We had a pleasant journey of it seaward again. We found that for the three past nights our ship had been in a state of war. The first night the sailors of a British ship, being happy with grog, came down on the pier and challenged our sailors to a free fight. They accepted with alacrity, repaired to the pier, and gained—their share of a drawn battle. Several bruised and bloody members of both parties were carried off by the police and imprisoned until the following morning. The next night the British boys came again to renew the fight, but our men had had strict orders to remain on board and out of sight. They did so, and the besieging party grew noisy and more and more abusive as the fact became apparent (to them) that our men were afraid to come out. They went away finally with a closing burst of ridicule and offensive epithets. The third night they came again and were more obstreperous than ever. They swaggered up and down the almost deserted pier, and hurled curses, obscenity, and stinging sarcasms at our crew. It was more than human nature could bear. The executive officer ordered our men ashore—with instructions not to fight. They charged the British and gained a brilliant victory. I probably would not have mentioned this war had it ended differently. But I travel to learn, and I still remember that they picture no French defeats in the battle-galleries of Versailles.
It was like home to us to step on board the comfortable ship again and smoke and lounge about her breezy decks. And yet it was not altogether like home, either, because so many members of the family were away. We missed some pleasant faces which we would rather have found at dinner, and at night there were gaps in the euchre-parties which could not be satisfactorily filled. "Moult" was in England, Jack in Switzerland, Charley in Spain. Blucher was gone, none could tell where. But we were at sea again, and we had the stars and the ocean to look at, and plenty of room to meditate in.
In due time the shores of Italy were sighted, and as we stood gazing from the decks, early in the bright summer morning, the stately city of Genoa rose up out of the sea and flung back the sunlight from her hundred palaces.
Here we rest for the present—or rather, here we have been trying to rest, for some little time, but we run about too much to accomplish a great deal in that line.
I would like to remain here. I had rather not go any further. There may
be prettier women in Europe, but I doubt it. The population of Genoa is
120,000; two-thirds of these are women, I think, and at least two-thirds
of the women are beautiful. They are as dressy and as tasteful and as
graceful as they could possibly be without being angels. However, angels
are not very dressy, I believe. At least the angels in pictures are
not—they wear nothing but wings. But these Genoese women do look so
charming. Most of the young demoiselles are robed in a cloud of white
from head to foot, though many trick themselves out more elaborately.
Nine-tenths of them wear nothing on their heads but a filmy sort of veil,
which falls down their backs like a white mist. They are very fair, and
many of them have blue eyes, but black and dreamy dark brown ones are met
with oftenest.
The ladies and gentlemen of Genoa have a pleasant fashion of promenading in a large park on the top of a hill in the center of the city, from six till nine in the evening, and then eating ices in a neighboring garden an hour or two longer. We went to the park on Sunday evening. Two thousand persons were present, chiefly young ladies and gentlemen. The gentlemen were dressed in the very latest Paris fashions, and the robes of the ladies glinted among the trees like so many snowflakes. The multitude moved round and round the park in a great procession. The bands played, and so did the fountains; the moon and the gas lamps lit up the scene, and altogether it was a brilliant and an animated picture. I scanned every female face that passed, and it seemed to me that all were handsome. I never saw such a freshet of loveliness before. I did not see how a man of only ordinary decision of character could marry here, because before he could get his mind made up he would fall in love with somebody else.
Never smoke any Italian tobacco. Never do it on any account. It makes me shudder to think what it must be made of. You cannot throw an old cigar "stub" down anywhere, but some vagabond will pounce upon it on the instant. I like to smoke a good deal, but it wounds my sensibilities to see one of these stub-hunters watching me out of the corners of his hungry eyes and calculating how long my cigar will be likely to last. It reminded me too painfully of that San Francisco undertaker who used to go to sick-beds with his watch in his hand and time the corpse. One of these stub-hunters followed us all over the park last night, and we never had a smoke that was worth anything. We were always moved to appease him with the stub before the cigar was half gone, because he looked so viciously anxious. He regarded us as his own legitimate prey, by right of discovery, I think, because he drove off several other professionals who wanted to take stock in us.
Now, they surely must chew up those old stubs, and dry and sell them for smoking-tobacco. Therefore, give your custom to other than Italian brands of the article.
"The Superb" and the "City of Palaces" are names which Genoa has held for centuries. She is full of palaces, certainly, and the palaces are sumptuous inside, but they are very rusty without and make no pretensions to architectural magnificence. "Genoa the Superb" would be a felicitous title if it referred to the women.
We have visited several of the palaces—immense thick-walled piles, with
great stone staircases, tesselated marble pavements on the floors,
(sometimes they make a mosaic work, of intricate designs, wrought in
pebbles or little fragments of marble laid in cement,) and grand salons
hung with pictures by Rubens, Guido, Titian, Paul Veronese, and so on,
and portraits of heads of the family, in plumed helmets and gallant coats
of mail, and patrician ladies in stunning costumes of centuries ago.
