## The Project Gutenberg eBook of The Innocents Abroad — Volume 03

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Innocents Abroad — Volume 03

Author: Mark Twain

Release date: June 22, 2004 [eBook #5690]
Most recently updated: December 29, 2020

Language: English

Other information and formats: www.gutenberg.org/ebooks/5690

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE INNOCENTS ABROAD — VOLUME 03 ***

# THE INNOCENTS ABROAD

### Part 3, Chapters 21 to 30

## by Mark Twain

[Cover and Spine from the 1884 Edition]

# THE INNOCENTS ABROAD

## by Mark Twain

### [From an 1869--1st Edition]

## CONTENTS

### LIST OF ILLUSTRATIONS

### CHAPTER XXI.

The Pretty Lago di Lecco--A Carriage Drive in the Country--Astonishing Sociability in a Coachman--Sleepy Land--Bloody Shrines--The Heart and Home of Priestcraft--A Thrilling Mediaeval Romance--The Birthplace of Harlequin--Approaching Venice

### CHAPTER XXII.

Night in Venice--The "Gay Gondolier"--The Grand Fete by Moonlight--The Notable Sights of Venice--The Mother of the Republics Desolate

### CHAPTER XXIII.

The Famous Gondola--The Gondola in an Unromantic Aspect--The Great Square of St. Mark and the Winged Lion--Snobs, at Home and Abroad--Sepulchres of the Great Dead--A Tilt at the "Old Masters"--A Contraband Guide--The Conspiracy--Moving Again

### CHAPTER XXIV.

Down Through Italy by Rail--Idling in Florence--Dante and Galileo--An Ungrateful City--Dazzling Generosity--Wonderful Mosaics--The Historical Arno--Lost Again--Found Again, but no Fatted Calf Ready--The Leaning Tower of Pisa--The Ancient Duomo--The Old Original First Pendulum that Ever Swung--An Enchanting Echo--A New Holy Sepulchre--A Relic of Antiquity--A Fallen Republic--At Leghorn--At Home Again, and Satisfied, on Board the Ship--Our Vessel an Object of Grave Suspicion--Garibaldi Visited--Threats of Quarantine

### CHAPTER XXV.

The Works of Bankruptcy--Railway Grandeur--How to Fill an Empty Treasury--The Sumptuousness of Mother Church--Ecclesiastical Splendor--Magnificence and Misery--General Execration--More Magnificence A Good Word for the Priests--Civita Vecchia the Dismal--Off for Rome

### CHAPTER XXVI.

The Modern Roman on His Travels--The Grandeur of St. Peter's--Holy Relics--Grand View from the Dome--The Holy Inquisition--Interesting Old Monkish Frauds--The Ruined Coliseum--The Coliseum in the Days of its Prime--Ancient Playbill of a Coliseum Performance--A Roman Newspaper Criticism 1700 Years Old

### CHAPTER XXVII.

"Butchered to Make a Roman Holiday"--The Man who Never Complained--An Exasperating Subject--Asinine Guides--The Roman Catacombs The Saint Whose Fervor Burst his Ribs--The Miracle of the Bleeding Heart--The Legend of Ara Coeli

### CHAPTER XXVIII.

Picturesque Horrors--The Legend of Brother Thomas--Sorrow Scientifically Analyzed--A Festive Company of the Dead--The Great Vatican Museum Artist Sins of Omission--The Rape of the Sabines--Papal Protection of Art--High Price of "Old Masters"--Improved Scripture--Scale of Rank of the Holy Personages in Rome--Scale of Honors Accorded Them--Fossilizing--Away for Naples

### CHAPTER XXIX.

Naples--In Quarantine at Last--Annunciation--Ascent of Mount Vesuvius--A Two Cent Community--The Black Side of Neapolitan Character--Monkish Miracles--Ascent of Mount Vesuvius Continued--The Stranger and the Hackman--Night View of Naples from the Mountain-side---Ascent of Mount Vesuvius Continued

### CHAPTER XXX.

Ascent of Mount Vesuvius Continued--Beautiful View at Dawn--Less Beautiful in the Back Streets--Ascent of Vesuvius Continued--Dwellings a Hundred Feet High--A Motley Procession--Bill of Fare for a Peddler's Breakfast--Princely Salaries--Ascent of Vesuvius Continued--An Average of Prices--The wonderful "Blue Grotto"--Visit to Celebrated Localities in the Bay of Naples--The Poisoned "Grotto of the Dog"--A Petrified Sea of Lava--Ascent of Mount Vesuvius Continued--The Summit Reached--Description of the Crater--Descent of Vesuvius

## LIST OF ILLUSTRATIONS

1 THE QUAKER CITY IN A STORM--FRONTPIECE 2 ILLUMINATED TITLE-PAGE-THE PILGRIM'S VISION 73 SOCIAL DRIVER 74 WAYSIDE SHRINE 75 PEACE AND HAPPINESS 76 CASTLE OF COUNT LUIGI 77 THE WICKED BROTHER 78 DISGUSTED GONDOLIER 79 CATHEDRAL OF ST. MARK 80 THE PEG 81 "GOOD-BY" 82 M'SIEUR GOR-R-DONG 83 MONUMENT TO THE DOOR 84 ST. MARK, MATHEW, JEROME BY THE OLD MASTERS 87 ST. SEBASTIAN, AND ST. UNKNOWN BY THE OLD MASTERS 89 RIALTO BRIDGE AND BRIDGE OF SIGHS 91 FLORENCE 92 THE PENSIONER 93 "I WANT TO GO HOME" 94 THE LEANING TOWER 95 THE CONTRAST 96 ITALIAN PASTIMES 97 INCENDIARY DOCUMENT 98 A ROMAN OF 1869 99 MAMERTINE PRISON 100 OLD ROMAN 101 COLISEUM OF ANCIENT ROME 102 DID NOT COMPLAIN 103 HUMBOLDT HOUSE 104 DAN 105 BRONZE STATUE 106 PENMANSHIP 107 ON A BUST 108 VAULTS OF THE CONVENT 109 DRIED CONVENT FRUITS 110 AT THE STORE 111 AT HOME 112 SOOTHING THE PILGRIMS 113 ASCENT OF MT VESUVIUS 114 BAY OF NAPLES 115 THE MUSTANG 116 ISLAND OF CAPRI 117 BLUE GROTTO 118 VESUVIUS AND BAY of NAPLES 119 THE DESCENT

## CHAPTER XXI.

We voyaged by steamer down the Lago di Lecco, through wild mountain scenery, and by hamlets and villas, and disembarked at the town of Lecco. They said it was two hours, by carriage to the ancient city of Bergamo, and that we would arrive there in good season for the railway train. We got an open barouche and a wild, boisterous driver, and set out. It was delightful. We had a fast team and a perfectly smooth road. There were towering cliffs on our left, and the pretty Lago di Lecco on our right, and every now and then it rained on us. Just before starting, the driver picked up, in the street, a stump of a cigar an inch long, and put it in his mouth. When he had carried it thus about an hour, I thought it would be only Christian charity to give him a light. I handed him my cigar, which I had just lit, and he put it in his mouth and returned his stump to his pocket! I never saw a more sociable man. At least I never saw a man who was more sociable on a short acquaintance.

