Complete Fictional Works of Washington Irving (Illustrated) (167 page)

PARIS AT THE RESTORATI
O
N

Paris presented a singular aspect just after the downfall of Napoleon, and the restoration of the Bourbons. It was filled with a restless, roaming population; a dark, sallow race, with fierce mustaches, black cravats, and feverish, menacing looks; men suddenly thrown out of employ by the return of peace; officers cut short in their career, and cast loose with scanty means, many of them in utter indigence, upon the world; the broken elements of armies. They haunted the places of public resort, like restless, unhappy spirits, taking no pleasure; hanging about, like lowering clouds that linger after a storm, and giving a singular air of gloom to this otherwise gay metropolis.

The vaunted courtesy of the old school, the smooth urbanity that prevailed in former days of settled government and long-established aristocracy, had disappeared amid the savage republicanism of the revolution and the military furor of the empire; recent reverses had stung the national vanity to the quick; and English travelers, who crowded to Paris on the return of peace, expecting to meet with a gay, good-humored, complaisant populace, such as existed in the time of the “Sentimental Journey,” were surprised at finding them irritable and fractious, quick at fancying affronts, and not unapt to offer insults. They accordingly inveighed with heat and bitterness at the rudeness they experienced in the French metropolis; yet what better had they to expect? Had Charles II. been reinstated in his kingdom by the valor of French troops; had he been wheeled triumphantly to London over the trampled bodies and trampled standards of England’s bravest sons; had a French general dictated to the English capital, and a French army been quartered in Hyde Park; had Paris poured forth its motley population, and the wealthy bourgeoise of every French trading town swarmed to London; crowding its squares; filling its streets with their equipages; thronging its fashionable hotels, and places of amusements; elbowing its impoverished nobility out of their palaces and opera-boxes, and looking down on the humiliated inhabitants as a conquered people; in such a reverse of the case, what degree of courtesy would the populace of London have been apt to exercise toward their visitors? [Footnote: The above remarks were suggested by a conversation with the late Mr. Canning, whom the author met in Paris, and who expressed himself in the most liberal way concerning the magnanimity of the French on the occupation of their capital by strangers.]

On the contrary, I have always admired the degree of magnanimity exhibited by the French on the occupation of their capital by the English. When we consider the military ambition of this nation, its love of glory; the splendid height to which its renown in arms had recently been carried, and with these, the tremendous reverses it had just undergone; its armies shattered, annihilated; its capital captured, garrisoned, and overrun, and that too by its ancient rival, the English, toward whom it had cherished for centuries a jealous and almost religious hostility; could we have wondered if the tiger spirit of this fiery people had broken out in bloody feuds and deadly quarrels; and that they had sought to rid themselves in any way of their invaders? But it is cowardly nations only, those who dare not wield the sword, that revenge themselves with the lurking dagger. There were no assassinations in Paris. The French had fought valiantly, desperately, in the field; but, when valor was no longer of avail, they submitted like gallant men to a fate they could not withstand. Some instances of insult from the populace were experienced by their English visitors; some personal rencontres, which led to duels, did take place; but these smacked of open and honorable hostility. No instances of lurking and perfidious revenge occurred, and the British soldier patroled the streets of Paris safe from treacherous assault.

If the English met with harshness and repulse in social intercourse, it was in some degree a proof that the people are more sincere than has been represented. The emigrants who had just returned were not yet reinstated. Society was constituted of those who had flourished under the late regime; the newly ennobled, the recently enriched, who felt their prosperity and their consequence endangered by this change of things. The broken-down officer, who saw his glory tarnished, his fortune ruined, his occupation gone, could not be expected to look with complacency upon the authors of his downfall. The English visitor, flushed with health, and wealth, and victory, could little enter into the feelings of the blighted warrior, scarred with a hundred battles, an exile from the camp, broken in constitution by the wars, impoverished by the peace, and cast back, a needy stranger in the splendid but captured metropolis of his country.

”Oh! who can tell what heroes feel,
When all but life and honor’s lost!”

