The Atlantic Monthly, Volume 09, No. 52, February, 1862

Various

The Atlantic Monthly, Volume 09, No. 52, February, 1862 / A Magazine of Literature, Art, and Politics

BATTLE HYMN OF THE REPUBLIC

  Mine eyes have seen the glory of the coming of the Lord:  He is trampling out the vintage where the grapes of wrath are stored;  He hath loosed the fateful lightning of His terrible swift sword:    His truth is marching on.  I have seen Him in the watch-fires of a hundred circling camps;  They have builded Him an altar in the evening dews and damps;  I can read His righteous sentence by the dim and flaring lamps:    His day is marching on.  I have read a fiery gospel writ in burnished rows of steel:  "As ye deal with my contemners, so with you my grace shall deal;  Let this Hero, born of woman, crush the serpent with his heel,    Since God is marching on."  He has sounded forth the trumpet that shall never call retreat;  He is sifting out the hearts of men before His judgment-seat:  Oh, be swift, my soul, to answer Him! be jubilant, my feet!    Our God is marching on.  In the beauty of the lilies Christ was born across the sea,  With a glory in his bosom that transfigures you and me:  As he died to make men holy, let us die to make men free,    While God is marching on.

AGNES OF SORRENTO

CHAPTER XX

FLORENCE AND HER PROPHET

It was drawing towards evening, as two travellers, approaching Florence from the south, checked their course on the summit of one of the circle of hills which command a view of the city, and seemed to look down upon it with admiration. One of these was our old friend Father Antonio, and the other the Cavalier. The former was mounted on an ambling mule, whose easy pace suited well with his meditative habits; while the other reined in a high-mettled steed, who, though now somewhat jaded under the fatigue of a long journey, showed by a series of little lively motions of his ears and tail, and by pawing the ground impatiently, that he had the inexhaustible stock of spirits which goes with good blood.

"There she lies, my Florence," said the monk, stretching his hands out with enthusiasm. "Is she not indeed a sheltered lily growing fair among the hollows of the mountains? Little she may be, Sir, compared to old Rome; but every inch of her is a gem,—every inch!"

And, in truth, the scene was worthy of the artist's enthusiasm. All the overhanging hills that encircle the city with their silvery olive-gardens and their pearl-white villas were now lighted up with evening glory. The old gray walls of the convents of San Miniato and the Monte Oliveto were touched with yellow; and even the black obelisks of the cypresses in their cemeteries had here and there streaks and dots of gold, fluttering like bright birds among their gloomy branches. The distant snow-peaks of the Apennines, which even in spring long wear their icy mantles, were shimmering and changing like an opal ring with tints of violet, green, blue, and rose, blended in inexpressible softness by that dreamy haze which forms the peculiar feature of Italian skies.

In this loving embrace of mountains lay the city, divided by the Arno as by a line of rosy crystal barred by the graceful arches of its bridges. Amid the crowd of palaces and spires and towers rose central and conspicuous the great Duomo, just crowned with that magnificent dome which was then considered a novelty and a marvel in architecture, and which Michel Angelo looked longingly back upon when he was going to Rome to build that more wondrous orb of Saint Peter's. White and stately by its side shot up the airy shaft of the Campanile; and the violet vapor swathing the whole city in a tender indistinctness, these two striking objects, rising by their magnitude far above it, seemed to stand alone in a sort of airy grandeur.

And now the bells of the churches were sounding the Ave Maria, filling the air with sweet and solemn vibrations, as if angels were passing to and fro overhead, harping as they went; and ever and anon the great bell of the Campanile came pulsing in with a throb of sound of a quality so different that one hushed one's breath to hear. It might be fancied to be the voice of one of those kingly archangels that one sees drawn by the old Florentine religious artists,—a voice grave and unearthly, and with a plaintive undertone of divine mystery.

The monk and the cavalier bent low in their saddles, and seemed to join devoutly in the worship of the hour.

One need not wonder at the enthusiasm of the returning pilgrim of those days for the city of his love, who feels the charm that lingers around that beautiful place even in modern times. Never was there a spot to which the heart could insensibly grow with a more home-like affection,—never one more thoroughly consecrated in every stone by the sacred touch of genius.