We saw interior Italy, now. The houses were of solid stone, and not often in good repair. The peasants and their children were idle, as a general thing, and the donkeys and chickens made themselves at home in drawing-room and bed-chamber and were not molested. The drivers of each and every one of the slow-moving market-carts we met were stretched in the sun upon their merchandise, sound a sleep. Every three or four hundred yards, it seemed to me, we came upon the shrine of some saint or other--a rude picture of him built into a huge cross or a stone pillar by the road-side.--Some of the pictures of the Saviour were curiosities in their way. They represented him stretched upon the cross, his countenance distorted with agony. From the wounds of the crown of thorns; from the pierced side; from the mutilated hands and feet; from the scourged body--from every hand-breadth of his person streams of blood were flowing! Such a gory, ghastly spectacle would frighten the children out of their senses, I should think. There were some unique auxiliaries to the painting which added to its spirited effect. These were genuine wooden and iron implements, and were prominently disposed round about the figure: a bundle of nails; the hammer to drive them; the sponge; the reed that supported it; the cup of vinegar; the ladder for the ascent of the cross; the spear that pierced the Saviour's side. The crown of thorns was made of real thorns, and was nailed to the sacred head. In some Italian church-paintings, even by the old masters, the Saviour and the Virgin wear silver or gilded crowns that are fastened to the pictured head with nails. The effect is as grotesque as it is incongruous.

Here and there, on the fronts of roadside inns, we found huge, coarse frescoes of suffering martyrs like those in the shrines. It could not have diminished their sufferings any to be so uncouthly represented. We were in the heart and home of priest craft--of a happy, cheerful, contented ignorance, superstition, degradation, poverty, indolence, and everlasting unaspiring worthlessness. And we said fervently: it suits these people precisely; let them enjoy it, along with the other animals, and Heaven forbid that they be molested. We feel no malice toward these fumigators.

We passed through the strangest, funniest, undreampt-of old towns, wedded to the customs and steeped in the dreams of the elder ages, and perfectly unaware that the world turns round! And perfectly indifferent, too, as to whether it turns around or stands still. They have nothing to do but eat and sleep and sleep and eat, and toil a little when they can get a friend to stand by and keep them awake. They are not paid for thinking--they are not paid to fret about the world's concerns. They were not respectable people--they were not worthy people--they were not learned and wise and brilliant people--but in their breasts, all their stupid lives long, resteth a peace that passeth understanding! How can men, calling themselves men, consent to be so degraded and happy.

We whisked by many a gray old medieval castle, clad thick with ivy that swung its green banners down from towers and turrets where once some old Crusader's flag had floated. The driver pointed to one of these ancient fortresses, and said, (I translate):

"Do you see that great iron hook that projects from the wall just under the highest window in the ruined tower?"

We said we could not see it at such a distance, but had no doubt it was there.

"Well," he said; "there is a legend connected with that iron hook. Nearly seven hundred years ago, that castle was the property of the noble Count Luigi Gennaro Guido Alphonso di Genova----"

"What was his other name?" said Dan.

"He had no other name. The name I have spoken was all the name he had. He was the son of----"

"Poor but honest parents--that is all right--never mind the particulars--go on with the legend."

### THE LEGEND.

Well, then, all the world, at that time, was in a wild excitement about the Holy Sepulchre. All the great feudal lords in Europe were pledging their lands and pawning their plate to fit out men-at-arms so that they might join the grand armies of Christendom and win renown in the Holy Wars. The Count Luigi raised money, like the rest, and one mild September morning, armed with battle-ax, portcullis and thundering culverin, he rode through the greaves and bucklers of his donjon-keep with as gallant a troop of Christian bandits as ever stepped in Italy. He had his sword, Excalibur, with him. His beautiful countess and her young daughter waved him a tearful adieu from the battering-rams and buttresses of the fortress, and he galloped away with a happy heart.

He made a raid on a neighboring baron and completed his outfit with the booty secured. He then razed the castle to the ground, massacred the family and moved on. They were hardy fellows in the grand old days of chivalry. Alas! Those days will never come again.

Count Luigi grew high in fame in Holy Land. He plunged into the carnage of a hundred battles, but his good Excalibur always brought him out alive, albeit often sorely wounded. His face became browned by exposure to the Syrian sun in long marches; he suffered hunger and thirst; he pined in prisons, he languished in loathsome plague-hospitals. And many and many a time he thought of his loved ones at home, and wondered if all was well with them. But his heart said, Peace, is not thy brother watching over thy household?

* * * * * * *

Forty-two years waxed and waned; the good fight was won; Godfrey reigned in Jerusalem--the Christian hosts reared the banner of the cross above the Holy Sepulchre!

Twilight was approaching. Fifty harlequins, in flowing robes, approached this castle wearily, for they were on foot, and the dust upon their garments betokened that they had traveled far. They overtook a peasant, and asked him if it were likely they could get food and a hospitable bed there, for love of Christian charity, and if perchance, a moral parlor entertainment might meet with generous countenance--"for," said they, "this exhibition hath no feature that could offend the most fastidious taste."

"Marry," quoth the peasant, "an' it please your worships, ye had better journey many a good rood hence with your juggling circus than trust your bones in yonder castle."

"How now, sirrah!" exclaimed the chief monk, "explain thy ribald speech, or by'r Lady it shall go hard with thee."

"Peace, good mountebank, I did but utter the truth that was in my heart. San Paolo be my witness that did ye but find the stout Count Leonardo in his cups, sheer from the castle's topmost battlements would he hurl ye all! Alack-a-day, the good Lord Luigi reigns not here in these sad times."

"The good Lord Luigi?"

"Aye, none other, please your worship. In his day, the poor rejoiced in plenty and the rich he did oppress; taxes were not known, the fathers of the church waxed fat upon his bounty; travelers went and came, with none to interfere; and whosoever would, might tarry in his halls in cordial welcome, and eat his bread and drink his wine, withal. But woe is me! some two and forty years agone the good count rode hence to fight for Holy Cross, and many a year hath flown since word or token have we had of him. Men say his bones lie bleaching in the fields of Palestine."

"And now?"

"Now! God 'a mercy, the cruel Leonardo lords it in the castle. He wrings taxes from the poor; he robs all travelers that journey by his gates; he spends his days in feuds and murders, and his nights in revel and debauch; he roasts the fathers of the church upon his kitchen spits, and enjoyeth the same, calling it pastime. These thirty years Luigi's countess hath not been seen by any [he] in all this land, and many whisper that she pines in the dungeons of the castle for that she will not wed with Leonardo, saying her dear lord still liveth and that she will die ere she prove false to him. They whisper likewise that her daughter is a prisoner as well. Nay, good jugglers, seek ye refreshment other wheres. 'Twere better that ye perished in a Christian way than that ye plunged from off yon dizzy tower. Give ye good-day."

"God keep ye, gentle knave--farewell."

But heedless of the peasant's warning, the players moved straightway toward the castle.

Word was brought to Count Leonardo that a company of mountebanks besought his hospitality.

"'Tis well. Dispose of them in the customary manner. Yet stay! I have need of them. Let them come hither. Later, cast them from the battlements--or--how many priests have ye on hand?"

"The day's results are meagre, good my lord. An abbot and a dozen beggarly friars is all we have."

"Hell and furies! Is the estate going to seed? Send hither the mountebanks. Afterward, broil them with the priests."

The robed and close-cowled harlequins entered. The grim Leonardo sate in state at the head of his council board. Ranged up and down the hall on either hand stood near a hundred men-at-arms.

"Ha, villains!" quoth the count, "What can ye do to earn the hospitality ye crave."

"Dread lord and mighty, crowded audiences have greeted our humble efforts with rapturous applause. Among our body count we the versatile and talented Ugolino; the justly celebrated Rodolpho; the gifted and accomplished Roderigo; the management have spared neither pains nor expense--"

"S'death! What can ye do? Curb thy prating tongue."

