Complete Works of Emile Zola (1406 page)

However, Pierre’s favourite promenade soon became the new quay of the Tiber beyond the Palazzo Boccanera. He had merely to take the narrow lane skirting the mansion to reach a spot where he found much food for reflection. Although the quay was not yet finished, the work seemed to be quite abandoned. There were heaps of rubbish, blocks of stone, broken fences, and dilapidated tool-sheds all around. To such a height had it been necessary to carry the quay walls — designed to protect the city from floods, for the river bed has been rising for centuries past — that the old terrace of the Boccanera gardens, with its double flight of steps to which pleasure boats had once been moored, now lay in a hollow, threatened with annihilation whenever the works should be finished. But nothing had yet been levelled; the soil, brought thither for making up the bank, lay as it had fallen from the carts, and on all sides were pits and mounds interspersed with the abandoned building materials. Wretched urchins came to play there, workmen without work slept in the sunshine, and women after washing ragged linen spread it out to dry upon the stones. Nevertheless the spot proved a happy, peaceful refuge for Pierre, one fruitful in inexhaustible reveries when for hours at a time he lingered gazing at the river, the quays, and the city, stretching in front of him and on either hand.

At eight in the morning the sun already gilded the vast opening. On turning to the left he perceived the roofs of the Trastevere, of a misty, bluish grey against the dazzling sky. Then, just beyond the apse of San Giovanni, on the right, the river curved, and on its other bank the poplars of the Ospedale di Santo Spirito formed a green curtain, while the castle of Sant’ Angelo showed brightly in the distance. But Pierre’s eyes dwelt more particularly on the bank just in front of him, for there he found some lingering vestiges of old Rome. On that side indeed between the Ponte Sisto and the Ponte Sant’ Angelo, the quays, which were to imprison the river within high, white, fortress-like walls, had not yet been raised, and the bank with its remnants of the old papal city conjured up an extraordinary vision of the middle ages. The houses, descending to the river brink, were cracked, scorched, rusted by innumerable burning summers, like so many antique bronzes. Down below there were black vaults into which the water flowed, piles upholding walls, and fragments of Roman stone-work plunging into the river bed; then, rising from the shore, came steep, broken stairways, green with moisture, tiers of terraces, storeys with tiny windows pierced here and their in hap-hazard fashion, houses perched atop of other houses, and the whole jumbled together with a fantastic commingling of balconies and wooden galleries, footbridges spanning courtyards, clumps of trees growing apparently on the very roofs, and attics rising from amidst pinky tiles. The contents of a drain fell noisily into the river from a worn and soiled gorge of stone; and wherever the houses stood back and the bank appeared, it was covered with wild vegetation, weeds, shrubs, and mantling ivy, which trailed like a kingly robe of state. And in the glory of the sun the wretchedness and dirt vanished, the crooked, jumbled houses seemed to be of gold, draped with the purple of the red petticoats and the dazzling white of the shifts which hung drying from their windows; while higher still, above the district, the Janiculum rose into all the luminary’s dazzlement, uprearing the slender profile of Sant’ Onofrio amidst cypresses and pines.

Leaning on the parapet of the quay wall, Pierre sadly gazed at the Tiber for hours at a time. Nothing could convey an idea of the weariness of those old waters, the mournful slowness of their flow along that Babylonian trench where they were confined within huge, bare, livid prison-like walls. In the sunlight their yellowness was gilded, and the faint quiver of the current brought ripples of green and blue; but as soon as the shade spread over it the stream became opaque like mud, so turbid in its venerable old age that it no longer even gave back a reflection of the houses lining it. And how desolate was its abandonment, what a stream of silence and solitude it was! After the winter rains it might roll furiously and threateningly, but during the long months of bright weather it traversed Rome without a sound, and Pierre could remain there all day long without seeing either a skiff or a sail. The two or three little steam-boats which arrived from the coast, the few tartanes which brought wine from Sicily, never came higher than the Aventine, beyond which there was only a watery desert in which here and there, at long intervals, a motionless angler let his line dangle. All that Pierre ever saw in the way of shipping was a sort of ancient, covered pinnace, a rotting Noah’s ark, moored on the right beside the old bank, and he fancied that it might be used as a washhouse, though on no occasion did he see any one in it. And on a neck of mud there also lay a stranded boat with one side broken in, a lamentable symbol of the impossibility and the relinquishment of navigation. Ah! that decay of the river, that decay of father Tiber, as dead as the famous ruins whose dust he is weary of laving! And what an evocation! all the centuries of history, so many things, so many men, that those yellow waters have reflected till, full of lassitude and disgust, they have grown heavy, silent and deserted, longing only for annihilation.

