Frediano.

It is, however, the facade that takes you at once by its ancient smiling aspect, its three great unequal arches, over which, in three tiers, various with beautiful columns, rise the open galleries we have so loved at Pisa. Built, as it is said, in 1204 by Guidetto, much work remains in that beautiful frontispiece to one of the most beautiful churches in Italy that is far older than itself: the statue of S. Martino, the patron, for instance; that labyrinth, too, on the great pier to the right; and perhaps the acts of St. Martin carved between the doors, and below them three reliefs of the months, where in January you see man sitting beside the fire; in February, as is most right, fishing in the Serchio; in March, wisely pruning his trees; in April, sowing his seed; in May, plucking the spring flowers; in June, cutting the corn; in July, beating it out with the flail--the flail that is used to-day in every country place in Tuscany; in August, plucking the fruits; in September, treading the wine-press; in October, storing the wine; in November, ploughing; and in December, for the festa killing a pig. Over the door to the left is the earliest work, as it is said, of Nicol Pisano, and beneath it an Adoration of the Magi, in which some have found the hand of Giovanni, his son; while above the great door itself Our Lord is in glory, with the Twelve Apostles beneath, and Madonna herself in the midst. Not far away, to the north beside the church, the rosy Campanile towers over Lucca, calling city and country too, to pray at dawn and at noon and at evening.

Within, the church is of a great and simple beauty; in the form of a Latin cross, divided into three naves by columns supporting round arches, over which the triforium pa.s.ses across the transepts, lighted by beautiful Gothic windows: the gla.s.s is certainly dreadful, but far away in the choir the windows are filled still with the work of the old masters.

The most beautiful and the most wonderful treasure that the church holds, that Lucca itself can boast of, is the great tomb in the north transept, carved to hold for ever the beautiful Ilaria del Caretto, the wife of Paolo Guinigi, whose tower still blossoms in the spring, since she has sat there. It is the everlasting work of Jacopo della Quercia, the Sienese. On her bed of marble the young Ilaria lies, like a lily fallen on a rock of marble, and in her face is the sweet gravity of all the springs that have gone by, and in her hand the melody of all the songs that have been sung; her mouth seems about to speak some lovely affirmation, and her body is a tower of ivory. Can you wonder that the sun lingers here softly, softly, as it steps westward, or that night creeps over her, kissing her from head to foot slowly like a lover? Who was the vandal who robbed so great and n.o.ble a thing as this of the relief of dancing children which was found in the Bargello in 1829, and returned here only in 1887?

It is, however, the work of another man, a Lucchese too, that fills the Duomo and Lucca itself with a sort, of lyric sweetness in the delicate and almost fragile sculpture of Matteo Civitali. In the south transept he has carved the monument to Pietro da Noceto, the pupil of Pope Nicholas V, and close by, the tomb of Domenico Bertini, his patron, while in the Cappella del Sacramento are two angels from his hands, kneeling on either side the tabernacle. It was he who built the marble parapet, all of red and white, round the choir, the pulpit, and the Tempietto in the nave, gilded and covered with ornaments to hold the Volto Santo, setting there the beautiful statue of St. Sebastian, which we look at to-day with joy while we turn away from that strange and marvellous shrine of the holy face of Jesus which we no longer care to see. Yet one might think that crucifix strange and curious enough for a pilgrimage, beautiful, too, as it is, with the lost beauty of an art as subtle and lovely as the work of the j.a.panese. "It is really," says Murray, "a work of the eleventh century"; but the Lucchesi will not have it so, for they tell you that it was carved at the bidding of an angel by Nicodemus, and that he, unable to finish his work, since his memory was too full of the wonder of the reality, returning to it one day, perhaps to try again, found it miraculously perfect. At his death it pa.s.sed into the hands of certain holy men, who, to escape from the fury of the iconoclasts, hid it, till in 782 a Piedmontese bishop found it by means of a vision, and put it aboard ship and abandoned it to the sea.

So the tale runs. Cast hither and thither in the waves, the ship at last came ash.o.r.e at Luna, where the Bishop of Lucca was staying in the summer heat. So, led by G.o.d, he would have borne it to Lucca; but the people of Luna, who had heard of its sanct.i.ty, objecting, it was placed in a cart drawn by two white oxen, and, as it had been abandoned to the sea, so now it was given to the world. But the oxen, which in fact came from the fields of Lucca, returned thither, to the disgust of the people of Luna, and to the great and holy joy of the Bishop of Lucca, as we may imagine. Such is the tale; but the treasure itself is a crucifix of cedar wood of a real and strange beauty. Whether it be European work or Asiatic I know not, nor does it matter much, since it is beautiful.