"Good my lord, in acrobatic feats, in practice with the dumb-bells, in balancing and ground and lofty tumbling are we versed--and sith your highness asketh me, I venture here to publish that in the truly marvelous and entertaining Zampillaerostation--"

"Gag him! throttle him! Body of Bacchus! am I a dog that I am to be assailed with polysyllabled blasphemy like to this? But hold! Lucretia, Isabel, stand forth! Sirrah, behold this dame, this weeping wench. The first I marry, within the hour; the other shall dry her tears or feed the vultures. Thou and thy vagabonds shall crown the wedding with thy merry-makings. Fetch hither the priest!"

The dame sprang toward the chief player.

"O, save me!" she cried; "save me from a fate far worse than death! Behold these sad eyes, these sunken cheeks, this withered frame! See thou the wreck this fiend hath made, and let thy heart be moved with pity! Look upon this damosel; note her wasted form, her halting step, her bloomless cheeks where youth should blush and happiness exult in smiles! Hear us and have compassion. This monster was my husband's brother. He who should have been our shield against all harm, hath kept us shut within the noisome caverns of his donjon-keep for lo these thirty years. And for what crime? None other than that I would not belie my troth, root out my strong love for him who marches with the legions of the cross in Holy Land, (for O, he is not dead!) and wed with him! Save us, O, save thy persecuted suppliants!"

She flung herself at his feet and clasped his knees.

"Ha!-ha!-ha!" shouted the brutal Leonardo. "Priest, to thy work!" and he dragged the weeping dame from her refuge. "Say, once for all, will you be mine?--for by my halidome, that breath that uttereth thy refusal shall be thy last on earth!"

"NE-VER?"

"Then die!" and the sword leaped from its scabbard.

Quicker than thought, quicker than the lightning's flash, fifty monkish habits disappeared, and fifty knights in splendid armor stood revealed! fifty falchions gleamed in air above the men-at-arms, and brighter, fiercer than them all, flamed Excalibur aloft, and cleaving downward struck the brutal Leonardo's weapon from his grasp!

"A Luigi to the rescue! Whoop!"

"A Leonardo! 'tare an ouns!'"

"Oh, God, Oh, God, my husband!"

"Oh, God, Oh, God, my wife!"

"My father!"

"My precious!" [Tableau.]

Count Luigi bound his usurping brother hand and foot. The practiced knights from Palestine made holyday sport of carving the awkward men-at-arms into chops and steaks. The victory was complete. Happiness reigned. The knights all married the daughter. Joy! wassail! finis!

"But what did they do with the wicked brother?"

"Oh nothing--only hanged him on that iron hook I was speaking of. By the chin."

"As how?"

"Passed it up through his gills into his mouth."

"Leave him there?"

"Couple of years."

"Ah--is--is he dead?"

"Six hundred and fifty years ago, or such a matter."

"Splendid legend--splendid lie--drive on."

We reached the quaint old fortified city of Bergamo, the renowned in history, some three-quarters of an hour before the train was ready to start. The place has thirty or forty thousand inhabitants and is remarkable for being the birthplace of harlequin. When we discovered that, that legend of our driver took to itself a new interest in our eyes.

Rested and refreshed, we took the rail happy and contented. I shall not tarry to speak of the handsome Lago di Gardi; its stately castle that holds in its stony bosom the secrets of an age so remote that even tradition goeth not back to it; the imposing mountain scenery that ennobles the landscape thereabouts; nor yet of ancient Padua or haughty Verona; nor of their Montagues and Capulets, their famous balconies and tombs of Juliet and Romeo et al., but hurry straight to the ancient city of the sea, the widowed bride of the Adriatic. It was a long, long ride. But toward evening, as we sat silent and hardly conscious of where we were--subdued into that meditative calm that comes so surely after a conversational storm--some one shouted--

"VENICE!"

And sure enough, afloat on the placid sea a league away, lay a great city, with its towers and domes and steeples drowsing in a golden mist of sunset.

## CHAPTER XXII.

This Venice, which was a haughty, invincible, magnificent Republic for nearly fourteen hundred years; whose armies compelled the world's applause whenever and wherever they battled; whose navies well nigh held dominion of the seas, and whose merchant fleets whitened the remotest oceans with their sails and loaded these piers with the products of every clime, is fallen a prey to poverty, neglect and melancholy decay. Six hundred years ago, Venice was the Autocrat of Commerce; her mart was the great commercial centre, the distributing-house from whence the enormous trade of the Orient was spread abroad over the Western world. To-day her piers are deserted, her warehouses are empty, her merchant fleets are vanished, her armies and her navies are but memories. Her glory is departed, and with her crumbling grandeur of wharves and palaces about her she sits among her stagnant lagoons, forlorn and beggared, forgotten of the world. She that in her palmy days commanded the commerce of a hemisphere and made the weal or woe of nations with a beck of her puissant finger, is become the humblest among the peoples of the earth,--a peddler of glass beads for women, and trifling toys and trinkets for school-girls and children.

The venerable Mother of the Republics is scarce a fit subject for flippant speech or the idle gossipping of tourists. It seems a sort of sacrilege to disturb the glamour of old romance that pictures her to us softly from afar off as through a tinted mist, and curtains her ruin and her desolation from our view. One ought, indeed, to turn away from her rags, her poverty and her humiliation, and think of her only as she was when she sunk the fleets of Charlemagne; when she humbled Frederick Barbarossa or waved her victorious banners above the battlements of Constantinople.

We reached Venice at eight in the evening, and entered a hearse belonging to the Grand Hotel d'Europe. At any rate, it was more like a hearse than any thing else, though to speak by the card, it was a gondola. And this was the storied gondola of Venice!--the fairy boat in which the princely cavaliers of the olden time were wont to cleave the waters of the moonlit canals and look the eloquence of love into the soft eyes of patrician beauties, while the gay gondolier in silken doublet touched his guitar and sang as only gondoliers can sing! This the famed gondola and this the gorgeous gondolier!--the one an inky, rusty old canoe with a sable hearse-body clapped on to the middle of it, and the other a mangy, barefooted guttersnipe with a portion of his raiment on exhibition which should have been sacred from public scrutiny. Presently, as he turned a corner and shot his hearse into a dismal ditch between two long rows of towering, untenanted buildings, the gay gondolier began to sing, true to the traditions of his race. I stood it a little while. Then I said:

"Now, here, Roderigo Gonzales Michael Angelo, I'm a pilgrim, and I'm a stranger, but I am not going to have my feelings lacerated by any such caterwauling as that. If that goes on, one of us has got to take water. It is enough that my cherished dreams of Venice have been blighted forever as to the romantic gondola and the gorgeous gondolier; this system of destruction shall go no farther; I will accept the hearse, under protest, and you may fly your flag of truce in peace, but here I register a dark and bloody oath that you shan't sing. Another yelp, and overboard you go."

I began to feel that the old Venice of song and story had departed forever. But I was too hasty. In a few minutes we swept gracefully out into the Grand Canal, and under the mellow moonlight the Venice of poetry and romance stood revealed. Right from the water's edge rose long lines of stately palaces of marble; gondolas were gliding swiftly hither and thither and disappearing suddenly through unsuspected gates and alleys; ponderous stone bridges threw their shadows athwart the glittering waves. There was life and motion everywhere, and yet everywhere there was a hush, a stealthy sort of stillness, that was suggestive of secret enterprises of bravoes and of lovers; and clad half in moonbeams and half in mysterious shadows, the grim old mansions of the Republic seemed to have an expression about them of having an eye out for just such enterprises as these at that same moment. Music came floating over the waters--Venice was complete.