One morning on the river bank Pierre found La Pierina standing behind an abandoned tool-shed. With her neck extended, she was looking fixedly at the window of Dario’s room, at the corner of the quay and the lane. Doubtless she had been frightened by Victorine’s severe reception, and had not dared to return to the mansion; but some servant, possibly, had told her which was the young Prince’s window, and so she now came to this spot, where without wearying she waited for a glimpse of the man she loved, for some sign of life and salvation, the mere hope of which made her heart leap. Deeply touched by the way in which she hid herself, all humility and quivering with adoration, the priest approached her, and instead of scolding her and driving her away as he had been asked to do, spoke to her in a gentle, cheerful manner, asking her for news of her people as though nothing had happened, and at last contriving to mention Dario’s name in order that she might understand that he would be up and about again within a fortnight. On perceiving Pierre, La Pierina had started with timidity and distrust as if anxious to flee; but when she understood him, tears of happiness gushed from her eyes, and with a bright smile she kissed her hand to him, calling: “
Grazie, grazie
, thanks, thanks!” And thereupon she darted away, and he never saw her again.

On another morning at an early hour, as Pierre was going to say mass at Santa Brigida on the Piazza Farnese, he was surprised to meet Benedetta coming out of the church and carrying a small phial of oil. She evinced no embarrassment, but frankly told him that every two or three days she went thither to obtain from the beadle a few drops of the oil used for the lamp that burnt before an antique wooden statue of the Madonna, in which she had perfect confidence. She even confessed that she had never had confidence in any other Madonna, having never obtained anything from any other, though she had prayed to several of high repute, Madonnas of marble and even of silver. And so her heart was full of ardent devotion for the holy image which refused her nothing. And she declared in all simplicity, as though the matter were quite natural and above discussion, that the few drops of oil which she applied, morning and evening, to Dario’s wound, were alone working his cure, so speedy a cure as to be quite miraculous. Pierre, fairly aghast, distressed indeed to find such childish, superstitious notions in one so full of sense and grace and passion, did not even venture to smile.

In the evenings, when he came back from his strolls and spent an hour or so in Dario’s room, he would for a time divert the patient by relating what he had done and seen and thought of during the day. And when he again ventured to stray beyond the district, and became enamoured of the lovely gardens of Rome, which he visited as soon as they opened in the morning in order that he might be virtually alone, he delighted the young prince and Benedetta with his enthusiasm, his rapturous passion for the splendid trees, the plashing water, and the spreading terraces whence the views were so sublime. It was not the most extensive of these gardens which the more deeply impressed his heart. In the grounds of the Villa Borghese, the little Roman Bois de Boulogne, there were certainly some majestic clumps of greenery, some regal avenues where carriages took a turn in the afternoon before the obligatory drive to the Pincio; but Pierre was more touched by the reserved garden of the villa — that villa dazzling with marble and now containing one of the finest museums in the world. There was a simple lawn of fine grass with a vast central basin surmounted by a figure of Venus, nude and white; and antique fragments, vases, statues, columns, and
sarcophagi
were ranged symmetrically all around the deserted, sunlit yet melancholy, sward. On returning on one occasion to the Pincio Pierre spent a delightful morning there, penetrated by the charm of this little nook with its scanty evergreens, and its admirable vista of all Rome and St. Peter’s rising up afar off in the soft limpid radiance. At the Villa Albani and the Villa Pamphili he again came upon superb parasol pines, tall, stately, and graceful, and powerful elm-trees with twisted limbs and dusky foliage. In the Pamphili grounds, the elm-trees steeped the paths in a delicious half-light, the lake with its weeping willows and tufts of reeds had a dreamy aspect, while down below the
parterre
displayed a fantastic floral mosaic bright with the various hues of flowers and foliage. That which most particularly struck Pierre, however, in this, the noblest, most spacious, and most carefully tended garden of Rome, was the novel and unexpected view that he suddenly obtained of St. Peter’s, whilst skirting a low wall: a view whose symbolism for ever clung to him. Rome had completely vanished, and between the slopes of Monte Mario and another wooded height which hid the city, there only appeared the colossal dome which seemed to be poised on an infinity of scattered blocks, now white, now red. These were the houses of the Borgo, the jumbled piles of the Vatican and the Basilica which the huge dome surmounted and annihilated, showing greyly blue in the light blue of the heavens, whilst far away stretched a delicate, boundless vista of the Campagna, likewise of a bluish tint.

