Tales of the Grotesque and Arabesque — 1840, volume II — reading text

window — what, then, could there be in its shadows — in its architecture — in its ivy-wreathed and solemn cornices that the Marchesa di Mentoni had not wondered at a thousand times before? Nonsense! Who does not remember that, at such a time as this, the eye, like a shattered mirror, multiplies the images of its sorrow, and sees in innumerable far off places, the wo which is close at hand. Many steps above the Marchesa, and within the arch of the water-gate, stood in full dress, the Satyr-like figure of Mentoni himself. He was occasionally occupied in thrumming a guitar, and seemed ennuied to the very death, as at intervals he gave directions for the recovery of his child. Stupified and aghast, I had myself no power to move from the upright position I had assumed upon first hearing the shriek, and must have presented to the eyes of the agitated group, a spectral and ominous appearance, as, with pale countenance and rigid limbs, I floated down among them in that funereal gondola. All efforts proved in vain. Many of the most energetic in the search were relaxing their exertions, and yielding to a gloomy sorrow. There seemed but little hope for the child — but now, from the interior of that dark niche which has been already mentioned as forming a part of the Old Republican prison, and as fronting the lattice of the Marchesa, a figure, muffled in a cloak, stepped out within reach of the light, and, pausing a moment upon the verge of the giddy descent, plunged headlong into the canal. As, in an instant afterwards, he stood with the still living and breathing child within his grasp, upon the marble flagstones by the side of the Marchesa, his cloak, heavy with the drenching water, became unfastened, and, falling in folds about his feet, discovered to the wonder-stricken spectators, the graceful person of a very young man, with the sound of whose name the greater part of Europe was then ringing. No word spoke the deliverer. But the Marchesa! She will now receive her child — she will press it to her heart — she will cling to its little form, and smother it with her caresses. Alas! another's arms have taken it from the stranger — another's arms have taken it away, and borne it afar off, unnoticed, into the palace! And the Marchesa! Her lip — her beautiful lip trembles: tears are gathering in her eyes — those eyes which, like Pliny's own Acanthus, are “soft and almost liquid.” Yes! tears are gathering in those eyes — and see! the entire woman thrills throughout the soul, and the statue has started into life! The pallor of the marble countenance, the swelling of the marble bosom, the very purity of the marble feet, we behold suddenly flushed over with a tide of ungovernable crimson; and a slight shudder quivers about her delicate frame, as a gentle air at Napoli about the rich silver lilies in the grass. Why should that lady blush? To this demand there is no answer — except that, having left in the eager haste and terror of a mother's heart, the privacy of her own boudoir, she has neglected to enthral her tiny feet in their slippers, and utterly forgotten to throw over her Venitian shoulders that drapery which is their due. What other possible reason could there have been for her so blushing? — for the glance of those wild appealing eyes? — for the unusual tumult of that throbbing bosom? — for the convulsive pressure of that trembling hand? — that hand which fell, as Mentoni turned into the palace, accidentally, upon the hand of the stranger. What reason could there have been for the low — the singularly low tone of those unmeaning words which the lady uttered hurriedly in bidding him adieu? “Thou hast conquered” — she said, or the murmurs of the water deceived me — “thou hast conquered — one hour after sunrise — we shall meet — so let it be.” * * * * * * The tumult had subsided, the lights had died away within the palace, and the stranger, whom I now recognised, stood alone upon the flags. He shook with inconceivable agitation, and his eye glanced around in search of a gondola. I could not do less than offer him the service of my own; and he accepted the civility. Having obtained an oar at the water-gate, we proceeded together to his residence, while he rapidly recovered his self-possession, and spoke of our former slight acquaintance in terms of great apparent cordiality. There are some subjects upon which I take pleasure in being minute. The person of the stranger — let me call him by this title, who to all the world was still a stranger — the person of the stranger is one of these subjects. In height he might have been below rather than above the medium size: although there were moments of intense passion when his frame actually expanded and belied the assertion. The light, almost slender symmetry of his figure, promised more of that ready activity which he evinced at the Bridge of Sighs, than of that Herculean strength which he has been known to wield without an effort, upon occasions of more dangerous emergency. With the mouth and chin of a deity — singular, wild, full, liquid eyes, whose shadows varied from pure hazel to intense and brilliant jet — and a profusion of glossy, black hair, from which a forehead, rather low than otherwise, gleamed forth at intervals all light and ivory — his were features than which I have seen none more classically regular, except, perhaps, the marble ones of the Emperor Commodus. Yet his countenance was, nevertheless, one of those which all men have seen at some period of their lives, and have never afterwards seen again. It had no peculiar — I wish to be perfectly understood — it had no settled predominant expression to be fastened upon the memory; a countenance seen and instantly forgotten — but forgotten with a vague and never-ceasing desire of recalling it to mind. Not that the spirit of each rapid passion failed, at any time, to throw its own distinct image upon the mirror of that face — but that the