Tales and Historic Scenes/The Widow of Crescentius
THE
WIDOW OF CRESCENTIUS.
ADVERTISEMENT.
"In the reign of Otho III. Emperor of Germany, the Romans, excited by their Consul, Crescentius, who ardently desired to restore the ancient glory of the republic, made a bold attempt to shake off the Saxon yoke, and the authority of the Popes, whose vices rendered them objects of universal contempt. The Consul was besieged by Otho in the Mole of Hadrian, which, long afterwards, continued to be called the Tower of Crescentius. Otho, after many unavailing attacks upon this fortress, at last entered into negotiations; and pledging his imperial word to respect the life of Crescentius, and the rights of the Roman citizens, the unfortunate leader was betrayed into his power, and immediately beheaded, with many of his partisans. Stephania, his widow, concealing her affliction and her resentment for the insults to which she had been exposed, secretly resolved to revenge her husband and herself. On the return of Otho from a pilgrimage to Mount Gargano, which, perhaps, a feeling of remorse had induced him to undertake, she found means to be introduced to him, and to gain his confidence; and a poison administered by her was soon afterwards the cause of his painful death."—See Sismondi, History of the Italian Republics, vol. i.
THE
WIDOW OF CRESCENTIUS.
Midst Tivoli's luxuriant glades,
Bright-foaming falls, and olive shades,
Where dwelt, in days departed long,
The sons of battle and of song,
No tree, no shrub its foliage rears,
But o'er the wrecks of other years,
Temples and domes, which long have been
The soil of that enchanted scene.
There the wild fig-tree and the vine
O'er Hadrian's mouldering villa twine;1[1]
The cypress, in funereal grace,
Usurps the vanish'd column's place;
O'er fallen shrine, and ruin'd frieze,
The wall-flower rustles in the breeze;
Acanthus-leaves the marble hide,
They once adorn'd, in sculptured pride,
And nature hath resumed her throne
O'er the vast works of ages flown.
Was it for this that many a pile,
Pride of Ilissus and of Nile,
To Anio's banks the image lent
Of each imperial monument?2[2]
Now Athens weeps her shatter'd fanes,
Thy temples, Egypt, strew thy plains;
And the proud fabrics Hadrian rear'd
From Tibur's vale have disappear'd.
We need no prescient sibyl there
The doom of grandeur to declare;
Each stone, where weeds and ivy climb,
Reveals some oracle of Time;
Each relic utters Fate's decree,
The future as the past shall be.
Halls of the dead! in Tibur's vale,
Who now shall tell your lofty tale?
Who trace the high patrician's dome,
The bard's retreat, the hero's home?
When moss-clad wrecks alone record
There dwelt the world's departed lord
In scenes where verdure's rich array
Still sheds young beauty o'er decay,
And sunshine on each glowing hill,
Midst ruins finds a dwelling still.
Sunk is thy palace, but thy tomb,
Hadrian! hath shared a prouder doom,3[3]
Though vanish'd with the days of old
Its pillars of Corinthian mould;
And the fair forms by sculpture wrought,
Each bodying some immortal thought,
Which o'er that temple of the dead,
Serene, but solemn beauty shed,
Have found, like glory's self, a grave
In time's abyss, or Tiber's wave:4[4]
Yet dreams more lofty, and more fair,
Than art's bold hand hath imaged e'er,
High thoughts of many a mighty mind,
Expanding when all else declined,
In twilight years, when only they
Recall'd the radiance pass'd away,
Have made that ancient pile their home
Fortress of freedom and of Rome.
There he, who strove in evil days,
Again to kindle glory's rays,
Whose spirit sought a path of light,
For those dim ages far too bright,
Crescentius, long maintain'd the strife,
Which closed but with its martyr's life,
And left th' imperial tomb a name,
A heritage of holier fame.
There closed De Brescia's mission high,
From thence the patriot came to die;5[5]
And thou, whose Roman soul the last,
Spoke with the voice of ages past,6[6]
Whose thoughts so long from earth had fled,
To mingle with the glorious dead,
That midst the world's degenerate race
They vainly sought a dwelling-place,
Within that house of death didst brood
O'er visions to thy ruin woo'd.
Yet, worthy of a brighter lot,
Rienzi! be thy faults forgot!
