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Sketches and Studies in Italy and Greece
by John Addington Symonds
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II

The district where the wine of Valtellina is grown extends, roughly speaking, from Tirano to Morbegno, a distance of some fifty-four miles. The best sorts come from the middle of this region. High up in the valley, soil and climate are alike less favourable. Low down a coarser, earthier quality springs from fat land where the valley broadens. The northern hillsides to a very considerable height above the river are covered with vineyards. The southern slopes on the left bank of the Adda, lying more in shade, yield but little. Inferno, Grumello, and Perla di Sassella are the names of famous vineyards. Sassella is the general name for a large tract. Buying an Inferno, Grumello, or Perla di Sassella wine, it would be absurd to suppose that one obtained it precisely from the eponymous estate. But as each of these vineyards yields a marked quality of wine, which is taken as standard-giving, the produce of the whole district may be broadly classified as approaching more or less nearly to one of these accepted types. The Inferno, Grumello, and Perla di Sassella of commerce are therefore three sorts of good Valtelline, ticketed with famous names to indicate certain differences of quality. Montagner, as the name implies, is a somewhat lighter wine, grown higher up in the hill-vineyards. And of this class there are many species, some approximating to Sassella in delicacy of flavour, others approaching the tart lightness of the Villa vintage. This last takes its title from a village in the neighbourhood of Tirano, where a table-wine is chiefly grown.

Forzato is the strongest, dearest, longest-lived of this whole family of wines. It is manufactured chiefly at Tirano; and, as will be understood from its name, does not profess to belong to any one of the famous localities. Forzato or Sforzato, forced or enforced, is in fact a wine which has undergone a more artificial process. In German the people call it Strohwein, which also points to the method of its preparation. The finest grapes are selected and dried in the sun (hence the Stroh) for a period of eight or nine weeks. When they have almost become raisins, they are pressed. The must is heavily charged with sugar, and ferments powerfully. Wine thus made requires several years to ripen. Sweet at first, it takes at last a very fine quality and flavour, and is rough, almost acid, on the tongue. Its colour too turns from a deep rich crimson to the tone of tawny port, which indeed it much resembles.

Old Forzato, which has been long in cask, and then perhaps three years in bottle, will fetch at least six francs, or may rise to even ten francs a flask. The best Sassella rarely reaches more than five francs. Good Montagner and Grumello can be had perhaps for four francs; and Inferno of a special quality for six francs. Thus the average price of old Valtelline wine may be taken as five francs a bottle. These, I should observe, are hotel prices.

Valtelline wines bought in the wood vary, of course, according to their age and year of vintage. I have found that from 2.50 fr. to 3.50 fr. per litre is a fair price for sorts fit to bottle. The new wine of 1881 sold in the following winter at prices varying from 1.05 fr. to 1.80 fr. per litre.

It is customary for the Graubuenden wine-merchants to buy up the whole produce of a vineyard from the peasants at the end of the vintage. They go in person or depute their agents to inspect the wine, make their bargains, and seal the cellars where the wine is stored. Then, when the snow has fallen, their own horses with sleighs and trusted servants go across the passes to bring it home. Generally they have some local man of confidence at Tirano, the starting-point for the homeward journey, who takes the casks up to that place and sees them duly charged. Merchants of old standing maintain relations with the same peasants, taking their wine regularly; so that from Lorenz Gredig at Pontresina or Andreas Gredig at Davos Doerfli, from Fanconi at Samaden, or from Giacomi at Chiavenna, special qualities of wine, the produce of certain vineyards, are to be obtained. Up to the present time this wine trade has been conducted with simplicity and honesty by both the dealers and the growers. One chief merit of Valtelline wine is that it is pure. How long so desirable a state of things will survive the slow but steady development of an export business may be questioned.

III

With so much practical and theoretical interest in the produce of the Valtelline to stimulate my curiosity, I determined to visit the district at the season when the wine was leaving it. It was the winter of 1881-82, a winter of unparalleled beauty in the high Alps. Day succeeded day without a cloud. Night followed night with steady stars, gliding across clear mountain ranges and forests of dark pines unstirred by wind. I could not hope for a more prosperous season; and indeed I made such use of it, that between the months of January and March I crossed six passes of the Alps in open sleighs—the Fluela Bernina, Spluegen, Julier, Maloja, and Albula—with less difficulty and discomfort in mid-winter than the traveller may often find on them in June.

At the end of January, my friend Christian and I left Davos long before the sun was up, and ascended for four hours through the interminable snow-drifts of the Fluela in a cold grey shadow. The sun's light seemed to elude us. It ran along the ravine through which we toiled; dipped down to touch the topmost pines above our heads; rested in golden calm upon the Schiahorn at our back; capriciously played here and there across the Weisshorn on our left, and made the precipices of the Schwartzhorn glitter on our right. But athwart our path it never fell until we reached the very summit of the pass. Then we passed quietly into the full glory of the winter morning—a tranquil flood of sunbeams, pouring through air of crystalline purity, frozen and motionless. White peaks and dark brown rocks soared up, cutting a sky of almost purple blueness. A stillness that might be felt brooded over the whole world; but in that stillness there was nothing sad, no suggestion of suspended vitality. It was the stillness rather of untroubled health, of strength omnipotent but unexerted.

From the Hochspitz of the Fluela the track plunges at one bound into the valley of the Inn, following a narrow cornice carved from the smooth bank of snow, and hung, without break or barrier, a thousand feet or more above the torrent. The summer road is lost in snow-drifts. The galleries built as a protection from avalanches, which sweep in rivers from those grim, bare fells above, are blocked with snow. Their useless arches yawn, as we glide over or outside them, by paths which instinct in our horse and driver traces. As a fly may creep along a house-roof, slanting downwards we descend. One whisk from the swinged tail of an avalanche would hurl us, like a fly, into the ruin of the gaping gorge. But this season little snow has fallen on the higher hills; and what still lies there, is hard frozen. Therefore we have no fear, as we whirl fast and faster from the snow-fields into the black forests of gnarled cembras and wind-wearied pines. Then Suess is reached, where the Inn hurries its shallow waters clogged with ice-floes through a sleepy hamlet. The stream is pure and green; for the fountains of the glaciers are locked by winter frosts; and only clear rills from perennial sources swell its tide. At Suess we lost the sun, and toiled in garish gloom and silence, nipped by the ever-deepening cold of evening, upwards for four hours to Samaden.

The next day was spent in visiting the winter colony at San Moritz, where the Kulm Hotel, tenanted by some twenty guests, presented in its vastness the appearance of a country-house. One of the prettiest spots in the world is the ice-rink, fashioned by the skill of Herr Caspar Badrutt on a high raised terrace, commanding the valley of the Inn and the ponderous bulwarks of Bernina. The silhouettes of skaters, defined against that landscape of pure white, passed to and fro beneath a cloudless sky. Ladies sat and worked or read on seats upon the ice. Not a breath of wind was astir, and warm beneficent sunlight flooded the immeasurable air. Only, as the day declined, some iridescent films overspread the west; and just above Maloja the apparition of a mock sun—a well-defined circle of opaline light, broken at regular intervals by four globes—seemed to portend a change of weather. This forecast fortunately proved delusive. We drove back to Samaden across the silent snow, enjoying those delicate tints of rose and violet and saffron which shed enchantment for one hour over the white monotony of Alpine winter.

At half-past eight next morning, the sun was rising from behind Pitz Languard, as we crossed the Inn and drove through Pontresina in the glorious light, with all its huge hotels quite empty and none but a few country-folk abroad. Those who only know the Engadine in summer have little conception of its beauty. Winter softens the hard details of bare rock, and rounds the melancholy grassless mountain flanks, suspending icicles to every ledge and spangling the curved surfaces of snow with crystals. The landscape gains in purity, and, what sounds unbelievable, in tenderness. Nor does it lose in grandeur. Looking up the valley of the Morteratsch that morning, the glaciers were distinguishable in hues of green and sapphire through their veil of snow; and the highest peaks soared in a transparency of amethystine light beneath a blue sky traced with filaments of windy cloud. Some storm must have disturbed the atmosphere in Italy, for fan-shaped mists frothed out around the sun, and curled themselves above the mountains in fine feathery wreaths, melting imperceptibly into air, until, when we had risen above the cembras, the sky was one deep solid blue.

All that upland wilderness is lovelier now than in the summer; and on the morning of which I write, the air itself was far more summery than I have ever known it in the Engadine in August. We could scarcely bear to place our hands upon the woodwork of the sleigh because of the fierce sun's heat. And yet the atmosphere was crystalline with windless frost. As though to increase the strangeness of these contrasts, the pavement of beaten snow was stained with red drops spilt from wine-casks which pass over it.

The chief feature of the Bernina—what makes it a dreary pass enough in summer, but infinitely beautiful in winter—is its breadth; illimitable undulations of snow-drifts; immensity of open sky; unbroken lines of white, descending in smooth curves from glittering ice-peaks.

A glacier hangs in air above the frozen lakes, with all its green-blue ice-cliffs glistening in intensest light. Pitz Palu shoots aloft like sculptured marble, delicately veined with soft aerial shadows of translucent blue. At the summit of the pass all Italy seems to burst upon the eyes in those steep serried ranges, with their craggy crests, violet-hued in noonday sunshine, as though a bloom of plum or grape had been shed over them, enamelling their jagged precipices.

The top of the Bernina is not always thus in winter. It has a bad reputation for the fury of invading storms, when falling snow hurtles together with snow scooped from the drifts in eddies, and the weltering white sea shifts at the will of whirlwinds. The Hospice then may be tenanted for days together by weather-bound wayfarers; and a line drawn close beneath its roof shows how two years ago the whole building was buried in one snow-shroud. This morning we lounged about the door, while our horses rested and postillions and carters pledged one another in cups of new Veltliner.

