My impression is that the greater simplicity of form, combined, as was the case with the ancients, with a very high though but slightly varied style of decorative art, may have left a greater solidity, unity, and intensity in the old-world characters, as compared with what we find in modern minds, distributed amongst such an endless variety of objects.
It is a great thing to be elevated by noble desires and high Christian aims above the trivialities of modern life. But if those high aspirations are absent, it is perhaps a safeguard to take to old china, old lace, and Louis Quinze furniture. It breaks up the thoughts into a kaleidoscope [pg 818] of fancies; and that, on the whole, is decidedly preferable to the restlessness of youth, health, and idleness, leading to a craving for gladiatorial fights and scenes of bloodshed and cruelty. In those days the virtuous were nobly virtuous, and were very rare. The vicious were horribly vicious, and formed the generality. It always struck me that an old Roman house must have been a dull home. And ennui is the mother of naughtiness quite as surely as the devil is the father of lies. There are minds which cannot be great, as there are lives which never are much more than harmless. Surely for these the multiplicities of modern times, the toys of fashion, the novelties of the day, in dress, furniture, and ornament, are safety-valves and almost godsends! At least they are better than the arena, with its brutalizing scenes of blood and horror, where a vestal had but to turn her thumb to take the life of the victim bleeding before her eyes!
These results of modern civilization are not Christianity; and I am taking a very low standard in all I am now saying. But they are the dross of a civilization leavened by Christianity, and they are very different from the poison that found its way into the daily life of Roman men and women from the seething wickedness of the great heathen empire.
Nothing can exceed the interest of the paintings taken from Pompeii. Of course I was intimately acquainted with them from engravings, and had been all my life. One of the early impressions of my childhood was the delight of finding that the grave old Romans (and therefore the Greeks before them), for whom I had a very pagan admiration, were capable of appreciating humor as expressed in the movements and attitudes of animals. I was overjoyed at this touch of sympathy with a dead past; and I recommend all visitors to Naples to look out for certain cocks and hens and other creatures among the lesser mural decorations taken from Pompeii. The well-known dancing girls I had never properly admired until I saw them being copied by a Neapolitan artist in the Museum. He had not deviated one hair's breadth from the original outline; but the mere restoration of vivid coloring had imparted to them an airy, floating grace which I had failed fully to detect in the scratched and faded originals, but which I at once felt must have belonged to them when they decorated some rich Pompeian's house.
While I was wandering about, trying to live for an hour the inner homespun life of a Roman maiden by gazing long on the walls she must have looked on, Mary had gone in search of the Farnese Bull and the exquisite half-head and figure of the Psyche, that wonderful embodiment of virginal grace and feminine delicacy which makes one long to have seen the statue in its unmutilated condition. She had stood for a good quarter of an hour before the Aristides (for we insist on believing it is Aristides), and was, as she told me afterwards, growing more and more in the consoling belief that many of the old pagans will have found a place among the thrones of the blest through the mercy of Him who never asks for more than he has given, and who since the creation has never left the world without a witness of himself. Then she visited the Farnese Flora, that wonderful triumph of [pg 819] art over matter, where in a statue of above twelve feet such floating grace is expressed that she seems to be skimming along the ground, while the light wind plays in the drapery.
I found Mary lost in thought before a beautiful bronze statue of Mercury in repose. The lithe figure has just sat down to rest on the edge of a rock. The tension of the muscles is gradually relaxing. One foot as yet only touches the ground with the heel. Wait a moment, and the foot will yield and rest. Never was fatigue gradually giving way to repose more exquisitely depicted. Then Mary turned to the dead Amazon with the death-wound beneath her breast, and finally declared that having satisfied herself by revisiting these, that for one reason or another had haunted her for twenty years, she was ready to admire the others. It is curious how the long lines of statues and busts seem to give out cold. The same stone walls covered with pictures could never be so severely cold. The old gods and heroes seem to breathe upon you with an icy breath from out of the grave of the old classic world.
The best pictures in the Naples Museum are not very numerous, but are admirable specimens of the Italian schools. They are collected into one or two rooms, deserving time and study. A cursory view of the others will be sufficient to satisfy most people. There is much more to be seen besides the relics from Pompeii and Herculaneum, the statues and pictures. It is all worth visiting, and, to be fully appreciated, requires many hours to be spent on each different class of objects.