But, of course, the folks were all out in the country for the summer, and
might not have known enough to ask us to dinner if they had been at home,
and so all the grand empty salons, with their resounding pavements, their
grim pictures of dead ancestors, and tattered banners with the dust of
bygone centuries upon them, seemed to brood solemnly of death and the
grave, and our spirits ebbed away, and our cheerfulness passed from us.
We never went up to the eleventh story. We always began to suspect
ghosts. There was always an undertaker-looking servant along, too, who
handed us a program, pointed to the picture that began the list of the
salon he was in, and then stood stiff and stark and unsmiling in his
petrified livery till we were ready to move on to the next chamber,
whereupon he marched sadly ahead and took up another malignantly
respectful position as before. I wasted so much time praying that the
roof would fall in on these dispiriting flunkies that I had but little
left to bestow upon palace and pictures.
And besides, as in Paris, we had a guide. Perdition catch all the guides. This one said he was the most gifted linguist in Genoa, as far as English was concerned, and that only two persons in the city beside himself could talk the language at all. He showed us the birthplace of Christopher Columbus, and after we had reflected in silent awe before it for fifteen minutes, he said it was not the birthplace of Columbus, but of Columbus' grandmother! When we demanded an explanation of his conduct he only shrugged his shoulders and answered in barbarous Italian. I shall speak further of this guide in a future chapter. All the information we got out of him we shall be able to carry along with us, I think.
I have not been to church so often in a long time as I have in the last few weeks. The people in these old lands seem to make churches their specialty. Especially does this seem to be the case with the citizens of Genoa. I think there is a church every three or four hundred yards all over town. The streets are sprinkled from end to end with shovel-hatted, long-robed, well-fed priests, and the church bells by dozens are pealing all the day long, nearly. Every now and then one comes across a friar of orders gray, with shaven head, long, coarse robe, rope girdle and beads, and with feet cased in sandals or entirely bare. These worthies suffer in the flesh and do penance all their lives, I suppose, but they look like consummate famine-breeders. They are all fat and serene.
The old Cathedral of San Lorenzo is about as notable a building as we have found in Genoa. It is vast, and has colonnades of noble pillars, and a great organ, and the customary pomp of gilded moldings, pictures, frescoed ceilings, and so forth. I cannot describe it, of course—it would require a good many pages to do that. But it is a curious place. They said that half of it—from the front door halfway down to the altar—was a Jewish synagogue before the Saviour was born, and that no alteration had been made in it since that time. We doubted the statement, but did it reluctantly. We would much rather have believed it. The place looked in too perfect repair to be so ancient.
The main point of interest about the cathedral is the little Chapel of St. John the Baptist. They only allow women to enter it on one day in the year, on account of the animosity they still cherish against the sex because of the murder of the Saint to gratify a caprice of Herodias. In this Chapel is a marble chest, in which, they told us, were the ashes of St. John; and around it was wound a chain, which, they said, had confined him when he was in prison. We did not desire to disbelieve these statements, and yet we could not feel certain that they were correct—partly because we could have broken that chain, and so could St. John, and partly because we had seen St. John's ashes before, in another church. We could not bring ourselves to think St. John had two sets of ashes.
They also showed us a portrait of the Madonna which was painted by St. Luke, and it did not look half as old and smoky as some of the pictures by Rubens. We could not help admiring the Apostle's modesty in never once mentioning in his writings that he could paint.
But isn't this relic matter a little overdone? We find a piece of the true cross in every old church we go into, and some of the nails that held it together. I would not like to be positive, but I think we have seen as much as a keg of these nails. Then there is the crown of thorns; they have part of one in Sainte Chapelle, in Paris, and part of one also in Notre Dame. And as for bones of St. Denis, I feel certain we have seen enough of them to duplicate him if necessary.
I only meant to write about the churches, but I keep wandering from the subject. I could say that the Church of the Annunciation is a wilderness of beautiful columns, of statues, gilded moldings, and pictures almost countless, but that would give no one an entirely perfect idea of the thing, and so where is the use? One family built the whole edifice, and have got money left. There is where the mystery lies. We had an idea at first that only a mint could have survived the expense.
These people here live in the heaviest, highest, broadest, darkest, solidest houses one can imagine. Each one might "laugh a siege to scorn." A hundred feet front and a hundred high is about the style, and you go up three flights of stairs before you begin to come upon signs of occupancy. Everything is stone, and stone of the heaviest—floors, stairways, mantels, benches—everything. The walls are four to five feet thick. The streets generally are four or five to eight feet wide and as crooked as a corkscrew. You go along one of these gloomy cracks, and look up and behold the sky like a mere ribbon of light, far above your head, where the tops of the tall houses on either side of the street bend almost together. You feel as if you were at the bottom of some tremendous abyss, with all the world far above you. You wind in and out and here and there, in the most mysterious way, and have no more idea of the points of the compass than if you were a blind man. You can never persuade yourself that these are actually streets, and the frowning, dingy, monstrous houses dwellings, till you see one of these beautiful, prettily dressed women emerge from them—see her emerge from a dark, dreary-looking den that looks dungeon all over, from the ground away halfway up to heaven. And then you wonder that such a charming moth could come from such a forbidding shell as that. The streets are wisely made narrow and the houses heavy and thick and stony, in order that the people may be cool in this roasting climate. And they are cool, and stay so. And while I think of it—the men wear hats and have very dark complexions, but the women wear no headgear but a flimsy veil like a gossamer's web, and yet are exceedingly fair as a general thing. Singular, isn't it?