It was a beautiful picture--very soft and dreamy and beautiful. But what was this Venice to compare with the Venice of midnight? Nothing. There was a fete--a grand fete in honor of some saint who had been instrumental in checking the cholera three hundred years ago, and all Venice was abroad on the water. It was no common affair, for the Venetians did not know how soon they might need the saint's services again, now that the cholera was spreading every where. So in one vast space--say a third of a mile wide and two miles long--were collected two thousand gondolas, and every one of them had from two to ten, twenty and even thirty colored lanterns suspended about it, and from four to a dozen occupants. Just as far as the eye could reach, these painted lights were massed together--like a vast garden of many-colored flowers, except that these blossoms were never still; they were ceaselessly gliding in and out, and mingling together, and seducing you into bewildering attempts to follow their mazy evolutions. Here and there a strong red, green, or blue glare from a rocket that was struggling to get away, splendidly illuminated all the boats around it. Every gondola that swam by us, with its crescents and pyramids and circles of colored lamps hung aloft, and lighting up the faces of the young and the sweet-scented and lovely below, was a picture; and the reflections of those lights, so long, so slender, so numberless, so many-colored and so distorted and wrinkled by the waves, was a picture likewise, and one that was enchantingly beautiful. Many and many a party of young ladies and gentlemen had their state gondolas handsomely decorated, and ate supper on board, bringing their swallow-tailed, white-cravatted varlets to wait upon them, and having their tables tricked out as if for a bridal supper. They had brought along the costly globe lamps from their drawing-rooms, and the lace and silken curtains from the same places, I suppose. And they had also brought pianos and guitars, and they played and sang operas, while the plebeian paper-lanterned gondolas from the suburbs and the back alleys crowded around to stare and listen.

There was music every where--choruses, string bands, brass bands, flutes, every thing. I was so surrounded, walled in, with music, magnificence and loveliness, that I became inspired with the spirit of the scene, and sang one tune myself. However, when I observed that the other gondolas had sailed away, and my gondolier was preparing to go overboard, I stopped.

The fete was magnificent. They kept it up the whole night long, and I never enjoyed myself better than I did while it lasted.

What a funny old city this Queen of the Adriatic is! Narrow streets, vast, gloomy marble palaces, black with the corroding damps of centuries, and all partly submerged; no dry land visible any where, and no sidewalks worth mentioning; if you want to go to church, to the theatre, or to the restaurant, you must call a gondola. It must be a paradise for cripples, for verily a man has no use for legs here.

For a day or two the place looked so like an overflowed Arkansas town, because of its currentless waters laving the very doorsteps of all the houses, and the cluster of boats made fast under the windows, or skimming in and out of the alleys and by-ways, that I could not get rid of the impression that there was nothing the matter here but a spring freshet, and that the river would fall in a few weeks and leave a dirty high-water mark on the houses, and the streets full of mud and rubbish.

In the glare of day, there is little poetry about Venice, but under the charitable moon her stained palaces are white again, their battered sculptures are hidden in shadows, and the old city seems crowned once more with the grandeur that was hers five hundred years ago. It is easy, then, in fancy, to people these silent canals with plumed gallants and fair ladies--with Shylocks in gaberdine and sandals, venturing loans upon the rich argosies of Venetian commerce--with Othellos and Desdemonas, with Iagos and Roderigos--with noble fleets and victorious legions returning from the wars. In the treacherous sunlight we see Venice decayed, forlorn, poverty-stricken, and commerceless--forgotten and utterly insignificant. But in the moonlight, her fourteen centuries of greatness fling their glories about her, and once more is she the princeliest among the nations of the earth.

"There is a glorious city in the sea; The sea is in the broad, the narrow streets, Ebbing and flowing; and the salt-sea weed Clings to the marble of her palaces. No track of men, no footsteps to and fro, Lead to her gates! The path lies o'er the sea, Invisible: and from the land we went, As to a floating city--steering in, And gliding up her streets, as in a dream, So smoothly, silently--by many a dome, Mosque-like, and many a stately portico, The statues ranged along an azure sky; By many a pile, in more than Eastern pride, Of old the residence of merchant kings; The fronts of some, tho' time had shatter'd them, Still glowing with the richest hues of art, As tho' the wealth within them had run o'er."

What would one naturally wish to see first in Venice? The Bridge of Sighs, of course--and next the Church and the Great Square of St. Mark, the Bronze Horses, and the famous Lion of St. Mark.

We intended to go to the Bridge of Sighs, but happened into the Ducal Palace first--a building which necessarily figures largely in Venetian poetry and tradition. In the Senate Chamber of the ancient Republic we wearied our eyes with staring at acres of historical paintings by Tintoretto and Paul Veronese, but nothing struck us forcibly except the one thing that strikes all strangers forcibly--a black square in the midst of a gallery of portraits. In one long row, around the great hall, were painted the portraits of the Doges of Venice (venerable fellows, with flowing white beards, for of the three hundred Senators eligible to the office, the oldest was usually chosen Doge,) and each had its complimentary inscription attached--till you came to the place that should have had Marino Faliero's picture in it, and that was blank and black--blank, except that it bore a terse inscription, saying that the conspirator had died for his crime. It seemed cruel to keep that pitiless inscription still staring from the walls after the unhappy wretch had been in his grave five hundred years.

At the head of the Giant's Staircase, where Marino Faliero was beheaded, and where the Doges were crowned in ancient times, two small slits in the stone wall were pointed out--two harmless, insignificant orifices that would never attract a stranger's attention--yet these were the terrible Lions' Mouths! The heads were gone (knocked off by the French during their occupation of Venice,) but these were the throats, down which went the anonymous accusation, thrust in secretly at dead of night by an enemy, that doomed many an innocent man to walk the Bridge of Sighs and descend into the dungeon which none entered and hoped to see the sun again. This was in the old days when the Patricians alone governed Venice--the common herd had no vote and no voice. There were one thousand five hundred Patricians; from these, three hundred Senators were chosen; from the Senators a Doge and a Council of Ten were selected, and by secret ballot the Ten chose from their own number a Council of Three. All these were Government spies, then, and every spy was under surveillance himself--men spoke in whispers in Venice, and no man trusted his neighbor--not always his own brother. No man knew who the Council of Three were--not even the Senate, not even the Doge; the members of that dread tribunal met at night in a chamber to themselves, masked, and robed from head to foot in scarlet cloaks, and did not even know each other, unless by voice. It was their duty to judge heinous political crimes, and from their sentence there was no appeal. A nod to the executioner was sufficient. The doomed man was marched down a hall and out at a door-way into the covered Bridge of Sighs, through it and into the dungeon and unto his death. At no time in his transit was he visible to any save his conductor. If a man had an enemy in those old days, the cleverest thing he could do was to slip a note for the Council of Three into the Lion's mouth, saying "This man is plotting against the Government." If the awful Three found no proof, ten to one they would drown him anyhow, because he was a deep rascal, since his plots were unsolvable. Masked judges and masked executioners, with unlimited power, and no appeal from their judgements, in that hard, cruel age, were not likely to be lenient with men they suspected yet could not convict.

We walked through the hall of the Council of Ten, and presently entered the infernal den of the Council of Three.

The table around which they had sat was there still, and likewise the stations where the masked inquisitors and executioners formerly stood, frozen, upright and silent, till they received a bloody order, and then, without a word, moved off like the inexorable machines they were, to carry it out. The frescoes on the walls were startlingly suited to the place. In all the other saloons, the halls, the great state chambers of the palace, the walls and ceilings were bright with gilding, rich with elaborate carving, and resplendent with gallant pictures of Venetian victories in war, and Venetian display in foreign courts, and hallowed with portraits of the Virgin, the Saviour of men, and the holy saints that preached the Gospel of Peace upon earth--but here, in dismal contrast, were none but pictures of death and dreadful suffering!--not a living figure but was writhing in torture, not a dead one but was smeared with blood, gashed with wounds, and distorted with the agonies that had taken away its life!

