The Catholic World Volume I Part 87

Returning to the trilogy of the Pa.s.sion, let us conclude this essay with a {598} reflection which appears to us of a nature to throw great light upon the popularity and the gigantic proportions of this "mystery." The middle age, so penetrated with Christian beliefs and ideas, loved it only because it found there the supreme manifestation of Divine Providence, at once merciful and just. It had been induced to thus represent the whole history of the human race, only to give to that manifestation all the development demanded by the religious conscience and the ethics of nations. There was needed the representation of sin and the fall of the first man to explain the justice and the pardon of Cavalry: there was needed the spectacle of a universal judgment to solve the grand tragedy of human destinies.

We may blame the literary tastes of our good ancestors, but not their philosophy. It has established on an immovable basis the fundamental laws of our dramatic art. We may laugh at the puerile simplicity of their theatre, but let us laugh reverently, since we find in their literary infancy the germ, the strength, the character of the manhood of the great century.

Translated and Abridged from the Civilta Cattolica.

ANTONIO CANOVA.

_Memorie di Antonio Canova, scritte da Antonio d'Este, e publicate per cura, di Alessandro d'Este_. Firenze: Felice Le Monnier. 1864.

"It must be known," says Signor Antonio d'Este, "that when the learned Missirini undertook to publish the artist-life of Canova, he had recourse to me as the only person living who could inform him thoroughly and truly of the principles of the Venetian artist, and instruct him in some details of a life which I had known intimately for the s.p.a.ce of fifty years... . I put upon paper whatever might serve to ill.u.s.trate not only the disposition and character of my friend, but also the excellent qualities of his heart... . I was disappointed when the ill.u.s.trious writer, in sending back my ma.n.u.script, said: 'I have made use of many things, and of some anecdotes, but not of all, since they appeared to me too familiar.' To tell the truth, such an answer hurt my self-love, and offended the unquenchable affection which I felt for Canova."

Hence the book before us. The author has apparently endeavored chiefly to exhibit Canova the artist as a model for the studious, but he has not overlooked Canova the citizen and the Christian. He begins with him in the humble Possagno, and shows us his life in Venice, where his genius first displayed itself, even in the degenerate school with which alone he was then acquainted. It was in Rome that the young sculptor saw the ancient purity in its full splendor. It burst upon him like a sudden revelation. For several days he was like one in a trance. Then, with his conceptions enlightened, his manner fixed, and his aim determined, he threw himself into his work. Yet he was never a servile copyist of Greek or Roman models. He imbibed the spirit of the cla.s.sical school, but his genius never was trammelled by imitation.

The last group which he carved under the inspiration drawn from the ancient masterpieces,--his _Daedalus and Icarus_,--compared with his _Theseus_, the first work which he executed in Rome, shows in a marked {599} manner the change in his style--we might almost say his conversion to the true principles of art.

From this time Canova, though endowed with rare modesty, and always ready to take advice, showed a fixed resolution to free sculpture from the mannerism then so common; and neither the advice of friends nor the abuse of evil-minded critics could shake his purpose.

Nature undoubtedly lavished talents upon him with unsparing hand; but he was without a parallel in the industry and care with which he fostered the divine flame. His whole time not pa.s.sed in labor was devoted to monuments and museums of art. With his friend d'Este he often paid a reverential visit to the famous horses at the Quirinal, before which he gave free vent to his fancy. He used to spend many hours in contemplating these masterpieces. Long before sunrise he would spring from his bed and shut himself up in his studio. He took no relaxation--scarcely even food and rest. After hammering at the marble all day, he examined it by candlelight, and dreamed about it at night. He so consumed himself in work that his friends had to wrench the tools from his hands by force. But if he laid down the chisel, it was only to return to the study of ancient masterpieces. Not content with contemplating the works themselves under every possible aspect, he tried to study out what instruments the artists probably made use of. He would throw open his studio, and then hide or disguise himself in order to overhear the honest opinions of his visitors. Extravagant praise always made him suspicious. Once he was so much pained at a lavish eulogium upon one of his works that he ran, all trembling, to his friend Hamilton, and begged him to point out some defect in it; and having obtained the criticism that he asked, he ran home again in great glee to correct the fault. He gladly accepted criticism from the ignorant as well as the learned. One day, when he was quite old, and recognized as the first sculptor of the time, he begged d'Este to move to a certain spot a beautiful group that he had finished. Several laborers were called in to move it. When they had done their task, one of them, with that connoisseur-air which the Roman laborer knows so well how to a.s.sume, shrugged his shoulders and exclaimed:

"Well, perhaps the marchese" (Canova bore this t.i.tle in his later years) "knows best; but to me this statue seems to have the goitre."

The pupils in the studio sprang up in a rage and loaded the poor man with abuse, and in the midst of the noisy dispute Canova rushed into the room, and with some difficulty learned what was the laborer's offence. He darted a glance of fire at the marble.

"Bravo!" he exclaimed after a moment's pause. "You are right. 'Take this watch--it is yours--you have done me a great service."

So saying, he threw his watch and chain upon the man's neck; and taking up a chisel began immediately to retouch the statue.