And here let me notice the conduct of the French soldiery on the dismemberment of the army of the Loire, when two hundred thousand men were suddenly thrown out of employ; men who had been brought up to the camp, and scarce knew any other home. Few in civil, peaceful life, are aware of the severe trial to the feelings that takes place on the dissolution of a regiment. There is a fraternity in arms. The community of dangers, hardships, enjoyments; the participation in battles and victories; the companionship in adventures, at a time of life when men’s feelings are most fresh, susceptible, and ardent, all these bind the members of a regiment strongly together. To them the regiment is friends, family, home. They identify themselves with its fortunes, its glories, its disgraces. Imagine this romantic tie suddenly dissolved; the regiment broken up; the occupation of its members gone; their military pride mortified; the career of glory closed behind them; that of obscurity, dependence, want, neglect, perhaps beggary, before them. Such was the case with the soldiers of the army of the Loire. They were sent off in squads, with officers, to the principal towns where they were to be disarmed and discharged. In this way they passed through the country with arms in their hands, often exposed to slights and scoffs, to hunger and various hardships and privations; but they conducted themselves magnanimously, without any of those outbreaks of violence and wrong that so often attend the dismemberment of armies.

*

The few years that have elapsed since the time above alluded to, have already had their effect. The proud and angry spirits which then roamed about Paris unemployed begins to recover its old channels, though worn deeper by recent torrents. The natural urbanity of the French begins to find its way, like oil, to the surface, though there still remains a degree of roughness and bluntness of manner, partly real, and partly affected, by such as imagine it to indicate force and frankness. The events of the last thirty years have rendered the French a more reflecting people. They have acquired greater independence of mind and strength of judgment, together with a portion of that prudence which results from experiencing the dangerous consequences of excesses. However that period may have been stained by crimes, and filled with extravagances, the French have certainly come out of it a greater nation than before. One of their own philosophers observes that in one or two generations the nation will probably combine the ease and elegance of the old character with force and solidity. They were light, he says, before the revolution; then wild and savage; they have become more thoughtful and reflective. It is only old Frenchmen, nowadays, that are gay and trivial; the young are very serious personages.

*

P.S. — In the course of a morning’s walk, about the time the above remarks were written, I observed the Duke of Wellington, who was on a brief visit to Paris. He was alone, simply attired in a blue frock; with an umbrella under his arm, and his hat drawn over his eyes, and sauntering across the Place Vendome, close by the Column of Napoleon. He gave a glance up at the column as he passed, and continued his loitering way up the Rue de la Paix; stopping occasionally to gaze in at the shop-windows; elbowed now and then by other gazers, who little suspected that the quiet, lounging individual they were jostling so unceremoniously was the conqueror who had twice entered their capital victoriously; had controlled the destinies of the nation, and eclipsed the glory of the military idol, at the base of whose column he was thus negligently sauntering.

Some years afterward I was at an evening’s entertainment given by the duke at Apsley House, to William IV. The duke had manifested his admiration of his great adversary, by having portraits of him in different parts of the house. At the bottom of the grand staircase stood the colossal statue of the emperor, by Canova. It was of marble, in the antique style, with one arm partly extended, holding a figure of victory. Over this arm the ladies, in tripping upstairs to the ball, had thrown their shawls. It was a singular office for the statue of Napoleon to perform in the mansion of the Duke of Wellington!

“Imperial Caesar dead, and turned to clay,” etc.,
etc.

*

AMERICAN RESEARCHES IN ITALY. LIFE OF TASSO: RECOVERY OF A LOST PORTRAIT OF DANT
E

To the Editor of the Knickerbocker:

