April 25th. [1858]
Night before last my wife and I took a moonlight ramble through Rome, it being a very beautiful night, warm enough for comfort, and with no perceptible dew or dampness. We set out at about nine o'clock, and our general direction being towards the Coliseum, we soon came to the Fountain of Trevi, full on the front of which the moonlight fell, making Bernini's sculptures look stately and beautiful; though the semicircular gush and fall of the cascade, arid the many jets of the water, pouring and bubbling into the great marble basin, are of far more account than Neptune and his steeds, and the rest of the figures . . .
We ascended the Capitoline hill, and I felt a satisfaction in placing my hand on those immense blocks of stone, the remains of the ancient Capitol, which form the foundation of the present edifice, and will make a sure basis for as many edifices as posterity may choose to rear upon it till the end of the world. It is wonderful, the solidity with which those old Romans built; one would suppose they contemplated the whole course of Time as the only limit of their individual life. This is not so strange in the days of the Republic, when, probably, they believed in the permanence of their institutions; but they still seemed to build for eternity in the reigns of the emperors, when neither rulers nor people had any faith or moral substance, or laid any earnest grasp on life.
Reaching the top of the Capitoline hill, we ascended the steps of the portal of the Palace of the Senator, and looked down into the piazza, with the equestrian statue of Marcus Aurelius in the centre of it. The architecture that surrounds the piazza is very ineffective; and so, in my opinion, are all the other architectural works of Michael Angelo, including St. Peter's itself, of which he has made as little as could possibly be made of such a vast pile of material. He balances everything in such a way that it seems but half of itself.
We soon descended into the piazza, and walked round and round the statue of Marcus Aurelius, contemplating it from every point and admiring it in all. . . On these beautiful moonlight nights, Rome appears to keep awake and stirring, though in a quiet and decorous way. It is, in fact, the pleasantest time for promenades, and we both felt less wearied than by any promenade in the day-time, of similar extent, since our residence in Rome. In future, I mean to walk often after nightfall.
Yesterday, we set out betimes, and ascended the dome of St. Peter's. The best view of the interior of the church, I think, is from the first gallery beneath the dome. The whole inside of the dome is set with mosaic-work, the separate pieces being, so far as I could see, about half an inch square. Emerging on the roof, we had a fine view of all the surrounding Rome, including the Mediterranean Sea in the remote distance. Above us still rose the whole mountain of the great dome, and it made an impression on me of greater height and size than I had yet been able to receive. The copper ball at the summit looked hardly bigger than a man could lift ; and yet, a little while afterwards, U----, J-----, and I stood all together in that ball, which could have contained a dozen more along with us. The esplanade of the roof is, of course, very extensive; and along the front of it are ranged the statues which we see from below, and which, on nearer examination, prove to be roughlyhewn giants. There is a small house on the roof, where, probably, the custodes of this part of the edifice reside; and there is a fountain gushing abundantly into a stone trough, that looked like an old sarcophagus. It is strange where the water comes from at such a height. The children tasted it, and pronounced it very warm and disagreeable. After taking in the prospect on all sides we rang a bell, which summoned a man, who directed us towards a door in the side of the dome, where a custode was waiting to admit us. Hitherto the ascent had been easy, along a slope without stairs, up which, I believe, people sometimes ride on donkeys. The rest of the way we mounted steep and narrow staircases, winding round within the wall, or between the two walls of the dome, and growing narrower and steeper, till, finally, there is but a perpendicular iron ladder, by means of which to climb into the copper ball. Except through small windows and peep-holes, there is no external prospect of a higher point than the roof of the church. Just beneath the ball there is a circular room capable of containing a large company, and a door which ought to give access to a gallery on the outside; but the custode informed us that this door is never opened. As I have said, U----, J-----, and I clambered into the copper ball, which we found as hot as an oven; and, after putting our hands on its top, and on the summit of St. Peter's, were glad to clamber down again. I have made some mistake, after all, in my narration. There certainly is a circular balcony at the top of the dome, for I remember walking round it, and looking not only across the country, but downwards along the ribs of the dome; to which are attached the iron contrivances for illuminating it on Easter Sunday . . .
Before leaving the church we went to look at the mosaic copy of the Transfiguration, because we were going to see the original in the Vatican, and wished to compare the two. Going round to the entrance of the Vatican, we went first to the manufactory of mosaics, to which we had a ticket of admission. We found it a long series of rooms, in which the mosaic artists were at work, chiefly in making some medallions of the heads of saints for the new church of St. Paul's. It was rather coarse work, and it seemed to me that the mosaic copy was somewhat stiifer and more wooden than the original, the bits of stone not flowing into colour quite so freely as paint from a brush. There was no large picture now in process of being copied; but two or three artists were employed on small and delicate subjects. One had a Holy Family of Raphael in hand; and the Sibyls of Guercino and Domenichino were hanging on the wall, apparently ready to be put into mosaic. Wherever great skill and delicacy on the artists' part were necessary, they seemed quite adequate to the occasion; but, after all, a mosaic of any celebrated picture is but a copy of a copy. The substance employed is a stone-paste, of innumerable different views, and in bits of various sizes, quantities of which were seen in cases along the whole series of rooms.
