Читать книгу A Little Pilgrimage in Italy - Olave M. Potter - Страница 8

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We came to Arezzo in the cool of the evening. It had been a breathless day. Even at Genoa the air hung heavy with the sirocco. We found Pisa in a mirage, and the white hills of Carrara glistening like the lime rocks of a desert.

It was good to be in Tuscany again—Tuscany with her grey farms and lichened roofs, her towered horizons, her blue hills, her vineyards, and her olive-gardens. We could hear the song of the cicalas vibrating in the sunshine above the jar of the train; near at hand the hills swelled up, clothed with the tender mist of olives or linked with vines; stone-pines floated darkly against the sky, and cypress spires climbed the hillsides in a long procession like souls on pilgrimage.

Perhaps it is because Arezzo, little Arezzo, with her ancient history and her tale of great men, was the earliest of our hill-cities that we loved her at first sight. Coming from London and Genoa, with the noise and dust and heat of long train journeys still hanging about us, she seemed very cool and sweet among her vineyards and olive-gardens. She has left her hill-top now that she needs no more the walls which Sangallo built in the fighting days of the Popes, and has trailed down to the railway in the valley, leaving behind her wide piazzas which she has filled with shady trees, and benches, and statues of her great ones. Her paved streets, steep and clean, climb up the hillside between grey palaces, green-shuttered, with wide Tuscan eaves, whose fantastic outlines, seen in échelon against the sky, bring back a score of memories of other clean-swept Tuscan towns.

Now that we were threading her byways, Arezzo, though she had looked imposing from the valley, dwindled to a little brown city, full of memories, and frescoed churches, and ancient houses in which the labourer dwells in his poverty to-day where the rich citizens of Arezzo once held great state. Capers and all manner of pensive creepers grew out of the rough walls; fig-trees, roses, wistarias, and oleanders in full blossom poured over them, so that the air was full of fragrance. And there were flowers in the upper windows of thirteenth-century houses, for your Tuscan is fond of flowers, and will have his garofani upon his window-ledge. Through the low-browed gateways we could see women spinning in arcaded courtyards; and the shoemakers and basket-weavers worked at their humble trades as they sat on the steps of weather-beaten Gothic houses.

And often as we wandered through her narrow streets we paused to look down upon the calm beauty of the Tuscan plain, which stretched from the vineyards below her walls to the blue mountains of Chianti. Nor did it require any effort of imagination, while we were walking in those mediaeval byways between the Borgunto and the Via di Pellicceria, to people the rich valley with the pageant which Dante witnessed while he was staying in Arezzo with the elder Petrarch, both exiles from Florence.

'It hath been heretofore my chance to see

Horsemen with martial order shifting camp,

To onset sallying, or in muster rang'd,

Or in retreat sometimes outstretch'd for flight;

Light-armed squadrons and fleet foragers

Scouring thy plains, Arezzo! have I seen,

And clashing tournaments, and tilting jousts,

Now with the sound of trumpets, now of bells,

Tabors, or signals made from castled heights.'[1]

A common sight enough, heaven knows, in the Middle Ages, when every little city sought to rule itself, and the populace and the petty lords alike cloaked their ambitions under the old war-cry of Guelph and Ghibelline!

There is an air of gaiety in Arezzo, a simple, almost pastoral, joy. The philosopher felt it at once.

'We are like flowers,' he said, as we sat on a bench outside the inn after our first breakfast in Tuscany. 'In London our roots spread in the ground, and they get knotted and twisted in the darkness. Here we shoot right up into the sun.'

And, indeed, Arezzo is a happy place, whose charm, it may be, owes its origin to an earlier civilisation, which has left so many broken fragments of its art scattered on the neighbouring hillsides. They are garnered to-day in the museum among the relics of Arezzo's history, of which they are the chief glory now that the bronze Chimera and the magnificent Etruscan statue of Minerva have gone to swell the treasures of Florence. There is not a vase or patera unbroken. The entire collection is composed of fragments, moulds and casts in low relief. But every piece is exquisitely beautiful; each one is like a shell cast by the tides of fantasy upon the shores of a work-a-day world. And though the streets of Arezzo are nearly always empty and silent, I think the flutes and lyres and dancing fauns, with which the artists of Arretium delicately graced their coral-coloured bowls and cups, are not silenced yet upon this Tuscan hill. Perhaps the spirit of the slim-limbed girls and youths, and merry little loves, whose forms are beauty, and whose fragile feet seem scarce to bruise the ground, dance still to their forgotten songs about the vineyards of Arretium. It is as though the dream of some Attic poet, for I cannot think that the heavy-eyed people of Etruria imagined such gods, lingers on in this little Tuscan town, and the echo of its ancient music vibrates in the stillness of the museum like the murmur of waves in a shell. Or perhaps it is a magic in the air, the subtle air of Tuscany, that poets sing of, which has inspired more genius than we can find in all the rest of Italy.