Sir — Permit me through the pages of your magazine to call the attention of the public to the learned and elegant researches in Europe of one of our countrymen, Mr. R. H. Wilde, of Georgia, formerly a member of the House of Representatives. After leaving Congress, Mr. Wilde a few years since spent about eighteen months in traveling through different parts of Europe, until he became stationary for a time in Tuscany. Here he occupied himself with researches concerning the private life of Tasso, whose mysterious and romantic love for the Princess Leonora, his madness and imprisonment, had recently become the theme of a literary controversy, not yet ended; curious in itself, and rendered still more curious by some alleged manuscripts of the poet’s, brought forward by Count Alberti. Mr. Wilde entered into the investigation with the enthusiasm of a poet, and the patience and accuracy of a case-hunter; and has produced a work now in the press, in which the “vexed questions” concerning Tasso are most ably discussed, and lights thrown upon them by his letters, and by various of his sonnets, which last are rendered into English with rare felicity. While Mr. Wilde was occupied upon this work, he became acquainted with Signer Carlo Liverati, an artist of considerable merit, and especially well versed in the antiquities of Florence. This gentleman mentioned incidentally one day, in the course of conversation, that there once and probably still existed in the “Bargello,” anciently both the prison, and the palace of the republic, an authentic portrait of Dante. It was believed to be in fresco, on a wall which afterward, by some strange neglect or inadvertency, had been covered with whitewash. Signor Liverati mentioned the circumstance merely to deplore the loss of so precious a portrait, and to regret the almost utter hopelessness of its recovery.

As Mr. Wilde had not as yet imbibed that enthusiastic admiration for Dante which possesses all Italians, by whom the poet is almost worshiped, this conversation made but a slight impression on him at the time. Subsequently, however, his researches concerning Tasso being ended, he began to amuse his leisure hours with attempts to translate some specimens of Italian lyric poetry, and to compose very short biographical sketches of the authors. In these specimens, which as yet exist only in manuscript, he has shown the same critical knowledge of the Italian language, and admirable command of the English, that characterize his translations of Tasso. He had not advanced far in these exercises, when the obscure and contradictory accounts of many incidents in the life of Dante caused him much embarrassment, and sorely piqued his curiosity. About the same time he received, through the courtesy of Don Neri dei Principi Corsini, what he had long most fervently desired, a permission from the grandduke to pursue his investigations in the secret archives of Florence, with power to obtain copies therefrom. This was a rich and almost unwrought mine of literary research; for to Italians themselves, as well as to foreigners, their archives, for the most part, have been long inaccessible. For two years Mr. Wilde devoted himself with indefatigable ardor to explore the records of the republic during the time of Dante. These being written in barbarous Latin and semi-Gothic characters, on parchment more or less discolored and mutilated, with ink sometimes faded, were rendered still more illegible by the arbitrary abbreviations of the notaries. They require, in fact, an especial study; few even of the officers employed in the “Archivio delle Riformagione” can read them currently and correctly.

Mr. Wilde however persevered in his laborious task with a patience severely tried, but invincible. Being without an index, each file, each book, required to be examined page by page, to ascertain whether any particular of the immortal poet’s political life had escaped the untiring industry of his countrymen. This toil was not wholly fruitless, and several interesting facts obscurely known, and others utterly unknown by the Italians themselves, are drawn forth by Mr. Wilde from the oblivion of these archives.

While thus engaged, the circumstance of the lost portrait of Dante was again brought to Mr. Wilde’s mind, but now excited intense interest. In perusing the notes of the late learned Canonico Moreri on Filelfo’s life of Dante, he found it stated that a portrait of the poet by Giotto was formerly to be seen in the Bargello. He learned also that Signer Scotti, who has charge of the original drawings of the old masters in the imperial and royal gallery, had made several years previously an ineffectual attempt to set on foot a project for the recovery of the lost treasure. Here was a new vein of inquiry, which Mr. Wilde followed up with his usual energy and sagacity. He soon satisfied himself, by reference to Vasari, and to the still more ancient and decisive authority of Filippo Villari, who lived shortly after the poet, that Giotto, the friend and contemporary of Dante, did undoubtedly paint his likeness in the place indicated. Giotto died in 1336, but as Dante was banished, and was even sentenced to be burned, in 1302, it was obvious the work must have been executed before that time; since the portrait of one outlawed and capitally convicted as an enemy to the commonwealth would never have been ordered or tolerated in the chapel of the royal palace. It was clear, then, that the portrait must have been painted between 1290 and 1302.

