I left Naples on the 18th of December and arrived at Rome on the 22d. I am settled in my old lodgings, No. 29 Piazza di Spagna. Nothing worth mentioning occurred during the journey.
The fete, of the birth of Christ held at Santa Maria Maggiore on the evening of the 24th December is of the most splendid description, and attended by an immense crowd of women. Guns are fired on the moment that the birth of the Saviour is announced, and this event occurs precisely at midnight. The Romans seem to rejoice as much at the anniversary of this event, as if it happened for the first time, and as if immediate temporal advantage were to be derived from it.
I have mixed a good deal in society in Rome since my return from Naples. Among other acquaintance I must particularly distinguish Mme Dionigi, a very celebrated lady, possessing universality of talent.[110] She is well known all over Italy, for the extent of her litterary attainments, but more particularly for her proficiency in the fine arts, above all in painting, of which she is an adept. She also possesses the most amiable qualities of the heart, and is universally beloved and respected for the worth of her private character, and for her generous disposition. She has all the vivacity of intellect belonging to youth, tho' now nearly eighty-six years of age,[111] and of a very delicate physical constitution; in short she affords, and I often tell her so, the most striking proof of the immortality of the soul. There is a conversazione at her house twice a week, where you meet with foreign as well as Italian litterati, and persons of distinction of all nations, tongues and languages. Her eldest daughter, Mme D'Orfei, is an excellent improvisatrice, and has frequently given us very favourable specimens of the inspiration which breathes itself in her soul. I have likewise witnessed the talent of two very extraordinary improvisatori, the one a young girl of eighteen years of age, by name Rosa Taddei. She is the daughter of the proprietor of the Teatro della Valle at Rome, and sometimes performs herself in dramatic pieces; yet, strange to say, tho' she is an admirable improvisatrice and possesses a thorough classic and historical knowledge, she is but an indifferent actress.
It is a great shame that her father obliges her to act on the stage in very inferior parts, when she ought only to exhibit on the tripod. I assisted at an Accademia given by her one evening at the Teatro della Valle, when she improvised on the following subjects, which were proposed by various members of the audience: 1st, La morte d'Egeo; 2dy, La Madre Ebrea; 3rd, Coriolano alle mura di Roma; 4th, Ugolino; 5th, Saffo e Faone; 6th, in the Carnaval with the following intercalario: "Maschera ti conosco, tieni la benda al cor!" which intercalario compels a rhyme in osco, a most difficult one. The Madre Ebrea and Coriolano were given in ottava rima with a rima obbligata for each stanza. The Morte d'Egeo was given in terza rima. Her versification appeared to be excellent, nor could I detect the absence or superabundance, of a single syllable. She requires the aid of music, chuses the melody; the audience propose the subject, and rima obbligata, and the intercalario, where it is required. In her gestures, particularly before she begins to recite, she reminded me of the description given of the priestess of. Delphi. She walks along the stage for four or five minutes in silent meditation on the subject proposed, then suddenly stops, calls to the musicians to play a certain symphony and then begins as if inspired. Among the different rhimes in osco, a gentleman who sat next to me proposed to her Cimosco. I asked him what Cimosco he meant; he replied a Tuscan poet of that name. For my part, I had never heard of any other of that name than the King Cimosco in the Orlando Furioso, who makes use of fire-arms; and Rosa Taddei was, it appears, of my opinion, since this was the Cimosco she chose to characterise; and she made thereby a very neat and happy comparison between the gun of Cimosco and the arrow of Cupid. This talent of the improvisatori is certainly wonderful, and one for which there is no accounting. It appears peculiar to the Italian nation alone among the moderns, but probably was in vogue among the ancient Greeks also. It is certain that Rosa Taddei gives as fine thoughts as are to be met with in most poets, and I am very much tempted to incline to Forsyth's opinion that Homer himself was neither more nor less than an improvisatore, the Greek language affording nearly as many poetic licences as the Italian, and the faculty of heaping epithet on epithet being common in both languages.
The other genius in this wonderful art is Signer Sgricci. He is so far superior to Rosa Taddei in being five or six years older, in being a very good Latinist and hi improvising whole tragedies on any subject, chosen by the audience. When the subject is chosen, he develops his plan, fixes his dramatis personae and then strikes off in versi sciolti. He at times introduces a chorus with lyric poetry. I was present one evening at an Accademia given by him in the Palazzo Chigi. The subject chosen was Sophonisba and it was wonderful the manner in which he varied his plot from that of every other dramatic author on the same subject. He acted the drama, as well as composed it, and pourtrayed the different characters with the happiest effect. The ardent passion and impetuosity of Massinissa, the studied calm philosophy and stoicism of Scipio, the romantic yet dignified attachment of Sophonisba, and the plain soldierlike honorable behaviour of Syphax were given in a very superior style. I recollect particularly a line he puts in the mouth of Scipio, when he is endeavouring to persuade Massinissa to resist the allurements and blandishments of love:
Chè cor di donne è laberinto, in quale
Facil si perde l'intelletto umano.
This drama he divided into three acts, and on its termination he improvised a poem in terza rima on the subject of the contest of Ajax and Ulysses for the armour of Achilles.
Wonderful, however, as this act of improvising may appear, it is not perhaps so much so as the mathematical faculty of a youth of eight years of age, Yorkshireman by birth, who has lately exhibited his talent for arithmetical calculation improvised in England and who in a few seconds, from mental calculation, could give the cube root of a number containing fifteen or sixteen figures.
Is not all this a confirmation of Doctor Gall's theory on craniology? viz., that our faculties depend on the organisation of the scull. I think I have seen this frequently exemplified at Eton. I have known a boy who could not compose a verse, make a considerable figure in arithmetic and geometry; and another, who could write Latin verse with almost Ovidian elegance, and yet could not work the simplest question in vulgar fractions. Indeed, I think there seems little doubt that we are born with dispositions and propensities, which may be developed and encouraged, or damped and checked altogether by education.
I have become acquainted with several families at Rome, so that I am at no loss where to spend my evenings. Music is the never failing resource for those with whom the spirit of conversation fails. The society at Rome is perfectly free from etiquette or gêne. When once presented to a family you may enter their house every evening without invitation, make your bow to the master and mistress of the house, enter into conversation or not as you please. You may absent yourself for weeks together from these conversazioni, and nobody will on your re-appearance enquire where you have been or what you have been doing. In short, in the intercourse with Roman society, you meet with great affability, sometimes a little ennui, but no commérage. The avvocati may be said to form almost exclusively the middling class in Rome, and they educate their families very respectably. This class was much caressed by the French Government during the time that Rome was annexed to the French Empire, and most of the employés of the Government at that time were taken from this class. I have met with several sensible well-informed people, who have been accurate observers of the times, and had derived profit in point of instruction from the scenes they had witnessed.