It was, however, more particularly in the less sumptuous gardens, those of a more homely grace, that Pierre realised that even things have souls. Ah! that Villa Mattei on one side of the Coelius with its terraced grounds, its sloping alleys edged with laurel, aloe, and spindle tree, its box-plants forming arbours, its oranges, its roses, and its fountains! Pierre spent some delicious hours there, and only found a similar charm on visiting the Aventine, where three churches are embowered in verdure. The little garden of Santa Sabina, the birthplace of the Dominican order, is closed on all sides and affords no view: it slumbers in quiescence, warm and perfumed by its orange-trees, amongst which that planted by St. Dominic stands huge and gnarled but still laden with ripe fruit. At the adjoining Priorato, however, the garden, perched high above the Tiber, overlooks a vast expanse, with the river and the buildings on either bank as far as the summit of the Janiculum. And in these gardens of Rome Pierre ever found the same clipped box-shrubs, the same eucalypti with white trunks and pale leaves long like hair, the same ilex-trees squat and dusky, the same giant pines, the same black cypresses, the same marbles whitening amidst tufts of roses, and the same fountains gurgling under mantling ivy. Never did he enjoy more gentle, sorrow-tinged delight than at the Villa of Pope Julius, where all the life of a gay and sensual period is suggested by the semi-circular porticus opening on the gardens, a porticus decorated with paintings, golden trellis-work laden with flowers, amidst which flutter flights of smiling Cupids. Then, on the evening when he returned from the Farnesina, he declared that he had brought all the dead soul of ancient Rome away with him, and it was not the paintings executed after Raffaelle’s designs that had touched him, it was rather the pretty hall on the river side decorated in soft blue and pink and lilac, with an art devoid of genius yet so charming and so Roman; and in particular it was the abandoned garden once stretching down to the Tiber, and now shut off from it by the new quay, and presenting an aspect of woeful desolation, ravaged, bossy and weedy like a cemetery, albeit the golden fruit of orange and citron tree still ripened there.

And for the last time a shock came to Pierre’s heart on the lovely evening when he visited the Villa Medici. There he was on French soil.* And again what a marvellous garden he found with box-plants, and pines, and avenues full of magnificence and charm! What a refuge for antique reverie was that wood of ilex-trees, so old and so sombre, where the sun in declining cast fiery gleams of red gold amidst the sheeny bronze of the foliage. You ascend by endless steps, and from the crowning belvedere on high you embrace all Rome at a glance as though by opening your arms you could seize it in its entirety. From the villa’s dining-room, decorated with portraits of all the artists who have successfully sojourned there, and from the spacious peaceful library one beholds the same splendid, broad, all-conquering panorama, a panorama of unlimited ambition, whose infinite ought to set in the hearts of the young men dwelling there a determination to subjugate the world. Pierre, who came thither opposed to the principle of the “Prix de Rome,” that traditional, uniform education so dangerous for originality, was for a moment charmed by the warm peacefulness, the limpid solitude of the garden, and the sublime horizon where the wings of genius seemed to flutter. Ah! how delightful, to be only twenty and to live for three years amidst such infinite sweetness, encompassed by the finest works of man; to say to oneself that one is as yet too young to produce, and to reflect, and seek, and learn how to enjoy, suffer, and love! But Pierre afterwards reflected that this was not a fit task for youth, and that to appreciate the divine enjoyment of such a retreat, all art and blue sky, ripe age was needed, age with victories already gained and weariness following upon the accomplishment of work. He chatted with some of the young pensioners, and remarked that if those who were inclined to dreaminess and contemplation, like those who could merely claim mediocrity, accommodated themselves to this life cloistered in the art of the past, on the other hand artists of active bent and personal temperament pined with impatience, their eyes ever turned towards Paris, their souls eager to plunge into the furnace of battle and production.