I had a very distinct and not altogether a pleasant recollection of the mysterious grotto of Pozzuoli, which had haunted my imagination ever since I was here as a child. Ida and I had made an engagement to visit Astroni, Victor Emanuel's happy hunting-grounds, one day when we were to have the carriage to ourselves; and accordingly we were to pass through the grotto. You approach it by a deep cutting in the rock, the sides of which are draped with ivy and hanging plants, with bright tufts of wild flowers wherever a few grains of earth give them a roothold. There is a small oratory to the right as you enter, of a most simple and rustic kind, and kept by a Capuchin, whom I cannot call a venerable hermit, as he happened to be of rather youthful appearance. On festas his little altar was covered with flowers, and a few votive candles burnt before the obscure picture of the Madonna within the dark recesses of the cave. When the poor Capuchin heard a carriage approaching, he would hurry forth with a little tin box, which he held up to us for an alms. We seldom failed to give him some, and from time to time it would be silver instead of the more frequent copper; and then his gratitude became eloquent, and many a blessing followed us down the murky gloom of the long, unsavory grotto. Certainly, this strange road, which it appears dates from the middle of the first Christian century, is not calculated to leave a pleasant impression, though in many ways it presents picturesque bits which reminded me of some of Salvator Rosa's pictures. It would be quite dark but for the yellow, faint light of gas-lamps, not sufficient in number to dispel the gloom, which is greatly increased by the clouds of dust the numerous carts, carriages, and herds [pg 820] of goats are constantly raising, the latter adding thereto their own peculiarly suffocating odor. It is paved in the same way as the Neapolitan streets, and the noise reverberates from the roof. It has a curious effect when you lean forward to see the bearded goats just visible through the dusty air, and further on, perhaps, a cabriolet laden with people—six inside, four out, and one boy at least, after the Neapolitan fashion, hanging in a net beneath the vehicle—drawn by one horse, always equal to his load, no matter how starved and miserable he may be. On it comes, the merry inmates singing, shouting, piercing the darkness, but compelled thereby to slacken their pace a little, lest there should be a collision in this Erebus. We were always silent and a little uncomfortable in the din, the dust, and the darkness. Yet it had to be passed through again and again, as being the only road out into the country, unless we went all round by the Strada Nuova and Nisida. At the entrance of the grotto from Naples is the supposed tomb of Virgil, hidden beneath ivy and acanthus leaves-just as a poet would have wished! We came out from the grotto on the busy, picturesque village of Fiorigrotta, where the whole population seem to live out in the one long street. Astroni is an extinct volcanic crater, the sides of which are clothed with ilex and other trees. It is circular, and a wall runs along the upper rim to prevent the escape of the deer and wild boar that are kept there for the king's pleasure. There are two carriage-roads through the dense forest. At the bottom of the basin there are a few open spaces, marshy land, and water. The solitude and silence are intense; for, as usual in Italy, there are not many singing birds, and what there are do not give song during the heat of the day any more than in our northern climes. I never shall forget the silence that reigned, nor the feeling of solitude induced by peering through the trees, looking down on the small lakes of intensely blue water below, and knowing that in those dense thickets myriads of wild animals were hiding in their lair, while we were the only human beings. The gates are kept locked, and it requires a special order to penetrate this sylvan scene. It does not seem to me a very satisfactory way of sporting. You are too sure of your game, walled in as it is all round. After visiting the extinct crater, we saw the emptied lake of Agnano, once notorious for malaria, now drained off and leaving a wide plain more or less adapted for agriculture. At present it seems in a rather neglected state, of which nature has taken advantage to cast her unsolicited gifts of flaunting bright wild flowers broadcast over the whole space.
One of our most interesting excursions was to the Solfatara, not far from the Lago Agnano. This also is an extinct crater; and yet so barely extinct that we feel, as we tread the sulphur-checkered soil, and hear the hollow reverberation if we stamp on the ground, as if at any moment it might again burst forth.
From time to time our nostrils were disagreeably met by a puff of steam redolent of sulphur; and occasionally these puffs grow stronger and more threatening. The stones you pick up are tinged with yellow. The vegetation is sparse and dwarfed. At the further end of the plain is a cave, from whence at regular intervals rush clouds of hot steam, [pg 821] while a roaring, boiling sound surges within. The aperture is large enough for a person to enter by stooping a little. Most of our party peeped in, but instantly retired from the suffocating and horrible stench and great heat.