Dante, who spent some time in Lucca, and there loved the gentle Gentucca, whose name so fortunately chimed with that of the city, speaks of the Volto Santo in _Inferno_, xxi. 48, when in the eighth circle of h.e.l.l, over the lake of boiling pitch, the devils cry--

"... Qui non ha luogo il Santo Volto: Qui si nuota altrimenti che nel Serchio."

Matteo Civitali, the one artist of importance that Lucca produced, was born in 1435. He remains really the one artist, not of the territory of Florence, who has worked in the manner of the fifteenth-century sculptors of that city. His work is everywhere in Lucca,--here in the Duomo, in S. Romano, in S. Michele, in S. Frediano, and in the Museo in Palazzo Mansi. Certainly without the strength, the constructive ability that sustains even the most delicate work of the Florentines, he has yet a certain flower-like beauty, a beauty that seems ever about to pa.s.s away, to share its life with the sunlight that ebbs so swiftly out of the great churches where it is; and concerned as it is for the most part with the tomb, to rob death itself of a sort of immortality, to suggest in some faint and subtle way that death itself will pa.s.s away and be lost, as the sun is lost at evening in the strength of the sea. The sentiment that his work conveys to us of a beauty fragile at best, and rather exquisite than splendid, lacks, perhaps, a certain originality and even freshness; yet it preserves very happily just the beauty of flowers, of the flowers that grow everywhere about his home in the slowly closing valleys, the tender hills that lead to Castelnuovo of the Garf.a.gnana, to Barga above the Bagni di Lucca. More and more as you linger in Lucca it is his work you seek out, caught by its sweetness, its delicate and melancholy joy, its strangeness too, as though he had desired to express some long thought-out, recondite beauty, and, half afraid to express himself after all, had let his thoughts pa.s.s over the marble as the wind pa.s.ses over the sand between the Pineta and the sea.

It is a beauty gone while we try to apprehend it that we find in his work, and though at last we may tire of this wayward and delicate spirit, while we shall ever return with new joy to the great and n.o.ble figure of the young Ilaria del Caretto or to the serene Madonna of Ghirlandajo, hidden in the Sacristy, yet we shall find ourselves seeking for the work of Matteo Civitali as for the first violets of the spring, without a thought of the beauty that belongs to the roses that lord it all the summer long.

It is a Madonna of Civitali that greets you at the corner of the most characteristic church of Lucca, S. Michele. There, under the great bronze S. Michele, whose wings seem to brood over the city, you come upon that strange fantastic and yet beautiful f.a.gade which Guidetto built in 1188. Just Pisan work you think, but lacking a certain simplicity and sincerity even, that you find certainly in the Duomo. But if it be true that this f.a.gade was built in 1188, and that the f.a.gade of the Duomo of Pisa was built in 1250, and even that of S. Paolo a Ripa d'Arno there, in 1194, Guidetto's work here in Lucca is the older, and the Pisan master has made but a difficult simplification, perhaps, of this very work. A difficult simplification!--simplicity being really the most difficult achievement in any art, so that though it seem so easy it is really hard to win. Guidetto seems to have built here at S. Michele as a sort of trial for the Duomo, which is already less like an apparition. And if the facade of S. Michele has not the strength or the naturalness of that, leading as it does to nothing but poverty in the midst of which still abides a mutilated work by a great Florentine, Fra Lippo Lippi, it is because Guidetto has gradually won to that difficult simplicity from such a strange and fantastic dream as this.

[Ill.u.s.tration: THE TOMB OF THE MARTYR S. ROMANO IN S. ROMANO, LUCCA

_Matteo Civitali_

_Alinari_]

It is quite another sort of beauty we see when, pa.s.sing through the deserted, quiet streets, we come to S. Frediano, just within the Porta S. Maria, on the north side of the city. Begun by Perharlt, the Lombard, in 671, with the stones of the amphitheatre, whose ruins are still to be seen hard by, it stood without the city till the great wall was built in the twelfth century, the apse being set where formerly the great door had stood, and the marvellously impressive f.a.gade taking the place of the old apse. Ruined though it be by time and restoration, that mosaic of Our Lord amid the Apostles and Angels still surprises us with a sudden glory, while the Campanile that rises still where of old the door stood is one of the most beautiful in Italy. Within, the church has suffered too from change and restoration. Once of basilical form, it is now spoiled by the chapels that thrust themselves into the nave, but cannot altogether hide the n.o.bility of those ancient pillars or the simplicity of the roof. A few beautiful ancient things may still be found there. The font, for instance, with its rude sculptures, that has been forsaken for a later work by Niccol Civitali, the nephew of Matteo; the a.s.sumption, carved in wood by that master behind the pulpit; the lovely reliefs of Madonna and Child with Saints, by Jacopo della Quercia, in the Cappella del Sacramento; or the great stone which, as it is said, S. Frediano, that Irishman, lifted into a cart.

