setting out next morning. I therefore sent back three of the horses,
and let _Dorette_ and the children walk also, more especially as the
descent to the Leuker Bad cannot be made on horseback. At Schwaribach
all vegetation ceases, and even the beautiful Alpine rose is not to be
found. The road has again a very steep ascent as far as the Daubensee
(then half covered with ice) along which it runs for the distance of
half a league through a barren valley, in which seemed to reign the
stillness of the grave; to the last ascent, which as it leads through
snow and icefields was the most toilsome ascent of all. Arrived at the
top, to our disappointment we were favoured with one look alone into
the abyss opening beneath us; for in a few minutes we were envelloped
in a mist, which scarcely permitted us to see a few paces before us. We
were now compelled to follow blindly the pack-horse and its guide, and
to keep quite close together. The road led precipitously down between
fissures in the rocks and sometimes even between perpendicular walls of
rock in which a small path had been cleared by blasting. At the part
where it runs, the horse’s neck projects over the abyss, and the guide
is obliged to hold him up by a rope secured to the load on his back, or
even by holding on to his tail with all his might. At this place the
view down into the depth which had been concealed from us by the thick
fog, makes the head so giddy, that many invalids who wish to go to the
Leuker Bad have not the courage to make the descent, and prefer, after
having had the object of their journey under their very eyes, to take
the immensely circuitous route of nearly twenty leagues by way of Bern,
Freiburg, Lausanne and through the Valais.
After we had continued descending for more than an hour without
finding any other vegetation than here and there a violet blooming in
the clefts of the rocks, we came suddenly to a region where the mist
ceased, and we were now favoured with a most unexpected and charming
view far away down upon the Leuker Bad beneath us. At this place we
rested ourselves for a moment, to recover a little from the highly
fatiguing exertions of the steep descent. But it required many such
resting places before we reached the bath, at 11 o’clock. The children
only, were not fatigued, and were always in advance of us.
While we refreshed ourselves in the large and well appointed inn, I
sent for fresh horses, and at 2 o’clock in the afternoon, animated with
new spirits we continued our journey, _Edward_ and I on foot, _Dorette_
and the children on horseback. Previous to leaving, we inspected the
sulphur-spring which rises out of the earth at boiling heat, in front
of the inn.
At Leuk it was not possible to procure any vehicle for the farther
journey. We were therefore obliged to pass the night in the miserable
inn to which our guides brought us. On Friday the 4^{th}, at an early
hour in the morning, we continued our journey to Brieg in two one-horse
vehicles, and arrived there at noon. The valley of the Valais is very
narrow and little cultivated. We saw numerous marshy meadows, and but
few maize and potatoe fields. At Brieg commences _Napoleon’s_ famed
Simplon-road, a gigantic work, which cannot be enough admired. We
here hired a two-horse vehicle to take us to Domo d’Ossola. The road
is so ingeniously carried in and out of the mountain ravines, that it
never rises more than five inches in six feet, so that heavy loaded
waggons can descend without using the drag-shoe. Especially remarkable
are several colossal bridges, which are thrown across deep glens and
clefts in the rocks, and those parts of the road which have been bored
through the rocks by blasting, and resemble subterraneous galleries.
One of these is so long, that it is but imperfectly lighted by the
light admitted on both sides. At the distance of every league, one
finds a house to afford shelter on the sudden coming on of stormy
weather. In the third of these houses is the post-house, the sixth
the custom-house, where we were obliged to pay a few laubthaler for
roadway duty. Considerable as this tax is, it is still insufficient to
keep the road in good repair, and it is greatly feared that it will by
degrees fall into ruin. Nevertheless what one hears of this decay in
foreign countries is without foundation, for with the exception of some
of the barriers which had been carried away by avalanches and not yet
reconstructed, we found it in good condition. Upon the highest part of
it, the construction of a gigantic house has been begun, in which if it
were finished, a corps of 4000 troops would be able to pass the night.
But since the fall of _Napoleon_, its construction has been stayed, and
it will now soon fall into decay. The Simplon pass is certainly not so
high as that over the Gemmi, but here also all vegetation ceases, and
even in the village of Simpeln where we slept, we found it very wintery.