A republic, in the midst of contending elements, the history of Florence, in the Middle Ages, was a history of what shoots and blossoms the Italian nature might send forth, when rooted in the rich soil of liberty. It was a city of poets and artists. Its statesmen, its merchants, its common artisans, and the very monks in its convents, were all pervaded by one spirit. The men of Florence in its best days were men of a large, grave, earnest mould. What the Puritans of New England wrought out with severest earnestness in their reasonings and their lives these early Puritans of Italy embodied in poetry, sculpture, and painting. They built their Cathedral and their Campanile, as the Jews of old built their Temple, with awe and religious fear, that they might thus express by costly and imperishable monuments their sense of God's majesty and beauty. The modern traveller who visits the churches and convents of Florence, or the museums where are preserved the fading remains of its early religious Art, if he be a person of any sensibility, cannot fail to be affected with the intense gravity and earnestness which pervade them. They seem less to be paintings for the embellishment of life than eloquent picture-writing by which burning religious souls sought to preach the truths of the invisible world to the eye of the multitude. Through all the deficiencies of perspective, coloring, and outline incident to the childhood and early youth of Art, one feels the passionate purpose of some lofty soul to express ideas of patience, self-sacrifice, adoration, and aspiration far transcending the limits of mortal capability.

The angels and celestial beings of these grave old painters are as different from the fat little pink Cupids or lovely laughing children of Titian and Correggio as are the sermons of President Edwards from the love-songs of Tom Moore. These old seers of the pencil give you grave, radiant beings, strong as man, fine as woman, sweeping downward in lines of floating undulation, and seeming by the ease with which they remain poised in the air to feel none of that earthly attraction which draws material bodies earthward. Whether they wear the morning star on their forehead or bear the lily or the sword in their hand, there is still that suggestion of mystery and power about them, that air of dignity and repose, that speak the children of a nobler race than ours. One could well believe such a being might pass in his serene poised majesty of motion through the walls of a gross material dwelling without deranging one graceful fold of his swaying robe or unclasping the hands folded quietly on his bosom. Well has a modern master of art and style said of these old artists, "Many pictures are ostentatious exhibitions of the artist's power of speech, the clear and vigorous elocution of useless and senseless words; while the earlier efforts of Giotto and Ciniabue are the burning messages of prophecy delivered by the stammering lips of infants."

But at the time we write, Florence had passed through her ages of primitive religions and republican simplicity, and was fast hastening to her downfall. The genius, energy, and prophetic enthusiasm of Savonarola had made, it is true, a desperate rally on the verge of the precipice; but no one man has ever power to turn back the downward slide of a whole generation.

When Father Antonio left Sorrento in company with the cavalier, it was the intention of the latter to go with him only so far as their respective routes should lie together. The band under the command of Agostino was posted in a ruined fortress in one of those airily perched old mountain-towns which form so picturesque and characteristic a feature of the Italian landscape. But before they reached this spot, the simple, poetic, guileless monk, with his fresh artistic nature, had so won upon his travelling companion that a most enthusiastic friendship had sprung up between them, and Agostino could not find it in his heart at once to separate from him. Tempest-tossed and homeless, burning with a sense of wrong, alienated from the faith of his fathers through his intellect and moral sense, yet clinging to it with his memory and imagination, he found in the tender devotional fervor of the artist monk a reconciling and healing power. He shared, too, in no small degree, the feelings which now possessed the breast of his companion for the great reformer whose purpose seemed to meditate nothing less than the restoration of the Church of Italy to the primitive apostolic simplicity. He longed to see him,—to listen to the eloquence of which he had heard so much. Then, too, he had thoughts that but vaguely shaped themselves in his mind. This noble man, so brave and courageous, menaced by the forces of a cruel tyranny, might he not need the protection of a good sword? He recollected, too, that he had an uncle high in the favor of the King of France, to whom he had written a full account of his own situation. Might he not be of use in urging this uncle to induce the French King to throw before Savonarola the shield of his protection? At all events, he entered Florence this evening with the burning zeal of a young neophyte who hopes to effect something himself for a glorious and sacred cause embodied in a leader who commands his deepest veneration.

