by Charles Dickens
We are bound
for Naples! And we cross the threshold of the
Eternal City at yonder gate, the Gate of San Giovanni
Laterano, where the two last objects that attract the
notice of a departing visitor, and the two first objects
that attract the notice of an arriving one, are a proud
church and a decaying ruin, good emblems of Rome.
Our way lies over the Campagna, which looks more solemn on a bright blue day like this, than beneath a darker sky; the great extent of ruin being plainer to the eye: and the sunshine through the arches of the broken aqueducts, showing other broken arches shining through them in the melancholy distance. When we have traversed it, and look back from Albano, its dark, undulating surface lies below us like a stagnant lake, or like a broad, dull Lethe flowing round the walls of Rome, and separating it from all the world! How often have the Legions, in triumphant march, gone glittering across that purple waste, so silent and unpeopled now! How often has the train of captives looked, with sinking hearts, upon the distant city, and beheld its population pouring out, to hail the return of their conqueror! What riot, sensuality and murder, have run mad in the vast palaces now heaps of brick and shattered marble! What glare of fires, and roar of popular tumult, and wail of pestilence and famine, have come sweeping over the wild plain where nothing is now heard but the wind, and where the solitary lizards gambol unmolested in the sun!
The train of wine-carts going into Rome, each driven by a shaggy peasant reclining beneath a little gipsy-fashioned canopy of sheepskin, is ended now, and we go toiling up into a higher country where there are trees. The next day brings us on the Pontine Marshes, wearily flat and lonesome, and overgrown with brushwood, and swamped with water, but with a fine road made across them, shaded by a long, long avenue. Here and there, we pass a solitary guard-house; here and there a hovel, deserted, and walled up. Some herdsmen loiter on the banks of the stream beside the road, and sometimes a flat-bottomed boat, towed by a man, comes rippling idly along it. A horseman passes occasionally, carrying a long gun cross-wise on the saddle before him, and attended by fierce dogs; but there is nothing else astir save the wind and the shadows, until we come in sight of Terracina.
How blue and bright the sea, rolling below the windows of the inn so famous in robber stories! How picturesque the great crags and points of rock overhanging to-morrow's narrow road, where galley slaves are working in the quarries above, and the sentinels who guard them lounge on the sea-shore! All night there is the murmur of the sea beneath the stars; and, in the morning, just at daybreak, the prospect suddenly becoming expanded, as if by a miracle, reveals in the far distance, across the sea there! Naples with its islands, and Vesuvius spouting fire! Within a quarter of an hour, the whole is gone as if it were a vision in the clouds, and there is nothing but the sea and sky.
The Neapolitan frontier
crossed, after two hours' travelling; and the hungriest of
soldiers and custom-house officers with difficulty
appeased; we enter, by a gateless portal, into the first
Neapolitan town Fondi. Take note of Fondi, in the name of
all that is wretched and beggarly.
The illustrations shown here -- the cover
illustration (above, right) entitled "The Street of the
Tombs - Pompeii"
and that of the Roman Colosseum (above, left) are by British illustrator, Samuel Palmer (1805- 1871).
[I have inserted, below, extra images and comments in brackets with
my initials to elucidate some of Dickens' comments. My comments are all from Oct. 2022 jm]
A filthy channel
of mud and refuse meanders down the centre of the
miserable streets, fed by obscene rivulets that trickle
from the abject houses. There is not a door, a window, or
a shutter; not a roof, a wall, a post, or a pillar, in all
Fondi, but is decayed, and crazy, and rotting away. The
wretched history of the town, with all its sieges and
pillages by Barbarossa and the rest, might have been acted
last year. How the gaunt dogs that sneak about the
miserable streets, come to be alive, and undevoured by the
people, is one of the enigmas of the world.
["All beggars." This is clearly a staged photo
but it conveys the idea. jm]
A hollow-cheeked and scowling people they are! All beggars; but that's nothing. Look at them as they gather round. Some, are too indolent to come down-stairs, or are too wisely mistrustful of the stairs, perhaps, to venture: so stretch out their lean hands from upper windows, and howl; others, come flocking about us, fighting and jostling one another, and demanding, incessantly, charity for the love of God, charity for the love of the Blessed Virgin, charity for the love of all the Saints. A group of miserable children, almost naked, screaming forth the same petition, discover that they can see themselves reflected in the varnish of the carriage, and begin to dance and make grimaces, that they may have the pleasure of seeing their antics repeated in this mirror. A crippled idiot, in the act of striking one of them who drowns his clamorous demand for charity, observes his angry counterpart in the panel, stops short, and thrusting out his tongue, begins to wag his head and chatter. The shrill cry raised at this, awakens half-a-dozen wild creatures wrapped in frowsy brown cloaks, who are lying on the church-steps with pots and pans for sale. These, scrambling up, approach, and beg defiantly. 'I am hungry. Give me something. Listen to me, Signor. I am hungry!' Then, a ghastly old woman, fearful of being too late, comes hobbling down the street, stretching out one hand, and scratching herself all the way with the other, and screaming, long before she can be heard, 'Charity, charity! I'll go and pray for you directly, beautiful lady, if you'll give me charity!' Lastly, the members of a brotherhood for burying the dead: hideously masked, and attired in shabby black robes, white at the skirts, with the splashes of many muddy winters: escorted by a dirty priest, and a congenial cross-bearer: come hurrying past. Surrounded by this motley concourse, we move out of Fondi: bad bright eyes glaring at us, out of the darkness of every crazy tenement, like glistening fragments of its filth and putrefaction.