Wednesday the 5^{th}, September 1816, was the happy day on which the
realisation of the wish of my early childhood, to behold the land
“where the citrons bloom” was at length to be fulfilled. After we had
travelled for two leagues more in continual descent, we came to the
frontier of Lombardy and soon found ourselves transported into the
midst of the South. Now we beheld woods of the sweet chesnut, and in
gardens, figs, almonds and magnificent festoons of the vine, trained
from one tree to another, and pendant with masses of the finest grapes.
At every step as we descended, the warmth increased; at first agreably,
but, soon quite oppressively. At noon we arrived at Domo d’Ossola,
a small but pretty town. Here in the Hotel of the _Capello verde_
we were for the first time imposed upon in real Italian style, and
impressed with the necessity of the caution, to agree always before
hand with the hotelkeeper on the charges for the accommodation. After
dinner we travelled as far as Laveno, which lies close to the shore of
the beautiful Lago Maggiore, and opposite to its celebrated islands.
Here although we had agreed before hand on the charges for our nights
accommodation, we paid as we were afterwards informed too much by
half. On the 6^{th}, early in the morning, we visited the so oft-times
enthusiastially described Borromean islands, Isola Madre and Isola
bella. Like many others whose expectations have been unduly raised
by the too lavish praises of enthusiastic travellers of particular
localities, they did not come up with our too sanguine expectations.
We were most pleased with the Isola Madre, where for the first time
we beheld with admiration the vigorous vegetation of the South, in
the ancient and majestic laurel, citron, pomgranite and fig-trees,
with other shrubs and plants of southern growth. Though of necessity
these plants must here also, as with us be protected in winter, to
secure them from the frost, yet their growth is so much more vigorous,
and the fruits are much larger and more juicy than those of our
greenhouses. On Isola Bella, there is a large but as yet not wholly
finished palace, which contains some fine apartments, in which are
several fine pictures, but the building is already going to decay.
The remaining space on the island comprises the celebrated garden,
which rises in ten terraces from the shore of the lake. The inside is
supported by masonry which rises in progressively higher arches from
terrace to terrace. The plan of the garden is gigantic, but in a bad
old french style. The numerous wretched statues in the alleys and on
the steps of the terraces are particularly repulsive and offensive to
the eye. The terraces are ornamented with beds of flowers and numerous
yet more southern products, which in the winter time are put under
cover under the arches. All were in most beautiful flower, and diffused
unknown sweets around us. From the summit of the garden site, a most
charming view is obtained of the opposite side of the lake, towards
Palanza, Intra, Laveno, and the beautiful outline of mountains which
bound the sight. Far as the eye could reach, all was canopied by a sky
of the purest and deepest blue, and lit up with such a flood of sun
light that the most distant objects could be clearly distinguished.
This, and the mild balsamic air made us especially feel that we had
entered a southern climate. Before we left the Islands, the gardener
conducted us to an historical curiosity, to the name of _Napoleon_ cut
by himself in the bark of a laurel tree, shortly before the battle of
Marengo.
The same boat that brought us to the Islands, took us six leagues
farther to the little town of Sesto Calende, at the extremity of the
lake. On this excursion we again had many a fine view of the beautiful
banks of the lake. Belgirate, Arona, and the colossal statue of _St.
Carlo Borromeo_, were seen to great advantage. At Sesto Calende, we
already found the dirt and smell peculiar to Italian towns, and that
of an Oil-boilery, so offensive to a German palate. On the 7^{th}
we performed the last days journey to Milan in the vehicle of a
Milanese driver, through a flat and uninteresting country, and put up
at a _Pensione Suizzera_ which was recommended to us for its German
cleanliness.
_Milan_, Sept. 9.
The first of the remarkable things in Milan which we visited yesterday,
was the cathedral. This beautiful building upon which the labour of
nearly five centuries has been almost uninterruptedly devoted, and
which nevertheless is as yet unfinished, approaches most nearly in
style and architecture to the cathedral of Strasburg, but in form is
nevertheless very different from the latter. It is in the form of a
lengthened cross; at the place where the two lines meet, stands the
high-altar, and above that, the span of the majestic dome, upon which
the pretty tower in the form of a pyramid is built, the top of which
is surmounted by the colossal statue in bronze of the holy Virgin.