"My son," said Father Antonio, as they raised their heads after the evening prayer, "I am at this time like a man who, having long been, away from his home, fears, on returning, that he shall hear some evil tidings of those he hath left. I long, yet dread, to go to my dear Father Girolamo and the beloved brothers in our house. There is a presage that lies heavy on my heart, so that I cannot shake it off. Look at our glorious old Duomo;—doth she not sit there among the houses and palaces as a queen-mother among nations,—worthy, in her greatness and beauty, to represent the Church of the New Jerusalem, the Bride of the Lord? Ah, I have seen it thronged and pressed with the multitude who came to crave the bread of life from our master!"

"Courage, my friend!" said Agostino; "it cannot be that Florence will suffer her pride and glory to be trodden down. Let us hasten on, for the shades of evening are coming fast, and there is a keen wind sweeping down from your snowy mountains."

And the two soon found themselves plunging into the shadows of the streets, threading their devious way to the convent.

At length they drew up before a dark wall, where the Father Antonio rang a bell.

A door was immediately opened, a cowled head appeared, and a cautious voice asked,—

"Who is there?"

"Ah, is that you, good Brother Angelo?" said Father Antonio, cheerily.

"And is it you, dear Brother Antonio? Come in! come in!" was the cordial response, as the two passed into the court; "truly, it will make all our hearts leap to see you."

"And, Brother Angelo, how is our dear father? I have been so anxious about him!"

"Oh, fear not!—he sustains himself in God, and is full of sweetness to us all."

"But do the people stand by him, Angelo, and the Signoria?"

"He has strong friends as yet, but his enemies are like ravening wolves. The Pope hath set on the Franciscans, and they hunt him as dogs do a good stag.—But whom have you here with you?" added the monk, raising his torch and regarding the knight.

"Fear him not; he is a brave knight and good Christian, who comes to offer his sword to our father and seek his counsels."

"He shall be welcome," said the porter, cheerfully. "We will have you into the refectory forthwith, for you must be hungry."

The young cavalier, following the flickering torch of his conductor, had only a dim notion of long cloistered corridors, out of which now and then, as the light flared by, came a golden gleam from some quaint old painting, where the pure angel forms of Angelico stood in the gravity of an immortal youth, or the Madonna, like a bending lily, awaited the message of Heaven; but when they entered the refectory, a cheerful voice addressed them, and Father Antonio was clasped in the embrace of the father so much beloved.

"Welcome, welcome, my dear son!" said that rich voice which had thrilled so many thousand Italian hearts with its music. "So you are come back to the fold again. How goes the good work of the Lord?"

"Well, everywhere," said Father Antonio; and then, recollecting his young friend, he suddenly turned and said,—

"Let me present to you one son who comes to seek your instructions,—the young Signor Agostino, of the noble house of Sarelli."

The Superior turned to Agostino with a movement full of a generous frankness, and warmly extended his hand, at the same time fixing upon him the mesmeric glance of a pair of large, deep blue eyes, which might, on slight observation, have been mistaken for black, so great was their depth and brilliancy.

Agostino surveyed his new acquaintance with that mingling of ingenuous respect and curiosity with which an ardent young man would regard the most distinguished leader of his age, and felt drawn to him by a certain atmosphere of vital cordiality such as one can feel better than describe.

"You have ridden far to-day, my son,—you must be weary," said the Superior, affably,—"but here you must feel yourself at home; command us in anything we can do for you. The brothers will attend to those refreshments which are needed after so long a journey; and when you have rested and supped, we shall hope to see you a little more quietly."

So saying, he signed to one or two brothers who stood by, and, commending the travellers to their care, left the apartment.

In a few moments a table was spread with a plain and wholesome repast, to which the two travellers sat down with appetites sharpened by their long journey.

During the supper, the brothers of the convent, among whom Father Antonio had always been a favorite, crowded around him in a state of eager excitement.