For thou, when all around thee lay
Chain'd in the slumbers of decay;
So sunk each heart, that mortal eye
Had scarce a tear for liberty;
Alone, amidst the darkness there,
Couldst gaze on Rome—yet not despair!7[7]
'Tis morn, and Nature's richest dyes
Are floating o'er Italian skies;
Tints of transparent lustre shine
Along the snow-clad Apennine;
The clouds have left Soracte's height,
And yellow Tiber winds in light,
Where tombs and fallen fames have strew'd
The wide Campagna's solitude.
'Tis sad amidst that scene to trace
Those relics of a vanish'd race;
Yet o'er the ravaged path of time,
Such glory sheds that brilliant clime,
Where nature still, though empires fall,
Holds her triumphant festival;
E'en Desolation wears a smile,
Where skies and sunbeams laugh the while;
And Heaven's own light, Earth's richest bloom,
Array the ruin and the tomb.
But she, who from yon convent tower
Breathes the pure freshness of the hour;
She, whose rich flow of raven hair
Streams wildly on the morning air;
Heeds not how fair the scene below,
Robed in Italia's brightest glow.
Though throned midst Latium's classic plains,
Th' Eternal City's towers and fanes,
And they, the Pleiades of earth,
The seven proud hills of Empire's birth,
Lie spread beneath: not now her glance
Roves o'er that vast sublime expanse;
Inspired, and bright with hope, 'tis thrown
On Adrian's massy tomb alone;
There, from the storm, when Freedom fled,
His faithful few Crescentius led;
While she, his anxious bride, who now
Bends o'er the scene her youthful brow,
Sought refuge in the hallow'd fane,
Which then could shelter, not in vain.
But now the lofty strife is o'er,
And Liberty shall weep no more.
At length imperial Otho's voice
Bids her devoted sons rejoice;
And he, who battled to restore
The glories and the rights of yore,
Whose accents, like the clarion's sound,
Could burst the dead repose around,
Again his native Rome shall see,
The sceptred city of the free!
And young Stephania waits the hour
When leaves her lord his fortress-tower,
Her ardent heart with joy elate,
That seems beyond the reach of fate;
Her mien, like creature from above,
All vivified with hope and love.
Fair is her form, and in her eye
Lives all the soul of Italy!
A meaning lofty and inspired,
As by her native day-star fired;
Such wild and high expression, fraught
With glances of impassion'd thought,
As fancy sheds in visions bright,
O'er priestess of the God of Light!
And the dark locks that lend her face
A youthful and luxuriant grace,
Wave o'er her cheek, whose kindling dyes
Seem from the fire within to rise;
But deepen'd by the burning heaven
To her own land of sunbeams given.
Italian art that fervid glow
Would o'er ideal beauty throw,
And with such ardent life express
Her high-wrought dreams of loveliness;–
Dreams which, surviving Empire's fall,
The shade of glory still recal.
But see,–the banner of the brave
O'er Adrian's tomb hath ceased to wave.
'Tis lower'd—and now Stephania's eye
Can well the martial train descry,
Who, issuing from that ancient dome,
Pour through the crowded streets of Rome.
Now from her watch-tower on the height,
With step as fabled wood-nymph's light,
She flies—and swift her way pursues,
Through the lone convent's avenues.
Dark cypress groves, and fields o'erspread
With records of the conquering dead,
And paths which track a glowing waste,
She traverses in breathless haste;
And by the tombs where dust is shrined,
Once tenanted by loftiest mind,
Still passing on, hath reach'd the gate
Of Rome, the proud, the desolate!
Throng'd are the streets, and, still renew'd,
Rush on the gathering multitude.
Is it their high-soul'd chief to greet
That thus the Roman thousands meet?
With names that bid their thoughts ascend,
Crescentius, thine in song to blend;
And of triumphal days gone by
Recall th' inspiring pageantry?
—There is an air of breathless dread,
An eager glance, a hurrying tread;
And now a fearful silence round,
And now a fitful murmuring sound,
Midst the pale crowds, that almost seem
Phantoms of some tumultuous dream.
Quick is each step, and wild each mien,
Portentous of some awful scene.
Bride of Crescentius! as the throng
Bore thee with whelming force along,
How did thine anxious heart beat high,
Till rose suspense to agony!
Too brief suspense, that soon shall close,
And leave thy heart to deeper woes.