We next ascended an amazing height of staircases, and walked along I know not what extent of passages, . . . till we reached the picture gallery of the Vatican, into which I had never been before. There are but three rooms, all lined with red velvet, on which hung about fifty pictures, each one of them, no doubt, worthy to be considered a masterpiece. In the first room were three Murillos, all so beautiful that I could have spent the day happily in looking at either of them; for, methinks, of all painters he is the tenderest and truest. I could not enjoy these pictures now, however, because in the next room, and visible through the open door, hung the Transfiguration. Approaching it, I felt that the picture was worthy of its fame, and was far better than I could at once appreciate; admirably preserved, too, though I fully believe it must have possessed a charm when it left Raphael's hand that has now vanished for ever. As church furniture and an external adornment, the mosaic copy is preferable to the original, but no copy could ever reproduce all the life and expression which we see here. Opposite to it hangs the Communion of St. Jerome -- the aged, dying saint, half torpid with death already, partaking of the sacrament, and a sunny garland of cherubs in the upper part of the picture, looking down upon him, and quite comforting the spectator with the idea that the old man needs only to be quite dead in order to flit away with them. As for the other pictures, I did but glance at, and have forgotten them.
The Transfiguration is finished with great minuteness and detail, the weeds and blades of grass in the foreground being as distinct as if they were growing in a natural soil. A partly-decayed stick of wood, with the bark, is likewise given in close imitation of nature. The reflection of a foot of one of the Apostles is seen in a pool of water at the verge of the picture. One or two heads and arms seem almost to project from the canvas. There is great lifelikeness and reality, as well as higher qualities. The face of Jesus, being so high aloft and so small in the distance, I could not well see; but I am impressed with the idea that it looks too much like human flesh and blood to be in keeping with the celestial aspect of the figure, or with the probabilities of the scene, when the divinity and immortality of the Saviour beamed from within him through the earthly features that ordinarily shaded him. As regards the composition of the picture, I am not convinced of the propriety of its being in two so distinctly separate parts the upper portion not thinking of the lower, and the lower portion not being aware of the higher. It symbolises, however, the spiritual shortsightedness of mankind that, amid the trouble and grief of the lower picture, not a single individual, either of those who seek help or those who would willingly afford it, lifts his eyes to that region, one glimpse of which would set everything right. One or two of the disciples point upward, but without really knowing what abundance of help is to be had there.
Night before last my wife and I took a moonlight ramble through Rome, it being a very beautiful night, warm enough for comfort, and with no perceptible dew or dampness. We set out at about nine o'clock, and our general direction being towards the Coliseum, we soon came to the Fountain of Trevi, full on the front of which the moonlight fell, making Bernini's sculptures look stately and beautiful; though the semicircular gush and fall of the cascade, arid the many jets of the water, pouring and bubbling into the great marble basin, are of far more account than Neptune and his steeds, and the rest of the figures . . .
We ascended the Capitoline hill, and I felt a satisfaction in placing my hand on those immense blocks of stone, the remains of the ancient Capitol, which form the foundation of the present edifice, and will make a sure basis for as many edifices as posterity may choose to rear upon it till the end of the world. It is wonderful, the solidity with which those old Romans built; one would suppose they contemplated the whole course of Time as the only limit of their individual life. This is not so strange in the days of the Republic, when, probably, they believed in the permanence of their institutions; but they still seemed to build for eternity in the reigns of the emperors, when neither rulers nor people had any faith or moral substance, or laid any earnest grasp on life.
Reaching the top of the Capitoline hill, we ascended the steps of the portal of the Palace of the Senator, and looked down into the piazza, with the equestrian statue of Marcus Aurelius in the centre of it. The architecture that surrounds the piazza is very ineffective; and so, in my opinion, are all the other architectural works of Michael Angelo, including St. Peter's itself, of which he has made as little as could possibly be made of such a vast pile of material. He balances everything in such a way that it seems but half of itself.
We soon descended into the piazza, and walked round and round the statue of Marcus Aurelius, contemplating it from every point and admiring it in all. . . On these beautiful moonlight nights, Rome appears to keep awake and stirring, though in a quiet and decorous way. It is, in fact, the pleasantest time for promenades, and we both felt less wearied than by any promenade in the day-time, of similar extent, since our residence in Rome. In future, I mean to walk often after nightfall.