"You should have been here the last week," said one; "such a turmoil as we have been in!"

"Yes," said another,—"the Pope hath set on the Franciscans, who, you know, are always ready enough to take up with anything against our order, and they have been pursuing our father like so many hounds."

"There hath been a whirlwind of preaching here and there," said a third,—"in the Duomo, and Santa Croce, and San Lorenzo; and they have battled to and fro, and all the city is full of it."

"Tell him about yesterday, about the ordeal," shouted an eager voice.

Two or three voices took up the story at once, and began to tell it,—all the others correcting, contradicting, or adding incidents. From the confused fragments here and there Agostino gathered that there had been on the day before a popular spectacle in the grand piazza, in which, according to an old superstition of the Middle Ages, Frà Girolamo Savonarola and his opponents were expected to prove the truth of their words by passing unhurt through the fire; that two immense piles of combustibles had been constructed with a narrow passage between, and the whole magistracy of the city convened, with a throng of the populace, eager for the excitement of the spectacle; that the day had been spent in discussions, and scruples, and preliminaries; and that, finally, in the afternoon, a violent storm of rain arising had dispersed the multitude and put a stop to the whole exhibition.

"But the people are not satisfied," said Father Angelo; "and there are enough mischief-makers among them to throw all the blame on our father."

"Yes," said one, "they say he wanted to burn the Holy Sacrament, because he was going to take it with him into the fire."

"As if it could burn!" said another voice.

"It would to all human appearance, I suppose," said a third.

"Any way," said a fourth, "there is some mischief brewing; for here is our friend Prospero Rondinelli just come in, who says, when he came past the Duomo, he saw people gathering, and heard them threatening us: there were as many as two hundred, he thought."

"We ought to tell Father Girolamo," exclaimed several voices.

"Oh, he will not be disturbed!" said Father Angelo. "Since these affairs, he hath been in prayer in the chapter-room before the blessed Angelico's picture of the Cross. When we would talk with him of these things, he waves us away, and says only, 'I am weary; go and tell Jesus.'"

"He bade me come to him after supper," said Father Antonio. "I will talk with him."

"Do so,—that is right," said two or three eager voices, as the monk and Agostino, having finished their repast, arose to be conducted to the presence of the father.

CHAPTER XXI

THE ATTACK ON SAN MARCO

They found him in a large and dimly lighted apartment, sitting absorbed in pensive contemplation before a picture of the Crucifixion by Frà Angelico, which, whatever might be its naïve faults of drawing and perspective, had an intense earnestness of feeling, and, though faded and dimmed by the lapse of centuries, still stirs in some faint wise even the practised dilettanti of our day.

The face upon the cross, with its majestic patience, seemed to shed a blessing down on the company of saints of all ages who were grouped by their representative men at the foot. Saint Dominic, Saint Ambrose, Saint Augustin, Saint Jerome, Saint Francis, and Saint Benedict were depicted as standing before the Great Sacrifice in company with the Twelve Apostles, the two Maries, and the fainting mother of Jesus,—thus expressing the unity of the Church Universal in that great victory of sorrow and glory. The painting was inclosed above by a semicircular bordering composed of medallion heads of the Prophets, and below was a similar medallion border of the principal saints and worthies of the Dominican order. In our day such pictures are visited by tourists with red guide-books in their hands, who survey them in the intervals of careless conversation; but they were painted by the simple artist on his knees, weeping and praying as he worked, and the sight of them was accepted by like simple-hearted Christians as a perpetual sacrament of the eye, by which they received Christ into their souls.

So absorbed was the father in the contemplation of this picture, that he did not hear the approaching footsteps of the knight and monk. When at last they came so near as almost to touch him, he suddenly looked up, and it became apparent that his eyes were full of tears.

He rose, and, pointing with a mute gesture toward the painting, said,—

"There is more in that than in all Michel Angelo Buonarotti hath done yet, though he be a God-fearing youth,—more than in all the heathen marbles in Lorenzo's gardens. But sit down with me here. I have to come here often, where I can refresh my courage."