—"Brother devil"— was called that because he had wished
as a young man to enter the
clergy and often disguised himself as a monk. He helped in the Bourbon reconquest of the Kingdom of
Naples and helped pursue the retreating French forces back to Rome where that city, too, eventually fell
with the collapse of the so-called "Roman Republic" jm. ] Fra Diavolo
A noble mountain-pass, with the ruins of a fort on a strong eminence, traditionally called the Fort of Fra Diavolo (image); the old town of Itri, like a device in pastry, built up, almost perpendicularly, on a hill, and approached by long steep flights of steps; beautiful Mola di Gaeta, whose wines, like those of Albano, have degenerated since the days of Horace, or his taste for wine was bad: which is not likely of one who enjoyed it so much, and extolled it so well; another night upon the road at St. Agatha; a rest next day at Capua, which is picturesque, but hardly so seductive to a traveller now, as the soldiers of Praetorian Rome were wont to find the ancient city of that name; a flat road among vines festooned and looped from tree to tree; and Mount Vesuvius close at hand at last! its cone and summit whitened with snow; and its smoke hanging over it, in the heavy atmosphere of the day, like a dense cloud. So we go, rattling down hill, into Naples.
A funeral is coming up the
street, towards us. The body, on an open bier, borne on a
kind of palanquin, covered with a gay cloth of crimson and
gold. The mourners, in white gowns and masks. If there be
death abroad, life is well represented too, for all Naples
would seem to be out of doors, and tearing to and fro in
carriages. Some of these, the common Vetturino vehicles,
are drawn by three horses abreast, decked with smart
trappings and great abundance of brazen ornament, and
always going very fast. Not that their loads are light;
for the smallest of them has at least six people inside,
four in front, four or five more hanging on behind, and
two or three more, in a net or bag below the axle-tree,
where they lie half-suffocated with mud and dust.
Exhibitors of Punch, buffo singers with guitars, reciters
of poetry, reciters of stories, a row of cheap exhibitions
with clowns and showmen, drums, and trumpets, painted
cloths representing the wonders within, and admiring
crowds assembled without, assist the whirl and bustle.
Ragged lazzaroni lie asleep in doorways,
archways, and kennels; the gentry, gaily dressed, are
dashing up and down in carriages on the Chiaji, or walking
in the Public Gardens; and quiet letter-writers, perched
behind their little desks and inkstands under the Portico
of the Great Theatre of San Carlo, in the public street,
are waiting for clients.
[The Scribe - lo scrivano - in
1844 was common.
Today they no longer exist. The UN says that
99% of Europeans are literate. In this image,
the scribe has a sign that says he also translates
French. The client might easily have been a man,
as Dickens describes.jm]
Here is a galley-slave in chains, who
wants a letter written to a friend. He approaches a
clerkly-looking man, sitting under the corner arch, and
makes his bargain. He has obtained permission of the
sentinel who guards him: who stands near, leaning against
the wall and cracking nuts. The galley-slave dictates in
the ear of the letter-writer, what he desires to say; and
as he can't read writing, looks intently in his face, to
read there whether he sets down faithfully what he is
told. After a time, the galley-slave becomes discursive
incoherent. The secretary pauses and rubs his chin. The
galley-slave is voluble and energetic. The secretary, at
length, catches the idea, and with the air of a man who
knows how to word it, sets admiringly. The galley-slave is
silent. The soldier stoically cracks his nuts. Is there
anything more to say? inquires the letter-writer. No
more. Then listen, friend of mine. He reads it through.
The galley-slave is quite enchanted. It is folded, and
addressed, and given to him, and he pays the fee. The
secretary falls back indolently in his chair, and takes a
book. The galley-slave gathers up an empty sack. The
sentinel throws away a handful of nut-shells, shoulders
his musket, and away they go together.
[Dickens is amazed Neapolitans speak with their hands. They do that
in Naples because if you stand motionless, they'll think you're English. jm]
Why do the beggars rap their chins constantly, with their right hands, when you look at them? Everything is done in pantomime in Naples, and that is the conventional sign for hunger. A man who is quarrelling with another, yonder, lays the palm of his right hand on the back of his left, and shakes the two thumbs expressive of a donkey's ears whereat his adversary is goaded to desperation. Two people bargaining for fish, the buyer empties an imaginary waistcoat pocket when he is told the price, and walks away without a word: having thoroughly conveyed to the seller that he considers it too dear. Two people in carriages, meeting, one touches his lips, twice or thrice, holding up the five fingers of his right hand, and gives a horizontal cut in the air with the palm. The other nods briskly, and goes his way. He has been invited to a friendly dinner at half-past five o'clock, and will certainly come.
