28 February

thou unforgettablest and unforgettingest

[continued from 27 February 1842]

Feb. 28th -- Forenoon. -- Sweetest, thou shalt have this letter instead of thy husband, to-night. Dost thou love me? I shall not find any letter from thee at the Post Office, because thou dost expect to hear my footsteps on thy staircase, at six o' clock this evening. Oh, but another day will quickly pass; and then this yearning of the soul will be appeased, for a little while at least. I wonder, I wonder, I wonder, where on earth we are to set up our tabernacle. God knows; but I want to know too.

Dearest love, I am very well, and comfortable as I desire to be, in thy absence. After all, it is a happiness to need thee, to sigh for thee, to feel the nothingness of all things without thee. But do not thou think so thou must be happy always, not independently of thy husband, but with a bliss equally pervading presence and absence.

Belovedest, I have employed most of my time here in collecting curiosities, and have so many on my hands that I begin to fear it will require a volume to contain the catalogue. I would we had such a museum in reality. And now good-bye, most true Heart. Methinks this is the longest letter that I have written thee for a great while. Shalt thou expect me to write during my journey to New York? or, were it not better to allow thee to forget me entirely, during that interval of a week? God bless thee, thou unforgettablest and unforgettingest,

THINE OWNEST HUSBAND.

Miss Sophia A. Peabody,
Care of Dr. N. Peabody,
13 West-street,
Boston, Mass.

27 February

Thou art my quiet and satisfaction

Salem, Feby. 27th, 1842 -- Forenoon

Thou dearest Heart,

As it is uncertain whether I shall return to Boston tomorrow, I write thee a letter; for I need to commune with thee; and even if I should bring the scroll of my thought? and feelings with me, perhaps thou wilt not refuse to receive it. It is awful, almost (and yet I would not have it otherwise, for the world) to feel how necessary thou hast become to my well-being, and how my spirit is disturbed at a separation from thee, and stretches itself out through the dimness and distance to embrace its other self. Thou art my quiet and satisfaction -- not only my chiefest joy, but the condition of all other enjoyments. When thou art away, vague fears and misgivings some times steal upon me; there are heart-quakes and spirit-sinkings for no real cause, and which never trouble me when thou art with me. Belovedest, I have thought much of thy parting injunction to tell my mother and sisters that thou art her daughter and their sister. I do not think that thou canst estimate what a difficult task thou didst propose to me not that any awful and tremendous effect would be produced by the disclosure; but because of the strange reserve, in regard to matters of feeling, that has always existed among us. We are conscious of one another's feelings, always; but there seems to be a tacit law, that our deepest heart-concernments are not to be spoken of. I cannot gush out in their presence I cannot take my heart in my hand, and show it to them. There is a feeling within me (though I know it is a foolish one) as if it would be as indecorous to do so, as to display to them the naked breast. And they are in the same state as myself. None, I think, but delicate and sensitive persons could have got into such a position; but doubtless this incapacity of free communion, in the hour of especial need, is meant by Providence as a retribution for something wrong in our early intercourse.

Then it is so hard to speak of thee really of thee to anybody! I doubt whether I ever have
really spoken of thee to any person. I have spoken the name of Sophia, it is true; but the idea in my mind was apart from thee it embraced nothing of thine inner and essential self; it was an outward and faintly-traced shadow that I summoned up, to perform thy part, and which I placed in the midst of thy circumstances; so that thy sister Mary, or Mrs. Ripley, or even Margaret, were deceived, and fancied that I was talking about thee. But there didst thou lie, thy real self, in my deepest, deepest heart, while far above, at the surface, this distant image of thee was the subject of talk. And it was not without an effort which few are capable of making, that I could ever do so much; and even then I felt as if it were profane. Yet I spoke to persons from whom, if from any, I might expect true sympathy in regard thee.

I tell thee these things, in order that my Dove, into whose infinite depths the sunshine falls continually, may perceive what a cloudy veil stretches over the abyss of my nature. Thou wilt not think that it is caprice or stubbornness that has made me hitherto resist thy wishes. Neither, I think, is it a love of secrecy and darkness. I am glad to think that God sees through my heart; and if any angel has power to penetrate into it, he is welcome to know everything that is there. Yes; and so may any mortal, who is capable of full sympathy, and therefore worthy to come into my depths. But he must find his own way there. I can neither guide him nor enlighten him. It is this involuntary reserve, I suppose, that has given the objectivity to my writings. And when people think that I am pouring myself out in a tale or essay, I am merely telling what is common to human nature, not what is peculiar to myself. I sympathise with them not they with me. [continued on 28 February]

tokens of the coming Carnival in the Corso

February 27th 1859.


