II

I leave the impression noted in the foregoing pages to tell its own

small story, but have it on my conscience to wonder, in this connection,

quite candidly and publicly and by way of due penance, at the scantness

of such first-fruits of my sensibility. I was to see Siena repeatedly

in the years to follow, I was to know her better, and I would say that

I was to do her an ampler justice didn’t that remark seem to reflect a

little on my earlier poor judgment. This judgment strikes me to-day as

having fallen short--true as it may be that I find ever a value, or

at least an interest, even in the moods and humours and lapses of any

brooding, musing or fantasticating observer to whom the finer sense

of things is _on the whole_ not closed. If he has on a given occasion

nodded or stumbled or strayed, this fact by itself speaks to me of

him--speaks to me, that is, of his faculty and his idiosyncrasies, and

I care nothing for the application of his faculty unless it be, first of

all, in itself interesting. Which may serve as my reply to any objection

here breaking out--on the ground that if a spectator’s languors are

evidence, of a sort, about that personage, they are scarce evident about

the case before him, at least if the case be important. I let my perhaps

rather weak expression of the sense of Siena stand, at any rate--for the

sake of what I myself read into it; but I should like to amplify it by

other memories, and would do so eagerly if I might here enjoy the space.

The difficulty for these rectifications is that if the early vision has

failed of competence or of full felicity, if initiation has thus been

slow, so, with renewals and extensions, so, with the larger experience,

one hindrance is exchanged for another. There is quite such a

possibility as having lived into a relation too much to be able to make

a statement of it.

I remember on one occasion arriving very late of a summer night, after

an almost unbroken run from London, and the note of that approach--I

was the only person alighting at the station below the great hill of

the little fortress city, under whose at once frowning and gaping gate I

must have passed, in the warm darkness and the absolute stillness,

very much after the felt fashion of a person of importance about to be

enormously incarcerated--gives me, for preservation thus belated, the

pitch, as I may call it, at various times, though always at one season,

of an almost systematised esthetic use of the place. It wasn’t to be

denied that the immensely better “accommodations” instituted by the

multiplying, though alas more bustling, years had to be recognised as

supplying a basis, comparatively prosaic if one would, to that luxury.

No sooner have I written which words, however, than I find myself adding

that one “wouldn’t,” that one doesn’t--doesn’t, that is, consent now to

regard the then “new” hotel (pretty old indeed by this time) as anything

but an aid to a free play of perception. The strong and rank old Arme

d’Inghilterra, in the darker street, has passed away; but its ancient

rival the Aquila Nera put forth claims to modernisation, and the Grand

Hotel, the still fresher flower of modernity near the gate by which you

enter from the station, takes on to my present remembrance a mellowness

as of all sorts of comfort, cleanliness and kindness. The particular

facts, those of the visit I began here by alluding to and those of still

others, at all events, inveterately made in June or early in July, enter

together in a fusion as of hot golden-brown objects seen through the

practicable crevices of shutters drawn upon high, cool, darkened rooms

where the scheme of the scene involved longish days of quiet work, with

late afternoon emergence and contemplation waiting on the better or the

worse conscience. I thus associate the compact world of the admirable

hill-top, the world of a predominant golden-brown, with a general

invocation of sensibility and fancy, and think of myself as going forth

into the lingering light of summer evenings all attuned to intensity of

the idea of compositional beauty, or in other words, freely speaking,

to the question of colour, to intensity of picture. To communicate with

Siena in this charming way was thus, I admit, to have no great margin

for the prosecution of inquiries, but I am not sure that it wasn’t,

little by little, to feel the whole combination of elements better than

by a more exemplary method, and this from beginning to end of the scale.

