Euphorion (Studies of the Antique and the Mediaeval in the Renaissance). Vernon Lee

impressions rather more than sought to discover the exact geography of the historical tract which gave them. Consider, moreover, that this very cause of deficiency may have been also the cause of my having succeeded in achieving anything at all. Personal impression has led me, perhaps, sometimes away from the direct road; but had it not beckoned me to follow, I should most likely have simply not stirred. Pleasant impression and painful, as I have said; and sometimes the painful has been more efficacious than the other. I do not know whether the interest which I have always taken in the old squabble of real and ideal has enabled me to make at all clearer the different characteristics of painting and sculpture in Renaissance portraiture, the relation of the art of Raphael to the art of Velasquez and the art of Whistler. I can scarcely judge whether the pleasure which I owe to the crowding together, the moving about in my fancy, of the heroes and wizards and hippogriffs of the old tales of Oberon and Ogier; the association with the knights and ladies of Boiardo and Ariosto, of this or that figure out of a fresco of Pinturicchio, or a picture by Dosso, has made it easier or more difficult for me to sum up the history of mediæval romance in Renaissance Italy; nor whether the recollection of certain Tuscan farms, the well-known scent of the sun-dried fennel and mint under the vine-trellis, the droning song of the contadino ploughing or pruning unseen in the valley, the snatches of peasants' rhymes, the outlines of peasants' faces—things all these of this our own time, of yesterday or to-day; whether all this, running in my mind like so many scribbly illustrations and annotations along the margin of Lorenzo dei Medici's poems, has made my studies of rustic poetry more clear or more confused. But this much I know as a certainty, that never should I have tried to unravel the causes of the Renaissance's horrible anomaly of improvement and degradation, had not that anomaly returned and returned to make me wretched with its loathsome mixture of good and evil; its detestable alternative of endurance of vile solidarities in the souls of our intellectual forefathers, or of unjust turning away from the men and the times whose moral degradation paid the price of our moral dignity. I also have the further certainty of its having been this long-endured moral sickening at the sight of this moral anomaly, which enabled me to realize the feelings of such of our nobler Elizabethan playwrights as sought to epitomize in single tales of horror the strange impressions left by the accomplished and infamous Italy of their day; and which made it possible for me to express perhaps some of the trouble which filled the mind of Webster and of Tourneur merely by expressing the trouble which filled my own.