All over Italy, a peculiar shake of the right hand from the wrist, with the forefinger stretched out, expresses a negative the only negative beggars will ever understand. But, in Naples, those five fingers are a copious language.
All this, and every other kind of out-door life and stir, and macaroni-eating at sunset, and flower-selling all day long, and begging and stealing everywhere and at all hours, you see upon the bright sea-shore, where the waves of the bay sparkle merrily. But, lovers and hunters of the picturesque, let us not keep too studiously out of view the miserable depravity, degradation, and wretchedness, with which this gay Neapolitan life is inseparably associated! It is not well to find Saint Giles's so repulsive, and the Porta Capuana so attractive. A pair of naked legs and a ragged red scarf, do not make ALL the difference between what is interesting and what is coarse and odious? Painting and poetising for ever, if you will, the beauties of this most beautiful and lovely spot of earth, let us, as our duty, try to associate a new picturesque with some faint recognition of man's destiny and capabilities; more hopeful, I believe, among the ice and snow of the North Pole, than in the sun and bloom of Naples.
thousand distant beauties of the bay." If
NW from high points on Capri, you can see over Ischia
to the distant Pontine islands of Ventotene and Ponza.
Capri once made odious by the deified beast Tiberius, Ischia, Procida, and the thousand distant beauties of the Bay, lie in the blue sea yonder, changing in the mist and sunshine twenty times a day: now close at hand, now far off, now unseen. The fairest country in the world, is spread about us. Whether we turn towards the Miseno shore of the splendid watery amphitheatre, and go by the Grotto of Posillipo to the Grotto del Cane and away to Baiae: or take the other way, towards Vesuvius and Sorrento, it is one succession of delights. In the last-named direction, where, over doors and archways, there are countless little images of San Gennaro, with his Canute's hand stretched out, to check the fury of the Burning Mountain, we are carried pleasantly, by a railroad on the beautiful Sea Beach, past the town of Torre del Greco, built upon the ashes of the former town destroyed by an eruption of Vesuvius, within a hundred years; and past the flat-roofed houses, granaries, and macaroni manufactories; to Castel-a-Mare, with its ruined castle, now inhabited by fishermen, standing in the sea upon a heap of rocks. Here, the railroad terminates; but, hence we may ride on, by an unbroken succession of enchanting bays, and beautiful scenery, sloping from the highest summit of Saint Angelo, the highest neighbouring mountain, down to the water's edge among vineyards, olive-trees, gardens of oranges and lemons, orchards, heaped-up rocks, green gorges in the hills and by the bases of snow-covered heights, and through small towns with handsome, darkhaired women at the doors and pass delicious summer villas to Sorrento, where the Poet Tasso drew his inspiration from the beauty surrounding him. Returning, we may climb the heights above Castela-Mare, and looking down among the boughs and leaves, see the crisp water glistening in the sun; and clusters of white houses in distant Naples, dwindling, in the great extent of prospect, down to dice. The coming back to the city, by the beach again, at sunset: with the glowing sea on one side, and the darkening mountain, with its smoke and flame, upon the other: is a sublime conclusion to the glory of the day.
That church by the Porta
Capuana near the old fisher-market in the dirtiest
quarter of dirty Naples, where the revolt of Masaniello
began is memorable for having been the scene of one of his
earliest proclamations to the people, and is particularly
remarkable for nothing else, unless it be its waxen and
bejewelled Saint in a glass case, with two odd hands; or
the enormous number of beggars who are constantly rapping
their chins there, like a battery of castanets. The
cathedral with the beautiful door, and the columns of
African and Egyptian granite that once ornamented the
temple of Apollo, contains the famous sacred blood of San
Gennaro or Januarius: which is preserved in two phials in
a silver tabernacle, and miraculously liquefies three
times a-year, to the great admiration of the people. At
the same moment, the stone (distant some miles) where the
Saint suffered martyrdom, becomes faintly red. It is said
that the officiating priests turn faintly red also,
sometimes, when these miracles occur.
cemetery It looked
like this in 1844 and still does.jm]
The old, old men who live in hovels at the entrance of these ancient catacombs, and who, in their age and infirmity, seem waiting here, to be buried themselves, are members of a curious body, called the Royal Hospital, the official attendants at funerals. Two of these old spectres totter away, with lighted tapers, to show the caverns of death as unconcerned as if they were immortal. They were used as burying-places for three hundred years; and, in one part, is a large pit full of skulls and bones (image, right), said to be the sad remains of a great mortality caused by a plague. In the rest there are niches and labyrinths, hewn out of the rock. At the end of some of these long passages, are unexpected glimpses of the daylight, shining down from above. It looks as ghastly and as strange; among the torches, and the dust, and the dark vaults: as if it, too, were dead and buried.