More of the elements indeed, for memory, hang about the days that were

ushered in by that straight flight from the north than about any other

series--if partly, doubtless, but because of my having then stayed

longest. I specify it at all events for fond reminiscence as the year,

the only year, at which I was present at the Palio, the earlier one,

the series of furious horse-races between elected representatives of

different quarters of the town taking place toward the end of June, as

the second and still more characteristic exhibition of the same sort

is appointed to the month of August; a spectacle that I am far from

speaking of as the finest flower of my old and perhaps even a little

faded cluster of impressions, but which smudges that special sojourn as

with the big thumb--mark of a slightly soiled and decidedly ensanguined

hand. For really, after all, the great loud gaudy romp or heated frolic,

simulating ferocity if not achieving it, that is the annual pride of the

town, was not intrinsically, to my-view, extraordinarily impressive--in

spite of its bristling with all due testimony to the passionate Italian

clutch of any pretext for costume and attitude and utterance, for

mumming and masquerading and raucously representing; the vast cheap

vividness rather somehow refines itself, and the swarm and hubbub of the

immense square melt, to the uplifted sense of a very high-placed balcony

of the overhanging Chigi palace, where everything was superseded but the

intenser passage, across the ages, of the great Renaissance tradition

of architecture and the infinite sweetness of the waning golden day.

The Palio, indubitably, was _criard_--and the more so for quite

monopolising, at Siena, the note of crudity; and much of it demanded

doubtless of one’s patience a due respect for the long local continuity

of such things; it drops into its humoured position, however, in any

retrospective command of the many brave aspects of the prodigious place.

Not that I am pretending here, even for rectification, to take these at

all in turn; I only go on a little with my rueful glance at the marked

gaps left in my original report of sympathies entertained.

I bow my head for instance to the mystery of my not having mentioned

that the coolest and freshest flower of the day was ever that of one’s

constant renewal of a charmed homage to Pinturicchio, coolest and

freshest and signally youngest and most matutinal (as distinguished from

merely primitive or crepuscular) of painters, in the library or

sacristy of the Cathedral. Did I _always_ find time before work to spend

half-an-hour of immersion, under that splendid roof, in the clearest

and tenderest, the very cleanest and “straightest,” as it masters

our envious credulity, of all storied fresco-worlds? This wondrous

apartment, a monument in itself to the ancient pride and power of

the Church, and which contains an unsurpassed treasure of gloriously

illuminated missals, psalters and other vast parchment folios, almost

each of whose successive leaves gives the impression of rubies,

sapphires and emeralds set in gold and practically embedded in the page,

offers thus to view, after a fashion splendidly sustained, a pictorial

record of the career of Pope Pius II, Aeneas Sylvius of the Siena

Piccolomini (who gave him for an immediate successor a second of

their name), most profanely literary of Pontiffs and last of would-be

Crusaders, whose adventures and achievements under Pinturicchio’s brush

smooth themselves out for us very much to the tune of the “stories” told

by some fine old man of the world, at the restful end of his life, to

the cluster of his grandchildren. The end of AEneas Sylvius was not

restful; he died at Ancona in troublous times, preaching war, and

attempting to make it, against the then terrific Turk; but over no great

worldly personal legend, among those of men of arduous affairs, arches a

fairer, lighter or more pacific memorial vault than the shining Libreria

of Siena. I seem to remember having it and its unfrequented enclosing

precinct so often all to myself that I must indeed mostly have resorted

to it for a prompt benediction on the day. Like no other strong

solicitation, among artistic appeals to which one may compare it up and

down the whole wonderful country, is the felt neighbouring presence of

the overwrought Cathedral in its little proud possessive town: you may

so often feel by the week at a time that it stands there really for your

own personal enjoyment, your romantic convenience, your small wanton

aesthetic use. In such a light shines for me, at all events, under such

an accumulation and complication of tone flushes and darkens and richly

recedes for me, across the years, the treasure-house of many-coloured

marbles in the untrodden, the drowsy, empty Sienese square. One

could positively do, in the free exercise of any responsible fancy or

luxurious taste, what one would with it.

