Farewell, dear Hector. Keep well, and keep me in your affection--that last being a good work, which shall bring you manifold reward!

Mind you are as exact in giving me your successive addresses as I shall be in sending you mine, during my journey and after it.

I salute you, with all filial fondness.

CH. GOUNOD.

II

MONSIEUR H. LEFUEL, _Architect, Academie de France, Villa Medicis, Rome_.

NAPLES, _Tuesday, July 14, 1840_.

MY DEAR HECTOR,--I wish I could have written these few lines which I now send you by Murat[5] sooner. But the fact is that up to the present I have barely had time to write a tolerable scrawl to my brother; and here in Naples, where I made some acquaintances three months ago, my first duty has been to go round and pay calls. However, I hope to have more time to spare in future. I have written to Desgoffe also, and would gladly have done as much by our good Hebert; please make all sorts of excuses to him for me. He will certainly hear from me direct one of these days, almost at once indeed, for I am thinking, though not quite decidedly as yet, of starting on Wednesday or Thursday in next week to see Ischia and Capri, returning to Naples by Paestum, Salerno, Amalfi, Sorrento, and Pompeii. A twelve days' trip or thereabouts.

I hope, my dear fellow, your health has been good since I left,--Desgoffe's as well. I beg he'll see you do not work too hard! It must be very hot now where you are. Here in Naples it is sometimes very close; to-day, for instance, it is overwhelmingly thundery and oppressive, but the sea-breeze is not unpleasant, and as we live almost on the sea-sh.o.r.e, we get the benefit of it, and make the most of its freshness.

Naples (I mean the town, of course) bores me more than ever. I am very curious to see Capri and Ischia, and also Paestum. Yesterday at long last I went up to the Camaldoli; the view is wonderful, especially over the wide expanse of sea. You know how I love the sea. The longer one looks at it, the better one understands that simple horizontal line beyond which one can fancy infinite s.p.a.ce stretching away for ever. To-morrow afternoon at four, if the weather keeps fine, we mean to go up Vesuvius and watch the sunset; we shall spend the night there, to see the moonlight on the bay, and the sunrise next morning. You see our expedition promises to be delightful.

The day before yesterday I had a letter from my mother, forwarded from Rome. If it was you who sent it on, dear Hector, accept my best thanks.

My mother and my good brother Urbain send you many friendly messages.

What do you think of Monsieur Ingres's picture? Write and tell me, or else slip a line into Desgoffe's letter, when he answers mine. Address your letters to "La Ville de Rome, Quai Santa Lucia, Naples." If I am not there when they arrive, I shall find them when I get back.

Please tell Hebert that I should much like to have his opinion of Monsieur Ingres's picture as well as yours; although I can hardly expect to hear from him until I write myself.

Give my love to my little brother Vauthier, who will not forget me, I hope. Tell Fleury[6] how sorry I was not to say good-bye to him before starting, and finally, give all my comrades, individually and collectively, my best wishes, in our time-honoured fashion.

Farewell, dear Hector. I send you my best love, with all my heart too, for indeed I feel our common exile with threefold bitterness out here.--Your very affectionate

CHARLES GOUNOD.

Guenepin[7] will write to you in a day or two. He sends you many friendly greetings. He is a very good fellow, and we have had a pleasant journey, although we have never had more than three or four hours in bed. But that's a trifle. When you write, pray let me know if Desgoffe has sent again to fetch my score of "Der Freischutz" from Prince Soutzo's.

III

MONSIEUR HECTOR LEFUEL, _Poste Restante, Venice_.

ROME, _April 4, 1841_.

BELOVED AND REVERED PARENT,[8]--Your afflicted child has been racking his poor brain to know where he should write to you, and was beginning in fact to have serious doubts of the reality of the affection his ancient relative professes for him. However, he now rejoices to have learnt through Monsieur Schnetz that the undaunted centenarian has removed himself from Florence to Bologna, on his way to Venice as fast as he can get there.

To Venice, therefore, does his son, greatly comforted by the joyful news, indite the following epistle to inform him, firstly, that he himself is in rude health, and secondly, that his musical Ma.s.s has had a great success, not only among his fellow-students here, but also among the uninitiated vulgar. The thought of his venerable friend's delight at once occurred to the composer, and was indeed a potent factor in his legitimate joy in his success. He begs to add that he unceasingly deplores the absence of his aged kinsman, the person he naturally clung to most while he was here, and of whom Fate has so cruelly and inopportunely bereft him.

I too have news from Paris, my dear good Hector. My letters are full of friendly messages for you. My mother, why, I know not, was under the impression I should see you again within a month or two; I have undeceived her on that head, and I am very sure she regrets it much. And then you will not have heard the news I have about Urbain, news that gave me a great thrill of joy at first, which changed to deepest disappointment when the end of the paragraph appeared. It was neither more nor less than the idea of his coming out to Sicily and Rome, but it is all off now, and this is why.

The Marquis de Crillon, who has always taken a great interest in my family, being himself about to travel in Sicily, desired to find a talented and educated artist; a really earnest man, in fact, to keep him company. He thought of Urbain, so calling at our house one day, he laid his plan before my mother. She thanked him for his goodness, told him how deeply she appreciated his kind thought, and seized the earliest opportunity of speaking to my brother. He, after short though serious reflection, made up his mind to accept Monsieur de Crillon's offer. When it came to taking leave of his clients, he saw such long faces everywhere, and the regret at his departure was so general--everybody vowed it would be so impossible to find such delicacy, such integrity, and the other good and estimable qualities you know him to possess, in any other man--that getting away began to look far from easy. But there is more besides. Here is what really put the spoke in his wheel. All his future interests were suddenly threatened with compromise for lack of ten or twelve thousand francs. You will easily imagine that under such circ.u.mstances he was forced to stay in Paris. I am very uneasy about this somewhat critical state of things, and wait impatiently for news of what has happened next. I will let you know in my next letter. Poor Urbain, so good a fellow, who has worked so hard! Luckily he has plenty of pluck, and will bear the most unpleasant ordeal bravely, but all the same it is very hard on him.