From the palace to the gloomy prison is but a step--one might almost jump across the narrow canal that intervenes. The ponderous stone Bridge of Sighs crosses it at the second story--a bridge that is a covered tunnel--you can not be seen when you walk in it. It is partitioned lengthwise, and through one compartment walked such as bore light sentences in ancient times, and through the other marched sadly the wretches whom the Three had doomed to lingering misery and utter oblivion in the dungeons, or to sudden and mysterious death. Down below the level of the water, by the light of smoking torches, we were shown the damp, thick-walled cells where many a proud patrician's life was eaten away by the long-drawn miseries of solitary imprisonment--without light, air, books; naked, unshaven, uncombed, covered with vermin; his useless tongue forgetting its office, with none to speak to; the days and nights of his life no longer marked, but merged into one eternal eventless night; far away from all cheerful sounds, buried in the silence of a tomb; forgotten by his helpless friends, and his fate a dark mystery to them forever; losing his own memory at last, and knowing no more who he was or how he came there; devouring the loaf of bread and drinking the water that were thrust into the cell by unseen hands, and troubling his worn spirit no more with hopes and fears and doubts and longings to be free; ceasing to scratch vain prayers and complainings on walls where none, not even himself, could see them, and resigning himself to hopeless apathy, driveling childishness, lunacy! Many and many a sorrowful story like this these stony walls could tell if they could but speak.

In a little narrow corridor, near by, they showed us where many a prisoner, after lying in the dungeons until he was forgotten by all save his persecutors, was brought by masked executioners and garroted, or sewed up in a sack, passed through a little window to a boat, at dead of night, and taken to some remote spot and drowned.

They used to show to visitors the implements of torture wherewith the Three were wont to worm secrets out of the accused--villainous machines for crushing thumbs; the stocks where a prisoner sat immovable while water fell drop by drop upon his head till the torture was more than humanity could bear; and a devilish contrivance of steel, which inclosed a prisoner's head like a shell, and crushed it slowly by means of a screw. It bore the stains of blood that had trickled through its joints long ago, and on one side it had a projection whereon the torturer rested his elbow comfortably and bent down his ear to catch the moanings of the sufferer perishing within.

Of course we went to see the venerable relic of the ancient glory of Venice, with its pavements worn and broken by the passing feet of a thousand years of plebeians and patricians--The Cathedral of St. Mark. It is built entirely of precious marbles, brought from the Orient--nothing in its composition is domestic. Its hoary traditions make it an object of absorbing interest to even the most careless stranger, and thus far it had interest for me; but no further. I could not go into ecstasies over its coarse mosaics, its unlovely Byzantine architecture, or its five hundred curious interior columns from as many distant quarries. Every thing was worn out--every block of stone was smooth and almost shapeless with the polishing hands and shoulders of loungers who devoutly idled here in by-gone centuries and have died and gone to the dev--no, simply died, I mean.

Under the altar repose the ashes of St. Mark--and Matthew, Luke and John, too, for all I know. Venice reveres those relics above all things earthly. For fourteen hundred years St. Mark has been her patron saint. Every thing about the city seems to be named after him or so named as to refer to him in some way--so named, or some purchase rigged in some way to scrape a sort of hurrahing acquaintance with him. That seems to be the idea. To be on good terms with St. Mark, seems to be the very summit of Venetian ambition. They say St. Mark had a tame lion, and used to travel with him--and every where that St. Mark went, the lion was sure to go. It was his protector, his friend, his librarian. And so the Winged Lion of St. Mark, with the open Bible under his paw, is a favorite emblem in the grand old city. It casts its shadow from the most ancient pillar in Venice, in the Grand Square of St. Mark, upon the throngs of free citizens below, and has so done for many a long century. The winged lion is found every where--and doubtless here, where the winged lion is, no harm can come.

St. Mark died at Alexandria, in Egypt. He was martyred, I think. However, that has nothing to do with my legend. About the founding of the city of Venice--say four hundred and fifty years after Christ--(for Venice is much younger than any other Italian city,) a priest dreamed that an angel told him that until the remains of St. Mark were brought to Venice, the city could never rise to high distinction among the nations; that the body must be captured, brought to the city, and a magnificent church built over it; and that if ever the Venetians allowed the Saint to be removed from his new resting-place, in that day Venice would perish from off the face of the earth. The priest proclaimed his dream, and forthwith Venice set about procuring the corpse of St. Mark. One expedition after another tried and failed, but the project was never abandoned during four hundred years. At last it was secured by stratagem, in the year eight hundred and something. The commander of a Venetian expedition disguised himself, stole the bones, separated them, and packed them in vessels filled with lard. The religion of Mahomet causes its devotees to abhor anything that is in the nature of pork, and so when the Christian was stopped by the officers at the gates of the city, they only glanced once into his precious baskets, then turned up their noses at the unholy lard, and let him go. The bones were buried in the vaults of the grand cathedral, which had been waiting long years to receive them, and thus the safety and the greatness of Venice were secured. And to this day there be those in Venice who believe that if those holy ashes were stolen away, the ancient city would vanish like a dream, and its foundations be buried forever in the unremembering sea.

## CHAPTER XXIII.

The Venetian gondola is as free and graceful, in its gliding movement, as a serpent. It is twenty or thirty feet long, and is narrow and deep, like a canoe; its sharp bow and stern sweep upward from the water like the horns of a crescent with the abruptness of the curve slightly modified.

The bow is ornamented with a steel comb with a battle-ax attachment which threatens to cut passing boats in two occasionally, but never does. The gondola is painted black because in the zenith of Venetian magnificence the gondolas became too gorgeous altogether, and the Senate decreed that all such display must cease, and a solemn, unembellished black be substituted. If the truth were known, it would doubtless appear that rich plebeians grew too prominent in their affectation of patrician show on the Grand Canal, and required a wholesome snubbing. Reverence for the hallowed Past and its traditions keeps the dismal fashion in force now that the compulsion exists no longer. So let it remain. It is the color of mourning. Venice mourns. The stern of the boat is decked over and the gondolier stands there. He uses a single oar--a long blade, of course, for he stands nearly erect. A wooden peg, a foot and a half high, with two slight crooks or curves in one side of it and one in the other, projects above the starboard gunwale.

Against that peg the gondolier takes a purchase with his oar, changing it at intervals to the other side of the peg or dropping it into another of the crooks, as the steering of the craft may demand--and how in the world he can back and fill, shoot straight ahead, or flirt suddenly around a corner, and make the oar stay in those insignificant notches, is a problem to me and a never diminishing matter of interest. I am afraid I study the gondolier's marvelous skill more than I do the sculptured palaces we glide among. He cuts a corner so closely, now and then, or misses another gondola by such an imperceptible hair-breadth that I feel myself "scrooching," as the children say, just as one does when a buggy wheel grazes his elbow. But he makes all his calculations with the nicest precision, and goes darting in and out among a Broadway confusion of busy craft with the easy confidence of the educated hackman. He never makes a mistake.

Sometimes we go flying down the great canals at such a gait that we can get only the merest glimpses into front doors, and again, in obscure alleys in the suburbs, we put on a solemnity suited to the silence, the mildew, the stagnant waters, the clinging weeds, the deserted houses and the general lifelessness of the place, and move to the spirit of grave meditation.

The gondolier is a picturesque rascal for all he wears no satin harness, no plumed bonnet, no silken tights. His attitude is stately; he is lithe and supple; all his movements are full of grace. When his long canoe, and his fine figure, towering from its high perch on the stern, are cut against the evening sky, they make a picture that is very novel and striking to a foreign eye.