But that proposition holds true, after all, for almost any mild pastime

of the incurable student of loose meanings and stray relics and odd

references and dim analogies in an Italian hill-city bronzed and

seasoned by the ages. I ought perhaps, for justification of the right to

talk, to have plunged into the Siena archives of which, on one occasion,

a kindly custodian gave me, in rather dusty and stuffy conditions,

as the incident vaguely comes back to me, a glimpse that was like a

moment’s stand at the mouth of a deep, dark mine. I didn’t descend into

the pit; I did, instead of this, a much idler and easier thing: I simply

went every afternoon, my stint of work over, I like to recall, for a

musing stroll upon the Lizza--the Lizza which had its own unpretentious

but quite insidious art of meeting the lover of old stories halfway. The

great and subtle thing, if you are not a strenuous specialist, in places

of a heavily charged historic consciousness, is to profit by the sense

of that consciousness--or in other words to cultivate a relation with

the oracle--after the fashion that suits yourself; so that if the

general after-taste of experience, experience at large, the fine

distilled essence of the matter, seems to breathe, in such a case, from

the very stones and to make a thick strong liquor of the very air, you

may thus gather as you pass what is most to your purpose; which is

more the indestructible mixture of lived things, with its concentrated

lingering odour, than any interminable list of numbered chapters and

verses. Chapters and verses, literally scanned, refuse coincidence,

mostly, with the divisional proprieties of your own pile of

manuscript--which is but another way of saying, in short, that if the

Lizza is a mere fortified promontory of the great Sienese hill, serving

at once as a stronghold for the present military garrison and as a

planted and benched and band-standed walk and recreation-ground for the

citizens, so I could never, toward close of day, either have enough of

it or yet feel the vaguest saunterings there to be vain. They were vague

with the qualification always of that finer massing, as one wandered

off, of the bronzed and seasoned element, the huge rock pedestal, the

bravery of walls and gates and towers and palaces and loudly asserted

dominion; and then of that pervaded or mildly infested air in which

one feels the experience of the ages, of which I just spoke, to be

exquisitely in solution; and lastly of the wide, strange, sad, beautiful

horizon, a rim of far mountains that always pictured, for the leaner

on old rubbed and smoothed parapets at the sunset hour, a country not

exactly blighted or deserted, but that had had its life, on an immense

scale, and had gone, with all its memories and relics, into rather

austere, in fact into almost grim and misanthropic, retirement. This was

a manner and a mood, at any rate, in all the land, that favoured in the

late afternoons the divinest landscape blues and purples--not to speak

of its favouring still more my practical contention that the whole

guarded headland in question, with the immense ramparts of golden brown

and red that dropped into vineyards and orchards and cornfields and all

the rustic elegance of the Tuscan _podere_, was knitting for me a

chain of unforgettable hours; to the justice of which claim let these

divagations testify.