Who midst yon guarded precinct stands,
With fearless mien, but fetter'd hands?
The ministers of death are nigh,
Yet a calm grandeur lights his eye;
And in his glance there lives a mind,
Which was not form'd for chains to bind,
But cast in such heroic mould
As theirs, th' ascendant ones of old.
Crescentius! freedom's daring son,
Is this the guerdon thou hast won?
O worthy to have lived and died
In the bright days of Latium's pride!
Thus must the beam of glory close
O'er the seven hills again that rose,
When at thy voice, to burst the yoke,
The soul of Rome indignant woke?
Vain dream! the sacred shields are gone,8[8]
Sunk is the crowning city's throne:9[9]
Th' illusions, that around her cast
Their guardian spells, have long been past.10[10]
Thy life hath been a shot-star's ray,
Shed o'er her midnight of decay;
Thy death at freedom's ruin'd shrine
Must rivet every chain—but thine.
Calm is his aspect, and his eye
Now fix'd upon the deep-blue sky,
Now on those wrecks of ages fled,
Around in desolation spread;
Arch, temple, column, worn and grey,
Recording triumphs pass'd away;
Works of the mighty and the free,
Whose steps on earth no more shall be,
Though their bright course hath left a trace
Nor years nor sorrows can efface.
Why changes now the patriot's mien,
Erewhile so loftily serene?
Thus can approaching death control
The might of that commanding soul?
No!—Heard ye not that thrilling cry
Which told of bitterest agony?
He heard it, and, at once subdued,
Hath sunk the hero's fortitude.
He heard it, and his heart too well
Whence rose that voice of woe can tell;
And midst the gazing throngs around
One well-known form his glance hath found;
One fondly loving and beloved,
In grief, in peril, faithful proved.
Yes, in the wildness of despair,
She, his devoted bride, is there.
Pale, breathless, through the crowd she flies,
The light of frenzy in her eyes:
But ere her arms can clasp the form,
Which life ere long must cease to warm;
Ere on his agonizing breast
Her heart can heave, her head can rest;
Check'd in her course by ruthless hands,
Mute, motionless, at once she stands;
With bloodless cheek and vacant glance,
Frozen and fix'd in horror's trance;
Spell-bound, as every sense were fled,
And thought o'erwhelm'd, and feeling dead.
And the light waving of her hair,
And veil, far floating on the air,
Alone, in that dread moment, show
She is no sculptured form of woe.
The scene of grief and death is o'er,
The patriot's heart shall throb no more:
But hers—so vainly form'd to prove
The pure devotedness of love,
And draw from fond affection's eye
All thought sublime, all feeling high;
When consciousness again shall wake,
Hath now no refuge—but to break.
The spirit long inured to pain
May smile at fate in calm disdain;
Survive its darkest hour, and rise
In more majestic energies.
But in the glow of vernal pride,
If each warm hope at once hath died,
Then sinks the mind, a blighted flower,
Dead to the sunbeam and the shower;
A broken gem, whose inborn light
Is scatter'd—ne'er to re-unite.
PART II.
Hast thou a scene that is not spread
With records of thy glory fled?
A monument that doth not tell
The tale of liberty's farewell?
Italia! thou art but a grave
Where flowers luxuriate o'er the brave,
And nature gives her treasures birth
O'er all that hath been great on earth.
Yet smile thy heavens as once they smiled,
When thou wert freedom's favour'd child:
Though fane and tomb alike are low,
Time hath not dimm'd thy sunbeam's glow;
And robed in that exulting ray,
Thou seems to triumph o'er decay;
O yet, though by thy sorrows bent,
In nature's pomp magnificent;
What marvel if, when all was lost,
Still on thy bright, enchanted coast,
Though many an omen warn'd him thence,
Linger'd the lord of eloquence?11[11]
Still gazing on the lovely sky,
Whose radiance woo'd him—but to die:
Like him who would not linger there,
Where heaven, earth, ocean, all are fair?
Who midst thy glowing scenes could dwell,
Nor bid awhile his griefs farewell?
Hath not thy pure and genial air
Balm for all sadness but despair?12[12]
No! there are pangs, whose deep-worn trace
Not all thy magic can efface!