mirror, mirror-like, retained no vestige of the passion, when the passion had departed. Upon leaving him on the night of our adventure, he solicited me, in what I thought an urgent manner, to call upon him very early the next morning. Shortly after sunrise, I found myself accordingly at his Palazzo, one of those huge piles of gloomy, yet fantastic grandeur, which tower above the waters of the Grand Canal in the vicinity of the Rialto. I was shown up a broad winding staircase of mosaics, into an apartment whose unparalleled splendor burst through the opening door with an actual glare, making me sick and dizzy with luxuriousness. I knew my acquaintance to be wealthy. Report had spoken of his possessions in terms which I had even ventured to call terms of ridiculous exaggeration. But as I gazed about me, I could not bring myself to believe that the wealth of any subject in Europe could have supplied the far more than imperial magnificence which burned and blazed around. Although, as I say, the sun had arisen, yet the room was still brilliantly lighted up. I judged from this circumstance, as well as from an air of exhaustion in the countenance of my friend, that he had not retired to bed during the whole of the preceding night. In the architecture and embellishments of the chamber, the evident design had been to dazzle and astound. Little attention had been paid to the decora of what is technically called keeping, or to the proprieties of nationality. The eye wandered from object to object, and rested upon none — neither the grotesques of the Greek painters — nor the sculptures of the best Italian days — nor the huge carvings of untutored Egypt. Rich draperies in every part of the room trembled to the vibration of low, melancholy music, whose unseen origin undoubtedly lay in the recesses of the crimson trelliss work which tapestried the ceiling. The senses were oppressed by mingled and conflicting perfumes, reeking up from strange convolute censers, which seemed actually endued with a monstrous vitality, as their particolored fires writhed up and down, and around about their extravagant proportions. The rays of the newly risen sun poured in upon the whole, through windows formed each of a single pane of crimson-tinted glass. Glancing to and fro, in a thousand reflections, from curtains which rolled from their cornices like cataracts of molten silver, the beams of natural glory mingled at length fitfully with the artificial light, and lay weltering in subdued masses upon a carpet of rich, liquid looking cloth of Chili gold. Here then had the hand of genius been at work. A chaos — a wilderness of beauty lay before me. A sense of dreamy and incoherent grandeur took possession of my soul, and I remained within the door-way speechless. Ha! ha! ha! — ha! ha! ha! — laughed the proprietor, motioning me to a seat, and throwing himself back at full length upon an ottoman. “I see,” said he, perceiving that I could not immediately reconcile myself to the bienseance of so singular a welcome — “I see you are astonished at my apartment — at my statues — my pictures — my originality of conception in architecture and upholstery — absolutely drunk, eh? with my magnificence. But pardon me, my dear sir, (here his tone of voice dropped to the very spirit of cordiality,) pardon me, my dear sir, for my uncharitable laughter. You appeared so utterly astonished. Besides, some things are so completely ludicrous that a man must laugh or die. To die laughing must be the most glorious of all glorious deaths! Sir Thomas More — a very fine man was Sir Thomas More — Sir Thomas More died laughing, you remember. Also there is a long list of characters who came to the same magnificent end, in the Absurdities of Ravisius Textor. Do you know, however,” continued he musingly — “that at Sparta (which is now Palæochori), at Sparta, I say, to the west of the citadel, among a chaos of scarcely visible ruins, is a kind of socle upon which are still legible the letters ΛΑΣΜ. They are undoubtedly part of ΓΕΛΑΣΜΑ. Now at Sparta were a thousand temples and shrines to a thousand different divinities. How exceedingly strange that the altar of Laughter should have survived all the others! But in the present instance” — he resumed, with a singular alteration of voice and manner — “in the present instance I have no right to be merry at your expense. You might well have been amazed. Europe cannot produce anything so fine as this, my little regal cabinet. My other apartments are by no means of the same order — mere ultras of fashionable insipidity. This is better than fashion — is it not? Yet this has but to be seen to become the rage — that is with those who could afford it at the cost of their entire patrimony. I have guarded, however, against any such profanation. With one exception you are the only human being besides myself, who has been admitted within the mysteries of these imperial precincts.” I bowed in acknowledgment: for the overpowering sense of splendor and perfume, and music, together with the unexpected eccentricity of his address and manner, prevented me from expressing in words my appreciation of what I might have construed into a compliment. “Here” — he resumed, arising and leaning on my arm as he sauntered around the apartment — “here are paintings from the Greeks to Cimabué, and from Cimabué to the present hour. Many are chosen, as you see, with little deference to the opinions of Virtû. They are all, however, fitting tapestry for a chamber such as this. Here too, are some chéf d’œuvres of the unknown great — and here unfinished designs by men, celebrated in their day, whose very names the perspicacity of the academies has left to silence and to me. What think you” — said he, turning abruptly as he spoke — “what think you of this Madonna della Pietà? “It is Guido's own!” I said, with all the enthusiasm of my nature, for I had been poring intently over its surpassing loveliness. “It is Guido's own! — how could you have obtained it? — she is undoubtedly in painting