Innumerable other pierced gothic pyramids ornamented with niches and
statues rest in part upon the pillars of the external walls, and in
part on the marble-slabbed roof, increasing in height more and more
the nearer they approach to the tower. On the pinnacle of each stands
the statue of some Saint. The whole structure, from the ground to the
highest point, is of white, polished marble, quarried at Baveno on
the Lago Maggiore, and brought thither by the Ticino-Canal. During
_Napoleon’s_ rule, the work was prosecuted with great zeal and not
only was the _façade_ of the chief entrance completed (which had been
carried out only to the top of the door) but all the pyramids also,
upon the external walls. At first sight, and seen from below, the
building now seems finished; but upon ascending the roof, and the
tower, one sees how much yet remains to be done.
The pillars and niches are in the Gothic, the doors and windows in the
Roman style, and the statues are clothed after the Greek manner. All
the sculptured works, of which in small and large statues, in high- and
low-reliefs, in arabesques and other ornaments there are an immense
quantity in this splendid building are from the chisel of celebrated
masters, and it seems to me that, the modern works excel even the
ancient in beauty and correctness.
The Interior of the church is by reason of the painted windows somewhat
dark, but on that account and from the imposing grandeur and height, is
the more fitted to raise religious feelings. Among the numerous statues
in the interior of the cathedral, that of _Carlo Borromeo_ is the most
esteemed. Its great merit as a work of art is considered to lie in the
anatomical correctness displayed by the sculptor in the deliniation of
all the muscles, tendons, veins and prominent joints. From the gallery
of the tower one has an extensive view, bounded on the north by the
Swiss Alps, and on the south by the Apenines.
In the evening we went to the theatre _della Scala_, where was given
“_la statua di bronza_”, a _semiseria_-opera by _Soliva_, a young
composer and pupil of the conservatory here. Upon our entrance, we were
surprised at the size and beauty of the house. It is built after the
model of the _St. Carlo_-theatre at Naples, the largest in Italy, and
contains a spacious pit and six tiers of boxes one above the other, but
will not hold much over 3000 people, so much space having been wasted
in the manner of its distribution. The price of admission is the same
to every part of the house, viz, two _Lire di Milano_. The orchestra is
very numerous; four and twenty violins, eight counterbasses, the same
number of violincellos, all the customary wind instruments, trumpets,
bass-horn, turkish music etc. and yet with all, not numerous enough
for the size of the locale. The performance very much surpassed my
expectation; it was pure, vigorous, precise, and withall very calm.
Signor _Rolla_ an _artiste_ known also in foreign countries by his
compositions, directed as first violin. There is no other directing
whether at the piano, or from the desk with the baton, than his, but
merely a prompter with the score before him, who gives the text to the
singers, and if necessary, the time to the choruses. The composition
of the opera is more in the German than the Italian style, and one
could hear very plainly that the young artist had taken our German
composers, particularly _Mozart_, much more for his models, than his
own countrymen. The orchestral parts are not so subdued as is usual
in Italian operas, but are rendered in a very prominent manner, and
sometimes even so much so as to cloak the singing. It is therefore
astonishing that this opera has pleased so much, as this _genre_ is
never much liked. The well studied _pièces d’ensemble_ and the finale
have certainly not been the reasons for the success of the opera,
but a few little unimportant cantabili’s which were well executed by
the singers. These _alone_ also, were the points listened to with
attention. During the powerful overture, several very expressive
accompanied recitatives, and all the _pièces d’ensemble_, the audience
made so much noise that one could scarcely hear the music. In most
of the boxes, the occupants played at cards, and all over the house,
people conversed aloud. Nothing more insufferable can be imagined for
a stranger who is desirous to listen with attention, than this vile
noise. On the other hand, from such persons as have perhaps seen the
same opera thirty or forty times, and who come to the theatre only for
the sake of the society, no attention is to be expected, and it is a
great condescension if they only listen quietly to some “numbers”. At
the same time, I can imagine no task more ungrateful than to write for
such a public, and one is surprised that good composers will submit
to it. After the first act of the opera, a grand serious ballet was
given, which from the skill of several of the dancers male and female,
and the splendour of the decorations and costumes, presented a very
imposing dramatic spectacle. As it lasted nearly an hour, the auditory
had forgotten the first half of the opera. After the second act of the
opera, another, but a comic-ballet, not much shorter, was produced,
so that the whole of the performances lasted from eight o’clock to
midnight. What work for the poor musicians!
September, 14.
Last evening we went to a concert, given by _Ferlendis_ of Venice, a
_Professore di Oboa_. His composition and play were alike pitiable.