I had heard, dear Hector, you had written to Gruyere. I was beginning to grow jealous, when Hebert said to me, "Cheer up, it's only about something he wants him to do for him!" So I took comfort in the hope that I should shortly hear from you myself. I must tell you that the proofs of friendly interest shown me by many of my comrades here, and notably our good little painter Hebert, have made me very happy. I have the keenest sense of grat.i.tude for the care and attention with which I saw him listen to the rehearsal of my Ma.s.s. No indifferent person would have bestowed them, and it is always a pleasure to be able to mention a case of sympathetic interest. Knowing your affection for Hebert, I rejoice to tell you this, for I feel sure your regard for him will not be lessened on account of that he bears me. His health is as rude as mine, and, like all the rest of our comrades here, he bids me send you many greetings. I am going to see if he is at home, and try to get him to add a line or two at the end of this letter.

Bazin has not yet arrived. I haven't an idea what has become of him. I am rather afraid that, in the enthusiasm aroused by his pa.s.sage through his native place, his fellow-townsmen may have laid violent hands upon his person, and nailed him on a pedestal, as a statue dedicated to his own glory! They are a hot-headed set at Ma.r.s.eilles, and quite capable of anything of the sort! He might send himself in as the result of his Academy work!

Good-bye, my dear Hector. You know how fond I am of you, so, as the saying is, I salute you on both cheeks and on your left eye likewise. If Courtepee[9] is still with you, tell him I grasp his hand with special fervour. I hope you are full of health and spirits, both of you, and I think if you are having the same weather as we are, you must be doing wonderful good work. Good-bye again, dear friend,--Yours always,

CHARLES GOUNOD.

MY DEAR ARCHITECT,--I seize the opportunity our good musician's letter gives me, to let you know I am alive. Our great sculptor Gruyere has informed me you are struggling with an acc.u.mulation of head colds. I trust the sun that shines o'er n.o.ble and voluptuous Venice will thaw the ice winter has piled within your brain!

You had a great success at the Exhibition. Everybody was much struck by your drawings, the Amba.s.sador and his wife most of all. I do not mention my own performances; they are neither important nor well executed enough to be worth writing about. Our celebrated composer's Ma.s.s has had a great success, both amongst ourselves and with the general public. It was well performed, thanks to the activity he displayed in shaking up all the old sleepy-heads! If you see Loubens,[10] pray give him my best regards. What have you done with Courtepee? Can you get him up in the mornings when you get up yourself, you early bird?

Farewell! If I can make myself either useful or agreeable to you, command me.--E. HeBERT.

Murat absolutely refuses to write even two lines. He says he will write later on.

CHARLES GOUNOD.

That is a lie!--MURAT.

III

_GERMANY_

My natural road from Rome to Germany lay by Florence into Northern Italy, and so eastwards _via_ Ferrara, Padua, Venice, and Trieste.

Although I did make a halt in Florence, I cannot undertake to give a full description of that city. Like Rome, it possesses an inexhaustible store of art treasures. The Uffizi Gallery with its wonderful Tribune (a very shrine of exquisite relics), the Palazzo Pitti, the Academy, Churches and Convents, all teem with masterpieces. But even here, in lovely Florence, Michael Angelo reigns supreme, from the proud eminence of that wonderful and overwhelmingly impressive Medici Chapel, on which, as on the Vatican at Rome, his genius has stamped its mark--unique, incomparable, overshadowing every other.

Wherever Michael Angelo's hand has been, devoutest attention is instinctively aroused; when the master speaks, all others hold their peace. Nowhere perhaps is the mysterious power of supreme silence more effectually shown than in the awe-inspiring crypt of the Medici Chapel.

How tremendous is that figure of the "Pensieroso" standing there motionless like a silent sentinel over death, awaiting the blast of the last trump! What repose and grace, too, in the figure of Night, or rather of Sleep, "that knits up the ravelled sleave of Care," beside the robust form of Day lying bound and fettered as it were, till the last dawn shall come. It is the deep meaning hidden in all Michael Angelo's work, as well as the combination of nature and fancy in the att.i.tudes of his statues, which gives them that intensity of expression so specially characteristic of his mighty genius. The huge proportions of his figures are but a type of the deep bed worn by the torrent of his mighty thoughts, and thus it is that any imitation of a form of art which nothing but his genius had power to fill and quicken is foredoomed to seem both pompous and bombastic. But time and lack of funds forbade my tarrying on my road to Germany, so I can do no more than mention Florence, and the pleasant recollections I took away with me. I pa.s.sed through the deserted city of Ferrara, and spent a couple of days in Padua to see the beautiful frescoes of Giotto and Mantegna.

During my stay in Italy I had made acquaintance with the three great cities which are the art centres of that favoured land--Rome, Florence, and Naples. Rome, the City of the soul; Florence, the City of the mind; Naples, the home of brilliant sunlight, of wild and dazzling gaiety.

I was about to make the acquaintance of a fourth, which, like the others, holds a great and glorious place in the history of art. For the geographical position of the city has given Venice and Venetian art a distinct and unique character of their own.

Cheerful or sad, sunlit or gloomy, rose-red or deadly pale, smiling or darkly forbidding, each and all by turns, Venice is one perpetual kaleidoscope, a weird mixture of the most contradictory impressions, a pearl, I might almost say, cast into a dark and noisome place. Venice!