For many days past there have been tokens of the coming Carnival in the Corso and the adjacent streets; for example, in the shops, by the display of masks of wire, pasteboard, silk, or cloth, some of beautiful features, others hideous, fantastic, currish, asinine, huge-nosed, or otherwise monstrous; some intended to cover the whole face, others concealing only the upper part; also, white dominoes, or robes bedizened with gold lace and theatric splendours, displayed at the windows of mercers or flaunting before the doors. Yesterday U---- and I came along the Corso, between one and two o'clock, after a walk, and found all these symptoms of impending merriment multiplied and intensified ; . . . . rows of chairs, set out along the sidewalks, elevated a foot or two by means of planks; great baskets, full of confetti, for sale in the nooks and recesses of the streets; bouquets of all qualities and price. The Corso was becoming pretty well thronged with people; but, until two o'clock, nobody dared to fling as much as a rosebud or a handful of sugar-plums. There was a sort of holiday expression, however, on almost everybody's face, such as I have not hitherto seen in Rome, or in any part of Italy; a smile gleaming out, an aurora of mirth, which probably will not be very exuberant in its noontide.


The day was so sunny and bright that it made this opening scene far more cheerful than any day of the last year's Carnival. As we threaded our way through the Corso, U---- kept wishing she could plunge into the fun and uproar as J would, and for my own part, though I pretended to take no interest in the matter, I could have bandied confetti and nosegays as readily and as riotously as any urchin there. But my black hat and grave talma would have been too good a mark for the combatants, .... so we went home before a shot was fired. . .



25 February

We went this forenoon to the Palazzo Borghese

February 25th. [1858]

We went this forenoon to the Palazzo Borghese, which is situated on a street that runs at right angles with the Corso, and very near the latter. Most of the palaces in Rome, and the Borghese among them, were built somewhere about the sixteenth century; this in 1590, I believe. It is an immense edifice, standing round the four sides of a quadrangle; and though the suite of rooms, comprising the picture-gallery, forms an almost interminable vista, they occupy only a part of the ground floor of one side. We enter from the street into a large court, surrounded with a corridor, the arches of which support a second series of arches above. The picture-rooms open from one into another, and have many points of magnificence, being large and lofty, with vaulted ceilings and beautiful frescoes, generally of mythological subjects, in the flat central part of the vault. The cornices are gilded; the deep embrasures of the windows are panelled with wood work; the door-ways are of polished and variegated marble, or covered with a composition as hard, and seemingly as durable. The whole has a kind of splendid shabbiness thrown over it, like a slight coating of rust; the furniture, at least the damask chairs, being a good deal worn, though there are marble and mosaic tables which may serve to adorn another palace when this one crumbles away with age. One beautiful hall, with a ceiling more richly gilded than the rest, is panelled all round with large looking-glasses, on which are painted pictures, both landscapes and human figures, in oil; so that the effect is somewhat as if you saw these objects represented in the mirrors. These glasses must be of old date, perhaps coeval with the first building of the palace; for they are so much dimmed, that one's own figure appears indistinct in them, and more difficult to be traced than the pictures which cover them half over. It was very comfortless indeed, I suppose nobody ever thought of being comfortable there, since the house was built but especially uncomfortable on a chill, damp day like this. My fingers were quite numb before I got half way through the suite of apartments, in spite of a brazier of charcoal which was smouldering into ashes in two or three of the rooms. There was not, so far as I remember, a single fire-place in the suite. A considerable number of visitors were there, and a good many artists; and three or four ladies among them were making copies of the more celebrated pictures, and in all or in most cases missing the especial points that made their celebrity and value. The Prince. Borghese certainly demeans himself like a kind and liberal gentleman, in throwing open this invaluable collection to the public to see, and for artists to carry away with them, and diffuse all over the world, so far as their own power and skill will permit. It is open every day of the week, except Saturday and Sunday, without any irksome restriction or supervision; and the fee, which custom requires the visitor to pay to the custode, has the good effect of making us feel that we are not intruders, nor received in an exactly eleemosynary way. The thing could not be better managed. The collection is one of the most celebrated in the world, and contains between eight and nine hundred pictures, many of which are esteemed masterpieces. I think I was not in a frame for admiration to-day, nor could achieve that free and generous surrender of myself which I have already said is essential to the proper estimate of anything excellent. Besides, how is it possible to give one's soul, or any considerable part of it, to a single picture, seen for the first time, among a thousand others, all of which set forth their own claims in an equally good light? Furthermore, there is an external weariness, and sense of a thousandfold sameness to be overcome, before we can begin to enjoy a gallery of the old Italian masters. . .I remember but one painter, Francia, who seems really to have approached this awful class of subjects [Christs and Madonnas] in a fitting spirit; his pictures are very singular and awkward, if you look at them with merely an external eye, but they are full of the beauty of holiness and evidently wrought out as acts of devotion with the deepest sincerity, and are veritable prayers upon canvas. . .