We sit in the cushioned carriage-body of a cabin, with the curtains drawn, and smoke, or read, or look out upon the passing boats, the houses, the bridges, the people, and enjoy ourselves much more than we could in a buggy jolting over our cobble-stone pavements at home. This is the gentlest, pleasantest locomotion we have ever known.

But it seems queer--ever so queer--to see a boat doing duty as a private carriage. We see business men come to the front door, step into a gondola, instead of a street car, and go off down town to the counting-room.

We see visiting young ladies stand on the stoop, and laugh, and kiss good-bye, and flirt their fans and say "Come soon--now do--you've been just as mean as ever you can be--mother's dying to see you--and we've moved into the new house, O such a love of a place!--so convenient to the post office and the church, and the Young Men's Christian Association; and we do have such fishing, and such carrying on, and such swimming-matches in the back yard--Oh, you must come--no distance at all, and if you go down through by St. Mark's and the Bridge of Sighs, and cut through the alley and come up by the church of Santa Maria dei Frari, and into the Grand Canal, there isn't a bit of current--now do come, Sally Maria--by-bye!" and then the little humbug trips down the steps, jumps into the gondola, says, under her breath, "Disagreeable old thing, I hope she won't!" goes skimming away, round the corner; and the other girl slams the street door and says, "Well, that infliction's over, any way,--but I suppose I've got to go and see her--tiresome stuck-up thing!" Human nature appears to be just the same, all over the world. We see the diffident young man, mild of moustache, affluent of hair, indigent of brain, elegant of costume, drive up to her father's mansion, tell his hackman to bail out and wait, start fearfully up the steps and meet "the old gentleman" right on the threshold!--hear him ask what street the new British Bank is in--as if that were what he came for--and then bounce into his boat and skurry away with his coward heart in his boots!--see him come sneaking around the corner again, directly, with a crack of the curtain open toward the old gentleman's disappearing gondola, and out scampers his Susan with a flock of little Italian endearments fluttering from her lips, and goes to drive with him in the watery avenues down toward the Rialto.

We see the ladies go out shopping, in the most natural way, and flit from street to street and from store to store, just in the good old fashion, except that they leave the gondola, instead of a private carriage, waiting at the curbstone a couple of hours for them,--waiting while they make the nice young clerks pull down tons and tons of silks and velvets and moire antiques and those things; and then they buy a paper of pins and go paddling away to confer the rest of their disastrous patronage on some other firm. And they always have their purchases sent home just in the good old way. Human nature is very much the same all over the world; and it is so like my dear native home to see a Venetian lady go into a store and buy ten cents' worth of blue ribbon and have it sent home in a scow. Ah, it is these little touches of nature that move one to tears in these far-off foreign lands.

We see little girls and boys go out in gondolas with their nurses, for an airing. We see staid families, with prayer-book and beads, enter the gondola dressed in their Sunday best, and float away to church. And at midnight we see the theatre break up and discharge its swarm of hilarious youth and beauty; we hear the cries of the hackman-gondoliers, and behold the struggling crowd jump aboard, and the black multitude of boats go skimming down the moonlit avenues; we see them separate here and there, and disappear up divergent streets; we hear the faint sounds of laughter and of shouted farewells floating up out of the distance; and then, the strange pageant being gone, we have lonely stretches of glittering water--of stately buildings--of blotting shadows--of weird stone faces creeping into the moonlight--of deserted bridges--of motionless boats at anchor. And over all broods that mysterious stillness, that stealthy quiet, that befits so well this old dreaming Venice.

We have been pretty much every where in our gondola. We have bought beads and photographs in the stores, and wax matches in the Great Square of St. Mark. The last remark suggests a digression. Every body goes to this vast square in the evening. The military bands play in the centre of it and countless couples of ladies and gentlemen promenade up and down on either side, and platoons of them are constantly drifting away toward the old Cathedral, and by the venerable column with the Winged Lion of St. Mark on its top, and out to where the boats lie moored; and other platoons are as constantly arriving from the gondolas and joining the great throng. Between the promenaders and the side-walks are seated hundreds and hundreds of people at small tables, smoking and taking granita, (a first cousin to ice-cream;) on the side-walks are more employing themselves in the same way. The shops in the first floor of the tall rows of buildings that wall in three sides of the square are brilliantly lighted, the air is filled with music and merry voices, and altogether the scene is as bright and spirited and full of cheerfulness as any man could desire. We enjoy it thoroughly. Very many of the young women are exceedingly pretty and dress with rare good taste. We are gradually and laboriously learning the ill-manners of staring them unflinchingly in the face--not because such conduct is agreeable to us, but because it is the custom of the country and they say the girls like it. We wish to learn all the curious, outlandish ways of all the different countries, so that we can "show off" and astonish people when we get home. We wish to excite the envy of our untraveled friends with our strange foreign fashions which we can't shake off. All our passengers are paying strict attention to this thing, with the end in view which I have mentioned. The gentle reader will never, never know what a consummate ass he can become, until he goes abroad. I speak now, of course, in the supposition that the gentle reader has not been abroad, and therefore is not already a consummate ass. If the case be otherwise, I beg his pardon and extend to him the cordial hand of fellowship and call him brother. I shall always delight to meet an ass after my own heart when I shall have finished my travels.

On this subject let me remark that there are Americans abroad in Italy who have actually forgotten their mother tongue in three months--forgot it in France. They can not even write their address in English in a hotel register. I append these evidences, which I copied verbatim from the register of a hotel in a certain Italian city:

"John P. Whitcomb, Etats Unis. "Wm. L. Ainsworth, travailleur (he meant traveler, I suppose,) Etats Unis. "George P. Morton et fils, d'Amerique. "Lloyd B. Williams, et trois amis, ville de Boston, Amerique. "J. Ellsworth Baker, tout de suite de France, place de naissance Amerique, destination la Grand Bretagne."

I love this sort of people. A lady passenger of ours tells of a fellow-citizen of hers who spent eight weeks in Paris and then returned home and addressed his dearest old bosom friend Herbert as Mr. "Er-bare!" He apologized, though, and said, "'Pon my soul it is aggravating, but I cahn't help it--I have got so used to speaking nothing but French, my dear Erbare--damme there it goes again!--got so used to French pronunciation that I cahn't get rid of it--it is positively annoying, I assure you." This entertaining idiot, whose name was Gordon, allowed himself to be hailed three times in the street before he paid any attention, and then begged a thousand pardons and said he had grown so accustomed to hearing himself addressed as "M'sieu Gor-r-dong," with a roll to the r, that he had forgotten the legitimate sound of his name! He wore a rose in his button-hole; he gave the French salutation--two flips of the hand in front of the face; he called Paris Pairree in ordinary English conversation; he carried envelopes bearing foreign postmarks protruding from his breast-pocket; he cultivated a moustache and imperial, and did what else he could to suggest to the beholder his pet fancy that he resembled Louis Napoleon--and in a spirit of thankfulness which is entirely unaccountable, considering the slim foundation there was for it, he praised his Maker that he was as he was, and went on enjoying his little life just the same as if he really had been deliberately designed and erected by the great Architect of the Universe.

Think of our Whitcombs, and our Ainsworths and our Williamses writing themselves down in dilapidated French in foreign hotel registers! We laugh at Englishmen, when we are at home, for sticking so sturdily to their national ways and customs, but we look back upon it from abroad very forgivingly. It is not pleasant to see an American thrusting his nationality forward obtrusively in a foreign land, but Oh, it is pitiable to see him making of himself a thing that is neither male nor female, neither fish, flesh, nor fowl--a poor, miserable, hermaphrodite Frenchman!