The present burial-place lies out yonder, on a hill between the city and Vesuvius. The old Campo Santo with its three hundred and sixty-five pits, is only used for those who die in hospitals, and prisons, and are unclaimed by their friends. The graceful new cemetery, at no great distance from it, though yet unfinished, has already many graves among its shrubs and flowers, and airy colonnades. It might be reasonably objected elsewhere, that some of the tombs are meretricious and too fanciful; but the general brightness seems to justify it here; and Mount Vesuvius, separated from them by a lovely slope of ground, exalts and saddens the scene.
If it be solemn to behold from this new City of the Dead, with its dark smoke hanging in the clear sky, how much more awful and impressive is it, viewed from the ghostly ruins of Herculaneum and Pompeii!
Stand at the bottom of the great market-place of Pompeii, and look up the silent streets, through the ruined temples of Jupiter and Isis, over the broken houses with their inmost sanctuaries open to the day, away to Mount Vesuvius, bright and snowy in the peaceful distance; and lose all count of time, and heed of other things, in the strange and melancholy sensation of seeing the Destroyed and the Destroyer making this quiet picture in the sun. Then, ramble on, and see, at every turn, the little familiar tokens of human habitation and every-day pursuits; the chafing of the bucket-rope in the stone rim of the exhausted well; the track of carriage wheels in the pavement of the street; the marks of drinking-vessels on the stone counter of the wine-shop; the amphorae in private cellars, stored away so many hundred years ago, and undisturbed to this hour all rendering the solitude and deadly lonesomeness of the place, ten thousand times more solemn, than if the volcano, in its fury, had swept the city from the earth, and sunk it in the bottom of the sea.
After it was shaken by the earthquake which preceded the eruption, workmen were employed in shaping out, in stone, new ornaments for temples and other buildings that had suffered. Here lies their work, outside the city gate, as if they would return to-morrow.
In the cellar of Diomede's
house, where certain skeletons were found huddled
together, close to the door, the impression of their
bodies on the ashes, hardened with the ashes, and became
stamped and fixed there, after they had shrunk, inside, to
scanty bones. So, in the theatre of Herculaneum, a comic
mask, floating on the stream when it was hot and liquid,
stamped its mimic features in it as it hardened into
stone; and now, it turns upon the stranger the fantastic
look it turned upon the audiences in that same theatre two
thousand years ago.
[Dickens was moved by Pompeii and
Herculaneum - the latter shown below . Earlier
writers had written of them and
the British Museum already had a considerable collection of antiquities. Out of curiosity, I wonder if Dickens ever came
across the poems of Edwin Atherstone (1788–1875). He is best remembered for a poem, The Fall of Ninevah, but
also wrote a short poem, The Last Days of Herculaneum, a scant 2,000 lines long. The ending is this:
The city sinks as in a sepulchre; /Deep down it sinks in that tremendous pit,/ Remains a dark-hued plain alone, whose rugged face/
The lessening lightnings plough;—o'er which the flood / Of lava slowly settles in a lake.
Years—ages—centuries—shall pass away/ And none shall tell where once that city stood. jm]
Next to the wonder of going up and down the streets, and in and out of the houses, and traversing the secret chambers of the temples of a religion that has vanished from the earth, and finding so many fresh traces of remote antiquity: as if the course of Time had been stopped after this desolation, and there had been no nights and days, months, years, and centuries, since: nothing is more impressive and terrible than the many evidences of the searching nature of the ashes, as bespeaking their irresistible power, and the impossibility of escaping them. In the wine-cellars, they forced their way into the earthen vessels: displacing the wine and choking them, to the brim, with dust. In the tombs, they forced the ashes of the dead from the funeral urns, and rained new ruin even into them. The mouths, and eyes, and skulls of all the skeletons, were stuffed with this terrible hail. In Herculaneum, where the flood was of a different and a heavier kind, it rolled in, like a sea. Imagine a deluge of water turned to marble, at its height and that is what is called 'the lava' here.
Some workmen were digging the gloomy well on the brink of which we now stand, looking down, when they came on some of the stone benches of the theatre those steps (for such they seem) at the bottom of the excavation and found the buried city of Herculaneum. Presently going down, with lighted torches, we are perplexed by great walls of monstrous thickness, rising up between the benches, shutting out the stage, obtruding their shapeless forms in absurd places, confusing the whole plan, and making it a disordered dream. We cannot, at first, believe, or picture to ourselves, that THIS came rolling in, and drowned the city; and that all that is not here, has been cut away, by the axe, like solid stone. But this perceived and understood, the horror and oppression of its presence are indescribable.