I was glad, in the very last of the twelve rooms, to come upon some Dutch and Flemish pictures, very few, but very welcome; Rubens, Rembrandt, Van dyke, Paul Potter, Teniers, and others men of flesh and blood, and warm fists and human hearts. As compared with them, these mighty Italian masters seem men of polished steel; not human, nor addressing themselves so much to human sympathies as to a formed, intellectual taste.

24 February

for the immense difference in magnitude, a Roman ruin may be in itself not more picturesque than I have seen an old cellar

February 24th. [1858]

Yesterday I crossed the Ponte Sisto, and took a short ramble on the other side of the river; and it rather surprised me to discover, pretty nearly opposite the Capitoline Hill, a quay, at which several schooners and barques, of two or three hundred tons burden, were moored. There was also a steamer, armed with a large gun, and two brass swivels on her forecastle, and I know not what artillery besides. Probably she may have been a revenue cutter.

Returning, I crossed the river by way of the island of St. Bartholomew, over two bridges. The island is densely covered with buildings, and is a separate small fragment of the city. It was a tradition of the ancient Romans that it was formed by the aggregation of soil and rubbish brought down by the river, and accumulating round the nucleus of some sunken baskets.

On reaching the hither side of the river, I soon struck upon the ruins of the theatre of Marcellus, which are very picturesque, and the more so from being closely linked in indeed, identified with the shops, habitations, and swarming life of modern Rome. The most striking portion was a circular edifice, which seemed to have been composed of a row of Ionic columns, standing upon a lower row of Doric, many of the antique pillars being yet perfect; but the intervening arches built up with brick work, and the whole once magnificent structure now tenanted by poor and squalid people, as thick as mites within the round of an old cheese. From this point I cannot very clearly trace out my course; but I passed, I think, between the Circus Maximus and the Palace of the Caesars, and near the Baths of Caracalla, and went into the cloisters of the church of San Gregorio. All along I saw massive ruins, not particularly picturesque or beautiful, but huge, mountainous piles, chiefly of brickwork, somewhat weed-grown here and there, but oftener bare and dreary All the successive ages since Rome began to decay have done their best to ruin the very ruins by taking away the marble and the hewn stone for their own structures, and leaving only the inner filling up of brickwork, which the ancient architects never designed to be seen. The consequence of all this is that, except for the lofty and poetical associations connected with it, and except, too, for the immense difference in magnitude, a Roman ruin may be in itself not more picturesque than I have seen an old cellar, with a shattered brick chimney half crumbling down into it, in New England.

By this time I knew not whither I was going, and turned aside from a broad, paved road (it was the Appian Way) into the Via Latina, which I supposed would lead to one of the city gates. It was a lonely path: on my right hand extensive piles of ruin, in strange shapes or shapelessness, built of the broad and thin old Roman bricks, such as may be traced everywhere when the stucco has fallen away from a modern Roman house; for I imagine there has not been a new brick made here for a thousand years. On my left, I think, was a high wall, and before me, grazing in the road, . . . The road went boldly on, with a well-worn track up to the very walls of the city; but there it abruptly terminated at an ancient, closed-up gateway. From a notice posted against a door, which appeared to be the entrance to the ruins on my left, I found that these were the remains of columbaria, where the dead used to be put away in pigeon-holes. Reaching the paved road again, I kept on my course, passing the tomb of the Scipios, and soon came to the gate of San Sebastiano, through which I entered the Campagna. Indeed, the scene around was so rural, that I had fancied myself already beyond the walls. As the afternoon was getting advanced, I did not proceed any farther towards the blue hills which I saw in the distance, but turned to my left, following a road that runs round the exterior of the city wall. It was very dreary and solitary not a house on the whole track, with the broad and shaggy Campagna on one side, and the high, bare wall, looking down over my head, on the other. It is not, any more than the other objects of the scene, a very picturesque wall, but is little more than a brick garden-fence seen through a magnifying glass, with now and then a tower, however, and frequent buttresses, to keep its height of fifty feet from toppling over. The top was ragged, and fringed with a few weeds; there had been embrasures for guns and eyelet-holes for musketry, but these were plastered up with brick or stone. I passed one or two walled-up gateways (by-the-bye, the Porta Latina was the gate through which Belisarius first entered Rome), and one of these had two high, round towers, and looked more Gothic and venerable with antique strength than any other portion of the wall. Immediately after this I came to the gate of San Giovanni, just within which is the Basilica of St. John Lateran, and there I was glad to rest myself upon a bench before proceeding homeward.