Hearts, by unkindness wrung, may learn
The world and all its gifts to spurn;
Time may steal on with silent tread,
And dry the tear that mourns the dead;
May change fond love, subdue regret,
And teach e'en vengeance to forget:
But thou, Remorse! there is no charm,
Thy sting, avenger, to disarm!
Vain are bright suns and laughing skies,
To sooth thy victim's agonies:
The heart once made thy burning throne,
Still, while it beats, is thine alone.
In vain for Otho's joyless eye
Smile the fair scenes of Italy,
As through her landscapes' rich array
Th' imperial pilgrim bends his way.
Thy form, Crescentius, on his sight
Rises when nature laughs in light,
Glides round him at the midnight hour,
Is present in his festal bower,
With awful voice and frowning mien,
By all but him unheard, unseen.
Oh! thus to shadows of the grave
Be every tyrant still a slave!
Where through Gargano's woody dells,
O'er bending oaks the north-wind swells,13[13]
A sainted hermit's lowly tomb
Is bosom'd in umbrageous gloom,
In shades that saw him live and die
Beneath their waving canopy.
'Twas his, as legends tell, to share
The converse of immortals there;
Around that dweller of the wild
There "bright appearances" have smiled,14[14]
And angel-wings, at eve, have been
Gleaming the shadowy boughs between.
And oft from that secluded bower
Hath breathed, at midnight's calmer hour,
A swell of viewless harps, a sound
Of warbled anthems pealing round.
Oh, none but voices of the sky
Might wake that thrilling harmony,
Whose tones, whose very echos made
An Eden of the lonely shade!
Years have gone by; the hermit sleeps
Amidst Gargano's woods and steeps;
Ivy and flowers have half o'ergrown,
And veil'd his low, sepulchral stone:
Yet still the spot is holy, still
Celestial footsteps haunt the hill;
And oft the awe-struck mountaineer
Aërial vesper-hymns may hear,
Around those forest-precincts float,
Soft, solemn, clear,—but still remote.
Oft will Affliction breathe her plaint
To that rude shrine's departed saint,
And deem that spirits of the blest
There shed sweet influence o'er her breast.
And thither Otho now repairs,
To sooth his soul with vows and prayers;
And if for him, on holy ground,
The lost—one, Peace, may yet be found,
Midst rocks and forests, by the bed,
Where calmly sleep the sainted dead,
She dwells, remote from heedless eye,
With Nature's lonely majesty.
Vain, vain the search—his troubled breast
Nor vow nor penance lulls to rest;
The weary pilgrimage is o'er,
The hopes that cheer'd it are no more.
Then sinks his soul, and day by day,
Youth's buoyant energies decay.
The light of health his eye hath flown,
The glow that tinged his cheek is gone.
Joyless as one on whom is laid
Some baleful spell that bids him fade,
Extending its mysterious power
O'er every scene, o'er every hour;
E’en thus he withers; and to him,
Italia's brilliant skies are dim.
He withers—in that glorious clime
Where Nature laughs in scorn of Time;
And suns, that shed on all below
Their full and vivifying glow,
From him alone their power withhold,
And leave his heart in darkness cold.
Earth blooms around him, heaven is fair,
He only seems to perish there.
Yet sometimes will a transient smile
Play o'er his faded cheek awhile,
When breathes his minstrel-boy a strain
Of power to lull all earthly pain;
So wildly sweet, its notes might seem
Th' ethereal music of a dream,
A spirit's voice from worlds unknown,
Deep thrilling power in every tone!
Sweet is that lay, and yet its flow
Hath language only given to woe;
And if at times its wakening swell
Some tale of glory seems to tell,
Soon the proud notes of triumph die,
Lost in a dirge's harmony:
Oh! many a pang the heart hath proved,
Hath deeply suffer'd, fondly loved,
Ere the sad strain could catch from thence
Such deep impassion'd eloquence!—
Yes! gaze on him, that minstrel boy—
He is no child of hope and joy;
Though few his years, yet have they been
Such as leave traces on the mien,
And o'er the roses of our prime
Breathe other blights than those of time.
Yet, seems his spirit wild and proud,
By grief unsoften'd and unbow'd.
Oh! there are sorrows which impart
A sternness foreign to the heart,
And rushing with an earthquake's power,
That makes a desert in an hour;
Rouse the dread passions in their course,
As tempests wake the billows' force!—
'Tis sad, on youthful Guido's face,
The stamp of woes like these to trace.