For Arezzo, like Florence, has been the mother of great men. Michelangelo, himself born but a few miles from Arezzo, wrote to Vasari, 'Giorgio, of myself I have no power. I happened to be born in the subtle air of your paese.'

Poets and artists, sculptors and musicians, have issued from her walls. All the world knows that she bred Maecenas and Petrarch, but only those who pause to read her chronicles know how many of her sons have walked with History in the corridors of Time—Margheritone, the Spinelli; Leonardo Bruni; Carlo Marsuppini, and a host of other humanists; the fighting bishop, Guido Tarlati; Vasari; and Guido Monaco, the Benedictine monk, born in the closing years of the eleventh century, who was the inventor of our modern system of musical notation.

Whether Arezzo occupies the site of Arretium, the city of the Etruscan league, which is unlikely, or whether it rose like a phoenix from the ashes of its ancient necropolis, or grew from a Roman colony of that name near the Etruscan settlement, is not for me to say, since antiquaries are undecided. In any case there is little of either Etruscan or Roman antiquity outside the museum to-day.

AREZZO: THE PRISON.

It is the Middle Ages which have set their crown upon Arezzo. Knowing her courage, and how it outweighed her strength so that she dared to offer battle to her great neighbour Florence through many stormy centuries, it is a marvel that anything of value should be left. And in fact Arezzo boasts few civic buildings—the palace of the Podestà or del Governo, now the prison, whose façade is covered with the stemme of her many rulers, and the Palazzo Comunale or dei Priori, with its picturesque clock tower, are all that remain of the mediaeval city, except some streets of fifteenth-century dwelling-houses. But she has several noble churches—the Gothic Duomo, majestically simple within and without, which crowns her hill-top; the Pieve, Santa Maria di Gradi, with its wonderful Pisan-Romanesque façade, hoary with antiquity; the great bare church of San Francesco, enriched by Piero della Francesca's Story of the True Cross; and Santa Maria delle Grazie in the vineyards outside the walls.

It is the same all over Italy. What little town is there, however broken, but has ancient churches and palaces to crown its hill and keep troth through the ages with its vanished greatness? Arezzo is particularly rich. The most expectant pilgrim to Italy's shrines of art, even though he come straight from Florence, will be thrilled by the golden church which soars from the crest of Arezzo's hill between the gracious old Palazzo Comunale and the public gardens, gay in July with the flame-coloured pennons of a flowering tree, which Mr. Markino tells me is called Urushi in Japan. For the Aretines have lavished wealth upon their cathedral, and the Ark of San Donato, which is one of the most beautiful mediaeval shrines in Italy, a rival to Orcagna's masterpiece in Or San Michele, is alone worth the long hot climb. The exquisitely wrought marble is yellowing with age; it is as finely carved as Oriental ivories; the trefoils and the edges of its panels are set with lapis lazuli. And here we have the reverence of the Trecento, with its rude handiwork redeemed by its ardent sincerity. For the sculptors saw nothing strange or irreverent in filling their scenes of the lives of Madonna and San Donato with all the incongruous details of their own day, so that we have at the same time jesters and angels, knights a-horseback and heavy-headed saints, and the queer beasts of mediaeval imaginings.

Close at hand is the tomb of the splendid old fighting Bishop of Arezzo, Guido Tarlati, who crowned the Emperor Lewis of Bavaria with the Iron Crown of Lombardy in defiance of the excommunications of John XXII., and who led his people to battle against the Pope as readily as he led their prayers to God. A great man this, who has a worthy tomb, for Agostino and Agnolo of Siena carved the history of his stirring life below his recumbent form when he was laid to rest, and have shown us incidentally the life of the Trecento in all its vigour and humour. Two angels draw back the curtains of his bier, revealing him as he lies asleep, with folded hands and an air of extreme piety and humility, belied by the long recital of his little wars, and the story of his triumphs, from his Consecration as a Bishop to the Coronation of Lewis, and his death in 1327.

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A Street in Arezzo.

