Tuscan Cities. William Dean Howells

      VI

      It is true that the church bore its age somewhat better; for though Maria must have been beautiful, too, in her youth, her complexion had not that luminous flush in which three hundred years have been painting the marble front of the church. It is this light, or this color, — I hardly know which to call it, — that remains in my mind as the most characteristic quality of Santa Maria Novella; and I would like to have it go as far as possible with the reader, for I know that the edifice would not otherwise present itself in my pages, however flatteringly entreated or severely censured. I remember the bold mixture of the styles in its architecture, the lovely sculptures of its grand portals, the curious sundials high in its front; I remember the brand-new restoration of the screen of monuments on the right, with the arms of the noble patrons of the church carved below them, and the grass of the space enclosed showing green through the cloister-arches all winter long; I remember also the unemployed laborers crouching along its sunny base for the heat publicly dispensed in Italy on bright days — when it is not needed; and they all gave me the same pleasure, equal in degree, if not in kind. While the languor of these first days was still heavy upon me, I crept into the church for a look at the Ghirlandajo frescos behind the high altar, the Virgin of Cimabue, and the other objects which one is advised to see there, and had such modest satisfaction in them as may come to one who long ago, once for all, owned to himself that emotions to which others testified in the presence of such things were beyond him. The old masters and their humble acquaintance met shyly, after so many years; these were the only terms on which I, at least, could preserve my self-respect; and it was not till we had given ourselves time to overcome our mutual diffidence that the spirit in which their work was imagined stole into my heart and made me thoroughly glad of it again. Perhaps the most that ever came to me was a sense of tender reverence, of gracious quaintness in them; but this was enough. In the meanwhile I did my duty in Santa Maria Novella. I looked conscientiously at all the pictures, in spite of a great deal of trouble I had in putting on my glasses to read my "Walks in Florence" and taking them off to see the paintings; and I was careful to identify the portraits of Poliziano and the other Florentine gentlemen and ladies in the frescos. I cannot say that I was immediately sensible of advantage in this achievement; but I experienced a present delight in the Spanish chapel at finding not only Petrarch and Laura, but Boccaccio and Fiammetta, in the groups enjoying the triumphs of the church militant. It will always remain a confusion in our thick Northern heads, this attribution of merit through mere belief to people whose lives cast so little luster on their creeds; but the confusion is an agreeable one, and I enjoyed it as much as when it first overcame me in Italy.

      VII

      The cicerone who helped me about these figures was a white-robed young monk, one of twelve who are still left at Santa Maria Novella to share the old cloisters now mainly occupied by the pupils of a military college and a children's school. It was noon, and the corridors and the court were full of boys at their noisy games, on whom the young father smiled patiently, lifting his gentle voice above their clamor to speak of the suppression of the convents. This was my first personal knowledge of the effect of that measure, and I now perceived the hardship which it must have involved, as I did not when I read of it, with my Protestant satisfaction, in the newspapers. The uncomfortable thing about any institution which has survived its usefulness is that it still embodies so much harmless life that must suffer in its destruction. The monks and nuns had been a heavy burden no doubt, for many ages, and at the best they cumbered the ground; but when it came to a question of sweeping them away, it meant sorrow and exile and dismay to thousands of gentle and blameless spirits like the brother here, who recounted one of many such histories so meekly, so unresentfully. He and his few fellows were kept there by the piety of certain faithful who, throughout Italy, still maintain a dwindling number of monks and nuns in their old cloisters wherever the convent happened to be the private property of the order. I cannot say that they thus quite console the sentimentalist who would not have the convents re-established, even while suffering a poignant regret for their suppression; but I know from myself that this sort of sentimentalist is very difficult, and perhaps he ought not to be too seriously regarded.

      VIII

      The sentimentalist is very abundant in Italy, and most commonly he is of our race and religion, though he is rather English than American. The Englishman, so chary of his sensibilities at home, abandons himself to them abroad. At Rome he already regrets the good old days of the temporal power, when the streets were unsafe after nightfall and unclean the whole twenty-four hours, and there was no new quarter. At Venice he is bowed down under the restorations of the Ducal Palace and the church of St Mark; and he has no language in which to speak of the little steamers on the Grand Canal, which the Venetians find so convenient. In Florence, from time to time, he has a panic prescience that they are going to tear down the Ponte Vecchio. I do not know how he gets this, but he has it, and all the rest of us sentimentalists eagerly share it with him when he comes in to the table d'hôte luncheon, puts his Baedeker down by his plate, and before he has had a bite of anything calls out: " Well, they are going to tear down the Ponte Vecchio! "

      The first time that this happened in our hotel, I was still under the influence of the climate; but I resolved to visit the Ponte Vecchio with no more delay, lest they should be going to tear it down that afternoon. It was not that I cared a great deal for the bridge itself, but my accumulating impressions of Florentine history had centered about it as the point where that history really began to be historic. I had formed the idea of a little dramatic opening for my sketches there, with Buondelmonte riding in from his villa to meet his bride, and all that spectral train of Ghibelline and Guelphic tragedies behind them on the bridge; and it appeared to me that this could not be managed if the bridge were going to be torn down. I trembled for my cavalcade, ignominiously halted on the other side of the Amo, or obliged to go round and come in on some other bridge without regard to the fact; and at some personal inconvenience I hurried off to the Ponte Vecchio. I could not see that the preparations for its destruction had begun, and I believe they are still threatened only in the imagination of sentimental Anglo-Saxons. The omnibuses were following each other over the bridge in the peaceful succession of so many horsecars to Cambridge, and the ugly little jewelers' booths glittered in their wonted security on either hand all the way across. The carriages, the carts, the foot-passengers were swarming up and down from the thick turmoil of Por San Maria; and the bridge did not respond with the slightest tremor to the heel clandestinely stamped upon it for a final test of its stability.

      But the alarm I had suffered was no doubt useful, for it was after this that I really began to be serious with my material, as I found it everywhere in the streets and the books, and located it from one to the other. Even if one has no literary designs upon the facts, that is incomparably the best way of dealing with the past. At home, in the closet, one may read history, but one can realize it, as if it were something personally experienced, only on the spot where it was lived. This seems to me the prime use of travel; and to create the reader a partner in the enterprise and a sharer in its realization seems the sole excuse for books of travel, now when modern facilities have abolished hardship and danger and adventure, and nothing is more likely to happen to one in Florence than in Fitchburg.

      In this pursuit of the past, the inquirer will often surprise himself in the possession of a genuine emotion; at moments the illustrious or pathetic figures of other days will seem to walk before him unmocked by the grotesque and burlesquing shadows we all cast while in the flesh. I will not swear it, but it would take little to persuade me that I had vanishing glimpses of many of these figures in Florence. One of the advantages of this method is that you have your historical personages in a sort of picturesque contemporaneity with one another and with yourself, and you imbue them all with the sensibilities of our own time. Perhaps this is not an advantage, but it shows what may be done by the imaginative faculty; and if we do not judge men by ourselves, how are we to judge them at all?

      IX

      I took some pains with my Florentines, first and last, I will confess it. I went quite back with them to the lilies that tilted all over the plain where they founded their city in the dawn of history, and that gave her that flowery name of hers. I came down with them from Fiesole