Most European
Towns Have Red Tiled Roofs, Which One Gets Rather Tired Of Putting Into
One's Word Paintings, But The
Roofs of Genoa are gray tiled, and gray
are her serried house walls, and gray her many churches and bell-
Towers.
The sober tone gratifies your eye immensely, and the fact that your eye
has noted it and not attributed the conventional coloring of southern
Europe to the city is a flattery to your pride which you will not
refuse. It is not a setting for opera like Naples; there is something
businesslike in it which agrees with your American mood if you are true
to America, and recalls you to duty if you are not.
I had not been in Genoa since 1864 except for a few days in 1905, and I
saw changes which I will mostly not specify. Already at the earlier date
the railway had cut through the beautiful and reverend Doria garden and
left the old palace some scanty grounds on the sea-level, where commerce
noisily encompassed it with trains and tracks and lines of freight-cars.
But there had remained up to my last visit that grot on the gardened
hill-slope whence a colossal marble Hercules helplessly overlooked the
offence offered by the railroad; and now suddenly here was the lofty
wall of some new edifice stretching across in front of the Hercules and
wholly shutting him from view; for all I know it may have made him part
of its structure.
Let this stand for a type of the change which had passed upon Genoa and
has passed or is passing upon all Italy. The trouble is that Italy is
full of very living Italians, the quickest-witted people in the world,
who are alert to seize every chance for bettering themselves financially
as they have bettered themselves politically. For my part, I always
wonder they do not still rule the world when I see how intellectually
fit they are to do it, how beyond any other race they seem still
equipped for their ancient primacy. Possibly it is their ancient primacy
which hangs about their necks and loads them down. It is better to have
too little past, as we have, than too much, as they have. But if
antiquity hampers them, they are tenderer of its vast mass than we are
of our little fragments of it; tenderer than any other people, except
perhaps the English, have shown themselves; but when the time comes that
the past stands distinctly in the way of the future, down goes the past,
even in Italy. I am not saying that I do not see why that railroad could
not have tunnelled under the Doria garden rather than cut through it;
and I am waiting for that new building to justify its behavior toward
that poor old Hercules; but in the mean time I hold that Italy is for
the Italians who now live in it, and have to get that better living out
of it which we others all want our countries to yield us; and that it is
not merely a playground for tourists who wish to sentimentalize it, or
study it, or sketch it, or make copy of it, as I am doing now.
All the same I will not deny that I enjoyed more than any of the
improvements which I noted in Genoa that bit of the old Doria
palace-grounds which progress has left it. The gray edifice looks out on
the neighboring traffic across the leanness of a lovely old garden, with
statues and stone seats, and in the midst a softly soliloquizing
fountain, painted green with moss and mould. When you enter the palace,
as you do in response to a custodian who soon comes with a key and asks
if you would like to see it, you find yourself, one flight up, in a long
glazed gallery, fronting on the garden, which is so warm with the sun
that you wish to spend the rest of your stay in Genoa there. It is
frescoed round with classically imagined portraits of the different
Dorias, and above all the portrait of that great hero of the republic. I
do not know that this portrait particularly impresses you; if you have
been here before you will be reserving yourself for the portrait which
the custodian will lead you to see in the ultimate chamber of the rather
rude old palace, where it is like a living presence.
It is the picture of a very old man in a flat cap, sitting sunken
forward in his deep chair, with his thin, long hands folded one on the
other, and looking wearily at you out of his faded eyes, in which dwell
the memories of action in every sort and counsel in every kind. Victor
in battles by land and sea, statesman and leader and sage, he looks it
all in that wonderful effigy, which shuns no effect of his more than
ninety years, but confesses his great age as a part of his greatness
with a pathetic reality. The white beard, with "each particular hair"
defined, falling almost to the pale, lean hands, is an essential part of
the presentment, which is full of such scrupulous detail as the eye
would unconsciously take note of in confronting the man himself and
afterward supply in the remembrance of the whole. As if it were a part
of his personality, on a table facing him, covered with maps and papers,
sits the mighty admiral's cat, which, with true feline im-passiveness,
ignores the spectator and gives its sole regard to the admiral. There
are possibly better portraits in the world than this, which was once by
Sebastiano del Piombo and is now by Titian; but I remember none which
has moved me more.
We tried in vain for a photograph of it, and then after a brief glance
at the riches of the Church of the Annunziata, where we were followed
around the interior by a sacristan who desired us to note that the
pillars were "All inlady, all inlady" with different marbles, and, after
a chilly moment in San Lorenzo, which the worshippers and the masons
were sharing between them in the prayers and repairs always going on in
cathedrals, we drove for luncheon to the hotel where we had sojourned in
great comfort three years before.
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