The road takes an awful and sudden dive downwards, quite irrespective of the carefully engineered post-track. At this season the path is badly broken into ruts and chasms by the wine traffic. In some places it was indubitably perilous: a narrow ledge of mere ice skirting thinly clad hard-frozen banks of snow, which fell precipitately sideways for hundreds of sheer feet. We did not slip over this parapet, though we were often within an inch of doing so. Had our horse stumbled, it is not probable that I should have been writing this.

When we came to the galleries which defend the road from avalanches, we saw ahead of us a train of over forty sledges ascending, all charged with Valtelline wine. Our postillions drew up at the inner side of the gallery, between massive columns of the purest ice dependent from the rough-hewn roof and walls of rock. A sort of open loggia on the farther side framed vignettes of the Valtelline mountains in their hard cerulean shadows and keen sunlight. Between us and the view defiled the wine-sledges; and as each went by, the men made us drink out of their trinketti. These are oblong, hexagonal wooden kegs, holding about fourteen litres, which the carter fills with wine before he leaves the Valtelline, to cheer him on the homeward journey. You raise it in both hands, and when the bung has been removed, allow the liquor to flow stream-wise down your throat. It was a most extraordinary Bacchic procession—a pomp which, though undreamed of on the banks of the Ilissus, proclaimed the deity of Dionysos in authentic fashion. Struggling horses, grappling at the ice-bound floor with sharp-spiked shoes; huge, hoarse drivers, some clad in sheepskins from Italian valleys, some brown as bears in rough Graubuenden homespun; casks, dropping their spilth of red wine on the snow; greetings, embracings; patois of Bergamo, Romansch, and German roaring around the low-browed vaults and tingling ice pillars; pourings forth of libations of the new strong Valtelline on breasts and beards;—the whole made up a scene of stalwart jollity and manful labour such as I have nowhere else in such wild circumstances witnessed. Many Davosers were there, the men of Andreas Gredig, Valaer, and so forth; and all of these, on greeting Christian, forced us to drain a Schluck from their unmanageable cruses. Then on they went, crying, creaking, struggling, straining through the corridor, which echoed deafeningly, the gleaming crystals of those hard Italian mountains in their winter raiment building a background of still beauty to the savage Bacchanalian riot of the team.

How little the visitors who drink Valtelline wine at S. Moritz or Davos reflect by what strange ways it reaches them. A sledge can scarcely be laden with more than one cask of 300 litres on the ascent; and this cask, according to the state of the road, has many times to be shifted from wheels to runners and back again before the journey is accomplished. One carter will take charge of two horses, and consequently of two sledges and two casks, driving them both by voice and gesture rather than by rein. When they leave the Valtelline, the carters endeavour, as far as possible, to take the pass in gangs, lest bad weather or an accident upon the road should overtake them singly. At night they hardly rest three hours, and rarely think of sleeping, but spend the time in drinking and conversation. The horses are fed and littered; but for them too the night-halt is little better than a baiting-time. In fair weather the passage of the mountain is not difficult, though tiring. But woe to men and beasts alike if they encounter storms! Not a few perish in the passes; and it frequently happens that their only chance is to unyoke the horses and leave the sledges in a snow-wreath, seeking for themselves such shelter as may possibly be gained, frost-bitten, after hours of battling with impermeable drifts. The wine is frozen into one solid mass of rosy ice before it reaches Pontresina. This does not hurt the young vintage, but it is highly injurious to wine of some years' standing. The perils of the journey are aggravated by the savage temper of the drivers. Jealousies between the natives of rival districts spring up; and there are men alive who have fought the whole way down from Fluela Hospice to Davos Platz with knives and stones, hammers and hatchets, wooden staves and splintered cart-wheels, staining the snow with blood, and bringing broken pates, bruised limbs, and senseless comrades home to their women to be tended.

Bacchus Alpinus shepherded his train away from us to northward, and we passed forth into noonday from the gallery. It then seemed clear that both conductor and postillion were sufficiently merry. The plunge they took us down those frozen parapets, with shriek and jauchzen and cracked whips, was more than ever dangerous. Yet we reached La Rosa safely. This is a lovely solitary spot, beside a rushing stream, among grey granite boulders grown with spruce and rhododendron: a veritable rose of Sharon blooming in the desert. The wastes of the Bernina stretch above, and round about are leaguered some of the most forbidding sharp-toothed peaks I ever saw. Onwards, across the silent snow, we glided in immitigable sunshine, through opening valleys and pine-woods, past the robber-huts of Pisciadella, until at evenfall we rested in the roadside inn at Poschiavo.

IV

The snow-path ended at Poschiavo; and when, as usual, we started on our journey next day at sunrise, it was in a carriage upon wheels. Yet even here we were in full midwinter. Beyond Le Prese the lake presented one sheet of smooth black ice, reflecting every peak and chasm of the mountains, and showing the rocks and water-weeds in the clear green depths below. The glittering floor stretched away for acres of untenanted expanse, with not a skater to explore those dark mysterious coves, or strike across the slanting sunlight poured from clefts in the impendent hills. Inshore the substance of the ice sparkled here and there with iridescence like the plumelets of a butterfly's wing under the microscope, wherever light happened to catch the jagged or oblique flaws that veined its solid crystal.

From the lake the road descends suddenly for a considerable distance through a narrow gorge, following a torrent which rushes among granite boulders. Chestnut trees begin to replace the pines. The sunnier terraces are planted with tobacco, and at a lower level vines appear at intervals in patches. One comes at length to a great red gate across the road, which separates Switzerland from Italy, and where the export dues on wine are paid. The Italian custom-house is romantically perched above the torrent. Two courteous and elegant finanzieri, mere boys, were sitting wrapped in their military cloaks and reading novels in the sun as we drove up. Though they made some pretence of examining the luggage, they excused themselves with sweet smiles and apologetic eyes—it was a disagreeable duty!

A short time brought us to the first village in the Valtelline, where the road bifurcates northward to Bormio and the Stelvio pass, southward to Sondrio and Lombardy. It is a little hamlet, known by the name of La Madonna di Tirano, having grown up round a pilgrimage church of great beauty, with tall Lombard bell-tower, pierced with many tiers of pilastered windows, ending in a whimsical spire, and dominating a fantastic cupola building of the earlier Renaissance. Taken altogether, this is a charming bit of architecture, picturesquely set beneath the granite snow-peaks of the Valtelline. The church, they say, was raised at Madonna's own command to stay the tide of heresy descending from the Engadine; and in the year 1620, the bronze statue of S. Michael, which still spreads wide its wings above the cupola, looked down upon the massacre of six hundred Protestants and foreigners, commanded by the patriot Jacopo Robustelli.

From Madonna the road leads up the valley through a narrow avenue of poplar-trees to the town of Tirano. We were now in the district where Forzato is made, and every vineyard had a name and history. In Tirano we betook ourself to the house of an old acquaintance of the Buol family, Bernardo da Campo, or, as the Graubuendeners call him, Bernard Campbell. We found him at dinner with his son and grandchildren in a vast, dark, bare Italian chamber. It would be difficult to find a more typical old Scotchman of the Lowlands than he looked, with his clean close-shaven face, bright brown eyes, and snow-white hair escaping from a broad-brimmed hat. He might have sat to a painter for some Covenanter's portrait, except that there was nothing dour about him, or for an illustration to Burns's 'Cotter's Saturday Night.' The air of probity and canniness combined with a twinkle of dry humour was completely Scotch; and when he tapped his snuff-box, telling stories of old days, I could not refrain from asking him about his pedigree. It should be said that there is a considerable family of Campells or Campbells in the Graubuenden, who are fabled to deduce their stock from a Scotch Protestant of Zwingli's time; and this made it irresistible to imagine that in our friend Bernardo I had chanced upon a notable specimen of atavism. All he knew, however, was, that his first ancestor had been a foreigner, who came across the mountains to Tirano two centuries ago.[3]

This old gentleman is a considerable wine-dealer. He sent us with his son, Giacomo, on a long journey underground through his cellars, where we tasted several sorts of Valtelline, especially the new Forzato, made a few weeks since, which singularly combines sweetness with strength, and both with a slight effervescence. It is certainly the sort of wine wherewith to tempt a Polyphemus, and not unapt to turn a giant's head.

Leaving Tirano, and once more passing through the poplars by Madonna, we descended the valley all along the vineyards of Villa and the vast district of Sassella. Here and there, at wayside inns, we stopped to drink a glass of some particular vintage; and everywhere it seemed as though god Bacchus were at home. The whole valley on the right side of the Adda is one gigantic vineyard, climbing the hills in tiers and terraces, which justify its Italian epithet of Teatro di Bacco. The rock is a greyish granite, assuming sullen brown and orange tints where exposed to sun and weather. The vines are grown on stakes, not trellised over trees or carried across boulders, as is the fashion at Chiavenna or Terlan. Yet every advantage of the mountain is adroitly used; nooks and crannies being specially preferred, where the sun's rays are deflected from hanging cliffs. The soil seems deep, and is of a dull yellow tone. When the vines end, brushwood takes up the growth, which expires at last in crag and snow. Some alps and chalets, dimly traced against the sky, are evidences that a pastoral life prevails above the vineyards. Pan there stretches the pine-thyrsus down to vine-garlanded Dionysos.

The Adda flows majestically among willows in the midst, and the valley is nearly straight. The prettiest spot, perhaps, is at Tresenda or S. Giacomo, where a pass from Edolo and Brescia descends from the southern hills. But the Valtelline has no great claim to beauty of scenery. Its chief town, Sondrio, where we supped and drank some special wine called il vino de' Signori Grigioni, has been modernised in dull Italian fashion.