Many of the paintings on the walls in the roofless chambers of both cities, or carefully removed to the museum at Naples, are as fresh and plain, as if they had been executed yesterday. Here are subjects of still life, as provisions, dead game, bottles, glasses, and the like; familiar classical stories, or mythological fables, always forcibly and plainly told; conceits of cupids, quarrelling, sporting, working at trades; theatrical rehearsals; poets reading their productions to their friends; inscriptions chalked upon the walls; political squibs, advertisements, rough drawings by schoolboys; everything to people and restore the ancient cities, in the fancy of their wondering visitor. Furniture, too, you see, of every kind lamps, tables, couches; vessels for eating, drinking, and cooking; workmen's tools, surgical instruments, tickets for the theatre, pieces of money, personal ornaments, bunches of keys found clenched in the grasp of skeletons, helmets of guards and warriors; little household bells, yet musical with their old domestic tones.
The least among these objects, lends its aid to swell the interest of Vesuvius, and invest it with a perfect fascination. The looking, from either ruined city, into the neighbouring grounds overgrown with beautiful vines and luxuriant trees; and remembering that house upon house, temple on temple, building after building, and street after street, are still lying underneath the roots of all the quiet cultivation, waiting to be turned up to the light of day; is something so wonderful, so full of mystery, so captivating to the imagination, that one would think it would be paramount, and yield to nothing else. To nothing but Vesuvius; but the mountain is the genius of the scene. From every indication of the ruin it has worked, we look, again, with an absorbing interest to where its smoke is rising up into the sky. It is beyond us, as we thread the ruined streets: above us, as we stand upon the ruined walls, we follow it through every vista of broken columns, as we wander through the empty court-yards of the houses; and through the garlandings and interlacings of every wanton vine. Turning away to Paestum yonder, to see the awful structures built, the least aged of them, hundreds of years before the birth of Christ, and standing yet, erect in lonely majesty, upon the wild, malaria-blighted plain we watch Vesuvius as it disappears from the prospect, and watch for it again, on our return, with the same thrill of interest: as the doom and destiny of all this beautiful country, biding its terrible time.
It is very warm in the sun, on this early spring-day, when we return from Paestum, but very cold in the shade: insomuch, that although we may lunch, pleasantly, at noon, in the open air, by the gate of Pompeii, the neighbouring rivulet supplies thick ice for our wine. But, the sun is shining brightly; there is not a cloud or speck of vapour in the whole blue sky, looking down upon the bay of Naples; and the moon will be at the full to-night. No matter that the snow and ice lie thick upon the summit of Vesuvius, or that we have been on foot all day at Pompeii, or that croakers maintain that strangers should not be on the mountain by night, in such an unusual season. Let us take advantage of the fine weather; make the best of our way to Resina, the little village at the foot of the mountain; prepare ourselves, as well as we can, on so short a notice, at the guide's house; ascend at once, and have sunset half-way up, moon-light at the top, and midnight to come down in!
All Grand Tourists, Dickens
to climb Vesuvius. It wasn't what you see
here, but it has always been active. Dickens
went up in 1844. The geological observatory
had just been built. No one really knew yet
how and why volcanoes erupt. He was lucky.
At four o'clock in the afternoon, there is a terrible uproar in the little stable-yard of Signor Salvatore, the recognised head-guide, with the gold band round his cap; and thirty under-guides who are all scuffling and screaming at once, are preparing half-a-dozen saddled ponies, three litters, and some stout staves, for the journey. Every one of the thirty, quarrels with the other twenty-nine, and frightens the six ponies; and as much of the village as can possibly squeeze itself into the little stable-yard, participates in the tumult, and gets trodden on by the cattle.
After much violent skirmishing, and more noise than would suffice for the storming of Naples, the procession starts. The head-guide, who is liberally paid for all the attendants, rides a little in advance of the party; the other thirty guides proceed on foot. Eight go forward with the litters that are to be used by-and-by; and the remaining two-and-twenty beg.
We ascend, gradually, by stony lanes like rough broad flights of stairs, for some time. At length, we leave these, and the vineyards on either side of them, and emerge upon a bleak bare region where the lava lies confusedly, in enormous rusty masses; as if the earth had been ploughed up by burning thunderbolts. And now, we halt to see the sun set. The change that falls upon the dreary region, and on the whole mountain, as its red light fades, and the night comes on and the unutterable solemnity and dreariness that reign around, who that has witnessed it, can ever forget!
It is dark, when after winding, for some time, over the broken ground, we arrive at the foot of the cone: which is extremely steep, and seems to rise, almost perpendicularly, from the spot where we dismount. The only light is reflected from the snow, deep, hard, and white, with which the cone is covered. It is now intensely cold, and the air is piercing. The thirty-one have brought no torches, knowing that the moon will rise before we reach the top. Two of the litters are devoted to the two ladies; the third, to a rather heavy gentleman from Naples, whose hospitality and good-nature have attached him to the expedition, and determined him to assist in doing the honours of the mountain. The rather heavy gentleman is carried by fifteen men; each of the ladies by half-a-dozen. We who walk, make the best use of our staves; and so the whole party begin to labour upward over the snow, as if they were toiling to the summit of an antediluvian Twelfth-cake.