Yesterday, we set out betimes, and ascended the dome of St. Peter's. The best view of the interior of the church, I think, is from the first gallery beneath the dome. The whole inside of the dome is set with mosaic-work, the separate pieces being, so far as I could see, about half an inch square. Emerging on the roof, we had a fine view of all the surrounding Rome, including the Mediterranean Sea in the remote distance. Above us still rose the whole mountain of the great dome, and it made an impression on me of greater height and size than I had yet been able to receive. The copper ball at the summit looked hardly bigger than a man could lift ; and yet, a little while afterwards, U----, J-----, and I stood all together in that ball, which could have contained a dozen more along with us. The esplanade of the roof is, of course, very extensive; and along the front of it are ranged the statues which we see from below, and which, on nearer examination, prove to be roughlyhewn giants. There is a small house on the roof, where, probably, the custodes of this part of the edifice reside; and there is a fountain gushing abundantly into a stone trough, that looked like an old sarcophagus. It is strange where the water comes from at such a height. The children tasted it, and pronounced it very warm and disagreeable. After taking in the prospect on all sides we rang a bell, which summoned a man, who directed us towards a door in the side of the dome, where a custode was waiting to admit us. Hitherto the ascent had been easy, along a slope without stairs, up which, I believe, people sometimes ride on donkeys. The rest of the way we mounted steep and narrow staircases, winding round within the wall, or between the two walls of the dome, and growing narrower and steeper, till, finally, there is but a perpendicular iron ladder, by means of which to climb into the copper ball. Except through small windows and peep-holes, there is no external prospect of a higher point than the roof of the church. Just beneath the ball there is a circular room capable of containing a large company, and a door which ought to give access to a gallery on the outside; but the custode informed us that this door is never opened. As I have said, U----, J-----, and I clambered into the copper ball, which we found as hot as an oven; and, after putting our hands on its top, and on the summit of St. Peter's, were glad to clamber down again. I have made some mistake, after all, in my narration. There certainly is a circular balcony at the top of the dome, for I remember walking round it, and looking not only across the country, but downwards along the ribs of the dome; to which are attached the iron contrivances for illuminating it on Easter Sunday . . .
Before leaving the church we went to look at the mosaic copy of the Transfiguration, because we were going to see the original in the Vatican, and wished to compare the two. Going round to the entrance of the Vatican, we went first to the manufactory of mosaics, to which we had a ticket of admission. We found it a long series of rooms, in which the mosaic artists were at work, chiefly in making some medallions of the heads of saints for the new church of St. Paul's. It was rather coarse work, and it seemed to me that the mosaic copy was somewhat stiifer and more wooden than the original, the bits of stone not flowing into colour quite so freely as paint from a brush. There was no large picture now in process of being copied; but two or three artists were employed on small and delicate subjects. One had a Holy Family of Raphael in hand; and the Sibyls of Guercino and Domenichino were hanging on the wall, apparently ready to be put into mosaic. Wherever great skill and delicacy on the artists' part were necessary, they seemed quite adequate to the occasion; but, after all, a mosaic of any celebrated picture is but a copy of a copy. The substance employed is a stone-paste, of innumerable different views, and in bits of various sizes, quantities of which were seen in cases along the whole series of rooms.
We next ascended an amazing height of staircases, and walked along I know not what extent of passages, . . . till we reached the picture gallery of the Vatican, into which I had never been before. There are but three rooms, all lined with red velvet, on which hung about fifty pictures, each one of them, no doubt, worthy to be considered a masterpiece. In the first room were three Murillos, all so beautiful that I could have spent the day happily in looking at either of them; for, methinks, of all painters he is the tenderest and truest. I could not enjoy these pictures now, however, because in the next room, and visible through the open door, hung the Transfiguration. Approaching it, I felt that the picture was worthy of its fame, and was far better than I could at once appreciate; admirably preserved, too, though I fully believe it must have possessed a charm when it left Raphael's hand that has now vanished for ever. As church furniture and an external adornment, the mosaic copy is preferable to the original, but no copy could ever reproduce all the life and expression which we see here. Opposite to it hangs the Communion of St. Jerome -- the aged, dying saint, half torpid with death already, partaking of the sacrament, and a sunny garland of cherubs in the upper part of the picture, looking down upon him, and quite comforting the spectator with the idea that the old man needs only to be quite dead in order to flit away with them. As for the other pictures, I did but glance at, and have forgotten them.
The Transfiguration is finished with great minuteness and detail, the weeds and blades of grass in the foreground being as distinct as if they were growing in a natural soil. A partly-decayed stick of wood, with the bark, is likewise given in close imitation of nature. The reflection of a foot of one of the Apostles is seen in a pool of water at the verge of the picture. One or two heads and arms seem almost to project from the canvas. There is great lifelikeness and reality, as well as higher qualities. The face of Jesus, being so high aloft and so small in the distance, I could not well see; but I am impressed with the idea that it looks too much like human flesh and blood to be in keeping with the celestial aspect of the figure, or with the probabilities of the scene, when the divinity and immortality of the Saviour beamed from within him through the earthly features that ordinarily shaded him. As regards the composition of the picture, I am not convinced of the propriety of its being in two so distinctly separate parts the upper portion not thinking of the lower, and the lower portion not being aware of the higher. It symbolises, however, the spiritual shortsightedness of mankind that, amid the trouble and grief of the lower picture, not a single individual, either of those who seek help or those who would willingly afford it, lifts his eyes to that region, one glimpse of which would set everything right. One or two of the disciples point upward, but without really knowing what abundance of help is to be had there.
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