The church was entered first; and here again were groups of the poorest at their private devotions. Rapture sublime seemed now and then to illumine the face of a dirty beggar as he or she glanced at a crucifix or a relic which was exposed to view over the altar of the Lady Chapel. Could such worship be wrong if it softened, and so greatly softened, hearts like these, in bodies ill-fed and ill-clothed, making a repulsive exterior glorified by a countenance of secret joy? But disappointment came by means of a surly sacristan, a veritable Judas with a bag, who roughly attended the worshippers, and pocketed pence in return for wiping their pocket handkerchiefs (for such we perforce call their dirty rags) on the glass case on the altar containing the relic before mentioned. To see the emotion of the deluded creatures, who kissed their rags with ecstatic bliss on receiving them again, was a strange sight, and struck us as widely different from that of the woman who kissed the blue fringe on Christ’s garment as He passed her—for what “virtue” could come out of the operation in the Church of Santa Maria della Grazie? The act of devotion and lowly love in the Gospel story was not done from force of habit, nor was the privilege given in return for money—and, oh! how different the Object and the intention!
THE LAST SUPPER.
From the painting at Milan, showing its present condition.
The greatest painting in the world (“The Last Supper”) is to be seen in an old outhouse which was used by the reverend monks as a refectory before the dissolution of the monastery, and which has since been used as a stable by French dragoons.
The painting is in a sad state of dilapidation, caused by damp and attempted restorations in 1770, and also by the bad treatment it has had at the hands of tourists. But much of the genius of the painting is still seen, and we bow in lowly reverence before a work which surely has been productive of much religious elevation in many generations and nations.
The Dominicans, in dining in this old refectory, must have been wonderfully impressed at seeing Christ at the other end of the room taking His Last Supper with them; for the accessories of table-cloth, glasses, etc., in the painting resemble the identical articles used by the monks, and all helped the great illusion. But again a disillusion! for, as will be seen on a reference to the picture, the reverend fathers committed the sacrilege of forming a doorway in a part of the picture—actually cutting off the legs of the chief Figure—in their desire to have their dinner warm!
The illness of the younger bachelor, which had threatened to ruin our holiday, was not nearly so serious as the doctor had led us to expect. On the second day the fever much abated, and we determined to resume our journey after the third day. The doctor, however, advised us not to go to either Cremona or Mantua, as these cities, especially the former, are unhealthy, and might bring on a renewal of the fever. This was a disappointment, as we were anxious to see Cremona, which, apart from its cathedral and other buildings, has always been renowned for the manufacture of violins and other stringed instruments. To see fiddles of every shape and size hung out in the open air to dry like so many clothes after washing, was too novel a sight to miss without a bitter pang.
We determined to make up for our disappointment in not seeing Cremona and Mantua, by visiting the town of Pavia and the magnificent monastery or Certosa close to it.
So we arranged to make the excursion to the Certosa and Pavia, to return to Milan for a visit to the Brera Gallery, to dine, and to get our trunks, and finally depart for Verona, if possible, on the same day. This was rather an extensive programme, especially as one of us had just recovered from an illness; but we determined if possible to abide by it.