V

The hotel at Sondrio, La Maddalena, was in carnival uproar of masquers, topers, and musicians all night through. It was as much as we could do to rouse the sleepy servants and get a cup of coffee ere we started in the frozen dawn. 'Verfluchte Maddalena!' grumbled Christian as he shouldered our portmanteaus and bore them in hot haste to the post. Long experience only confirms the first impression, that, of all cold, the cold of an Italian winter is most penetrating. As we lumbered out of Sondrio in a heavy diligence, I could have fancied myself back once again at Radicofani or among the Ciminian hills. The frost was penetrating. Fur-coats would not keep it out; and we longed to be once more in open sledges on Bernina rather than enclosed in that cold coupe. Now we passed Grumello, the second largest of the renowned vine districts; and always keeping the white mass of Monte di Disgrazia in sight, rolled at last into Morbegno. Here the Valtelline vintage properly ends, though much of the ordinary wine is probably supplied from the inferior produce of these fields. It was past noon when we reached Colico, and saw the Lake of Como glittering in sunlight, dazzling cloaks of snow on all the mountains, which look as dry and brown as dead beech-leaves at this season. Our Bacchic journey had reached its close; and it boots not here to tell in detail how we made our way across the Spluegen, piercing its avalanches by low-arched galleries scooped from the solid snow, and careering in our sledges down perpendicular snow-fields, which no one who has crossed that pass from the Italian side in winter will forget. We left the refuge station at the top together with a train of wine-sledges, and passed them in the midst of the wild descent. Looking back, I saw two of their horses stumble in the plunge and roll headlong over. Unluckily in one of these somersaults a man was injured. Flung ahead into the snow by the first lurch, the sledge and wine-cask crossed him like a garden-roller. Had his bed not been of snow, he must have been crushed to death; and as it was, he presented a woeful appearance when he afterwards arrived at Spluegen.

VI

Though not strictly connected with the subject of this paper, I shall conclude these notes of winter wanderings in the high Alps with an episode which illustrates their curious vicissitudes.

It was late in the month of March, and nearly all the mountain roads were open for wheeled vehicles. A carriage and four horses came to meet us at the termination of a railway journey in Bagalz. We spent one day in visiting old houses of the Grisons aristocracy at Mayenfeld and Zizers, rejoicing in the early sunshine, which had spread the fields with spring flowers—primroses and oxlips, violets, anemones, and bright blue squills. At Chur we slept, and early next morning started for our homeward drive to Davos. Bad weather had declared itself in the night. It blew violently, and the rain soon changed to snow, frozen by a bitter north blast. Crossing the dreary heath of Lenz was both magnificent and dreadful. By the time we reached Wiesen, all the forests were laden with snow, the roads deep in snow-drifts, the whole scene wintrier than it had been the winter through.

At Wiesen we should have stayed, for evening was fast setting in. But in ordinary weather it is only a two hours drive from Wiesen to Davos. Our coachman made no objections to resuming the journey, and our four horses had but a light load to drag. So we telegraphed for supper to be prepared, and started between five and six.

A deep gorge has to be traversed, where the torrent cleaves its way between jaws of limestone precipices. The road is carried along ledges and through tunnels in the rock. Avalanches, which sweep this passage annually from the hills above, give it the name of Zuege, or the Snow-Paths. As we entered the gorge darkness fell, the horses dragged more heavily, and it soon became evident that our Tyrolese driver was hopelessly drunk. He nearly upset us twice by taking sharp turns in the road, banged the carriage against telegraph posts and jutting rocks, shaved the very verge of the torrent in places where there was no parapet, and, what was worst of all, refused to leave his box without a fight. The darkness by this time was all but total, and a blinding snow-storm swept howling through the ravine. At length we got the carriage to a dead-stop, and floundered out in deep wet snow toward some wooden huts where miners in old days made their habitation. The place, by a curious, perhaps unconscious irony, is called Hoffnungsau, or the Meadow of Hope. Indeed, it is not ill named; for many wanderers, escaping, as we did, from the dreadful gorge of Avalanches on a stormy night, may have felt, as we now felt, their hope reviving when they reached this shelter.

There was no light; nothing above, beneath, around, on any side, but tearing tempest and snow whirled through the ravine. The horses were taken out of the carriage; on their way to the stable, which fortunately in these mountain regions will be always found beside the poorest habitation, one of them fell back across a wall and nearly broke his spine. Hoffnungsau is inhabited all through the year. In its dismal dark kitchen we found a knot of workmen gathered together, and heard there were two horses on the premises besides our own. It then occurred to us that we might accomplish the rest of the journey with such sledges as they bring the wood on from the hills in winter, if coal-boxes or boxes of any sort could be provided. These should be lashed to the sledges and filled with hay. We were only four persons; my wife and a friend should go in one, myself and my little girl in the other. No sooner thought of than put into practice. These original conveyances were improvised, and after two hours' halt on the Meadow of Hope, we all set forth again at half-past eight.

I have rarely felt anything more piercing than the grim cold of that journey. We crawled at a foot's pace through changeful snow-drifts. The road was obliterated, and it was my duty to keep a petroleum stable-lamp swinging to illuminate the untracked wilderness. My little girl was snugly nested in the hay, and sound asleep with a deep white covering of snow above her. Meanwhile, the drift clave in frozen masses to our faces, lashed by a wind so fierce and keen that it was difficult to breathe it. My forehead-bone ached, as though with neuralgia, from the mere mask of icy snow upon it, plastered on with frost. Nothing could be seen but millions of white specks, whirled at us in eddying concentric circles. Not far from the entrance to the village we met our house-folk out with lanterns to look for us. It was past eleven at night when at last we entered warm rooms and refreshed ourselves for the tiring day with a jovial champagne supper. Horses, carriage, and drunken driver reached home next morning.

* * * * *



OLD TOWNS OF PROVENCE

Travellers journeying southward from Paris first meet with olive-trees near Montdragon or Monselimart—little towns, with old historic names, upon the road to Orange. It is here that we begin to feel ourselves within the land of Provence, where the Romans found a second Italy, and where the autumn of their antique civilisation was followed, almost without an intermediate winter of barbarism, by the light and delicate springtime of romance. Orange itself is full of Rome. Indeed, the ghost of the dead empire seems there to be more real and living than the actual flesh and blood of modern time, as represented by narrow dirty streets and mean churches. It is the shell of the huge theatre, hollowed from the solid hill, and fronted with a wall that seems made rather to protect a city than to form a sounding-board for a stage, which first tells us that we have reached the old Arausio. Of all theatres this is the most impressive, stupendous, indestructible, the Colosseum hardly excepted; for in Rome herself we are prepared for something gigantic, while in the insignificant Arausio—a sort of antique Tewkesbury—to find such magnificence, durability, and vastness, impresses one with a nightmare sense that the old lioness of Empire can scarcely yet be dead. Standing before the colossal, towering, amorphous precipice which formed the background of the scena, we feel as if once more the 'heart-shaking sound of Consul Romanus' might be heard; as if Roman knights and deputies, arisen from the dead, with faces hard and stern as those of the warriors carved on Trajan's frieze, might take their seats beneath us in the orchestra, and, after proclamation made, the mortmain of imperial Rome be laid upon the comforts, liberties, and little gracefulnesses of our modern life. Nor is it unpleasant to be startled from such reverie by the voice of the old guardian upon the stage beneath, sonorously devolving the vacuous Alexandrines with which he once welcomed his ephemeral French emperor from Algiers. The little man is dim with distance, eclipsed and swallowed up by the shadows and grotesque fragments of the ruin in the midst of which he stands. But his voice—thanks to the inimitable constructive art of the ancient architect, which, even in the desolation of at least thirteen centuries, has not lost its cunning-emerges from the pigmy throat, and fills the whole vast hollow with its clear, if tiny, sound. Thank heaven, there is no danger of Roman resurrection here! The illusion is completely broken, and we turn to gather the first violets of February, and to wonder at the quaint postures of a praying mantis on the grass grown tiers and porches fringed with fern.

The sense of Roman greatness which is so oppressive in Orange and in many other parts of Provence, is not felt at Avignon. Here we exchange the ghost of Imperial for the phantom of Ecclesiastical Rome. The fixed epithet of Avignon is Papal; and as the express train rushes over its bleak and wind-tormented plain, the heavy dungeon-walls and battlemented towers of its palace fortress seem to warn us off, and bid us quickly leave the Babylon of exiled impious Antichrist. Avignon presents the bleakest, barest, greyest scene upon a February morning, when the incessant mistral is blowing, and far and near, upon desolate hillside and sandy plain, the scanty trees are bent sideways, the crumbling castle turrets shivering like bleached skeletons in the dry ungenial air. Yet inside the town, all is not so dreary. The Papal palace, with its terrible Glaciere, its chapel painted by Simone Memmi, its endless corridors and staircases, its torture-chamber, funnel-shaped to drown and suffocate—so runs tradition—the shrieks of wretches on the rack, is now a barrack, filled with lively little French soldiers, whose politeness, though sorely taxed, is never ruffled by the introduction of inquisitive visitors into their dormitories, eating-places, and drill-grounds. And strange, indeed, it is to see the lines of neat narrow barrack beds, between which the red-legged little men are shaving, polishing their guns, or mending their trousers, in those vaulted halls of popes and cardinals, those vast presence-chambers and audience-galleries, where Urban entertained S. Catherine, where Rienzi came, a prisoner, to be stared at. Pass by the Glaciere with a shudder, for it has still the reek of blood about it; and do not long delay in the cheerless dungeon of Rienzi. Time and regimental whitewash have swept these lurking-places of old crime very bare; but the parable of the seven devils is true in more senses than one, and the ghosts that return to haunt a deodorised, disinfected, garnished sepulchre are almost more ghastly than those which have never been disturbed from their old habitations.