There are many other treasures in the Duomo, besides the column upon which San Donato had his head cut off, 'without any regard for the axe,' as the custode explained, pointing out a deep gash in the marble to remove the lingering doubts of any sceptic; there is an exquisite relief by Rossellino in the Chapter House, and many Della Robbias have set their seal of piety and graciousness on altar and tomb in the Chapel of the Madonna. But it was not any of these things which claimed our thoughts the first time that we entered the dim aisles of Margheritone's soaring Gothic church. After the glare and heat of the piazza, where the sunlight reflected from the yellow walls of the cathedral dazzled our eyes, we found the darkness of the nave, illuminated by a solitary altar lamp, and threaded with shafts of jewelled light filtering through painted glass, as grateful as the shade of some primeval forest formed by the interlacing branches of giant trees. For, within, the Cathedral of Arezzo is like the Gothic churches of the north, and it may be that the grim Margheritone, whose agonised crucifixions adorn so many chapels in Tuscany and Umbria, was himself inspired by northern architecture. He returned to his native town from Florence in the train of Gregory X., fresh from the Council of Lyons; and Gregory, who left 30,000 scudi to the Comune for the erection of the new cathedral, may well have made some suggestions as to the style of architecture which was to be employed. He died in the neighbourhood some months later, early in the year 1276, and his beautiful thirteenth-century tomb by Margheritone is one of the chief ornaments of the cathedral which he helped to endow.

In Arezzo we were fortunate to find a real country inn; a clean, cool place, with floors and stairs of red brick, and an alfresco dining-room in the garden.

I remember how gay we were, how our burdens of care slipped from our shoulders as we sat to eat below the trees on those first nights in Tuscany. Were we not on the road again, knowing nothing of the morrow, forgetful of everything but the joy of yesterday, dining when we were hungry, sleeping when we were tired, with no thought but for the beauty of the ways which opened out before us, no care but that we might pass unwittingly some of the quaint and lovely fragments of art and architecture with which our path was strewn?

'Peregrino, quasi mendicando,' said Dante, bitter in his exile, but we did not want for the luxury which money cannot buy. It is only Italy of the little towns that can make you forget the work-a-day world. Nowhere else can you be so content with what is often meagre fare, so careless of the morrow, so full of the joy of to-day, as you are in Italy.

At night we sat at rough trestle tables in the little garden of the Albergo della Stella with the star-strewn canopy of night above us, and an electric light hanging like a fire-fly from the branches of an acacia tree. The level note of night crickets singing in the ilexes made an accompaniment to the distant clatter of dishes and the snatches of talk from other tables behind the tall bamboos. The food was simple—minestre, perfectly grilled steaks, fresh fruit, and generous fiaschi of the good red Tuscan wine, for which the vineyards of Arretium were praised. And here we lingered, talking of the wide-eaved Tuscan house in the Via del Orte, where Petrarch, the first of the great Italian humanists, was born, and Dante came to visit the elder Petrarch, who had been exiled from Florence by the same turn of the political wheel as himself; of Vasari, who filled his niche as a biographer so much better than he ever filled it as an artist; of Piero della Francesca and the vigorous young world he pictured on the bare white walls of San Francesco; and of San Bernardino who, like St. Francis, purged Arezzo of its devils and laid the foundations of Santa Maria delle Grazie, that exquisite church outside the city walls which Benedetto da Maiano, Andrea della Robbia and Parri di Spinello enriched with the sister arts. For it was San Bernardino who, coming to Arezzo, and finding that the citizens were in the habit of practising pagan rites for an oracle, which they imagined dwelt in a wood outside their gates, preached such a fiery sermon from the pulpit of San Francesco that they wept before him like little children. But he, insisting that they should do penance, gave orders that on a certain day a great wooden cross should be brought to him, and that the people should come in solemn procession to exorcise the demon. That week the citizens of Arezzo went about their work with fear and trembling, and some of them cast doubtful looks down to the valley where the oracle was hid. But on the appointed day, though I doubt not that many did absent themselves, a great company followed the saint, carrying the cross, down to the hateful wood.

It is not hard to picture to-day—the Mystic chanting as he walked at the head of the procession; the hot and dusty way through the vineyards below the city walls, for San Bernardino was loth to start until all the people were met together; and the fear of the crowd as they drew near and heard the music of the oracle-haunted spring. But Bernardino, whose heart was ever with the angels, caused the fountain to be cast down and the trees to be felled, lest by any chance some evil might yet lurk in the wood. And, knowing the heart of the people, that where a man has once worshipped he will worship again, even though it be to other gods, he built a little chapel to the glory of Our Lady of Mercies, and he begged Messer Spinello to paint the Virgin for an altarpiece.

But not every one who comes to Arezzo visits this lovely church down in the vineyards, in spite of the marvellous beauty of Andrea della Robbia's 'cornice,' which frames Spinello's Madonna delle Grazie as she stands among the stars, like the Mother of the World, with strange, sad eyes, and shelters in her cloak the little people of Arezzo, humbly kneeling in penitence at her feet.