Mr. Wilde now revolved in his own mind the possibility that this precious relic might remain undestroyed under its coat of whitewash, and might yet be restored to the world. For a moment he felt an impulse to undertake the enterprise; but feared that, in a foreigner from a new world, any part of which is unrepresented at the Tuscan court, it might appear like an intrusion. He soon however found a zealous coadjutor. This was one Giovanni Aubrey Bezzi, a Piedmontese exile, who had long been a resident in England, and was familiar with its language and literature. He was now on a visit to Florence, which liberal and hospitable city is always open to men of merit who for political reasons have been excluded from other parts of Italy. Signer Bezzi partook deeply of the enthusiasm of his countrymen for the memory of Dante, and sympathized with Mr. Wilde in his eagerness to retrieve if possible the lost portrait. They had several consultations as to the means to be adopted to effect their purpose, without incurring the charge of undue officiousness. To lessen any objections that might occur they resolved to ask for nothing but permission to search for the fresco painting at their own expense; and should any remains of it be found, then to propose to the nobility and gentry of Florence an association for the purpose of completing the undertaking and effectually recovering the lost portrait.

For the same reason the formal memorial addressed to the grandduke was drawn up in the name of Florentines; among whom were the celebrated Bartolini, now President of the School of Sculpture in the Imperial and Royal Academy, Signor Paolo Ferroni, of the noble family of that name, who has exhibited considerable talent for painting, and Signor Gasparini, also an artist. This petition was urged and supported with indefatigable zeal by Signor Bezzi; and being warmly countenanced by Count Nerli and other functionaries, met with more prompt success than had been anticipated. Signor Marini, a skillful artist, who had succeeded in similar operations, was now employed to remove the whitewash by a process of his own, by which any fresco painting that might exist beneath would be protected from injury. He set to work patiently and cautiously. In a short time he met with evidence of the existence of the fresco. From under the coat of whitewash the head of an angel gradually made its appearance, and was pronounced to be by the pencil of Giotto.

The enterprise was now prosecuted with increased ardor. Several months were expended on the task, and three sides of the chapel wall were uncovered; they were all painted in fresco by Giotto, with the history of the Magdalen, exhibiting her conversion, her penance, and her beatification. The figures, however, were all those of saints and angels; no historical portraits had yet been discovered, and doubts began to be entertained whether there were any. Still the recovery of an indisputable work of Giotto’s was considered an ample reward for any toil; and the Ministers of the grandduke, acting under his directions, assumed on his behalf the past charges and future management of the enterprise.

At length, on the uncovering of the fourth wall, the undertaking was crowned with complete success. A number of historical figures were brought to light, and among them the undoubted likeness of Dante. He was represented in full length, in the garb of the time, with a book under his arm, designed most probably to represent the “Vita Nuova,” for the “Comedia” was not yet composed, and to all appearance from thirty to thirty-five years of age. The face was in profile and in excellent preservation, excepting that at some former period a nail had unfortunately been driven into the eye. The outline of the eyelid was perfect, so that the injury could easily be remedied. The countenance was extremely handsome, yet bore a strong resemblance to the portraits of the poet taken later in life.

It is not easy to appreciate the delight of Mr. Wilde and his coadjutors at this triumphant result of their researches; nor the sensation produced, not merely in Florence but throughout Italy, by this discovery of a veritable portrait of Dante, in the prime of his days. It was some such sensation as would be produced in England by the sudden discovery of a perfectly well authenticated likeness of Shakespeare; with a difference in intensity proportioned to the superior sensitiveness of the Italians.

The recovery of this portrait of the “divine poet” has occasioned fresh inquiry into the origin of the masks said to have been made from a cast of his face taken after death. One of these masks, in the possession of the Marquess of Torrigiani, has been pronounced as certainly the
original
. Several artists of high talent have concurred in this opinion; among these may be named Jesi, the first engraver in Florence; Seymour Kirkup, Esq., a painter and antiquary; and our own countryman Powers, whose genius, by the way, is very highly appreciated by the Italians.

We may expect from the accomplished pen of Carlo Torrigiani, son of the marquess, and who is advantageously known in this country, from having traveled here, an account of this curious and valuable relic, which has been upward of a century in the possession of his family.

Should Mr. Wilde finish his biographical work concerning Dante, which promises to be a proud achievement in American literature, he intends, I understand, to apply for permission to have both likenesses copied, and should circumstances warrant the expense, to have them engraved by eminent artists. We shall then have the features of Dante while in the prime of life as well as at the moment of his death.

G. C.