Little by little the eye becomes accustomed to the bareness and greyness of this Provencal landscape; and then we find that the scenery round Avignon is eminently picturesque. The view from Les Doms—which is a hill above the Pope's palace, the Acropolis, as it were, of Avignon—embraces a wide stretch of undulating champaign, bordered by low hills, and intersected by the flashing waters of the majestic Rhone. Across the stream stands Villeneuve, like a castle of romance, with its round stone towers fronting the gates and battlemented walls of the Papal city. A bridge used to connect the two towns, but it is now broken. The remaining fragment is of solid build, resting on great buttresses, one of which rises fantastically above the bridge into a little chapel. Such, one might fancy, was the bridge which Ariosto's Rodomonte kept on horse against the Paladins of Charlemagne, when angered by the loss of his love. Nor is it difficult to imagine Bradamante spurring up the slope against him with her magic lance in rest, and tilting him into the tawny waves beneath.

On a clear October morning, when the vineyards are taking their last tints of gold and crimson, and the yellow foliage of the poplars by the river mingles with the sober greys of olive-trees and willows, every square inch of this landscape, glittering as it does with light and with colour, the more beautiful for its subtlety and rarity, would make a picture. Out of many such vignettes let us choose one. We are on the shore close by the ruined bridge, the rolling muddy Rhone in front; beyond it, by the towing-path, a tall strong cypress-tree rises beside a little house, and next to it a crucifix twelve feet or more in height, the Christ visible afar, stretched upon His red cross; arundo donax is waving all around, and willows near; behind, far off, soar the peaked hills, blue and pearled with clouds; past the cypress, on the Rhone, comes floating a long raft, swift through the stream, its rudder guided by a score of men: one standing erect upon the prow bends forward to salute the cross; on flies the raft, the tall reeds rustle, and the cypress sleeps.

For those who have time to spare in going to or from the south it is worth while to spend a day or two in the most comfortable and characteristic of old French inns, the Hotel de l'Europe, at Avignon. Should it rain, the museum of the town is worth a visit. It contains Horace Vernet's not uncelebrated picture of Mazeppa, and another, less famous, but perhaps more interesting, by swollen-cheeked David, the 'genius in convulsion,' as Carlyle has christened him. His canvas is unfinished. Who knows what cry of the Convention made the painter fling his palette down and leave the masterpiece he might have spoiled? For in its way the picture is a masterpiece. There lies Jean Barrad, drummer, aged fourteen, slain in La Vendee, a true patriot, who, while his life-blood flowed away, pressed the tricolor cockade to his heart, and murmured 'Liberty!' David has treated his subject classically. The little drummer-boy, though French enough in feature and in feeling, lies, Greek-like, naked on the sand—a very Hyacinth of the Republic, La Vendee's Ilioneus. The tricolor cockade and the sentiment of upturned patriotic eyes are the only indications of his being a hero in his teens, a citizen who thought it sweet to die for France.

In fine weather a visit to Vaucluse should by no means be omitted, not so much, perhaps, for Petrarch's sake as for the interest of the drive, and for the marvel of the fountain of the Sorgues. For some time after leaving Avignon you jog along the level country between avenues of plane-trees; then comes a hilly ridge, on which the olives, mulberries, and vineyards join their colours and melt subtly into distant purple. After crossing this we reach L'Isle, an island village girdled by the gliding Sorgues, overshadowed with gigantic plane-boughs, and echoing to the plash of water dripped from mossy fern-tufted millwheels. Those who expect Petrarch's Sorgues to be some trickling poet's rill emerging from a damp grotto, may well be astounded at the rush and roar of this azure river so close upon its fountain-head. It has a volume and an arrow-like rapidity that communicate the feeling of exuberance and life. In passing, let it not be forgotten that it was somewhere or other in this 'chiaro fondo di Sorga,' as Carlyle describes, that Jourdain, the hangman-hero of the Glaciere, stuck fast upon his pony when flying from his foes, and had his accursed life, by some diabolical providence, spared for future butcheries. On we go across the austere plain, between fields of madder, the red roots of the 'garance' lying in swathes along the furrows. In front rise ash-grey hills of barren rock, here and there crimsoned with the leaves of the dwarf sumach. A huge cliff stands up and seems to bar all passage. Yet the river foams in torrents at our side. Whence can it issue? What pass or cranny in that precipice is cloven for its escape? These questions grow in interest as we enter the narrow defile of limestone rocks which leads to the cliff-barrier, and find ourselves among the figs and olives of Vaucluse. Here is the village, the little church, the ugly column to Petrarch's memory, the inn, with its caricatures of Laura, and its excellent trout, the bridge and the many-flashing, eddying Sorgues, lashed by millwheels, broken by weirs, divided in its course, channelled and dyked, yet flowing irresistibly and undefiled. Blue, purple, greened by moss and water-weeds, silvered by snow-white pebbles, on its pure smooth bed the river runs like elemental diamond, so clear and fresh. The rocks on either side are grey or yellow, terraced into oliveyards, with here and there a cypress, fig, or mulberry tree. Soon the gardens cease, and lentisk, rosemary, box, and ilex—shrubs of Provence—with here and there a sumach out of reach, cling to the hard stone. And so at last we are brought face to face with the sheer impassable precipice. At its basement sleeps a pool, perfectly untroubled; a lakelet in which the sheltering rocks and nestling wild figs are glassed as in a mirror—a mirror of blue-black water, like amethyst or fluor-spar—so pure, so still, that where it laps the pebbles you can scarcely say where air begins and water ends. This, then, is Petrarch's 'grotto;' this is the fountain of Vaucluse. Up from its deep reservoirs, from the mysterious basements of the mountain, wells the silent stream; pauseless and motionless it fills its urn, rises unruffled, glides until the brink is reached, then overflows, and foams, and dashes noisily, a cataract, among the boulders of the hills. Nothing at Vaucluse is more impressive than the contrast between the tranquil silence of the fountain and the roar of the released impetuous river. Here we can realise the calm clear eyes of sculptured water-gods, their brimming urns, their gushing streams, the magic of the mountain-born and darkness-cradled flood. Or again, looking up at the sheer steep cliff, 800 feet in height, and arching slightly roofwise, so that no rain falls upon the cavern of the pool, we seem to see the stroke of Neptune's trident, the hoof of Pegasus, the force of Moses' rod, which cleft rocks and made water gush forth in the desert. There is a strange fascination in the spot. As our eyes follow the white pebble which cleaves the surface and falls visibly, until the veil of azure is too thick for sight to pierce, we feel as if some glamour were drawing us, like Hylas, to the hidden caves. At least, we long to yield a prized and precious offering to the spring, to grace the nymph of Vaucluse with a pearl of price as token of our reverence and love.

Meanwhile nothing has been said about Petrarch, who himself said much about the spring, and complained against those very nymphs to whom we have in wish, at least, been scattering jewels, that they broke his banks and swallowed up his gardens every winter. At Vaucluse Petrarch loved, and lived, and sang. He has made Vaucluse famous, and will never be forgotten there. But for the present the fountain is even more attractive than the memory of the poet.[4]

The change from Avignon to Nismes is very trying to the latter place; for Nismes is not picturesquely or historically interesting. It is a prosperous modern French town with two almost perfect Roman monuments—Les Arenes and the Maison Carree. The amphitheatre is a complete oval, visible at one glance. Its smooth white stone, even where it has not been restored, seems unimpaired by age; and Charles Martel's conflagration, when he burned the Saracen hornet's nest inside it, has only blackened the outer walls and arches venerably. Utility and perfect adaptation of means to ends form the beauty of Roman buildings. The science of construction and large intelligence displayed in them, their strength, simplicity, solidity, and purpose, are their glory. Perhaps there is only one modern edifice—Palladio's Palazzo della Ragione at Vicenza—which approaches the dignity and loftiness of Roman architecture; and this it does because of its absolute freedom from ornament, the vastness of its design, and the durability of its material. The temple, called the Maison Carree, at Nismes, is also very perfect, and comprehended at one glance. Light, graceful, airy, but rather thin and narrow, it reminds one of the temple of Fortuna Virilis at Rome.

But if Nismes itself is not picturesque, its environs contain the wonderful Pont du Gard. A two or three hours' drive leads through a desolate country to the valley of the Cardon, where suddenly, at a turn of the road, one comes upon the aqueduct. It is not within the scope of words to describe the impression produced by those vast arches, row above row, cutting the deep blue sky. The domed summer clouds sailing across them are comprehended in the gigantic span of their perfect semicircles, which seem rather to have been described by Miltonic compasses of Deity than by merely human mathematics. Yet, standing beneath one of the vaults and looking upward, you may read Roman numerals in order from I. to X., which prove their human origin well enough. Next to their strength, regularity, and magnitude, the most astonishing point about this triple tier of arches, piled one above the other to a height of 180 feet above a brawling stream between two barren hills, is their lightness. The arches are not thick; the causeway on the top is only just broad enough for three men to walk abreast. So smooth and perpendicular are the supporting walls that scarcely a shrub or tuft of grass has grown upon the aqueduct in all these years. And yet the huge fabric is strengthened by no buttress, has needed no repair. This lightness of structure, combined with such prodigious durability, produces the strongest sense of science and self-reliant power in the men who designed it. None but Romans could have built such a monument, and have set it in such a place—a wilderness of rock and rolling hill, scantily covered with low brushwood, and browsed over by a few sheep—for such a purpose, too, in order to supply Nemausus with pure water. The modern town does pretty well without its water; but here subsists the civilisation of eighteen centuries past intact: the human labour yet remains, the measuring, contriving mind of man, shrinking from no obstacles, spanning the air, and in one edifice combining gigantic strength and perfect beauty. It is impossible not to echo Rousseau's words in such a place, and to say with him: 'Le retentissement de mes pas dans ces immenses voutes me faisait croire entendre la forte voix de ceux qui les avaient baties. Je me perdais comme un insecte dans cette immensite. Je sentais, tout en me faisant petit, je ne sais quoi qui m'elevait l'ame; et je me disais en soupirant, Que ne suis-je ne Romain!'