Oh! where can ruins awe mankind,
Dark as the ruins of the mind?
His mien is lofty, but his gaze
Too well a wandering soul betrays:
His full dark eye at times is bright
With strange and momentary light,
Whose quick uncertain flashes throw
O'er his pale cheek a hectic glow:
And oft his features and his air
A shade of troubled mystery wear,
A glance of hurried wildness, fraught
With some unfathomable thought.
Whate'er that thought, still, unexpress'd,
Dwells the sad secret in his breast;
The pride his haughty brow reveals,
All other passion well conceals.
He breathes each wounded feeling's tone,
In music's eloquence alone;
His soul's deep voice is only pour'd
Through his full song and swelling chord.
He seeks no friend, but shuns the train
Of courtiers with a proud disdain;
And, save when Otho bids his lay
Its half unearthly power essay,
In hall or bower the heart to thrill,
His haunts are wild and lonely still.
Far distant from the heedless throng,
He roves old Tiber's banks along,
Where Empire's desolate remains
Lie scatter'd o'er the silent plains:
Or, lingering midst each ruin'd shrine
That strews the desert Palatine,
With mournful, yet commanding mien,
Like the sad genius of the scene,
Entranced in awful thought appears
To commune with departed years.
Or at the dead of night, when Rome
Seems of heroic shades the home;
When Tiber's murmuring voice recalls
The mighty to their ancient halls;
When hush'd is every meaner sound,
And the deep moonlight-calm around
Leaves to the solemn scene alone
The majesty of ages flown;
A pilgrim to each hero's tomb,
He wanders through the sacred gloom;
And, midst those dwellings of decay,
At times will breathe so sad a lay,
So wild a grandeur in each tone,
'Tis like a dirge for empires gone!
Awake thy pealing harp again,
But breathe a more exulting strain,
Young Guido! for awhile forgot
Be the dark secrets of thy lot,
And rouse th' inspiring soul of song
To speed the banquet's hour along!—
The feast is spread; and music's call
Is echoing through the royal hall,
And banners wave, and trophies shine,
O'er stately guests in glittering line;
And Otho seeks awhile to chase
The thoughts he never can erase,
And bid the voice, whose murmurs deep
Rise like a spirit on his sleep,
The still small voice of conscience die,
Lost in the din of revelry.
On his pale brow dejection lowers,
But that shall yield to festal hours:
A gloom is in his faded eye,
But that from music's power shall fly:
His wasted cheek is wan with care,
But mirth shall spread fresh crimson there.
Wake, Guido! wake thy numbers high,
Strike the bold chord exultingly!
And pour upon th' enraptured ear
Such strains as warriors love to hear!
Let the rich mantling goblet flow,
And banish all resembling woe;
And, if a thought intrude, of power
To mar the bright convivial hour,
Still must its influence lurk unseen,
And cloud the heart—but not the mien!
Away, vain dream!—on Otho's brow,
Still darker lower the shadows now;
Changed are his features, now o'erspread
With the cold paleness of the dead;
Now crimson'd with a hectic dye,
The burning flush of agony!
His lip is quivering, and his breast
Heaves with convulsive pangs oppress'd;
Now his dim eye seems fix'd and glazed,
And now to Heaven in anguish raised;
And as, with unavailing aid,
Around him throng his guests dismay'd,
He sinks—while scarce his struggling breath
Hath power to falter—"This is death!"
Then rush'd that haughty child of song,
Dark Guido, through the awe-struck throng;
Fill'd with a strange delirious light,
His kindling eye shone wildly bright,
And on the sufferer's mien awhile
Gazing with stern vindictive smile,
A feverish glow of triumph dyed
His burning cheek, while thus he cried:—
"Yes! these are death-pangs—on thy brow
Is set the seal of vengeance now!
Oh! well was mix'd the deadly draught,
And long and deeply hast thou quaff'd;
And bitter as thy pangs may be,
They are but guerdons meet from me!
Yet, these are but a moment's throes,
Howe'er intense, they soon shall close.
Soon shalt thou yield thy fleeting breath,
My life hath been a lingering death;
Since one dark hour of woe and crime,
A blood-spot on the page of time!
"Deem'st thou my mind of reason void?
It is not phrenzied,—but destroy'd!