The monk and knight seated themselves, the latter with his attention riveted on the remarkable man before him. The head and face of Savonarola are familiar to us by many paintings and medallions, which, however, fail to impart what must have been that effect of his personal presence which so drew all hearts to him in his day. The knight saw a man of middle age, of elastic, well-knit figure, and a flexibility and grace of motion which seemed to make every nerve, even to his finger-ends, vital with the expression of his soul. The close-shaven crown and the plain white Dominican robe gave a severe and statuesque simplicity to the lines of his figure. His head and face, like those of most of the men of genius whom modern Italy has produced, were so strongly cast in the antique mould as to leave no doubt of the identity of modern Italian blood with that of the great men of ancient Italy. His low, broad forehead, prominent Roman nose, well-cut, yet fully outlined lips, and strong, finely moulded jaw and chin, all spoke the old Roman vigor and energy, while the flexible delicacy of all the muscles of his face and figure gave an inexpressible fascination to his appearance. Every emotion and changing thought seemed to flutter and tremble over his countenance as the shadow of leaves over sunny water. His eye had a wonderful dilating power, and when he was excited seemed to shower sparks; and his voice possessed a surprising scale of delicate and melodious inflections, which could take him in a moment through the whole range of human feeling, whether playful and tender or denunciatory and terrible. Yet, when in repose among his friends, there was an almost childlike simplicity and artlessness of manner, which drew the heart by an irresistible attraction. At this moment it was easy to see by his pale cheek and the furrowed lines of his face that he had been passing through severe struggles; but his mind seemed stayed on some invisible centre, in a solemn and mournful calm.

"Come, tell me something of the good works of the Lord in our Italy, brother," he said, with a smile which was almost playful in its brightness. "You have been through all the lowly places of the land, carrying our Lord's bread to the poor, and repairing and beautifying shrines and altars by the noble gift that is in you."

"Yes, father," said the monk; "and I have found that there are many sheep of the Lord that feed quietly among the mountains of Italy, and love nothing so much as to hear of the dear Shepherd who laid down His life for them."

"Even so, even so," said the Superior, with animation; "and it is the thought of these sweet hearts that comforts me when my soul is among lions. The foundation standeth sure,—the Lord knoweth them that are His."

"And it is good and encouraging," said Father Antonio, "to see the zeal of the poor, who will give their last penny for the altar of the Lord, and who flock so to hear the word and take the sacraments. I have had precious seasons of preaching and confessing, and have worked in blessedness many days restoring and beautifying the holy pictures and statues whereby these little ones have been comforted. What with the wranglings of princes and the factions and disturbances in our poor Italy, there be many who suffer in want and loss of all things, so that no refuge remains to them but the altars of our Jesus, and none cares for them but He."

"Brother," said the Superior, "there be thousands of flowers fairer than man ever saw that grow up in waste places and in deep dells and shades of mountains; but God bears each one in His heart, and delighteth Himself in silence with them: and so doth He with these poor, simple, unknown souls. The True Church is not a flaunting queen who goes boldly forth among men displaying her beauties, but a veiled bride, a dove that is in the cleft of the rocks, whose voice is known only to the Beloved. Ah! when shall the great marriage-feast come, when all shall behold her glorified? I had hoped to see the day here in Italy: but now"–

The father stopped, and seemed to lapse into unconscious musing,—his large eye growing fixed and mysterious in its expression.

"The brothers have been telling me somewhat of the tribulations you have been through," said Father Antonio, who thought he saw a good opening to introduce the subject nearest his heart.

"No more of that!—no more!" said the Superior, turning away his head with an expression of pain and weariness; "rather let us look up. What think you, brother, are all these doing now?" he said, pointing to the saints in the picture. "They are all alive and well, and see clearly through our darkness." Then, rising up, he added, solemnly, "Whatever man may say or do, it is enough for me to feel that my dearest Lord and His blessed Mother and all the holy archangels, the martyrs and prophets and apostles, are with me. The end is coming."

"But, dearest father," said Antonio, "think you the Lord will suffer the wicked to prevail?"