There is nothing at Arles which produces the same deep and indelible impression. Yet Arles is a far more interesting town than Nismes, partly because of the Rhone delta which begins there, partly because of its ruinous antiquity, and partly also because of the strong local character of its population. The amphitheatre of Arles is vaster and more sublime in its desolation than the tidy theatre at Nismes; the crypts, and dens, and subterranean passages suggest all manner of speculation as to the uses to which they may have been appropriated; while the broken galleries outside, intricate and black and cavernous, like Piranesi's etchings of the 'Carceri,' present the wildest pictures of greatness in decay, fantastic dilapidation. The ruins of the smaller theatre, again, with their picturesquely grouped fragments and their standing columns, might be sketched for a frontispiece to some dilettante work on classical antiquities. For the rest, perhaps the Aliscamps, or ancient Roman burial-ground, is the most interesting thing at Arles, not only because of Dante's celebrated lines in the canto of 'Farinata:'—

Si come ad Arli ove 'l Rodano stagna, Fanno i sepolcri tutto 'l loco varo;

but also because of the intrinsic picturesqueness of this avenue of sepulchres beneath green trees upon a long soft grassy field.

But as at Avignon and Nismes, so also at Arles, one of the chief attractions of the place lies at a distance, and requires a special expedition. The road to Les Baux crosses a true Provencal desert where one realises the phrase, 'Vieux comme les rochers de Provence,'—a wilderness of grey stone, here and there worn into cart-tracks, and tufted with rosemary, box, lavender, and lentisk. On the way it passes the Abbaye de Mont Majeur, a ruin of gigantic size, embracing all periods of architecture; where nothing seems to flourish now but henbane and the wild cucumber, or to breathe but a mumble-toothed and terrible old hag. The ruin stands above a desolate marsh, its vast Italian buildings of Palladian splendour looking more forlorn in their decay than the older and austerer mediaeval towers, which rise up proud and patient and defiantly erect beneath the curse of time. When at length what used to be the castle town of Les Baux is reached, you find a naked mountain of yellow sandstone, worn away by nature into bastions and buttresses and coigns of vantage, sculptured by ancient art into palaces and chapels, battlements and dungeons. Now art and nature are confounded in one ruin. Blocks of masonry lie cheek by jowl with masses of the rough-hewn rock; fallen cavern vaults are heaped round fragments of fan-shaped spandrel and clustered column-shaft; the doors and windows of old pleasure-rooms are hung with ivy and wild fig for tapestry; winding staircases start midway upon the cliff, and lead to vacancy. High overhead suspended in mid-air hang chambers—lady's bower or poet's singing-room—now inaccessible, the haunt of hawks and swallows. Within this rocky honeycomb—'cette ville en monolithe,' as it has been aptly called, for it is literally scooped out of one mountain block—live about two hundred poor people, foddering their wretched goats at carved piscina and stately sideboards, erecting mud beplastered hovels in the halls of feudal princes. Murray is wrong in calling the place a mediaeval town in its original state, for anything more purely ruinous, more like a decayed old cheese, cannot possibly be conceived. The living only inhabit the tombs of the dead. At the end of the last century, when revolutionary effervescence was beginning to ferment, the people of Arles swept all its feudality away, defacing the very arms upon the town gate, and trampling the palace towers to dust.

The castle looks out across a vast extent of plain over Arles, the stagnant Rhone, the Camargue, and the salt pools of the lingering sea. In old days it was the eyrie of an eagle race called Seigneurs of Les Baux; and whether they took their title from the rock, or whether, as genealogists would have it, they gave the name of Oriental Balthazar—their reputed ancestor, one of the Magi—to the rock itself, remains a mystery not greatly worth the solving.

Anyhow, here they lived and flourished, these feudal princes, bearing for their ensign a silver comet of sixteen rays upon a field of gules—themselves a comet race, baleful to the neighbouring lowlands, blazing with lurid splendour over wide tracts of country, a burning, raging, fiery-souled, swift-handed tribe, in whom a flame unquenchable glowed from son to sire through twice five hundred years until, in the sixteenth century, they were burned out, and nothing remained but cinders—these broken ruins of their eyrie, and some outworn and dusty titles. Very strange are the fate and history of these same titles: King of Arles, for instance, savouring of troubadour and high romance; Prince of Tarentum, smacking of old plays and Italian novels; Prince of Orange, which the Nassaus, through the Chalons, seized in all its emptiness long after the real principality had passed away, and came therewith to sit on England's throne.

The Les Baux in their heyday were patterns of feudal nobility. They warred incessantly with Counts of Provence, archbishops and burghers of Arles, Queens of Naples, Kings of Aragon. Crusading, pillaging, betraying, spending their substance on the sword, and buying it again by deeds of valour or imperial acts of favour, tuning troubadour harps, presiding at courts of love,—they filled a large page in the history of Southern France. The Les Baux were very superstitious. In the fulness of their prosperity they restricted the number of their dependent towns, or places baussenques, to seventy-nine, because these numbers in combination were thought to be of good omen to their house. Beral des Baux, Seigneur of Marseilles, was one day starting on a journey with his whole force to Avignon. He met an old woman herb-gathering at daybreak, and said, 'Mother, hast thou seen a crow or other bird?' 'Yea,' answered the crone, 'on the trunk of a dead willow.' Beral counted upon his fingers the day of the year, and turned bridle. With troubadours of name and note they had dealings, but not always to their own advantage, as the following story testifies. When the Baux and Berengers were struggling for the countship of Provence, Raymond Berenger, by his wife's counsel, went, attended by troubadours, to meet the Emperor Frederick at Milan. There he sued for the investiture and ratification of Provence. His troubadours sang and charmed Frederick; and the Emperor, for the joy he had in them, wrote his celebrated lines beginning—

Plas mi cavalier Francez.

And when Berenger made his request he met with no refusal. Hearing thereof, the lords of Baux came down in wrath with a clangour of armed men. But music had already gained the day; and where the Phoebus of Provence had shone, the AEolus of storm-shaken Les Baux was powerless. Again, when Blacas, a knight of Provence, died, the great Sordello chanted one of his most fiery hymns, bidding the princes of Christendom flock round and eat the heart of the dead lord. 'Let Rambaude des Baux,' cries the bard, with a sarcasm that is clearly meant, but at this distance almost unintelligible, 'take also a good piece, for she is fair and good and truly virtuous; let her keep it well who knows so well to husband her own weal.' But the poets were not always adverse to the house of Baux. Fouquet, the beautiful and gentle melodist whom Dante placed in paradise, served Adelaisie, wife of Berald, with long service of unhappy love, and wrote upon her death 'The Complaint of Berald des Baux for Adelaisie.' Guillaume de Cabestan loved Berangere des Baux, and was so loved by her that she gave him a philtre to drink, whereof he sickened and grew mad. Many more troubadours are cited as having frequented the castle of Les Baux, and among the members of the princely house were several poets.

Some of them were renowned for beauty. We hear of a Cecile, called Passe Rose, because of her exceeding loveliness; also of an unhappy Francois, who, after passing eighteen years in prison, yet won the grace and love of Joan of Naples by his charms. But the real temper of this fierce tribe was not shown among troubadours, or in the courts of love and beauty. The stern and barren rock from which they sprang, and the comet of their scutcheon, are the true symbols of their nature. History records no end of their ravages and slaughters. It is a tedious catalogue of blood—how one prince put to fire and sword the whole town of Courthezon; how another was stabbed in prison by his wife; how a third besieged the castle of his niece, and sought to undermine her chamber, knowing her the while to be in childbed; how a fourth was flayed alive outside the walls of Avignon. There is nothing terrible, splendid, and savage, belonging to feudal history, of which an example may not be found in the annals of Les Baux, as narrated by their chronicler, Jules Canonge.

However abrupt may seem the transition from these memories of the ancient nobles of Les Baux to mere matters of travel and picturesqueness, it would be impossible to take leave of the old towns of Provence without glancing at the cathedrals of S. Trophime at Arles, and of S. Gilles—a village on the border of the dreary flamingo-haunted Camargue. Both of these buildings have porches splendidly encrusted with sculptures, half classical, half mediaeval, marking the transition from ancient to modern art. But that of S. Gilles is by far the richer and more elaborate. The whole facade of this church is one mass of intricate decoration; Norman arches and carved lions, like those of Lombard architecture, mingling fantastically with Greek scrolls of fruit and flowers, with elegant Corinthian columns jutting out upon the church steps, and with the old conventional wave-border that is called Etruscan in our modern jargon. From the midst of florid fret and foliage lean mild faces of saints and Madonnas. Symbols of evangelists with half-human, half-animal eyes and wings, are interwoven with the leafy bowers of cupids. Grave apostles stand erect beneath acanthus wreaths that ought to crisp the forehead of a laughing Faun or Bacchus. And yet so full, exuberant, and deftly chosen are these various elements, that there remains no sense of incongruity or discord. The mediaeval spirit had much trouble to disentangle itself from classic reminiscences; and fortunately for the picturesqueness of S. Gilles, it did not succeed. How strangely different is the result of this transition in the south from those severe and rigid forms which we call Romanesque in Germany and Normandy and England!