It is impossible to imagine a worse Tone and a greater want of Taste
in the execution of the passages and of the cantabile, than this
Professor _di Oboa_ displayed. In Germany he would most certainly have
been hissed off; here of a necessity, he was applauded as a matter of
course by the Free-tickets. In the second part, _Luigi Beloli_ played
a Horn-Concerto of his own composition. This it is true did not exceed
the line of mediocrity, but the execution was very superior. _Beloni_
has a very beautiful tone, much skill and a cultivated taste. In order
that the horrid Oboe should not obliterate the last more pleasing
impression, we would not stop to hear the remainder of the concert.
September, 16.
That the Italians are a very musical nation may be judged from
the fact that their beggars always solicit alms either singing or
playing. Here are parties of four or five such musicians, who play of
an evening in front of the Cafés, a by no means intolerable music,
usually accompanied by a finely dressed female vocalist, who afterwards
collects the money; sometimes they consist of three singers who with
guitar accompaniment execute Trios and short Canons very efficiently;
at others, blind fiddlers, flute players or singers who either without
accompaniment, or who accompany themselves on the tambourine, seek
their fortune singly; and even those who hawk things about for sale,
offer their wares singing. Yesterday we came upon a comical fellow of
this kind. He had manufactured for himself a remarkable instrument out
of a whip-handle, from one end of which to the other he had stretched
a single string. On the top, this cord was passed through a ball of
paste, from the aperture of which rose a large bouquet of artificial
flowers by way of ornament. In the right hand he carried a violin-bow,
with which he produced the single tone which his instrument was capable
of. The remarkable talent of this artist consisted there-in, that on
a constantly repeated melody, for the fundamental tone of which his
instrument furnished the Quinte, and which therefore never concluded in
the Tonica, but always in the dominant, he improvisated the politest
compliments to all who passed, or who sat before their doors; for
these, the persons flattered, seldom refused a gift of money, which
he collected in his hat, but without interrupting his song. In this
style of recitative singing, in which his instrument fulfilled the
duty of the orchestra, he would now praise the shape, now the dress
of the passers by, and one could see by the self-satisfied smiles and
generosity of the persons bepraised, that he well knew how to touch
them on the weak side.
This afternoon we went to another concert, given by the _Società del
Giardino_. The two Mesdames _Marcolini_ and _Fabré_ sang a duett of
_Rossini’s_. The former is celebrated throughout Italy as an contralto,
her voice is fine, and she has great execution; but she almost always
sings too low, by which in my opinion her singing was much injured.
Signora _Fabré_ is the _Prima donna_ of the great theatre whose high
notes are particularly fine, and her method of execution cultivated.
Although both singers stand equally high in regard to voice and skill,
yet here also the soprano bore away the palm from the contralto, just
as a bass-viol can never please by the side of a violin. In the second
part were sung also, a duett of _Paccini_, a Cavatina by _Bonfichi_,
and a _Rondo_ by _Paer_. All alike, the humorous or the serious, were
sung in the same manner and with the same ornamental trimmings which
have been heard a thousand times. The compositions were almost all
insipid and without intimate connection, and the singing frequently
disturbed or cloaked by meaningless figures of instrumentation.
September, 17.
We have just seen the Mosaic-Manufactory here. The most important work
is a copy in mosaic of _Leonardo da Vinci’s_ “Last supper” on which
the artist has been uninterruptedly engaged for twelve years; it is of
the same size as the original, (the figures of the size of life). It
is divided into twelve pieces, each of which is about three ells in
length and of the same breadth. All the pieces are now finished, but
only some have as yet been polished, these (from the ceiling part only)
have a bright polish, those containing the figures were somewhat matt
in the colours, at least as compared to the good copy of the picture
from which it had been worked; but perhaps it will gain yet more life
when the polishing has been completed. _Bonaparte_ had given the order
for this work, which will now be finished at the expense of the Emperor
of Austria. As eight ducats a day are paid to the workmen, it already
costs in wages for labour 34,960 ducats. Besides this herculean labour
we saw several mosaics in the establishment, of exceeding beauty,
exhibited for sale.
September, 17.
To-day we were present at the concert at the Conservatory of music, for
which Count _Saurau_ had presented us with tickets.