We are a long time toiling up; and the head-guide looks oddly about him when one of the company not an Italian, though an habitue of the mountain for many years: whom we will call, for our present purpose, Mr. Pickle of Portici suggests that, as it is freezing hard, and the usual footing of ashes is covered by the snow and ice, it will surely be difficult to descend. But the sight of the litters above, tilting up and down, and jerking from this side to that, as the bearers continually slip and tumble, diverts our attention; more especially as the whole length of the rather heavy gentleman is, at that moment, presented to us alarmingly foreshortened, with his head downwards. The rising of the moon soon afterwards, revives the flagging spirits of the bearers. Stimulating each other with their usual watchword, 'Courage, friend! It is to eat macaroni!' they press on, gallantly, for the summit.
From tingeing the top of the snow above us, with a band of light, and pouring it in a stream through the valley below, while we have been ascending in the dark, the moon soon lights the whole white mountain-side, and the broad sea down below, and tiny Naples in the distance, and every village in the country round. The whole prospect is in this lovely state, when we come upon the platform on the mountain-top the region of Fire an exhausted crater formed of great masses of gigantic cinders, like blocks of stone from some tremendous waterfall, burnt up; from every chink and crevice of which, hot, sulphurous smoke is pouring out: while, from another conical-shaped hill, the present crater, rising abruptly from that words can paint the gloom and grandeur of this scene!
The broken ground; the smoke; the sense of suffocation from the sulphur: the fear of falling down through the crevices in the yawning ground; the stopping, every now and then, for somebody who is missing in the dark (for the dense smoke now obscures the moon); the intolerable noise of the thirty; and the hoarse roaring of the mountain; make it a scene of such confusion, at the same time, that we reel again. But, dragging the ladies through it, and across another exhausted crater to the foot of the present Volcano, we approach close to it on the windy side, and then sit down among the hot ashes at its foot, and look up in silence; faintly estimating the action that is going on within, from its being full a hundred feet higher, at this minute, than it was six weeks ago.
There is something in the fire and roar, that generates an irresistible desire to get nearer to it. We cannot rest long, without starting off, two of us, on our hands and knees, accompanied by the head-guide, to climb to the brim of the flaming crater, and try to look in. Meanwhile, the thirty yell, as with one voice, that it is a dangerous proceeding, and call to us to come back; frightening the rest of the party out of their wits.
What with their noise, and what with the trembling of the thin crust of ground, that seems about to open underneath our feet and plunge us in the burning gulf below (which is the real danger, if there be any); and what with the flashing of the fire in our faces, and the shower of red-hot ashes that is raining down, and the choking smoke and sulphur; we may well feel giddy and irrational, like drunken men. But, we contrive to climb up to the brim, and look down, for a moment, into the Hell of boiling fire below. Then, we all three come rolling down; blackened, and singed, and scorched, and hot, and giddy: and each with his dress alight in half-a-dozen places.
You have read, a thousand times, that the usual way of descending, is, by sliding down the ashes: which, forming a gradually increasing ledge below the feet, prevent too rapid a descent. But, when we have crossed the two exhausted craters on our way back and are come to this precipitous place, there is (as Mr. Pickle has foretold) no vestige of ashes to be seen; the whole being a smooth sheet of ice.
In this dilemma, ten or a dozen of the guides cautiously join hands, and make a chain of men; of whom the foremost beat, as well as they can, a rough track with their sticks, down which we prepare to follow. The way being fearfully steep, and none of the party: even of the thirty: being able to keep their feet for six paces together, the ladies are taken out of their litters, and placed, each between two careful persons; while others of the thirty hold by their skirts, to prevent their falling forward a necessary precaution, tending to the immediate and hopeless dilapidation of their apparel. The rather heavy gentleman is abjured to leave his litter too, and be escorted in a similar manner; but he resolves to be brought down as he was brought up, on the principle that his fifteen bearers are not likely to tumble all at once, and that he is safer so, than trusting to his own legs.
In this order, we begin the descent: sometimes on foot, sometimes shuffling on the ice: always proceeding much more quietly and slowly, than on our upward way: and constantly alarmed by the falling among us of somebody from behind, who endangers the footing of the whole party, and clings pertinaciously to anybody's ankles. It is impossible for the litter to be in advance, too, as the track has to be made; and its appearance behind us, overhead with some one or other of the bearers always down, and the rather heavy gentleman with his legs always in the air is very threatening and frightful. We have gone on thus, a very little way, painfully and anxiously, but quite merrily, and regarding it as a great success and have all fallen several times, and have all been stopped, somehow or other, as we were sliding away when Mr. Pickle of Portici, in the act of remarking on these uncommon circumstances as quite beyond his experience, stumbles, falls, disengages himself, with quick presence of mind, from those about him, plunges away head foremost, and rolls, over and over, down the whole surface of the cone!