* * * * *



THE CORNICE

It was a dull afternoon in February when we left Nice, and drove across the mountains to Mentone. Over hill and sea hung a thick mist. Turbia's Roman tower stood up in cheerless solitude, wreathed round with driving vapour, and the rocky nest of Esa seemed suspended in a chaos between sea and sky. Sometimes the fog broke and showed us Villafranca, lying green and flat in the deep blue below: sometimes a distant view of higher peaks swam into sight from the shifting cloud. But the whole scene was desolate. Was it for this that we had left our English home, and travelled from London day and night? At length we reached the edge of the cloud, and jingled down by Roccabruna and the olive-groves, till one by one Mentone's villas came in sight, and at last we found ourselves at the inn door. That night, and all next day and the next night, we heard the hoarse sea beat and thunder on the beach. The rain and wind kept driving from the south, but we consoled ourselves with thinking that the orange-trees and every kind of flower were drinking in the moisture and waiting to rejoice in sunlight which would come.

It was a Sunday morning when we woke and found that the rain had gone, the sun was shining brightly on the sea, and a clear north wind was blowing cloud and mist away. Out upon the hills we went, not caring much what path we took; for everything was beautiful, and hill and vale were full of garden walks. Through lemon-groves,—pale, golden-tender trees,—and olives, stretching their grey boughs against the lonely cottage tiles, we climbed, until we reached the pines and heath above. Then I knew the meaning of Theocritus for the first time. We found a well, broad, deep, and clear, with green herbs growing at the bottom, a runlet flowing from it down the rocky steps, maidenhair, black adiantum, and blue violets, hanging from the brink and mirrored in the water. This was just the well in Hylas. Theocritus has been badly treated. They call him a court poet, dead to Nature, artificial in his pictures. Yet I recognised this fountain by his verse, just as if he had showed me the very spot. Violets grow everywhere, of every shade, from black to lilac. Their stalks are long, and the flowers 'nod' upon them, so that I see how the Greeks could make them into chaplets—how Lycidas wore his crown of white violets[5] lying by the fireside elbow-deep in withered asphodel, watching the chestnuts in the embers, and softly drinking deep healths to Ageanax far off upon the waves. It is impossible to go wrong in these valleys. They are cultivated to the height of about five hundred feet above the sea, in terraces laboriously built up with walls, earthed and manured, and irrigated by means of tanks and aqueducts. Above this level, where the virgin soil has not been yet reclaimed, or where the winds of winter bring down freezing currents from the mountains through a gap or gully of the lower hills, a tangled growth of heaths and arbutus, and pines, and rosemarys, and myrtles, continue the vegetation, till it finally ends in bare grey rocks and peaks some thousand feet in height. Far above all signs of cultivation on these arid peaks, you still may see villages and ruined castles, built centuries ago for a protection from the Moorish pirates. To these mountain fastnesses the people of the coast retreated when they descried the sails of their foes on the horizon. In Mentone, not very long ago, old men might be seen who in their youth were said to have been taken captive by the Moors; and many Arabic words have found their way into the patois of the people.

There is something strangely fascinating in the sight of these ruins on the burning rocks, with their black sentinel cypresses, immensely tall and far away. Long years and rain and sunlight have made these castellated eyries one with their native stone. It is hard to trace in their foundations where Nature's workmanship ends and where man's begins. What strange sights the mountain villagers must see! The vast blue plain of the unfurrowed deep, the fairy range of Corsica hung midway between the sea and sky at dawn or sunset, the stars so close above their heads, the deep dew-sprinkled valleys, the green pines! On penetrating into one of these hill-fortresses, you find that it is a whole village, with a church and castle and piazza, some few feet square, huddled together on a narrow platform. We met one day three magnates of Gorbio taking a morning stroll backwards and forwards, up and down their tiny square. Vehemently gesticulating, loudly chattering, they talked as though they had not seen each other for ten years, and were but just unloading their budgets of accumulated news. Yet these three men probably had lived, eaten, drunk, and talked together from the cradle to that hour: so true it is that use and custom quicken all our powers, especially of gossiping and scandal-mongering. S. Agnese is the highest and most notable of all these villages. The cold and heat upon its absolutely barren rock must be alike intolerable. In appearance it is not unlike the Etruscan towns of Central Italy; but there is something, of course, far more imposing in the immense antiquity and the historical associations of a Narni, a Fiesole, a Chiusi, or an Orvieto. Sea-life and rusticity strike a different note from that of those Apennine-girdled seats of dead civilisation, in which nations, arts, and religions have gone by and left but few traces,—some wrecks of giant walls, some excavated tombs, some shrines, where monks still sing and pray above the relics of the founders of once world-shaking, now almost forgotten, orders. Here at Mentone there is none of this; the idyllic is the true note, and Theocritus is still alive.

We do not often scale these altitudes, but keep along the terraced glades by the side of olive-shaded streams. The violets, instead of peeping shyly from hedgerows, fall in ripples and cascades over mossy walls among maidenhair and spleen-worts. They are very sweet, and the sound of trickling water seems to mingle with their fragrance in a most delicious harmony. Sound, smell, and hue make up one chord, the sense of which is pure and perfect peace. The country-people are kind, letting us pass everywhere, so that we make our way along their aqueducts and through their gardens, under laden lemon-boughs, the pale fruit dangling at our ears, and swinging showers of scented dew upon us as we pass. Far better, however, than lemon or orange trees, are the olives. Some of these are immensely old, numbering, it is said, five centuries, so that Petrarch may almost have rested beneath their shade on his way to Avignon. These veterans are cavernous with age: gnarled, split, and twisted trunks, throwing out arms that break into a hundred branches; every branch distinct, and feathered with innumerable sparks and spikelets of white, wavy, greenish light. These are the leaves, and the stems are grey with lichens. The sky and sea—two blues, one full of sunlight and the other purple—set these fountains of perennial brightness like gems in lapis-lazuli. At a distance the same olives look hoary and soft—a veil of woven light or luminous haze. When the wind blows their branches all one way, they ripple like a sea of silver. But underneath their covert, in the shade, grey periwinkles wind among the snowy drift of allium. The narcissus sends its arrowy fragrance through the air, while, far and wide, red anemones burn like fire, with interchange of blue and lilac buds, white arums, orchises, and pink gladiolus. Wandering there, and seeing the pale flowers, stars white and pink and odorous, we dream of Olivet, or the grave Garden of the Agony, and the trees seem always whispering of sacred things. How people can blaspheme against the olives, and call them imitations of the willow, or complain that they are shabby shrubs, I do not know.[6]

This shore would stand for Shelley's Island of Epipsychidion, or the golden age which Empedocles describes, when the mild nations worshipped Aphrodite with incense and the images of beasts and yellow honey, and no blood was spilt upon her altars—when 'the trees flourished with perennial leaves and fruit, and ample crops adorned their boughs through all the year.' This even now is literally true of the lemon-groves, which do not cease to flower and ripen. Everything fits in to complete the reproduction of Greek pastoral life. The goats eat cytisus and myrtle on the shore; a whole flock gathered round me as I sat beneath a tuft of golden green euphorbia the other day, and nibbled bread from my hands. The frog still croaks by tank and fountain, 'whom the Muses have ordained to sing for aye,' in spite of Bion's death. The narcissus, anemone, and hyacinth still tell their tales of love and death. Hesper still gazes on the shepherd from the mountain-head. The slender cypresses still vibrate, the pines murmur. Pan sleeps in noontide heat, and goat-herds and wayfaring men lie down to slumber by the roadside, under olive-boughs in which cicadas sing. The little villages high up are just as white, the mountains just as grey and shadowy when evening falls. Nothing is changed—except ourselves. I expect to find a statue of Priapus or pastoral Pan, hung with wreaths of flowers—the meal cake, honey, and spilt wine upon his altar, and young boys and maidens dancing round. Surely, in some far-off glade, by the side of lemon-grove or garden, near the village, there must be still a pagan remnant of glad Nature-worship. Surely I shall chance upon some Thyrsis piping in the pine-tree shade, or Daphne flying from the arms of Phoebus. So I dream until I come upon the Calvary set on a solitary hillock, with its prayer-steps lending a wide prospect across the olives and the orange-trees, and the broad valleys, to immeasurable skies and purple seas. There is the iron cross, the wounded heart, the spear, the reed, the nails, the crown of thorns, the cup of sacrificial blood, the title, with its superscription royal and divine. The other day we crossed a brook and entered a lemon-field, rich with blossoms and carpeted with red anemones. Everything basked in sunlight and glittered with exceeding brilliancy of hue. A tiny white chapel stood in a corner of the enclosure. Two iron-grated windows let me see inside: it was a bare place, containing nothing but a wooden praying-desk, black and worm-eaten, an altar with its candles and no flowers, and above the altar a square picture brown with age. On the floor were scattered several pence, and in a vase above the holy-water vessel stood some withered hyacinths. As my sight became accustomed to the gloom, I could see from the darkness of the picture a pale Christ nailed to the cross with agonising upward eyes and ashy aureole above the bleeding thorns. Thus I stepped suddenly away from the outward pomp and bravery of nature to the inward aspirations, agonies, and martyrdoms of man—from Greek legends of the past to the real Christian present—and I remembered that an illimitable prospect has been opened to the world, that in spite of ourselves we must turn our eyes heavenward, inward, to the infinite unseen beyond us and within our souls. Nothing can take us back to Phoebus or to Pan. Nothing can again identify us with the simple natural earth. 'Une immense esperance a traverse la terre,' and these chapels, with their deep significances, lurk in the fair landscape like the cares of real life among our dreams of art, or like a fear of death and the hereafter in the midst of opera music. It is a strange contrast. The worship of men in those old times was symbolised by dances in the evening, banquets, libations, and mirth-making. 'Euphrosyne' was alike the goddess of the righteous mind and of the merry heart. Old withered women telling their rosaries at dusk; belated shepherds crossing themselves beneath the stars when they pass the chapel; maidens weighed down with Margaret's anguish of unhappy love; youths vowing their life to contemplation in secluded cloisters,—these are the human forms which gather round such chapels; and the motto of the worshippers consists in this, 'Do often violence to thy desire.' In the Tyrol we have seen whole villages praying together at daybreak before their day's work, singing their Miserere and their Gloria and their Dies Irae, to the sound of crashing organs and jangling bells; appealing in the midst of Nature's splendour to the Spirit which is above Nature, which dwells in darkness rather than light, and loves the yearnings and contentions of our soul more than its summer gladness and peace. Even the olives here tell more to us of Olivet and the Garden than of the oil-press and the wrestling-ground. The lilies carry us to the Sermon on the Mount, and teach humility, instead of summoning up some legend of a god's love for a mortal. The hillside tanks and running streams, and water-brooks swollen by sudden rain, speak of Palestine. We call the white flowers stars of Bethlehem. The large sceptre-reed; the fig-tree, lingering in barrenness when other trees are full of fruit; the locust-beans of the Caruba:—for one suggestion of Greek idylls there is yet another, of far deeper, dearer power.