The huge palaces of Genoa are each supposed to be occupied by one family, but they could accommodate a hundred, I should think. They are relics of the grandeur of Genoa's palmy days—the days when she was a great commercial and maritime power several centuries ago. These houses, solid marble palaces though they be, are in many cases of a dull pinkish color, outside, and from pavement to eaves are pictured with Genoese battle scenes, with monstrous Jupiters and Cupids, and with familiar illustrations from Grecian mythology. Where the paint has yielded to age and exposure and is peeling off in flakes and patches, the effect is not happy. A noseless Cupid or a Jupiter with an eye out or a Venus with a fly-blister on her breast, are not attractive features in a picture. Some of these painted walls reminded me somewhat of the tall van, plastered with fanciful bills and posters, that follows the bandwagon of a circus about a country village. I have not read or heard that the outsides of the houses of any other European city are frescoed in this way.
I can not conceive of such a thing as Genoa in ruins. Such massive arches, such ponderous substructions as support these towering broad-winged edifices, we have seldom seen before; and surely the great blocks of stone of which these edifices are built can never decay; walls that are as thick as an ordinary American doorway is high cannot crumble.
The republics of Genoa and Pisa were very powerful in the Middle Ages. Their ships filled the Mediterranean, and they carried on an extensive commerce with Constantinople and Syria. Their warehouses were the great distributing depots from whence the costly merchandise of the East was sent abroad over Europe. They were warlike little nations and defied, in those days, governments that overshadow them now as mountains overshadow molehills. The Saracens captured and pillaged Genoa nine hundred years ago, but during the following century Genoa and Pisa entered into an offensive and defensive alliance and besieged the Saracen colonies in Sardinia and the Balearic Isles with an obstinacy that maintained its pristine vigor and held to its purpose for forty long years. They were victorious at last and divided their conquests equably among their great patrician families. Descendants of some of those proud families still inhabit the palaces of Genoa, and trace in their own features a resemblance to the grim knights whose portraits hang in their stately halls, and to pictured beauties with pouting lips and merry eyes whose originals have been dust and ashes for many a dead and forgotten century.
The hotel we live in belonged to one of those great orders of knights of
the Cross in the times of the Crusades, and its mailed sentinels once
kept watch and ward in its massive turrets and woke the echoes of these
halls and corridors with their iron heels.
But Genoa's greatness has degenerated into an unostentatious commerce in velvets and silver filagree-work. They say that each European town has its specialty. These filagree things are Genoa's specialty. Her smiths take silver ingots and work them up into all manner of graceful and beautiful forms. They make bunches of flowers, from flakes and wires of silver, that counterfeit the delicate creations the frost weaves upon a windowpane; and we were shown a miniature silver temple whose fluted columns, whose Corinthian capitals and rich entablatures, whose spire, statues, bells, and ornate lavishness of sculpture were wrought in polished silver, and with such matchless art that every detail was a fascinating study and the finished edifice a wonder of beauty.
We are ready to move again, though we are not really tired yet of the narrow passages of this old marble cave. Cave is a good word—when speaking of Genoa under the stars. When we have been prowling at midnight through the gloomy crevices they call streets, where no footfalls but ours were echoing, where only ourselves were abroad, and lights appeared only at long intervals and at a distance, and mysteriously disappeared again, and the houses at our elbows seemed to stretch upward farther than ever toward the heavens, the memory of a cave I used to know at home was always in my mind, with its lofty passages, its silence and solitude, its shrouding gloom, its sepulchral echoes, its flitting lights, and more than all, its sudden revelations of branching crevices and corridors where we least expected them.
We are not tired of the endless processions of cheerful, chattering gossipers that throng these courts and streets all day long, either; nor of the coarse-robed monks; nor of the "Asti" wines, which that old doctor (whom we call the Oracle,) with customary felicity in the matter of getting everything wrong, misterms "nasty." But we must go, nevertheless.
Our last sight was the cemetery (a burial place intended to accommodate
60,000 bodies,) and we shall continue to remember it after we shall have
forgotten the palaces. It is a vast marble collonaded corridor extending
around a great unoccupied square of ground; its broad floor is marble,
and on every slab is an inscription—for every slab covers a corpse. On
either side, as one walks down the middle of the passage, are monuments,
tombs, and sculptured figures that are exquisitely wrought and are full
of grace and beauty. They are new and snowy; every outline is perfect,
every feature guiltless of mutilation, flaw, or blemish; and therefore,
to us these far-reaching ranks of bewitching forms are a hundred fold
more lovely than the damaged and dingy statuary they have saved from the
wreck of ancient art and set up in the galleries of Paris for the worship
of the world.
Well provided with cigars and other necessaries of life, we are now ready
to take the cars for Milan.
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