Among a long list of churches, art galleries, and such things, visited by us in Venice, I shall mention only one--the church of Santa Maria dei Frari. It is about five hundred years old, I believe, and stands on twelve hundred thousand piles. In it lie the body of Canova and the heart of Titian, under magnificent monuments. Titian died at the age of almost one hundred years. A plague which swept away fifty thousand lives was raging at the time, and there is notable evidence of the reverence in which the great painter was held, in the fact that to him alone the state permitted a public funeral in all that season of terror and death.

In this church, also, is a monument to the doge Foscari, whose name a once resident of Venice, Lord Byron, has made permanently famous.

The monument to the doge Giovanni Pesaro, in this church, is a curiosity in the way of mortuary adornment. It is eighty feet high and is fronted like some fantastic pagan temple. Against it stand four colossal Nubians, as black as night, dressed in white marble garments. The black legs are bare, and through rents in sleeves and breeches, the skin, of shiny black marble, shows. The artist was as ingenious as his funeral designs were absurd. There are two bronze skeletons bearing scrolls, and two great dragons uphold the sarcophagus. On high, amid all this grotesqueness, sits the departed doge.

In the conventual buildings attached to this church are the state archives of Venice. We did not see them, but they are said to number millions of documents. "They are the records of centuries of the most watchful, observant and suspicious government that ever existed--in which every thing was written down and nothing spoken out." They fill nearly three hundred rooms. Among them are manuscripts from the archives of nearly two thousand families, monasteries and convents. The secret history of Venice for a thousand years is here--its plots, its hidden trials, its assassinations, its commissions of hireling spies and masked bravoes--food, ready to hand, for a world of dark and mysterious romances.

Yes, I think we have seen all of Venice. We have seen, in these old churches, a profusion of costly and elaborate sepulchre ornamentation such as we never dreampt of before. We have stood in the dim religious light of these hoary sanctuaries, in the midst of long ranks of dusty monuments and effigies of the great dead of Venice, until we seemed drifting back, back, back, into the solemn past, and looking upon the scenes and mingling with the peoples of a remote antiquity. We have been in a half-waking sort of dream all the time. I do not know how else to describe the feeling. A part of our being has remained still in the nineteenth century, while another part of it has seemed in some unaccountable way walking among the phantoms of the tenth.

We have seen famous pictures until our eyes are weary with looking at them and refuse to find interest in them any longer. And what wonder, when there are twelve hundred pictures by Palma the Younger in Venice and fifteen hundred by Tintoretto? And behold there are Titians and the works of other artists in proportion. We have seen Titian's celebrated Cain and Abel, his David and Goliah, his Abraham's Sacrifice. We have seen Tintoretto's monster picture, which is seventy-four feet long and I do not know how many feet high, and thought it a very commodious picture. We have seen pictures of martyrs enough, and saints enough, to regenerate the world. I ought not to confess it, but still, since one has no opportunity in America to acquire a critical judgment in art, and since I could not hope to become educated in it in Europe in a few short weeks, I may therefore as well acknowledge with such apologies as may be due, that to me it seemed that when I had seen one of these martyrs I had seen them all. They all have a marked family resemblance to each other, they dress alike, in coarse monkish robes and sandals, they are all bald headed, they all stand in about the same attitude, and without exception they are gazing heavenward with countenances which the Ainsworths, the Mortons and the Williamses, et fils, inform me are full of "expression." To me there is nothing tangible about these imaginary portraits, nothing that I can grasp and take a living interest in. If great Titian had only been gifted with prophecy, and had skipped a martyr, and gone over to England and painted a portrait of Shakspeare, even as a youth, which we could all have confidence in now, the world down to the latest generations would have forgiven him the lost martyr in the rescued seer. I think posterity could have spared one more martyr for the sake of a great historical picture of Titian's time and painted by his brush--such as Columbus returning in chains from the discovery of a world, for instance. The old masters did paint some Venetian historical pictures, and these we did not tire of looking at, notwithstanding representations of the formal introduction of defunct doges to the Virgin Mary in regions beyond the clouds clashed rather harshly with the proprieties, it seemed to us.

But humble as we are, and unpretending, in the matter of art, our researches among the painted monks and martyrs have not been wholly in vain. We have striven hard to learn. We have had some success. We have mastered some things, possibly of trifling import in the eyes of the learned, but to us they give pleasure, and we take as much pride in our little acquirements as do others who have learned far more, and we love to display them full as well. When we see a monk going about with a lion and looking tranquilly up to heaven, we know that that is St. Mark. When we see a monk with a book and a pen, looking tranquilly up to heaven, trying to think of a word, we know that that is St. Matthew. When we see a monk sitting on a rock, looking tranquilly up to heaven, with a human skull beside him, and without other baggage, we know that that is St. Jerome. Because we know that he always went flying light in the matter of baggage. When we see a party looking tranquilly up to heaven, unconscious that his body is shot through and through with arrows, we know that that is St. Sebastian. When we see other monks looking tranquilly up to heaven, but having no trade-mark, we always ask who those parties are. We do this because we humbly wish to learn. We have seen thirteen thousand St. Jeromes, and twenty-two thousand St. Marks, and sixteen thousand St. Matthews, and sixty thousand St. Sebastians, and four millions of assorted monks, undesignated, and we feel encouraged to believe that when we have seen some more of these various pictures, and had a larger experience, we shall begin to take an absorbing interest in them like our cultivated countrymen from Amerique.

Now it does give me real pain to speak in this almost unappreciative way of the old masters and their martyrs, because good friends of mine in the ship--friends who do thoroughly and conscientiously appreciate them and are in every way competent to discriminate between good pictures and inferior ones--have urged me for my own sake not to make public the fact that I lack this appreciation and this critical discrimination myself. I believe that what I have written and may still write about pictures will give them pain, and I am honestly sorry for it. I even promised that I would hide my uncouth sentiments in my own breast. But alas! I never could keep a promise. I do not blame myself for this weakness, because the fault must lie in my physical organization. It is likely that such a very liberal amount of space was given to the organ which enables me to make promises, that the organ which should enable me to keep them was crowded out. But I grieve not. I like no half-way things. I had rather have one faculty nobly developed than two faculties of mere ordinary capacity. I certainly meant to keep that promise, but I find I can not do it. It is impossible to travel through Italy without speaking of pictures, and can I see them through others' eyes?

If I did not so delight in the grand pictures that are spread before me every day of my life by that monarch of all the old masters, Nature, I should come to believe, sometimes, that I had in me no appreciation of the beautiful, whatsoever.

It seems to me that whenever I glory to think that for once I have discovered an ancient painting that is beautiful and worthy of all praise, the pleasure it gives me is an infallible proof that it is not a beautiful picture and not in any wise worthy of commendation. This very thing has occurred more times than I can mention, in Venice. In every single instance the guide has crushed out my swelling enthusiasm with the remark:

"It is nothing--it is of the Renaissance."

I did not know what in the mischief the Renaissance was, and so always I had to simply say,

"Ah! so it is--I had not observed it before."

I could not bear to be ignorant before a cultivated negro, the offspring of a South Carolina slave. But it occurred too often for even my self-complacency, did that exasperating "It is nothing--it is of the Renaissance." I said at last:

"Who is this Renaissance? Where did he come from? Who gave him permission to cram the Republic with his execrable daubs?"

We learned, then, that Renaissance was not a man; that renaissance was a term used to signify what was at best but an imperfect rejuvenation of art. The guide said that after Titian's time and the time of the other great names we had grown so familiar with, high art declined; then it partially rose again--an inferior sort of painters sprang up, and these shabby pictures were the work of their hands. Then I said, in my heat, that I "wished to goodness high art had declined five hundred years sooner." The Renaissance pictures suit me very well, though sooth to say its school were too much given to painting real men and did not indulge enough in martyrs.