      The following studies are not samples, fragments at which one tries one's hand, of some large and methodical scheme of work. They are mere impressions developed by means of study: not merely currents of thought and feeling which I have singled out from the multifold life of the Renaissance; but currents of thought and feeling in myself, which have found and swept along with them certain items of Renaissance lore. For the Renaissance has been to me, in the small measure in which it has been anything, not so much a series of studies as a series of impressions. I have not mastered the history and literature of the Renaissance (first-hand or second-hand, perfectly or imperfectly), abstract and exact, and then sought out the places and things which could make that abstraction somewhat more concrete in my mind; I have seen the concrete things, and what I might call the concrete realities of thought and feeling left behind by the Renaissance, and then tried to obtain from books some notion of the original shape and manner of wearing these relics, rags and tatters of a past civilization. For Italy, beggared and maimed (by her own unthrift, by the rapacity of others, by the order of Fate) at the beginning of the sixteenth century, was never able to weave for herself a new, a modern civilization, as did the nations who had shattered her looms on which such woofs are made, and carried off her earnings with which such things may be bought; and she had, accordingly, to go through life in the old garments, still half mediæval in shape, which had been fashioned for her during the Renaissance: apparel of the best that could then be made, beautiful and strong in many ways, so beautiful and strong indeed as to impose on people for a good long time, and make French, and Germans, and Spaniards, and English believe (comparing these brilliant tissues with the homespun they were providing for themselves) that it must be all brand new, and of the very latest fashion. But the garments left to Italy by those latest Middle Ages which we call Renaissance, were not eternal: wear and tear, new occupations, and the rough usage of other nations, rent them most sorely; their utter neglect by the long seventeenth century, their hasty patchings up (with bits of odd stuff and all manner of coloured thread and string, so that a harlequin's jacket could not look queerer) by the happy-go-lucky practicalness of the eighteenth century and the Revolution, reduced them thoroughly to rags; and with these rags of Renaissance civilization, Italy may still be seen to drape herself. Not perhaps in the great centres, where the garments of modern civilization, economical, unpicturesque, intended to be worn but a short time, have been imported from other countries; but yet in many places. Yes, you may still see those rags of the Renaissance as plainly as you see the tattered linen fluttering from the twisted iron hooks (made for the display of precious brocades and carpets on pageant days) which still remain in the stained whitewash, the seams of battered bricks of the solid old escutcheoned palaces; see them sometimes displayed like the worm- eaten squares of discoloured embroidery which the curiosity dealers take out of their musty oak presses; and sometimes dragging about mere useless and befouled odds and ends, like the torn shreds which lie among the decaying kitchen refuse, the broken tiles and plaster, the nameless filth and ooze which attracts the flies under every black archway, in every steep bricked lane descending precipitously between the high old houses. Old palaces, almost strongholds, and which are still inhabited by those too poor to pull them down and build some plastered bandbox instead; poems and prose tales written or told five hundred years ago, edited and re-edited by printers to whom there come no modern poems or prose tales worth editing instead; half-pagan, mediæval priest lore, believed in by men and women who have not been given anything to believe instead; easy-going, all-permitting fifteenth century scepticism, not yet replaced by the scientific and socialistic disbelief which is puritanic and iconoclastic; sly and savage habits of vengeance still doing service among the lower classes instead of the orderly chicanery of modern justice;—these are the things, and a hundred others besides, concrete and spiritual, things too magnificent, too sordid, too irregular, too nauseous, too beautiful, and, above all, too utterly unpractical and old-fashioned for our times, which I call the rags of the Renaissance, and with which Italy still ekes out her scanty apparel of modern thoughts and things.

      It is living among such things, turn by turn delighted by their beauty and offended by their foulness, that one acquires the habit of spending a part only of one's intellectual and moral life in the present, and the rest in the past. Impressions are not derived from description, and thoughts are not suggested by books. The juxtaposition of concrete objects invites the making of a theory as the jutting out of two branches invites the spinning of a spider's web. You find everywhere your facts without opening a book. The explanation which I have tried to give of the exact manner in which mediæval art was influenced by the remains of antiquity, came like a flash during a rainy morning in the Pisan Campo Santo; the working out and testing of that explanation in its details was a matter of going from one church or gallery to the other, a reference or two to Vasari for some date or fact being the only necessary reading; and should any one at this moment ask me for substantiation of that theory, instead of opening books I would take that person to this Sienese Cathedral, and there bid him compare the griffins and arabesques, the delicate figure and foliage ornaments carved in wood and marble by the latter Middle Ages, with the griffins and arabesques, the boldly bossed horsemen, the exquisite fruit garlands of a certain antique altar stone which the builders of the church used as a base to a pillar, and which must have been a never-ceasing- object of study to every draughtsman and stoneworker in Siena.

      Nor are such everywhere-scattered facts ready for working into theoretic shape, the most which Italy still affords to make the study of the Renaissance an almost involuntary habit. In certain places where only decay has altered things from what they were four centuries ago, Perugia, Orvieto, S. Gimignano, in the older quarters of Florence, Venice, and Verona, but nowhere I think so much as in this city of Siena (as purely mediæval as the suits of rusted armour which its townsfolk patch up and bury themselves in during their August pageants), we are subjected to receive impressions of the past so startlingly lifelike as to get quite interwoven with our impressions of the present; and from that moment the past must share, in a measure, some of the everyday thoughts which we give to the present. In such a city as this, the sudden withdrawal,