At the age of twenty-five, Canova was selected by Volpato to execute the monument of Clement XIV., and it is not too much to say that the restoration of the art of sculpture dates from this immortal work. The governments of Venice, Russia, Austria, and France invited him to take up his residence in their respective capitals; but he was never happy out of Rome; the ground seemed to burn under his feet whenever he was away from his beloved studio and the great works of the ancient sculptors. Few artists ever enjoyed so high a reputation in Europe during their lifetime as Canova, and few certainly ever sought it less. He was wholly absorbed in love for his art. and eagerness for its advancement.

But the character of a great artist, according to the Italian ideal, is not complete without a touch of oddity, and Canova was not free from some amiable eccentricities. His love pa.s.sage with the Signorina Volpato, and the {600} way he got out of it, will perhaps furnish the subject for a poem by some future Goldoni; but we have no s.p.a.ce to tell of it here.

D'Este describes the moral character of Canova extremely well. He was upright, brave, and sincere, an ardent patriot, and a sensible, practical Christian. In the midst of his labors he was not insensible to the dark clouds which obscured the political horizon, and he felt so deeply the misfortunes which threatened his country that he took the pains to retouch his _Dancing Girls_ because their expression was too joyful to accord with his own sadness of heart. He was still employed on this work when the pope was carried into captivity. He felt the misfortune as a personal affliction, and on the statue wrote these words: "Modelled in the most unhappy days of my life, June, 1809."

A few weeks after the establishment of the Roman republic, a National Inst.i.tute was erected, and Canova was chosen a member. He accepted the appointment willingly, in the hope of being useful to Rome and to her artists; but when, on the evening appointed for his formal admission, the oath of membership was tendered to him, and he heard the words, "I swear hatred to princes," etc., he sprang to his feet, cried out in his Venetian dialect, _"Mi non odio nessun!"_ (I hate no one), and left the hall.

From The Month.

CONSTANCE SHERWOOD.

AN AUTOBIOGRAPHY OF THE SIXTEENTH CENTURY.

BY LADY GEORGIANA FULLERTON.

CHAPTER IX.

On the next morning Mr. Congleton called me into the library from the garden, where I was gathering for Muriel a few of such hardy flowers as had survived the early frost. She was wont to carry them with her to the prisons; for it was one of her kindly apprehensions of the sufferings of others to divide the comfort wherewith things seemingly indifferent do affect those that be shut out of all kinds of enjoyments; and where a less tender nature should have been content to provide necessaries, she, through a more delicate acquaintanceship and light touch, as it were, on the strings of the human heart, ever bethought herself when it was possible to minister if but one minute's pleasure to those who had often well-nigh forgotten the very taste of it. And she hath told me touching that point of flowers, how it had once happened that the scent of some violets she had concealed in her bosom with a like intent did move to tears an aged man, who for many years past had not seen, no not so much as one green leaf in his prison; which tears, he said, did him more good than anything else which could have happened to him.

I threw down on a bench the chrysanthemums and other bold blossoms I had gathered, and running into the house, opened the door of the library, where, lo and behold, to my no small agitation and amaze, I discovered Edmund Genings, who cried out as I entered:

"O my dear master's daughter and well-remembered playmate, I do greet you with all mine heart; and I thank G.o.d that I see you in so good a condition, as I may with infinite gladness {601} make report of to your good father, who through me doth impart to you his paternal blessing and most affectionate commendations."

"Edmund," I cried, scarce able to speak for haste, "is he in London?

is he in prison?"

"No, forsooth," quoth Mr. Congleton.

"No, verily," quoth Edmund; both at the same time.

"Thy fears, silly wench," added the first, "have run away with thy wits, and I do counsel thee another time to be at more pains to restrain them; for when there be so many occasions to be afraid of veritable evils, 'tis but sorry waste to spend fears on present fancies."

By which I did conjecture my uncle not to be greatly pleased with Edmund's coming to his house, and noticed that he did fidget in his chair and ever and anon glanced at the windows which opened on the garden in an uneasy manner.

"And wherefore art thou then in London?" I asked of Edmund; who thus answered:

"Because Mr. James Fenn, who is also called w.i.l.l.i.e.sden, was taken and committed close prisoner to the Marshalsea a short time back; which, when my dear master did hear of, he was greatly disturbed and turmoiled thereby, by reason of weighty matters having pa.s.sed betwixt him and that gentleman touching lands belonging to recusants, and that extraordinary damage was likely to ensue to several persons of great merit, if he could not advertise him in time how to answer to those accusations which would be laid against him; and did seek if by any means he could have access to him; but could find no hope thereof without imminent danger not to himself only, but to many beside, if he had come to London and been recognized."

"Wherein he did judge rightly," quoth my uncle; and then Edmund--

"So, seeing my master and others of a like faith with him in so great straits touching their property and their lives also, I did most earnestly crave his licence, being unknown and of no account in the world, and so least to be suspected, to undertake this enterprise, which he could not himself perform; which at last he did grant me, albeit not without reluctance. And thus resolved I came to town."