What I could ascertain respecting the interior administration of the
Conservatory is as follows: The Professors, of whom four teach singing,
one the violin, one the violincello, one counterbass, and some others
the wind instruments, are appointed by and receive their salaries from
the government, which pays also for the board and lodging of twelve
pupils, six boys and six girls. All the other pupils some of whom live
at the Conservatory, and some attend only at the hours of tuition,
are required to pay for every thing. The Milanese are said to be very
much opposed to the Institution; at the present time also, there are
scarcely thirty pupils.
September, 22.
To-day I paid a momentary visit to a kind of Practising-Concert
where the dilettanti of this place, perform Symphonies under
_Rolla’s_ direction, and in particular of the German masters. The
string-instruments are chiefly played by dilettanti, the wind
instruments by players from the _della Scala_ theatre. When I arrived,
they had already given the old symphony in D major of _Mozart_,
and some overtures by Italian masters, and were just then engaged
practising one of the grand Symphonies of _Haydn_ (B major). It was
played with tolerable accuracy, but without _piano_ and _forte_,
and for the most part crude. Nevertheless, the Institution which is
moreover the only one of the kind in Italy, is a very praiseworthy one,
since it enables the lovers of music here to become acquainted with our
magnificent Instrumental-compositions. If I do not mistake, this weekly
Practice-Concert takes place in the house of Signor _Motto_, who is
said to have a fine collection of first class violins. But there are
a great many fine violins here. A Signor _Caroli_ has two very fine
Stradivari’s; _Rolla_ has one also of great beauty; a Count _Gozio de
Solence_ has in his numerous collection of fine violins among several
others by _Amati_, _Guarneri_ and _Guardagnini_, four Stradivari’s
also, which have never been played upon, and which although very old
look as though they had only just been made. Two of these violins are
the production of the last year of that artist, 1773, when he was an
old man of ninety three years of age. But it is immediately perceptible
on the violin that it was cut by the tremulous hands of an infirm old
man; the other two are however of the best days of the artist, from
1743 and 1744, and of great beauty. The tone is full and strong, but
still new and woody, and to become fine, they must be played upon for
ten years at least.
September, 28.
Last evening we gave our concert in the _della Scala_ theatre. The
orchestra kept its usual place, but the female singers, and _Dorette_
and I, for our performances, took our places under the Proscenium,
between the curtain which remained down, and the orchestra. The house
although favourable for music, requires nevertheless on account of its
immense size, a very powerful tone, and a grand but simple style of
play. It is also very difficult _in a place_ where people are always
accustomed to hear voices only, to satisfy the ear with the tone of a
violin. This consideration, and the uncertainty whether my method of
play and my compositions would please the Italians, made me somewhat
nervous on this my first _début_ in a country where I was as yet
unknown; but as I soon observed after the first few bars, that my play
was listened to with attention, this fear soon left me, and I then
played without any embarrassment. I had also the satisfaction to see
that in the new concerto I had written in Switzerland, which was in the
form of a _Vocal-Scena_, I had very happily hit upon the taste of the
Italians, and that all the cantabile parts in particular were received
with great enthusiasm. Gratifying and encouraging as this noisy
approbation may be to the Solo-player, it is nevertheless exceedingly
annoying to the composer. By it, all connexion is completely disturbed,
the _tutti_ so industriously worked out, are wholly unheeded, and
people hear the Solo-player begin again in another tone without any
one knowing how the orchestra has modulated with it.--Besides the
Concerto, I played with _Dorette_ the new Pot-pourris for piano and
violin, and another with orchestral accompaniment. The latter, at the
general request, I was obliged to repeat. The orchestra, the same that
played in the opera, accompanied me with great attention and interest.
_Rolla_, in particular, took great pains. My overture to “Alruna” was
played at the beginning of the second part with great power it is
true, but not without fault. The orchestra is accustomed to too many
rehearsals, to be able to execute any thing free from fault after one
rehearsal only. Madame _Castiglioni_, a Contre-Altiste engaged as a
supplementary vocalist at the next carnival in Venice, sang an aria in
the second part, with a fine voice and a good school, and was rewarded
with a general applause. It had cost me infinite trouble to procure
these two song-pieces; for the singers of the great theatre some of
whom would have been very pleased to sing, could not get permission
from the Impressario, and all the other singers of note who lived here,
had already either signed engagements, or did not dare to appear at
the Scala. The Impressario at first demanded the fifth part of the
receipts for the grant of the theatre, but by the intercession of the
governor Count _Saurau_, this tax was remitted in my favour.