Italian Hours/Florentine Notes, part VIII
I had always felt the Boboli Gardens charming enough for me to
"haunt" them; and yet such is the interest of Florence in every
quarter that it took another corso of the same cheap
pattern as the last to cause me yesterday to flee the crowded
streets, passing under that archway of the Pitti Palace which
might almost be the gate of an Etruscan city, so that I might
spend the afternoon among the mouldy statues that compose with
their screens of cypress, looking down at our clustered towers
and our background of pale blue hills vaguely freckled with white
villas. These pleasure-grounds of the austere Pitti pile, with
its inconsequent charm of being so rough-hewn and yet somehow so
elegantly balanced, plead with a voice all their own the general
cause of the ample enclosed, planted, cultivated private
preserve--preserve of tranquillity and beauty and immunity--in
the heart of a city; a cause, I allow, for that matter, easy to
plead anywhere, once the pretext is found, the large, quiet,
distributed town-garden, with the vague hum of big grudging
boundaries all about it, but with everything worse excluded,
being of course the most insolently-pleasant thing in the world.
In addition to which, when the garden is in the Italian manner,
with flowers rather remarkably omitted, as too flimsy and easy
and cheap, and without lawns that are too smart, paths that are
too often swept and shrubs that are too closely trimmed, though
with a fanciful formalism giving style to its shabbiness, and
here and there a dusky ilex-walk, and here and there a dried-up
fountain, and everywhere a piece of mildewed sculpture staring at
you from a green alcove, and just in the right place, above all,
a grassy amphitheatre curtained behind with black cypresses and
sloping downward in mossy marble steps--when, I say, the place
possesses these attractions, and you lounge there of a soft
Sunday afternoon, the racier spectacle of the streets having made
your fellow-loungers few and left you to the deep stillness and
the shady vistas that lead you wonder where, left you to the
insidious irresistible mixture of nature and art, nothing too
much of either, only a supreme happy resultant, a divine
tertium quid: under these conditions, it need scarce be
said the revelation invoked descends upon you.
The Boboli Gardens are not large--you wonder how compact little Florence finds room for them within her walls. But they are scattered, to their extreme, their all-romantic advantage and felicity, over a group of steep undulations between the rugged and terraced palace and a still-surviving stretch of city wall, where the unevenness of the ground much adds to their apparent size. You may cultivate in them the fancy of their solemn and haunted character, of something faint and dim and even, if you like, tragic, in their prescribed, their functional smile; as if they borrowed from the huge monument that overhangs them certain of its ponderous memories and regrets. This course is open to you, I mention, but it isn't enjoined, and will doubtless indeed not come up for you at all if it isn't your habit, cherished beyond any other, to spin your impressions to the last tenuity of fineness. Now that I bethink myself I must always have happened to wander here on grey and melancholy days. It remains none the less true that the place contains, thank goodness--or at least thank the grave, the infinitely-distinguished traditional taste of Florence--no cheerful, trivial object, neither parterres, nor pagodas, nor peacocks, nor swans. They have their famous amphitheatre already referred to, with its degrees or stone benches of a thoroughly aged and mottled complexion and its circular wall of evergreens behind, in which small cracked images and vases, things that, according to association, and with the law of the same quite indefinable, may make as much on one occasion for exquisite dignity as they may make on another for (to express it kindly) nothing at all. Something was once done in this charmed and forsaken circle--done or meant to be done; what was it, dumb statues, who saw it with your blank eyes? Opposite stands the huge flat-roofed palace, putting forward two great rectangular arms and looking, with its closed windows and its foundations of almost unreduced rock, like some ghost of a sample of a ruder Babylon. In the wide court-like space between the wings is a fine old white marble fountain that never plays. Its dusty idleness completes the general air of abandonment. Chancing on such a cluster of objects in Italy--glancing at them in a certain light and a certain mood--I get (perhaps on too easy terms, you may think) a sense of history that takes away my breath. Generations of Medici have stood at these closed windows, embroidered and brocaded according to their period, and held fetes champetres and floral games on the greensward, beneath the mouldering hemicycle. And the Medici were great people! But what remains of it all now is a mere tone in the air, a faint sigh in the breeze, a vague expression in things, a passive--or call it rather, perhaps, to be fair, a shyly, pathetically responsive--accessibility to the yearning guess. Call it much or call it little, the ineffaceability of this deep stain of experience, it is the interest of old places and the bribe to the brooding analyst. Time has devoured the doers and their doings, but there still hangs about some effect of their passage. We can "layout" parks on virgin soil, and cause them to bristle with the most expensive importations, but we unfortunately can't scatter abroad again this seed of the eventual human soul of a place--that comes but in its time and takes too long to grow. There is nothing like it when it has come.