There was a French sentinel at this gateway, as at all the others; for the Gauls have always been a pest to Rome, and now gall her worse than ever. I observed, too, that an official, in citizen's dress, stood there also, and appeared to exercise a supervision over some carts with country produce that were entering just then.

23 February

St. Peter's chain

February 23rd. [1858]

Yesterday, at noon, we set out for the Capitol, and after going up the acclivity (not from the Forum, but from the opposite direction), stopped to look at the statues of Castor and Pollux, which, with other sculptures, look down the ascent. Castor and his brother seem to me to have heads disproportionately large, and are not so striking, in any respect, as such great images ought to be. But we heartily admired the equestrian statue of Marcus Aurelius Antoninus, . . . and looked at a fountain, principally composed, I think, of figures representing the Nile and the Tiber, who loll upon their elbows and preside over the gushing water; and between them, against the facade of the Senator's Palace, there is a statue of Minerva, with a petticoat of red porphyry. Having taken note of these objects, we went to the Museum, in an edifice on our left, entering the Piazza, and here, in the vestibule, we found various old statues and relics. Ascending the stairs, we passed through a long gallery, and, turning to our left, examined somewhat more carefully a suite of rooms running parallel with it. The first of these contained busts of the Caesars and their kindred, from the epoch of the mightiest Julius downward, eightythree, I believe, in all. I had seen a bust of Julius Caesar in the British Museum, and was surprised at its thin and withered aspect; but this head is of a very ugly old man indeed wrinkled, puckered, shrunken, lacking breadth and substance; careworn, grim, as if he had fought hard with life, and had suffered in the conflict; a man of schemes, and of eager effort to bring his schemes to pass. His profile is by no means good, advancing from the top of his forehead to the tip of his nose, and retreating, at about the same angle, from the latter point to the bottom of his chin, which seems to be thrust forcibly down into his meagre neck not that he pokes his head forward, however, for it is particularly erect.

The head of Augustus is very beautiful, and appears to be that of a meditative, philosophic man, sad dened with the sense that it is not very much worth while to be at the summit of human greatness after all. It is a sorrowful thing to trace the decay of civilisation through this series of busts, and to observe how the artistic skill, so requisite at first, went on declining through the dreary dynasty of the Caesars, till at length the master of the world could not get his head carved in better style than the figure-head of a ship.

In the next room there were better statues than we had yet seen; but in the last room of the range we found the "Dying Gladiator," of which I had already caught a glimpse in passing by the open door. It had made all the other treasures of the gallery tedious in my eagerness to come to that. I do not believe that so much pathos is wrought into any other block of stone. Like all works of the highest excellence, however, it makes great demands upon the spectator. He must make a generous gift of his sympathies to the sculptor, and help out his skill with all his heart, or else he will see little more than a skilfully wrought surface. It suggests far more than it shows. I looked long at this statue, and little at anything else, though, among other famous works, a statue of Antinous was in the same room.

I was glad when we left the Museum, which, by-thebye, was piercingly chill, as if the multitude of statues radiated cold out of their marble substance. We might have gone to see the pictures in the Palace of the Conservatori, and S---- , whose receptivity is unlimited and for ever fresh, would willingly have done so; but I objected, and we went towards the Forum. I had noticed, two or three times, an inscription over a mean-looking door in this neighbourhood, stating that here was the entrance to the prison of the holy Apostles, Peter and Paul; and we soon found the spot, not far from the Forum, with two wretched frescoes of the Apostles above the inscription. We knocked at the door without effect; but a lame beggar, who sat at another door of the same house (which looked exceedingly like a liquor shop), desired us to follow him, and began to ascend to the Capitol, by the causeway leading from the Forum. A little way upward we met a woman, to whom the beggar delivered us over, and she led us into a church or chapel door, and pointed to a long flight of steps, which descended through twilight into utter darkness. She called to somebody in the lower regions, and then went away, leaving us to get down this mysterious staircase by ourselves. Down we went, farther and farther from the daylight, and found ourselves, anon, in a dark chamber or cell, the shape or boundaries of which we could not make out, though it seemed to be of stone, and black and dungeon-like. Indistinctly, and from a still farther depth in the earth, we heard voices, one voice, at least, apparently not addressing ourselves, but some other persons; and soon, directly beneath our feet, we saw a glimmering of light through a round, iron-grated hole in the bottom of the dungeon. In a few moments the glimmer and the voice came up through this hole, and the light disappeared, and it and the voice came glimmering and babbling up a flight of stone stairs, of which we had not hitherto been aware. It was the custode, with a party of visitors, to whom he had been showing St. Peter's dungeon. Each visitor was provided with a wax taper, and the custode gave one to each of us, bidding us wait a moment while he conducted the other party to the upper air. During his absence we examined the cell, as well as our dim lights would permit, and soon found an indentation in the wall, with an iron grate put over it for protection, and an inscription above, informing us that the Apostle Peter had here left the imprint of his visage; and, in truth, there is a profile there forehead, nose, mouth, and chin plainly to be seen, an intaglio in the solid rock. We touched it with the tips of our fingers, as well as saw it with our eyes.