But it is not of S. Frediano we think in this dark and splendid place, though the stone of his miracle lies before us, but of little S. Zita, patron of housemaids, little S. Zita of Lucca, born in 1211. "Anziani di Santa Zita," the devil calls the elders of Lucca in the eighth circle of h.e.l.l; but in her day, indeed, she had no such fame as that. She was born at Montesegradi, a village of the Lucchese, and was put to service at twelve years of age, in the family of the Fantinelli, whose house was close to this church, where now she has a chapel to herself at the west end of the south aisle, with a fine Annunciation of the della Robbia. To think of it!--but in those days it was different; it would puzzle Our Lord to find a S. Zita among our housemaids of to-day. For hear and consider well the virtues of this pearl above price, whose daughters, alas! are so sadly to seek while she dusts the Apostles' chairs in heaven. She was persuaded that labour was according to the will of G.o.d, nor did she ever harbour any complaint under contradictions, poverty, hardships; still less did she ever entertain the least idle, inordinate, or worldly desire! She blessed G.o.d for placing her in a station where she was ever busy, and where she must perpetually submit her will to that of others. "She was even very sensible of the advantages of her state, which afforded all necessaries of life without engaging her in anxious cares, ... she obeyed her master and mistress in all things, ...

she rose always hours before the rest of the family, ... she took care to hear Ma.s.s every morning before she was called upon by the duties of her station, in which she employed the whole day with such diligence and fidelity that she seemed to be carried to them on wings, and studied to antic.i.p.ate them!" Is it any wonder her fellow-servants hated her, called her modesty simplicity, her want of spirit servility? Ah, we know that spirit, we know that pride, S. Zita, and for those wings that bore you, for that thoughtfulness and care, S. Zita, we should be willing to pay you quite an inordinate wage! Nor would your mistress to-day be prepossessed against you as yours was, neither would your master be "pa.s.sionate," and he would see you, S. Zita, without "transports of rage." Your biographer tells us that it is not to be conceived how much you had continually to suffer in that situation. Unjustly despised, overburdened, reviled, and often beaten, you never repined nor lost patience, but always preserved the same sweetness in your countenance, and abated nothing of your application to your duties. Moreover, you were willing to respect your fellow-servants as your superiors. And if you were sent on a commission a mile or two, in the greatest storms, you set out without delay, executed your business punctually, and returned often almost drowned, without showing any sign of murmuring. And at last, S. Zita, they found you out, they began to treat you better, they even thought so well of you that a single word from you would often suffice to check the greatest transports of your master's rage; and you would cast yourself at the feet of that terrific man, to appease him in favour of others. And all these and more were your virgin virtues, lost, gone, forgotten out of mind, by a world that dreams of no heavenly housemaid save in Lucca where you lived, and where they still keep your April festa, and lay their nosegays on your grave.

So I pa.s.sed in Lucca from church to church, finding here the body of a little saint, there the tomb of a soldier, or the monument of some dear dead woman. In S. Francesco, that desecrated great mausoleum that lies at the end of the Via di S. Francesco not far from the garden tower of Paolo Guinigi, I came upon the humble grave of Castruccio Castracani. In S. Romano, at the other end of the city behind the Palazzo Provinciale, it was the shrine of that S. Romano who was the gaoler of S. Lorenzo I found, a tomb with the delicate flowerlike body of the murdered saint carved there in gilded alabaster by Matteo Civitali.

It is chiefly Civitali's work you seek in the Museo in Palazzo Provinciale, for, fine as the work of Bartolommeo is in two pictures to be found there, it is for something more of the country than that you are to come to Lucca. There, in a Madonna a.s.sunta carved in wood and plaster, and daintily painted as it seems he loved to do, you have perhaps the most charming work that has come from his bottega. He was not a great sculptor, but he had seen the vineyards round about, he had wandered in the little woods at the city gates, he had watched the dawn run down the valleys, and the wind that plays with the olives was his friend. He has loved all that is delicate and lovely, the wings of angels, the hands of children, the long blown hair of St. John in his Death of the Virgin, the eyelids that have fallen over the eyes. He is full of grace, and his virtues seem to me to be just those which Lucca herself possesses. Hidden away between the mountains, between the plains and the sea, she achieved nothing, or almost nothing. Castracani for a moment forced her into the pell-mell of awakened Italy, but with his death, and certainly with the fall of the House of Guinigi, she returned to herself, to her own quiet heart, which was enough for her. This one sculptor is almost her sole contribution to Italian art, but she was content that his works should scatter her ways, and that hidden away in her churches his shy flowers should blossom. Civitali and S. Zita, they are the two typical Lucchesi; they sum up a city composed of such as Giovanni Arnolfini and his wife, whom Van Eyck painted, that great bourgeoisie which made Italy without knowing it, and, unconcerned while the great men and the rabble fought in the wars or lost their lives in a petty revolution, were eager only to be let alone, that they might continue their labour and gather in wealth. And of them history is silent, for they made her.