But who can resist the influence of Greek ideas at the Cap S. Martin? Down to the verge of the sea stretch the tall, twisted stems of Levant pines, and on the caverned limestone breaks the deep blue water. Dazzling as marble are these rocks, pointed and honeycombed with constant dashing of the restless sea, tufted with corallines and grey and purple seaweeds in the little pools, but hard and dry and rough above tide level. Nor does the sea always lap them quietly; for the last few days it has come tumbling in, roaring and raging on the beach with huge waves crystalline in their transparency, and maned with fleecy spray. Such were the rocks and such the swell of breakers when Ulysses grasped the shore after his long swim. Samphire, very salt and fragrant, grows in the rocky honeycomb; then lentisk and beach-loving myrtle, both exceeding green and bushy; then rosemary and euphorbia above the reach of spray. Fishermen, with their long reeds, sit lazily perched upon black rocks above blue waves, sunning themselves as much as seeking sport. One distant tip of snow, seen far away behind the hills, reminds us of an alien, unremembered winter. While dreaming there, this fancy came into my head: Polyphemus was born yonder in the Gorbio Valley. There he fed his sheep and goats, and on the hills found scanty pasture for his kine. He and his mother lived in the white house by the cypress near the stream where tulips grow. Young Galatea, nursed in the caverns of these rocks, white as the foam, and shy as the sea fishes, came one morning up the valley to pick mountain hyacinths, and little Polyphemus led the way. He knew where violets and sweet narcissus grew, as well as Galatea where pink coralline and spreading sea-flowers with their waving arms. But Galatea, having filled her lap with bluebells, quite forgot the leaping kids, and piping Cyclops, and cool summer caves, and yellow honey, and black ivy, and sweet vine, and water cold as Alpine snow. Down the swift streamlet she danced laughingly, and made herself once more bitter with the sea. But Polyphemus remained,—hungry, sad, gazing on the barren sea, and piping to the mockery of its waves.

Filled with these Greek fancies, it is strange to come upon a little sandstone dell furrowed by trickling streams and overgrown with English primroses; or to enter the village of Roccabruna, with its mediaeval castle and the motto on its walls, Tempora labuntur tacitisque senescimus annis. A true motto for the town, where the butcher comes but once a week, and where men and boys, and dogs, and palms, and lemon-trees grow up and flourish and decay in the same hollow of the sunny mountain-side. Into the hard conglomerate of the hill the town is built; house walls and precipices mortised into one another, dovetailed by the art of years gone by, and riveted by age. The same plants grow from both alike—spurge, cistus, rue, and henbane, constant to the desolation of abandoned dwellings. From the castle you look down on roofs, brown tiles and chimney-pots, set one above the other like a big card-castle. Each house has its foot on a neighbour's neck, and its shoulder set against the native stone. The streets meander in and out, and up and down, overarched and balconied, but very clean. They swarm with children, healthy, happy, little monkeys, who grow fat on salt fish and yellow polenta, with oil and sun ad libitum.

At night from Roccabruna you may see the flaring gas-lamps of the gaming-house at Monaco, that Armida's garden of the nineteenth century. It is the sunniest and most sheltered spot of all the coast. Long ago Lucan said of Monaco, 'Non Corus in illum jus habet aut Zephyrus;' winter never comes to nip its tangled cactuses, and aloes, and geraniums. The air swoons with the scent of lemon-groves; tall palm-trees wave their graceful branches by the shore; music of the softest and the loudest swells from the palace; cool corridors and sunny seats stand ready for the noontide heat or evening calm; without, are olive-gardens, green and fresh and full of flowers. But the witch herself holds her high court and never-ending festival of sin in the painted banquet-halls and among the green tables.

Let us leave this scene and turn with the country-folk of Roccabruna to S. Michael's Church at Mentone. High above the sea it stands, and from its open doors you look across the mountains with their olive-trees. Inside the church is a seething mass of country-folk and townspeople, mostly women, and these almost all old, but picturesque beyond description; kerchiefs of every colour, wrinkles of every shape and depth, skins of every tone of brown and yellow, voices of every gruffness, shrillness, strength, and weakness. Wherever an empty corner can be found, it is soon filled by tottering babies and mischievous children. The country-women come with their large dangling earrings of thin gold, wearing pink tulips or lemon-buds in their black hair. A low buzz of gossiping and mutual recognition keeps the air alive. The whole service seems a holiday—a general enjoyment of gala dresses and friendly greetings, very different from the silence, immobility, and noli me tangere aspect of an English congregation. Over all drones, rattles, snores, and shrieks the organ; wailing, querulous, asthmatic, incomplete, its everlasting nasal chant—always beginning, never ending, through a range of two or three notes ground into one monotony. The voices of the congregation rise and sink above it. These southern people, like the Arabs, the Apulians, and the Spaniards, seem to find their music in a hurdy-gurdy swell of sound. The other day we met a little girl, walking and spinning, and singing all the while, whose song was just another version of this chant. It has a discontented plaintive wail, as if it came from some vast age, and were a cousin of primeval winds.

At first sight, by the side of Mentone, San Remo is sadly prosaic. The valleys seem to sprawl, and the universal olives are monotonously grey upon their thick clay soil. Yet the wealth of flowers in the fat earth is wonderful. One might fancy oneself in a weedy farm flower-bed invaded by stray oats and beans and cabbages and garlic from the kitchen-garden. The country does not suggest a single Greek idea. It has no form or outline—no barren peaks, no spare and difficult vegetation. The beauty is rich but tame—valleys green with oats and corn, blossoming cherry-trees, and sweet bean-fields, figs coming into leaf, and arrowy bay-trees by the side of sparkling streams: here and there a broken aqueduct or rainbow bridge hung with maidenhair and briar and clematis and sarsaparilla.

In the cathedral church of San Siro on Good Friday they hang the columns and the windows with black; they cover the pictures and deface the altar; above the high altar they raise a crucifix, and below they place a catafalque with the effigy of the dead Christ. To this sad symbol they address their prayers and incense, chant their 'litanies and lurries,' and clash the rattles, which commemorate their rage against the traitor Judas. So far have we already passed away from the Greek feeling of Mentone. As I listened to the hideous din, I could not but remember the Theocritean burial of Adonis. Two funeral beds prepared: two feasts recurring in the springtime of the year. What a difference beneath this superficial similarity—[Greek: kalos nekus oia katheudon]—attritus aegra macie. But the fast of Good Friday is followed by the festival of Easter. That, after all, is the chief difference.

After leaving the cathedral we saw a pretty picture in a dull old street of San Remo—three children leaning from a window, blowing bubbles. The bubbles floated down the street, of every colour, round and trembling, like the dreams of life which children dream. The town is certainly most picturesque. It resembles a huge glacier of houses poured over a wedge of rock, running down the sides and along the ridge, and spreading itself into a fan between two torrents on the shore below. House over house, with balcony and staircase, convent turret and church tower, palm-trees and olives, roof gardens and clinging creepers—this white cataract of buildings streams downward from the lazar-house, and sanctuary, and sandstone quarries on the hill. It is a mass of streets placed close above each other, and linked together with arms and arches of solid masonry, as a protection from the earthquakes, which are frequent at San Remo. The walls are tall, and form a labyrinth of gloomy passages and treacherous blind alleys, where the Moors of old might meet with a ferocious welcome. Indeed, San Remo is a fortress as well as a dwelling-place. Over its gateways may still be traced the pipes for molten lead, and on its walls the eyeloops for arrows, with brackets for the feet of archers. Masses of building have been shaken down by earthquakes. The ruins of what once were houses gape with blackened chimneys and dark forlorn cellars; mazes of fungus and unhealthy weeds among the still secure habitations. Hardly a ray of light penetrates the streets; one learns the meaning of the Italian word uggia from their cold and gloom. During the day they are deserted by every one but babies and witchlike old women—some gossiping, some sitting vacant at the house door, some spinning or weaving, or minding little children—ugly and ancient as are their own homes, yet clean as are the streets. The younger population goes afield; the men on mules laden for the hills, the women burdened like mules with heavy and disgusting loads. It is an exceptionally good-looking race; tall, well-grown, and strong.—But to the streets again. The shops in the upper town are few, chiefly wine-booths and stalls for the sale of salt fish, eggs, and bread, or cobblers' and tinkers' ware. Notwithstanding the darkness of their dwellings, the people have a love of flowers; azaleas lean from their windows, and vines, carefully protected by a sheath of brickwork, climb the six stories, to blossom out into a pergola upon the roof. Look at that mass of greenery and colours, dimly seen from beneath, with a yellow cat sunning herself upon the parapet! To reach such a garden and such sunlight who would not mount six stories and thread a labyrinth of passages? I should prefer a room upon the east side of the town, looking southward to the Molo and the sea, with a sound of water beneath, and a palm soaring up to fan my window with his feathery leaves.