"And has your hope been frustrated?" Mr. Congleton asked. To whom Edmund--"I thank G.o.d, the end hath answered my expectations. I committed the cause to him to whom nothing is impossible, and determined, like a trusty servant, to do all that in me did lie thereunto. And thinking on no other means, I took up my abode near to the prison, hoping in time to get acquainted with the keeper; for which purpose I had to drink with him each day, standing the cost, beside paying him well, which I was furnished with the means to do. At last I did, by his means, procure to see Mr. Fenn, and not only come to speak to him, but to have access to his cell three or four times with pen and ink and paper to write his mind. So I have furnished him with the information he had need of, and likewise brought away with me such answers to my master's questions as should solve his doubts how to proceed in the aforesaid matters."

"G.o.d reward thee, my good youth," Mr. Congleton said, "for this thing which thou hast done; for verily, under the laws lately set forth, recusants be in such condition that, if not death, beggary doth stare them in the face, and no remedy thereunto except by such a.s.sistance as well-disposed Protestants be willing to yield to them."

"And where doth my father stay at this present time?" I asked; and Edmund answered:

"Not so much as to you, Mistress Constance, am I free to reply to that question; for when I left, 'Edmund,' quoth my master, 'it is a part of prudence in these days to guard those that be dear to us from dangers ensuing on what men do call our perversity; and as these new laws enact {602} that he which knoweth any one which doth hear ma.s.s, be it ever so privately, or suffers a priest to absolve him, or performs any other action appertaining to Catholic religion, and doth not discover him before some public magistrate within the s.p.a.ce of twenty days next following, shall suffer the punishment of high treason, than which nothing can be more horrible; and that neither s.e.x nor age be a cause of exemption from the like penalties, so that father must accuse son, and sister brother, and children their parents;--it is, I say, a merciful part to hide from our friends where we do conceal ourselves, whose consciences do charge us with these novel crimes, lest theirs be also burdened with the choice either to denounce us if called upon to testify thereon, or else to speak falsely. Therefore I do charge thee, my son Edmund' (for thus indeed doth my master term me, his unworthy servant), 'that thou keep from my good child, and my dear sister, and her no less dear husband, the knowledge of my present, but indeed ever-shifting, abode; and solely inform them, by word of mouth, that I am in good health, and in very good heart also, and do most earnestly pray for them, that their strength and patience be such as the times do require.'"

"And art thou reconciled, Edmund?" I asked, ever speaking hastily and beforehand with prudence. Mr. Congleton checked me sharply; whereupon, with great confusion, I interrupted my speech; but Edmund, albeit not in words yet by signs, answered my question so as I should be certified it was even as I hoped. He then asked if I should not be glad to write a letter to my father,--which he would carry to him, so that it was neither signed nor addressed,--which letter I did sit down to compose in a hurried manner, my heart prompting my pen to utter what it listed, rather than weighing the words in which those affectionate sentiments were expressed. Mr. Congleton likewise did write to him, whilst Edmund took some food, which he greatly needed; for he had scarce eaten so much as one comfortable meal since he had been in London, and was to ride day and night till he reached his master. I wept very bitterly when he went away; for the sight of him recalled the dear mother I had lost, the sole parent whose company I was likewise reft of, and the home I was never like to see again. But when those tears were stayed, that which at the time did cause sadness ministered comfort in the retrospect, and relief from worse fears made the present separation from my father more tolerable. And on the next Sunday, when I went to the Charter House, with my cousins and Mistress Ward, I was in such good cheer that Polly commended my prating; which she said for some days had been so stayed that she had greatly feared I had caught the infectious plague of melancholy from Kate, whom she vowed did half kill her with the sound of her doleful sighing since Mr. Lacy was gone, which she said was a dismal music brought into fashion by love-sick ladies, and such as she never did intend to practise; "for," quoth she, "I hold care to be the worst enemy in life; and to be in love very dull sport, if it serve not to make one merry." This she said turning to Sir Ralph Ingoldby, the afore-mentioned suitor for her hand, who went with us, and thereupon cried out, "Mercy on us, fair mistress, if we must be merry when we be sad, and by merriment win a lady's love, the lack of which doth so take away merriment that we must needs be sad, and so lose that which should cure sadness;" and much more he in that style, and she answering and making sport of his discourse, as was her wont with all gentlemen.

When we reached the house, Mrs. Milicent was awaiting us at the door of the gallery for to conduct us to the best place wherein we could see her majesty's entrance. There were some seats there and other persons present, some of which were of Polly's acquaintance, with whom she did keep up a {603} brisk conversation, in which I had occasion to notice the sharpness of her wit, in which she did surpa.s.s any woman I have since known, for she was never at a loss for an answer; as when one said to her--

"Truly, you have no mean opinion of yourself, fair mistress."

"As one shall prize himself," quoth she, "so let him look to be valued by others."

And another: "You think yourself to be Minerva."

Whereupon she: "No, sir, not when I be at your elbow;" meaning he was no Ulysses.

And when one gentleman asked her of a book, if she had read it:

"The epistle," she said, "and no more."

"And wherefore no more," quoth he, "since that hath wit in it?"