Aye! view the wreck with shuddering thought,—
That work of ruin thou hast wrought!
"The secret of thy doom to tell,
My name alone suffices well!
Stephania!—once a hero's bride!
Otho' thou know'st the rest—he died.
Yes! trusting to a monarch's word,
The Roman fell, untried, unheard!
And thou, whose every pledge was vain,
How couldst thou trust in aught again?
"He died, and I was changed—my soul,
A lonely wanderer, spurn'd control.
From peace, and light, and glory hurl'd,
The outcast of a purer world,
I saw each brighter hope o'erthrown,
And lived for one dread task alone.
The task is closed—fulfill'd the vow,
The hand of death is on thee now.
Betrayer! in thy turn betray'd,
The debt of blood shall soon be paid:
Thine hour is come—the time hath been
My heart had shrunk from such a scene;
That feeling long is past—my fate
Hath made me stern as desolate.
"Ye that around me shuddering stand,
Ye chiefs and princes of the land!
Mourn ye a guilty monarch's doom?
—Ye wept not o'er the patriot's tomb!
He sleeps unhonour'd—yet be mine
To share his low, neglected shrine.
His soul with freedom finds a home,
His grave is that of glory—Rome!
Are not the great of old with her,
That city of the sepulchre?
Lead me to death! and let me share
The slumbers of the mighty there!"
The day departs—that fearful day
Fades in calm loveliness away:
From purple heavens its lingering beam
Seems melting into Tiber's stream,
And softly tints each Roman hill
With glowing light, as clear and still,
As if, unstain'd by crime or woe,
Its hours had pass'd in silent flow.
The day sets calmly—it hath been
Mark'd with a strange and awful scene:
One guilty bosom throbs no more,
And Otho's pangs and life are o'er.
And thou, ere yet another sun
His burning race hath brightly run,
Released from anguish by thy foes,
Daughter of Rome! shalt find repose.—
Yes! on thy country's lovely sky
Fix yet once more thy parting eye!
A few short hours—and all shall be
The silent and the past for thee.
Oh! thus with tempests of a day
We struggle, and we pass away,
Like the wild billows as they sweep,
Leaving no vestige on the deep!
And o'er thy dark and lowly bed
The sons of future days shall tread,
The pangs, the conflicts, of thy lot,
By them unknown, by thee forgot.
NOTES.
- ↑
Note 1, page 97, line 10.
O'er Hadrian's mouldering villa twine."J'etais allé passer quelques jours seuls à Tivoli. Je parcourus les environs, et surtout celles de la Villa Adriana. Surpris par la pluie au milieu de ma course, je me réfugiai dans les Salles des Thermes voisins du Pécile (monumens de la villa), sous un figuier qui avait renversé le pau d'un mur en s'élevant. Dans un petit salon octogone, ouvert devant moi, une vigne vierge avait percé la voûte de l’édifice, et son gros cep lisse, rouge, et tortueux, montait le long du mur comme un serpent. Autour de moi, à travers les arcades des ruines, s'ouvraient des points de vue sur la Campagne Romaine. Des buissons de sureau remplissaient les salles désertes où venaient se refugier quelques merles solitaires. Les fragmens de maçonnerie étaient tapissées de feuilles de scolopendre, dont la verdure satinée se dessinait comme un travail en mosaïque sur la blancheur des marbres: çà et là de hauts cyprès remplaçaient les colonnes tombées dans ces palais de la Mort; l'acanthe sauvage rampait à leurs pieds, sur des débris, comme si la nature s'était plu à reproduire sur ces chefs d'oeuvre mutilés d'architecture, l'ornement de leur beauté passée."—Chateaubriand, Souvenirs d’Italie.
- ↑
Note 2, page 98, line 8.
Of each imperial monument?The gardens and buildings of Hadrian's villa were copies of the most celebrated scenes and edifices in his dominions; the Lycæum, the Academia, the Prytaneum of Athens, the Temple of Serapis at Alexandria, the Vale of Tempe, &c.
- ↑ Note 3, page 99, lines 7 and 8.