It wasn’t, however, that one mightn’t without disloyalty to that scheme

of profit seek impressions further afield--though indeed I may best say

of such a matter as the long pilgrimage to the pictured convent of Monte

Oliveto that it but played on the same fine chords as the overhanging,

the far-gazing Lizza. What it came to was that one simply put to the

friendly test, as it were, the mood and manner of the country. This

remembrance is precious, but the demonstration of that sense as of

a great heaving region stilled by some final shock and returning

thoughtfully, in fact tragically, on itself, couldn’t have been more

pointed. The long-drawn rural road I refer to, stretching over hill and

dale and to which I devoted the whole of the longest day of the year--I

was in a small single-horse conveyance, of which I had already made

appreciative use, and with a driver as disposed as myself ever to

sacrifice speed to contemplation--is doubtless familiar now with the

rush of the motor-car; the thought of whose free dealings with the

solitude of Monte Oliveto makes me a little ruefully reconsider, I

confess, the spirit in which I have elsewhere in these pages, on behalf

of the lust, the landscape lust, of the eyes, acknowledged our general

increasing debt to that vehicle. For that we met nothing whatever, as

I seem at this distance of time to recall, while we gently trotted and

trotted through the splendid summer hours and a dry desolation that yet

somehow smiled and smiled, was part of the charm and the intimacy of

the whole impression--the impression that culminated at last, before

the great cloistered square, lonely, bleak and stricken, in the almost

aching vision, more frequent in the Italy of to-day than anywhere in the

world, of the uncalculated waste of a myriad forms of piety, forces of

labour, beautiful fruits of genius. However, one gaped above all things

for the impression, and what one mainly asked was that it should be

strong of its kind. That was the case, I think I couldn’t but feel, at

every moment of the couple of hours I spent in the vast, cold, empty

shell, out of which the Benedictine brotherhood sheltered there for ages

had lately been turned by the strong arm of a secular State. There was

but one good brother left, a very lean and tough survivor, a dusky,

elderly, friendly Abbate, of an indescribable type and a perfect manner,

of whom I think I felt immediately thereafter that I should have

liked to say much, but as to whom I must have yielded to the fact

that ingenious and vivid commemoration was even then in store for him.

Literary portraiture had marked him for its own, and in the short

story of _Un Saint_, one of the most finished of contemporary French

_nouvelles_, the art and the sympathy of Monsieur Paul Bourget preserve

his interesting image. He figures in the beautiful tale, the Abbate

of the desolate cloister and of those comparatively quiet years, as a

clean, clear type of sainthood; a circumstance this in itself to cause a

fond analyst of other than “Latin” race (model and painter in this

case having their Latinism so strongly in common) almost endlessly to

meditate. Oh, the unutterable differences in any scheme or estimate

of physiognomic values, in any range of sensibility to expressional

association, among observers of different, of inevitably more or

less opposed, traditional and “racial” points of view! One had heard

convinced Latins--or at least I had!--speak of situations of trust and

intimacy in which they couldn’t have endured near them a Protestant or,

as who should say for instance, an Anglo-Saxon; but I was to remember

my own private attempt to measure such a change of sensibility as

might have permitted the prolonged close approach of the dear dingy,

half-starved, very possibly all heroic, and quite ideally urbane Abbate.

The depth upon depth of things, the cloud upon cloud of associations, on

one side and the other, that would have had to change first!

To which I may add nevertheless that since one ever supremely invoked

intensity of impression and abundance of character, I feasted my fill

of it at Monte Oliveto, and that for that matter this would have

constituted my sole refreshment in the vast icy void of the blighted

refectory if I hadn’t bethought myself of bringing with me a scrap of

food, too scantly apportioned, I recollect--very scantly indeed, since

my _cocchiere_ was to share with me--by my purveyor at Siena. Our

tragic--even if so tenderly tragic--entertainer had nothing to give us;

but the immemorial cold of the enormous monastic interior in which we

smilingly fasted would doubtless not have had for me without that such

a wealth of reference. I was to have “liked” the whole adventure, so

I must somehow have liked that; by which remark I am recalled to the

special treasure of the desecrated temple, those extraordinarily

strong and brave frescoes of Luca Signorelli and Sodoma that adorn, in

admirable condition, several stretches of cloister wall. These creations

in a manner took care of themselves; aided by the blue of the sky above

the cloister-court they glowed, they insistently lived; I remember the

frigid prowl through all the rest of the bareness, including that of the

big dishonoured church and that even of the Abbate’s abysmally resigned

testimony to his mere human and personal situation; and then, with such

a force of contrast and effect of relief, the great sheltered sun-flares

and colour-patches of scenic composition and design where a couple of

hands centuries ago turned to dust had so wrought the defiant miracle

of life and beauty that the effect is of a garden blooming among ruins.

Discredited somehow, since they all would, the destroyers themselves,

the ancient piety, the general spirit and intention, but still bright

and assured and sublime--practically, enviably immortal--the other, the

still subtler, the all aesthetic good faith.

1909.