Sickening as it is to look, and be so powerless to help him, I see him there, in the moonlight I have had such a dream often skimming over the white ice, like a cannon-ball. Almost at the same moment, there is a cry from behind; and a man who has carried a light basket of spare cloaks on his head, comes rolling past, at the same frightful speed, closely followed by a boy. At this climax of the chapter of accidents, the remaining eight-and-twenty vociferate to that degree, that a pack of wolves would be music to them!
Giddy, and bloody, and a mere bundle of rags, is Pickle of Portici when we reach the place where we dismounted, and where the horses are waiting; but, thank God, sound in limb! And never are we likely to be more glad to see a man alive and on his feet, than to see him now making light of it too, though sorely bruised and in great pain. The boy is brought into the Hermitage on the Mountain, while we are at supper, with his head tied up; and the man is heard of, some hours afterwards. He too is bruised and stunned, but has broken no bones; the snow having, fortunately, covered all the larger blocks of rock and stone, and rendered them harmless.
After a cheerful meal, and a good rest before a blazing fire, we again take horse, and continue our descent to Salvatore's house very slowly, by reason of our bruised friend being hardly able to keep the saddle, or endure the pain of motion. Though it is so late at night, or early in the morning, all the people of the village are waiting about the little stable-yard when we arrive, and looking up the road by which we are expected. Our appearance is hailed with a great clamour of tongues, and a general sensation for which in our modesty we are somewhat at a loss to account, until, turning into the yard, we find that one of a party of French gentlemen who were on the mountain at the same time is lying on some straw in the stable, with a broken limb: looking like Death, and suffering great torture; and that we were confidently supposed to have encountered some worse accident.
So 'well returned, and Heaven be praised!' as the cheerful Vetturino, who has borne us company all the way from Pisa, says, with all his heart! And away with his ready horses, into sleeping Naples!
It wakes again to
Policinelli and pickpockets, buffo singers and beggars,
rags, puppets, flowers, brightness, dirt, and universal
degradation; airing its Harlequin suit in the sunshine,
next day and every day; singing, starving, dancing,
gaming, on the seashore; and leaving all labour to the
burning mountain, which is ever at its work.
[San Carlo, below, burned down in 1817 and was built
back better than ever. It looked like this in 1844,
when Dickens saw it. Indeed, splendid.jm]
[San Carlino, below, Yes, shabby, as he says, but it was a
dialect theater, built for local comic operas and parodies of
'real' operas. Torn down a long time ago.
Our English dilettanti would be very pathetic on the subject of the national taste, if they could hear an Italian opera half as badly sung in England as we may hear the Foscari performed, to-night, in the splendid theatre of San Carlo. But, for astonishing truth and spirit in seizing and embodying the real life about it, the shabby little San Carlino Theatre the rickety house one story high, with a staring picture outside: down among the drums and trumpets, and the tumblers, and the lady conjurer is without a rival anywhere.
There is one extraordinary feature in the real life of Naples, at which we may take a glance before we go the Lotteries. They prevail in most parts of Italy, but are particularly obvious, in their effects and influences, here. They are drawn every Saturday. They bring an immense revenue to the Government; and diffuse a taste for gambling among the poorest of the poor, which is very comfortable to the coffers of the State, and very ruinous to themselves. The lowest stake is one grain; less than a farthing. One hundred numbers from one to a hundred, inclusive are put into a box. Five are drawn. Those are the prizes. I buy three numbers. If one of them come up, I win a small prize. If two, some hundreds of times my stake. If three, three thousand five hundred times my stake. I stake (or play as they call it) what I can upon my numbers, and buy what numbers I please. The amount I play, I pay at the lottery office, where I purchase the ticket; and it is stated on the ticket itself.
Every lottery office keeps a printed book, an Universal Lottery Diviner, where every possible accident and circumstance is provided for, and has a number against it. For instance, let us take two carlini about seven pence. On our way to the lottery office, we run against a black man. When we get there, we say gravely, 'The Diviner.' It is handed over the counter, as a serious matter of business. We look at the black man. Such a number. 'Give us that.' We look at running against a person in the street. 'Give us that. ' We look at the name of the street itself. 'Give us that.' Now, we have our three numbers.
If the roof of the theatre of San Carlo were to fall in, so many people would play upon the numbers attached to such an accident in the Diviner, that the Government would soon close those numbers, and decline to run the risk of losing any more upon them. This often happens. Not long ago, when there was a fire in the King's Palace, there was such a desperate run on fire, and king, and palace, that further stakes on the numbers attached to those words in the Golden Book were forbidden. Every accident or event, is supposed, by the ignorant populace, to be a revelation to the beholder, or party concerned, in connection with the lottery. Certain people who have a talent for dreaming fortunately, are much sought after; and there are some priests who are constantly favoured with visions of the lucky numbers.
I heard of a horse running away with a man, and dashing him down, dead, at the corner of a street. Pursuing the horse with incredible speed, was another man, who ran so fast, that he came up, immediately after the accident. He threw himself upon his knees beside the unfortunate rider, and clasped his hand with an expression of the wildest grief. 'If you have life,' he said, 'speak one word to me! If you have one gasp of breath left, mention your age for Heaven's sake, that I may play that number in the lottery.'