Sunk is thy palace, but thy tomb,
Hadrian! hath shared a prouder doom.The mausoleum of Hadrian, now the castle of St. Angelo, was first converted into a citadel by Belisarius, in his successful defence of Rome against the Goths. "The lover of the arts," says Gibbon, "must read with a sigh that the works of Praxiteles and Lysippus were torn from their lofty pedestals, and hurled into the ditch on the heads of the besiegers." He adds, in a note, that the celebrated sleeping Faun of the Barberini palace was found, in a mutilated state, when the ditch of St. Angelo was cleansed under Urban VIII. In the middle ages, the moles Hadriani was made a permanent fortress by the Roman government, and bastions, outworks, &c. were added to the original edifice, which had been stripped of its marble covering, its Corinthian pillars, and the brazen cone which crowned its summit.
- ↑
Note 4, page 99, lines 15 and 16.
Have found, like glory's self, a grave
In time's abyss, or Tiber's wave."Les plus beaux monumens des arts, les plus admirables statues ont étés jetées dans le Tibre, et sont cachées sous ses flots. Qui sait si, pour les chercher, on ne le détournera pas un jour de son lit? Mais quand on songe que les chef d'œuvres du génie humain sont peut-être là devant nous, et qu'un œil plus perçant les verrait à travers les ondes, l'on éprouve je ne sais quelle émotion qui renaît à Rome sans cesse sous diverses formes, et fait trouver une societé pour la pensée dans les objets physiques, muets partout ailleurs."—Mad. de Staël.
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Note 5, page 100, lines 11 and 12.
There closed De Brescia's mission high;
From thence the patriot came to die.Arnold de Brescia, the undaunted and eloquent champion of Roman liberty, after unremitting efforts to restore the ancient constitution of the republic, was put to death in the year 1155 by Adrian IV. This event is thus described by Sismondi, Histoire des Republiques Italiennes, vol. ii. pages 68 and 69. "Le préfect demeura dans le château Saint Ange avec son prisonnier; il le fit transporter un matin sur la place destinée aux exécutions, devant la porte du peuple. Arnaud de Brescia, élevé sur un bûcher, fut attaché à un poteau, en face du Corso. Il pouvoit mesurer des yeux les trois longues rues qui aboutissoient devant son echafaud; elles font presqu' une moitié de Rome. C'est là qu'habitoient les hommes qu'il avoit si souvent appelés à la liberté. Ils reposoient encore en paix, ignorant le danger de leur legislateur. Le tumulte de l'execution et la flamme du bûcher réveillèrent les Romains; ils s'armèrent, ils accoururent, mais trop tard; et les cohortes du pape repoussèrent, avec leurs lances, ceux qui, n'ayant pu sauver Arnaud, vouloient du moins recueillir ses cendres comme de précieuses reliques."
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Note 6, page 100, line 14.
Spoke with the voice of ages past."Posterity will compare the virtues and failings of this extraordinary man; but in a long period of anarchy and servitude, the name of Rienzi has often been celebrated as the deliverer of his country, and the last of the Roman Patriots."—Gibbon's Decline and Fall, &c. vol. xii. p. 362.
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Note 7, page 101, line 6.
Couldst gaze on Rome—yet not despair!"Le consul Terentius Varron avoit fui honteusement jusqu'à Venouse: cet homme de la plus basse naissance, n'avoit été élevé au consulat que pour mortifier la noblesse: mais le sénat ne voulut pas jouir de ce malheureux triomphe; il vit combien il étoit nécessaire qu'il s'attirât dans cette occasion la confiance du peuple, il alla au-devant Varron, et le remercia de ce qu'il n'avoit pas désespéré de la republique."—Montesquieu's Grandeur et Decadence des Romains.
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Note 8, page 107, line 5.
Vain dream! the sacred shields are gone.Of the sacred bucklers, or ancilia of Rome, which were kept in the temple of Mars, Plutarch gives the following account. "In the eighth year of Numa's reign a pestilence prevailed in Italy; Rome also felt its ravages. While the people were greatly dejected, we are told that a brazen buckler fell from heaven into the hands of Numa. Of this he gave a very wonderful account, received from Egeria and the Muses: that the buckler was sent down for the preservation of the city, and should be kept with great care: that eleven others should be made as like it as possible in size and fashion, in order that if any person were disposed to steal it, he might not be able to distinguish that which fell from heaven from the rest. He further declared, that the place, and the meadows about it, where he frequently conversed with the Muses, should be consecrated to those divinities; and that the spring which watered the ground should be sacred to the use of the Vestal Virgins, daily to sprinkle and purify their temple. The immediate cessation of the pestilence is said to have confirmed the truth of this account."—Life of Numa.