FOOTNOTES:

[144] See p. 94 et seq.

[145] This coining of money was as much as to prove that he had a sort of sovereign right over their territory.

x.x.x. OVER THE GARf.a.gNANA

So in the long August days, that are so fierce in the city, I sought once more the hills, the hills that are full of songs, those songs which in Italy have grown with the flowers and are full of just their wistful beauty, their expectancy and sweetness.

"Fiorin di grano, Lasciatemi cantar, che allegra sono, Ho rifatto la pace col mio damo."

There in the Garf.a.gnana, as I wandered up past Castelnuovo to the little village of Piazza al Serchio, and then through the hills to Fivizanno, that wonderful old town in a cup of the mountains, I heard the whole drama of love sung by the "vaghe montanine pastorelle" in the chestnut woods or on the high lawns where summer is an eternal spring.

"O rosa! O rosa! O rosa gentillina!

Quanto bella t'ha fatta la tua mamma!

T'ha fatto bella, poi t'ha messo un fiore; T'ha messo alla finestra a far l'amore.

T'ha fatto bella e t'ha messo una rosa: T'ha messo alla finestra a far la sposa."

sings the young man one morning as he pa.s.ses the cottage of his beloved, and she, scarcely fourteen, goes to her mother, weeping perhaps--

"Mamma, se non mi date il mio Beppino, Vo' andar pel mondo, e mai piu vo' tornare.

Se lo vedessi quanto gli e bellino, O mamma, vi farebbe innamorare.

E' porta un giubboncin di tre colori, E si chiama Beppino Ruba--cori: E' porta un giubboncin rosso incarnato, E si chiama Beppino innamorato: E' porta un giubboncin di mezza lana; Quest' e Beppino, ed io son la sua dama."

Then the _damo_ comes to serenade his mistress--

"Vengo di notte e vengo appa.s.sionato, Vengo nell'ora del tuo bel dormire.

Se ti risveglio, faccio un gran peccato Perche non dormo, e manco fo dormire.

Se ti risveglio, un gran peccato faccio: Amor non dorme, e manco dormir lascia."

And she, who doubtless has heard it all in her little bed, sings on the morrow--

"Oh, quanto tempo l'ho desiderato Un damo aver che fosse sonatore!

Eccolo qua che Dio me l'ha mandato Tutto coperto di rose e viole; Eccolo qua che vien pianin pianino, A capo ba.s.so, e suona il violino."

Then they sing of Sat.u.r.day and Sunday--

"Quando sara sabato sera, quando?

Quando sara domenica mattina, Che vedr l'amor mio spa.s.seggiando, Che vedr quella faccia pellegrina, Che vedr quel bel volto, e quel bel viso, O fior d'arancio colto in paradiso!

Che vedr quel bel viso e quel bel volto, O fior d'arancio in paradiso colto!"

So all the summer long they play at love; but with October Beppino must go to the Maremma with the herds, and she thinks over this as the time draws near--

"E quando io penso a quelle tante miglia, E che voi, amor mio, l'avete a fare, Nelle mie vene il sangue si rappiglia, Tutti li sensi miei sento mancare; E li sento mancare a poco a poco, Come la cera in sull'ardente foco: E li sento mancare a dramma, a dramma, Come la cera in sull'ardente fiamma."

Or again, with half a sob--

"Come volete faccia che non pianga Sapendo che da voi devo partire?

E tu bello in Maremma ed io 'n montagna!

Chesta partenza mi fara morire...."

And at last she watches him depart, winding down the long roads--

"E vedo e vedo e non vedo chi voglio, Vedo le foglie di lontan tremare.

E vedo lo mio amore in su quel poggio, E al piano mai lo vedo calare.

O poggio traditor, che ne farete?

O vivo o morto me lo renderete.

O poggio traditor, che ne farai?

O vivo o morto me lo renderai."

Then she dreams of sending a letter in verses, which recall, how closely, the Swallow song of "The Princess"--