the site of another Etruscan town, with similar subterranean excavations, which were made the head-quarters of the festival. But the new railway to Bologna having been laid out directly over this ground, the artists have been again driven away, and this year the festa was held, for the first time, in the grove of Egeria, one of the most beautiful spots on the whole Campagna,—and here it is to be hoped it will have an abiding rest.
This festival was instituted by the German artists, and, though the artists of all nations now join in it, the Germans still remain its special patrons and directors. Early in the morning, the artists rendezvous at an appointed osteria outside the walls, dressed in every sort of grotesque and ludicrous costume which can be imagined. All the old dresses which can be rummaged out of the studios or theatres, or pieced together from masking wardrobes, are now in requisition. Indians and Chinese, ancient warriors and mediaeval heroes, militia-men and Punches, generals in top-boots and pigtails, doctors in gigantic wigs and small-clothes, Falstaffs and justices "with fair round belly with good capon lined," magnificent foolscaps, wooden swords with terrible inscriptions, gigantic chapeaus with plumes made of vegetables, in a word, every imaginable absurdity is to be seen. Arrived at the place of rendezvous, they all breakfast, and then the line of march is arranged. A great wooden cart, adorned with quaint devices, garlanded with laurel and bay, bears the president and committee. This is drawn by great white oxen, who are decorated with wreaths and flowers and gay trappings, and from it floats the noble banner of Cerbara or Fidenae. After this follows a strange and motley train,—some mounted on donkeys, some on horses, and some afoot,—and the line of march is taken up for the grove of Egeria. What mad jests and wild fun now take place it is impossible to describe; suffice it to say, that all are right glad of a little rest when they reach their destination.