The custode soon returned, and led us down the darksome steps, chattering in Italian all the time. It is not a very long descent to the lower cell, the roof of which is so low, that I believe I could have reached it with my hand. We were now in the deepest and ugliest part of the old Mamertine Prison, one of the few remains of the kingly period of Rome, and which served the Romans as a state-prison for hundreds of years before the Christian era. A multitude of criminals or innocent persons, no doubt, have languished here in misery, and perished in darkness. Here Jugurtha starved; here Catiline's adherents were strangled; and, methinks, there cannot be in the world another such an evil den, so haunted with black memories and indistinct surmises of guilt and suffering. In old Rome, I suppose, the citizens never spoke of this dungeon above their breath. It looks just as bad as it is: round, only seven paces across, yet so obscure that our tapers could not illuminate it from side to side the stones of which it is constructed being as black as midnight. The custode showed us a stone post, at the side of the cell, with the hole in the top of it, into which, he said, St. Peter's chain had been fastened ; and he uncovered a spring of water, in the middle of the stone floor, which he told us had miraculously gushed up to enable the saint to baptize his jailer. The miracle was perhaps the more easily wrought, inasmuch as Jugurtha had found the floor of the dungeon oozy with wet. However, it is best to be as simple and childlike as we can in these matters; and whether St. Peter stamped his visage into the stone, and wrought this other miracle or no, and whether or no he ever was in the prison at all, still the belief of a thousand years and more gives a sort of reality and substance to such traditions. The custode dipped an iron ladle into the miraculous water, and we each of us drank a sip; and what is very remarkable, to me it seemed hard water, and almost brackish, while many persons think it the sweetest in Rome. I suspect that St. Peter still dabbles in this water, and tempers its qualities according to the faith of those who drink it.

The staircase descending into the lower dungeon is comparatively modern, there having been no entrance of old, except through the small circular opening in the roof. In the upper cell the custode showed us an ancient flight of stairs, now built into the wall, which used to lead from the Capitol. The whole precincts are now consecrated, and I believe the upper portion perhaps both upper and lower are a shrine or a chapel.

I now left S---- in the Forum, and went to call on Mr. J. P. K---- at the Hotel d'Europe. I found him just returned from a drive a gentleman of about sixty, or more, with grey hair, a pleasant, intellectual face, and penetrating, but not unkindly, eyes. He moved infirmly, being on the recovery from an illness. We went up to his saloon together, and had a talk, or rather, he had it nearly all to himself and particularly sensible talk, too, and full of the results of learning and experience. In the first place, he settled the whole Kansas difficulty; then he made havoc of St. Peter, who came very shabbily out of his hands, as regarded his early character in the Church, and his claims to the position he now holds in it. Mr. K also gave a curious illustration, from something that happened to himself, of the little dependence that can be placed on tradition purporting to be ancient, and I capped his story by telling him how the site of my town pump, so plainly indicated in the sketch itself, has already been mistaken in the City council and in the public prints.

Swollen into importance

February 22nd 1851

For the last two or three days there has been a warm, soaking, south-easterly rain, with a spongy moisture diffused through the atmosphere. The snow has disappeared, except in spots which are the ruins of high drifts, and patches far up on the hillsides. The mists rest all day long on the brows of the hills that shut in our valley. The road over which I walk every day to and from the village is in the worst state of mud and mire, soft, slippery, nasty to tread upon; while the grass beside it is scarcely better, being so oozy and so overflowed with little streams, and sometimes an absolute bog. The rivulets race along the road, adown the hills; and wherever there is a permanent brooklet, however generally insignificant, it is now swollen into importance, and the rumble and tumble of its waterfalls may be heard a long way off. The general effect of the day and scenery is black, black, black. The streams are all as turbid as mud-puddles. Imitators of original authors might be compared to plaster casts of marble statues, or the imitative book to a cast of the original marble.