It is four o'clock in the afternoon, and we may go to see our lottery drawn. The ceremony takes place every Saturday, in the Tribunale, or Court of Justice this singular, earthy-smelling room, or gallery, as mouldy as an old cellar, and as damp as a dungeon. At the upper end is a platform, with a large horse-shoe table upon it; and a President and Council sitting round all judges of the Law. The man on the little stool behind the President, is the Capo Lazzarone, a kind of tribune of the people, appointed on their behalf to see that all is fairly conducted: attended by a few personal friends. A ragged, swarthy fellow he is: with long matted hair hanging down all over his face: and covered, from head to foot, with most unquestionably genuine dirt. All the body of the room is filled with the commonest of the Neapolitan people: and between them and the platform, guarding the steps leading to the latter, is a small body of soldiers.
There is some delay in the arrival of the necessary number of judges; during which, the box, in which the numbers are being placed, is a source of the deepest interest. When the box is full, the boy who is to draw the numbers out of it becomes the prominent feature of the proceedings. He is already dressed for his part, in a tight brown Holland coat, with only one (the left) sleeve to it, which leaves his right arm bared to the shoulder, ready for plunging down into the mysterious chest.
During the hush and whisper that pervade the room, all eyes are turned on this young minister of fortune. People begin to inquire his age, with a view to the next lottery; and the number of his brothers and sisters; and the age of his father and mother; and whether he has any moles or pimples upon him; and where, and how many; when the arrival of the last judge but one (a little old man, universally dreaded as possessing the Evil Eye) makes a slight diversion, and would occasion a greater one, but that he is immediately deposed, as a source of interest, by the officiating priest, who advances gravely to his place, followed by a very dirty little boy, carrying his sacred vestments, and a pot of Holy Water.
Here is the last judge come at last, and now he takes his place at the horse-shoe table. There is a murmur of irrepressible agitation. In the midst of it, the priest puts his head into the sacred vestments, and pulls the same over his shoulders. Then he says a silent prayer; and dipping a brush into the pot of Holy Water, sprinkles it over the box and over the boy, and gives them a double-barrelled blessing, which the box and the boy are both hoisted on the table to receive. The boy remaining on the table, the box is now carried round the front of the platform, by an attendant, who holds it up and shakes it lustily all the time; seeming to say, like the conjurer, 'There is no deception, ladies and gentlemen; keep your eyes upon me, if you please!'
At last, the box is set before the boy; and the boy, first holding up his naked arm and open hand, dives down into the hole (it is made like a ballot-box) and pulls out a number, which is rolled up, round something hard, like a bonbon. This he hands to the judge next him, who unrolls a little bit, and hands it to the President, next to whom he sits. The President unrolls it, very slowly. The Capo Lazzarone leans over his shoulder. The President holds it up, unrolled, to the Capo Lazzarone. The Capo Lazzarone, looking at it eagerly, cries out, in a shrill, loud voice, 'Sessantadue!' (sixty two), expressing the two upon his fingers, as he calls it out. Alas! the Capo Lazzarone himself has not staked on sixty-two. His face is very long, and his eyes roll wildly.
As it happens to be a favourite number, however, it is pretty well received, which is not always the case. They are all drawn with the same ceremony, omitting the blessing. One blessing is enough for the whole multiplication-table. The only new incident in the proceedings, is the gradually deepening intensity of the change in the Capo Lazzarone, who has, evidently, speculated to the very utmost extent of his means; and who, when he sees the last number, and finds that it is not one of his, clasps his hands, and raises his eyes to the ceiling before proclaiming it, as though remonstrating, in a secret agony, with his patron saint, for having committed so gross a breach of confidence. I hope the Capo Lazzarone may not desert him for some other member of the Calendar, but he seems to threaten it.
Where the winners may be, nobody knows. They certainly are not present; the general disappointment filling one with pity for the poor people. They look: when we stand aside, observing them, in their passage through the court-yard down below: as miserable as the prisoners in the gaol (it forms a part of the building), who are peeping down upon them, from between their bars; or, as the fragments of human heads which are still dangling in chains outside, in memory of the good old times, when their owners were strung up there, for the popular edification.Away from Naples in a glorious sunrise, by the road to Capua, and then on a three days' journey along by-roads, that we may see, on the way, the monastery of Monte Cassino, which is perched on the steep and lofty hill above the little town of San Germano, and is lost on a misty morning in the clouds.
[Dickens went no farther south than the Bay of Naples. His next section is on the monastery of Monte Cassino, which he visitedSo much the better, for the deep sounding of its bell, which, as we go winding up, on mules, towards the convent, is heard mysteriously in the still air, while nothing is seen but the grey mist, moving solemnly and slowly, like a funeral procession. Behold, at length the shadowy pile of building close before us: its grey walls and towers dimly seen, though so near and so vast: and the raw vapour rolling through its cloisters heavily.
on the way back north. jm]
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