The shrines are little spots of brightness in the gloomy streets. Madonna with a sword; Christ holding His pierced and bleeding heart; l'Eterno Padre pointing to the dead Son stretched upon His knee; some souls in torment; S. Roch reminding us of old plagues by the spot upon his thigh;—these are the symbols of the shrines. Before them stand rows of pots filled with gillyflowers, placed there by pious, simple, praying hands—by maidens come to tell their sorrows to our Lady rich in sorrow, by old women bent and shrivelled, in hopes of paradise or gratitude for happy days, when Madonna kept Cecchino faithful to his home, or saved the baby from the fever.

Lower down, between the sea and the hill, is the municipal, aristocratic, ecclesiastical quarter of San Remo. There stands the Palace Borea—a truly princely pile, built in the last Renaissance style of splendour, with sea-nymphs and dolphins, and satyric heads, half lips, half leafage, round about its doors and windows. Once it formed the dwelling of a feudal family, but now it is a roomy anthill of a hundred houses, shops, and offices, the Boreas of to-day retaining but a portion of one flat, and making profit of the rest. There, too, are the barracks and the syndic's hall; the Jesuits' school, crowded with boys and girls; the shops for clothes, confectionery, and trinkets; the piazza, with its fountain and tasselled planes, and flowery chestnut-trees, a mass of greenery. Under these trees the idlers lounge, boys play at leap-frog, men at bowls. Women in San Remo work all day, but men and boys play for the most part at bowls or toss-penny or leap-frog or morra. San Siro, the cathedral, stands at one end of the square. Do not go inside; it has a sickly smell of immemorial incense and garlic, undefinable and horrible. Far better looks San Siro from the parapet above the torrent. There you see its irregular half-Gothic outline across a tangle of lemon-trees and olives. The stream rushes by through high walls, covered with creepers, spanned by ferny bridges, feathered by one or two old tufty palms. And over all rises the ancient turret of San Siro, like a Spanish giralda, a minaret of pinnacles and pyramids and dome bubbles, with windows showing heavy bells, old clocks, and sundials painted on the walls, and a cupola of green and yellow tiles like serpent-scales, to crown the whole. The sea lies beyond, and the house-roofs break it with grey horizontal lines. Then there are convents, legions of them, large white edifices, Jesuitical apparently for the most part, clanging importunate bells, leaning rose-blossoms and cypress-boughs over their jealous walls.

Lastly, there is the port—the mole running out into the sea, the quay planted with plane-trees, and the fishing-boats—by which San Remo is connected with the naval glory of the past—with the Riviera that gave birth to Columbus—with the Liguria that the Dorias ruled—with the great name of Genoa. The port is empty enough now; but from the pier you look back on San Remo and its circling hills, a jewelled town set in illimitable olive greyness. The quay seems also to be the cattle-market. There the small buff cows of North Italy repose after their long voyage or march, kneeling on the sandy ground or rubbing their sides against the wooden cross awry with age and shorn of all its symbols. Lambs frisk among the boats; impudent kids nibble the drooping ears of patient mules. Hinds in white jackets and knee-breeches made of skins, lead shaggy rams and fiercely bearded goats, ready to butt at every barking dog, and always seeking opportunities of flight. Farmers and parish priests in black petticoats feel the cattle and dispute about the price, or whet their bargains with a draught of wine. Meanwhile the nets are brought on shore glittering with the fry of sardines, which are cooked like whitebait, with cuttlefish—amorphous objects stretching shiny feelers on the hot dry sand—and prickly purple eggs of the sea-urchin. Women go about their labour through the throng, some carrying stones upon their heads, or unloading boats and bearing planks of wood in single file, two marching side by side beneath one load of lime, others scarcely visible under a stack of oats, another with her baby in its cradle fast asleep.

San Remo has an elder brother among the hills, which is called San Romolo, after one of the old bishops of Genoa. Who San Remo was is buried in remote antiquity; but his town has prospered, while of San Romolo nothing remains but a ruined hill-convent among pine-trees. The old convent is worth visiting. Its road carries you into the heart of the sierra which surrounds San Remo, a hill-country something like the Jura, undulating and green to the very top with maritime pines and pinasters. Riding up, you hear all manner of Alpine sounds; brawling streams, tinkling cowbells, and herdsmen calling to each other on the slopes. Beneath you lies San Remo, scarcely visible; and over it the great sea rises ever so far into the sky, until the white sails hang in air, and cloud and sea-line melt into each other indistinguishably. Spanish chestnuts surround the monastery with bright blue gentians, hepaticas, forget-me-nots, and primroses about their roots. The house itself is perched on a knoll with ample prospect to the sea and to the mountains, very near to heaven, within a theatre of noble contemplations and soul-stirring thoughts. If Mentone spoke to me of the poetry of Greek pastoral life, this convent speaks of mediaeval monasticism—of solitude with God, above, beneath, and all around, of silence and repose from agitating cares, of continuity in prayer, and changelessness of daily life. Some precepts of the Imitatio came into my mind: 'Be never wholly idle; read or write, pray or meditate, or work with diligence for the common needs.' 'Praiseworthy is it for the religious man to go abroad but seldom, and to seem to shun, and keep his eyes from men.' 'Sweet is the cell when it is often sought, but if we gad about, it wearies us by its seclusion.' Then I thought of the monks so living in this solitude; their cell windows looking across the valley to the sea, through summer and winter, under sun and stars. Then would they read or write, what long melodious hours! or would they pray, what stations on the pine-clad hills! or would they toil, what terraces to build and plant with corn, what flowers to tend, what cows to milk and pasture, what wood to cut, what fir-cones to gather for the winter fire! or should they yearn for silence, silence from their comrades of the solitude, what whispering galleries of God, where never human voice breaks loudly, but winds and streams and lonely birds disturb the awful stillness! In such a hermitage as this, only more wild, lived S. Francis of Assisi, among the Apennines.[7] It was there that he learned the tongues of beasts and birds, and preached them sermons. Stretched for hours motionless on the bare rocks, coloured like them and rough like them in his brown peasant's serge, he prayed and meditated, saw the vision of Christ crucified, and planned his order to regenerate a vicious age. So still he lay, so long, so like a stone, so gentle were his eyes, so kind and low his voice, that the mice nibbled breadcrumbs from his wallet, lizards ran over him, and larks sang to him in the air. There, too, in those long, solitary vigils, the Spirit of God came upon him, and the spirit of Nature was even as God's Spirit, and he sang: 'Laudato sia Dio mio Signore, con tutte le creature, specialmente messer lo frate sole; per suor luna, e per le stelle; per frate vento e per l'aire, e nuvolo, e sereno e ogni tempo.' Half the value of this hymn would be lost were we to forget how it was written, in what solitudes and mountains far from men, or to ticket it with some abstract word like Pantheism. Pantheism it is not; but an acknowledgment of that brotherhood, beneath the love of God, by which the sun and moon and stars, and wind and air and cloud, and clearness and all weather, and all creatures, are bound together with the soul of man.

Few, of course, were like S. Francis. Probably no monk of San Romolo was inspired with his enthusiasm for humanity, or had his revelation of the Divine Spirit inherent in the world. Still fewer can have felt the aesthetic charm of Nature but most vaguely. It was as much as they could boast, if they kept steadily to the rule of their order, and attended to the concerns each of his own soul. A terrible selfishness, if rightly considered; but one which accorded with the delusion that this world is a cave of care, the other world a place of torture or undying bliss, death the prime object of our meditation, and lifelong abandonment of our fellow-men the highest mode of existence. Why, then, should monks, so persuaded of the riddle of the earth, have placed themselves in scenes so beautiful? Why rose the Camaldolis and Chartreuses over Europe? white convents on the brows of lofty hills, among the rustling boughs of Vallombrosas, in the grassy meadows of Engelbergs,—always the eyries of Nature's lovers, men smitten with the loveliness of earth? There is surely some meaning in these poetic stations.

Here is a sentence of the Imitatio which throws some light upon the hymn of S. Francis and the sites of Benedictine monasteries, by explaining the value of natural beauty for monks who spent their life in studying death: 'If thy heart were right, then would every creature be to thee a mirror of life, and a book of holy doctrine. There is no creature so small and vile that does not show forth the goodness of God.' With this sentence bound about their foreheads, walked Fra Angelico and S. Francis. To men like them the mountain valleys and the skies, and all that they contained, were full of deep significance. Though they reasoned 'de conditione humanae miseriae,' and 'de contemptu mundi,' yet the whole world was a pageant of God's glory, a testimony to His goodness. Their chastened senses, pure hearts, and simple wills were as wings by which they soared above the things of earth, and sent the music of their souls aloft with every other creature in the symphony of praise. To them, as to Blake, the sun was no mere blazing disc or ball, but 'an innumerable company of the heavenly host singing, "Holy, holy, holy is the Lord God Almighty."' To them the winds were brothers, and the streams were sisters—brethren in common dependence upon God their Father, brethren in common consecration to His service, brethren by blood, brethren by vows of holiness. Unquestioning faith rendered this world no puzzle; they overlooked the things of sense because the spiritual things were ever present, and as clear as day. Yet did they not forget that spiritual things are symbolised by things of sense; and so the smallest herb of grass was vital to their tranquil contemplations. We who have lost sight of the invisible world, who set our affections more on things of earth, fancy that because these monks despised the world, and did not write about its landscapes, therefore they were dead to its beauty. This is mere vanity: the mountains, stars, seas, fields, and living things were only swallowed up in the one thought of God, and made subordinate to the awfulness of human destinies. We to whom hills are hills, and seas are seas, and stars are ponderable quantities, speak, write, and reason of them as of objects interesting in themselves. The monks were less ostensibly concerned about such things, because they only found in them the vestibules and symbols of a hidden mystery.

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