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Note 9, page 107, line 6.
Sunk is the crowning city's throne."Who hath taken this counsel against Tyre, the crowning city, whose merchants are princes, whose traffickers are the honourable of the earth?"—Isaiah, chap. 23.
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Note 10, page 107, line 8.
Their guardian spells, have long been past."Un mélange bizarre de grandeur d'ame, et de foiblesse entroit dès cette époque, (l’onzième siècle) dans le caractère des Romains.—Un mouvement généreux vers les grandes choses faisoit place tout-à-coup à l’abattement; ils passoient de la liberté la plus orageuse, a la servitude la plus avilissante. On auroit dit que les ruines et les portiques deserts de la capitale du monde, entretenoient ses habitans dans le sentiment de leur impuissance; au milieu de ces monumens de leur domination passée, les citoyens éprouvoient d'une manière trop décourageante leur propre nullité. Le nom des Romains qu'ils portoient ranimoit fréquemment leur enthousiasme, comme il le ranime encore aujourd'hui; mais bientôt la vue de Rome, du forum désert, des sept collines de nouveau rendues au pâturage des troupeaux, des temples désolés, des monumens tombant en ruine, les ramenoit à sentir qu'ils n'étoient plus les Romains d'autrefois."—Sismondi, Histoire des Républiques Italiennes, vol. i. p. 172.
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Note 11, page 112, line 4.
Linger'd the lord of eloquence?"As for Cicero, he was carried to Astyra, where, finding a vessel, he immediately went on board, and coasted along to Circæum with a favourable wind. The pilots were preparing immediately to sail from thence, but whether it was that he feared the sea, or had not yet given up all his hopes in Cæsar, he disembarked, and travelled a hundred furlongs on foot, as if Rome had been the place of his destination. Repenting, however, afterwards, he left that road, and made again for the sea. He passed the night in the most perplexing and horrid thoughts; insomuch, that he was some times inclined to go privately into Cæsar's house and stab himself upon the altar of his domestic gods, to bring the divine vengeance upon his betrayer. But he was deterred from this by the fear of torture. Other alternatives, equally distressful, presented themselves. At last, he put himself in the hands of his servants, and ordered them to carry him by sea to Cajeta, where he had a delightful retreat in the summer, when the Etesian winds set in. There was a temple of Apollo on that coast, from which a flight of crows came with great noise towards Cicero's vessel as it was making land. They perched on both sides the sail-yard, where some sat croaking, and others pecking the ends of the ropes. All looked upon this as an ill omen; yet Cicero went on shore, and, entering his house, lay down to repose himself. In the mean time a number of the crows settled in the chamber-window, and croaked in the most doleful manner. One of them even entered it, and alighting on the bed, attempted, with its beak, to draw off the clothes with which he had covered his face. On sight of this, the servants began to reproach themselves. 'Shall we,' said they, 'remain to be spectators of our master's murder? Shall we not protect him, so innocent and so great a sufferer as he is, when the brute creatures give him marks of their care and attention?' Then, partly by entreaty, partly by force, they got him into his litter, and carried him towards the sea."—Plutarch. Life of Cicero.
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Note 12, page 112, line 12.
Balm for all sadness but despair?"Now purer air
Meets his approach, and to the heart inspires
Vernal delight and joy, able to drive
All sadness but despair."—Milton. - ↑
Note 13, page 113, line 16.
O'er bending oaks the north-wind swells.Mount Gargano. "This ridge of mountains forms a very large promontory advancing into the Adriatic, and separated from the Apennines on the west by the plains of Lucera and San Severo. We took a ride into the heart of the mountains through shady dells and noble woods, which brought to our minds the venerable groves that in ancient times bent with the loud winds sweeping along the rugged sides of Garganus.
'Aquilonibus
Querceta Gargani laborant
Et foliis viduantur orni.'—Horace."There is still a respectable forest of evergreen and common oak, pine, hornbeam, chesnut, and manna-ash. The sheltered valleys are industriously cultivated, and seem to be blest with luxuriant vegetation."—Swinburne's Travels.
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Note 14, page 114, line 2.
There "bright appearances" have smiled."In yonder nether world where shall I seek
His bright appearances, or footstep trace?"—Milton.