Читать книгу Vivian Grey - Benjamin Disraeli - Страница 14

How shall we describe Château Desir, that place fit for all princes? In the midst of a park of great extent, and eminent for scenery, as varied as might please nature’s most capricious lover; in the midst of green lawns and deep winding glens, and cooling streams, and wild forest, and soft woodland, there was gradually formed an elevation, on which was situate a mansion of great size, and of that bastard, but picturesque style of architecture, called the Italian Gothic. The date of its erection was about the middle of the sixteenth century. You entered by a noble gateway, in which the pointed style still predominated; but in various parts of which, the Ionic column, and the prominent keystone, and other creations of Roman architecture, intermingled with the expiring Gothic, into a large quadrangle, to which the square casement windows, and the triangular pediments or gable ends supplying the place of battlements, gave a varied and Italian feature. In the centre of the court, from a vast marble basin, the rim of which was enriched by a splendidly sculptured lotus border, rose a marble group representing Amphitrite with her marine attendants, whose sounding shells and coral sceptres sent forth their subject element in sparkling showers. This work, the chef d’oeuvre celebrated artist of Vicenza, had been purchased by Valerian, first Lord Carabas, who having spent the greater part of his life as the representative of his monarch at the Ducal Court of Venice, at length returned to his native country; and in the creation of Château Desir endeavoured to find some consolation for the loss of his beautiful villa on the banks of the Adige.

Over the gateway there rose a turreted tower, the small square window of which, notwithstanding its stout stanchions, illumined the muniment room of the House of Carabas. In the spandrils of the gateway and in many other parts of the building might be seen the arms of the family; while the tall twisted stacks of chimneys, which appeared to spring from all parts of the roof, were carved and built in such curious and quaint devices that they were rather an ornament than an excrescence. When you entered the quadrangle, you found one side solely occupied by the old hall, the huge carved rafters of whose oak roof rested on corbels of the family supporters against the walls. These walls were of stone, but covered half-way from the ground with a panelling of curiously-carved oak; whence were suspended, in massy frames, the family portraits, painted by Dutch and Italian artists. Near the dais, or upper part of the hall, there projected an oriel window, which, as you beheld, you scarcely knew what most to admire, the radiancy of its painted panes or the fantastic richness of Gothic ornament, which was profusely lavished in every part of its masonry. Here too the Gothic pendent and the Gothic fan-work were intermingled with the Italian arabesques, which, at the time of the building of the Château, had been recently introduced into England by Hans Holbein and John of Padua.

How wild and fanciful are those ancient arabesques! Here at Château Desir, in the panelling of the old hall, might you see fantastic scrolls, separated by bodies ending in termini, and whose heads supported the Ionic volute, while the arch, which appeared to spring from these capitals, had, for a keystone, heads more monstrous than those of the fabled animals of Ctesias; or so ludicrous, that you forgot the classic griffin in the grotesque conception of the Italian artist. Here was a gibbering monkey, there a grinning pulcinello; now you viewed a chattering devil, which might have figured in the “Temptation of St. Anthony;” and now a mournful, mystic, bearded countenance, which might have flitted in the back scene of a “Witches’ Sabbath.”

A long gallery wound through the upper story of two other sides of the quadrangle, and beneath were the show suite of apartments with a sight of which the admiring eyes of curious tourists were occasionally delighted.

The grey stone walls of this antique edifice were, in many places, thickly covered with ivy and other parasitical plants, the deep green of whose verdure beautifully contrasted with the scarlet glories of the pyrus japonica, which gracefully clustered round the windows of the lower chambers. The mansion itself was immediately surrounded by numerous ancient forest trees. There was the elm with its rich branches bending down like clustering grapes; there was the wide-spreading oak with its roots fantastically gnarled; there was the ash, with its smooth bark and elegant leaf; and the silver beech, and the gracile birch; and the dark fir, affording with its rough foliage a contrast to the trunks of its more beautiful companions, or shooting far above their branches, with the spirit of freedom worthy of a rough child of the mountains.

Around the Castle were extensive pleasure-grounds, which realised the romance of the “Gardens of Verulam.” And truly, as you wandered through their enchanting paths there seemed no end to their various beauties, and no exhaustion of their perpetual novelty. Green retreats succeeded to winding walks; from the shady berçeau you vaulted on the noble terrace; and if, for an instant, you felt wearied by treading the velvet lawn, you might rest in a mossy cell, while your mind was soothed by the soft music of falling waters. Now your curious eyes were greeted by Oriental animals, basking in a sunny paddock; and when you turned from the white-footed antelope and the dark-eyed gazelle, you viewed an aviary of such extent, that within its trellised walls the imprisoned, songsters could build, in the free branches of a tree, their natural nests.

“O fair scene!” thought Vivian Grey, as he approached, on a fine summer’s afternoon, the splendid Château, “O fair scene! doubly fair to those who quit for thee the thronged and agitated city. And can it be, that those who exist within this enchanted domain, can think of anything but sweet air, and do aught but revel in the breath of perfumed flowers?” And here he gained the garden-gate: so he stopped his soliloquy, and gave his horse to his groom.