The guide I have spoken of is the only one we have had yet who knew any thing. He was born in South Carolina, of slave parents. They came to Venice while he was an infant. He has grown up here. He is well educated. He reads, writes, and speaks English, Italian, Spanish, and French, with perfect facility; is a worshipper of art and thoroughly conversant with it; knows the history of Venice by heart and never tires of talking of her illustrious career. He dresses better than any of us, I think, and is daintily polite. Negroes are deemed as good as white people, in Venice, and so this man feels no desire to go back to his native land. His judgment is correct.

I have had another shave. I was writing in our front room this afternoon and trying hard to keep my attention on my work and refrain from looking out upon the canal. I was resisting the soft influences of the climate as well as I could, and endeavoring to overcome the desire to be indolent and happy. The boys sent for a barber. They asked me if I would be shaved. I reminded them of my tortures in Genoa, Milan, Como; of my declaration that I would suffer no more on Italian soil. I said "Not any for me, if you please."

I wrote on. The barber began on the doctor. I heard him say:

"Dan, this is the easiest shave I have had since we left the ship."

He said again, presently:

"Why Dan, a man could go to sleep with this man shaving him."

Dan took the chair. Then he said:

"Why this is Titian. This is one of the old masters."

I wrote on. Directly Dan said:

"Doctor, it is perfect luxury. The ship's barber isn't any thing to him."

My rough beard was distressing me beyond measure. The barber was rolling up his apparatus. The temptation was too strong. I said:

"Hold on, please. Shave me also."

I sat down in the chair and closed my eyes. The barber soaped my face, and then took his razor and gave me a rake that well nigh threw me into convulsions. I jumped out of the chair: Dan and the doctor were both wiping blood off their faces and laughing.

I said it was a mean, disgraceful fraud.

They said that the misery of this shave had gone so far beyond any thing they had ever experienced before, that they could not bear the idea of losing such a chance of hearing a cordial opinion from me on the subject.

It was shameful. But there was no help for it. The skinning was begun and had to be finished. The tears flowed with every rake, and so did the fervent execrations. The barber grew confused, and brought blood every time. I think the boys enjoyed it better than any thing they have seen or heard since they left home.

We have seen the Campanile, and Byron's house and Balbi's the geographer, and the palaces of all the ancient dukes and doges of Venice, and we have seen their effeminate descendants airing their nobility in fashionable French attire in the Grand Square of St. Mark, and eating ices and drinking cheap wines, instead of wearing gallant coats of mail and destroying fleets and armies as their great ancestors did in the days of Venetian glory. We have seen no bravoes with poisoned stilettos, no masks, no wild carnival; but we have seen the ancient pride of Venice, the grim Bronze Horses that figure in a thousand legends. Venice may well cherish them, for they are the only horses she ever had. It is said there are hundreds of people in this curious city who never have seen a living horse in their lives. It is entirely true, no doubt.

And so, having satisfied ourselves, we depart to-morrow, and leave the venerable Queen of the Republics to summon her vanished ships, and marshal her shadowy armies, and know again in dreams the pride of her old renown.

## CHAPTER XIV.

Some of the Quaker City's passengers had arrived in Venice from Switzerland and other lands before we left there, and others were expected every day. We heard of no casualties among them, and no sickness.

We were a little fatigued with sight seeing, and so we rattled through a good deal of country by rail without caring to stop. I took few notes. I find no mention of Bologna in my memorandum book, except that we arrived there in good season, but saw none of the sausages for which the place is so justly celebrated.

Pistoia awoke but a passing interest.

Florence pleased us for a while. I think we appreciated the great figure of David in the grand square, and the sculptured group they call the Rape of the Sabines. We wandered through the endless collections of paintings and statues of the Pitti and Ufizzi galleries, of course. I make that statement in self-defense; there let it stop. I could not rest under the imputation that I visited Florence and did not traverse its weary miles of picture galleries. We tried indolently to recollect something about the Guelphs and Ghibelines and the other historical cut-throats whose quarrels and assassinations make up so large a share of Florentine history, but the subject was not attractive. We had been robbed of all the fine mountain scenery on our little journey by a system of railroading that had three miles of tunnel to a hundred yards of daylight, and we were not inclined to be sociable with Florence. We had seen the spot, outside the city somewhere, where these people had allowed the bones of Galileo to rest in unconsecrated ground for an age because his great discovery that the world turned around was regarded as a damning heresy by the church; and we know that long after the world had accepted his theory and raised his name high in the list of its great men, they had still let him rot there. That we had lived to see his dust in honored sepulture in the church of Santa Croce we owed to a society of literati, and not to Florence or her rulers. We saw Dante's tomb in that church, also, but we were glad to know that his body was not in it; that the ungrateful city that had exiled him and persecuted him would give much to have it there, but need not hope to ever secure that high honor to herself. Medicis are good enough for Florence. Let her plant Medicis and build grand monuments over them to testify how gratefully she was wont to lick the hand that scourged her.

Magnanimous Florence! Her jewelry marts are filled with artists in mosaic. Florentine mosaics are the choicest in all the world. Florence loves to have that said. Florence is proud of it. Florence would foster this specialty of hers. She is grateful to the artists that bring to her this high credit and fill her coffers with foreign money, and so she encourages them with pensions. With pensions! Think of the lavishness of it. She knows that people who piece together the beautiful trifles die early, because the labor is so confining, and so exhausting to hand and brain, and so she has decreed that all these people who reach the age of sixty shall have a pension after that! I have not heard that any of them have called for their dividends yet. One man did fight along till he was sixty, and started after his pension, but it appeared that there had been a mistake of a year in his family record, and so he gave it up and died.

These artists will take particles of stone or glass no larger than a mustard seed, and piece them together on a sleeve button or a shirt stud, so smoothly and with such nice adjustment of the delicate shades of color the pieces bear, as to form a pigmy rose with stem, thorn, leaves, petals complete, and all as softly and as truthfully tinted as though Nature had builded it herself. They will counterfeit a fly, or a high-toned bug, or the ruined Coliseum, within the cramped circle of a breastpin, and do it so deftly and so neatly that any man might think a master painted it.

I saw a little table in the great mosaic school in Florence--a little trifle of a centre table--whose top was made of some sort of precious polished stone, and in the stone was inlaid the figure of a flute, with bell-mouth and a mazy complication of keys. No painting in the world could have been softer or richer; no shading out of one tint into another could have been more perfect; no work of art of any kind could have been more faultless than this flute, and yet to count the multitude of little fragments of stone of which they swore it was formed would bankrupt any man's arithmetic! I do not think one could have seen where two particles joined each other with eyes of ordinary shrewdness. Certainly we could detect no such blemish. This table-top cost the labor of one man for ten long years, so they said, and it was for sale for thirty-five thousand dollars.

We went to the Church of Santa Croce, from time to time, in Florence, to weep over the tombs of Michael Angelo, Raphael and Machiavelli, (I suppose they are buried there, but it may be that they reside elsewhere and rent their tombs to other parties--such being the fashion in Italy,) and between times we used to go and stand on the bridges and admire the Arno. It is popular to admire the Arno. It is a great historical creek with four feet in the channel and some scows floating around. It would be a very plausible river if they would pump some water into it. They all call it a river, and they honestly think it is a river, do these dark and bloody Florentines. They even help out the delusion by building bridges over it. I do not see why they are too good to wade.

How the fatigues and annoyances of travel fill one with bitter prejudices sometimes! I might enter Florence under happier auspices a month hence and find it all beautiful, all attractive. But I do not care to think of it now, at all, nor of its roomy shops filled to the ceiling with snowy marble and alabaster copies of all the celebrated sculptures in Europe--copies so enchanting to the eye that I wonder how they can really be shaped like the dingy petrified nightmares they are the portraits of. I got lost in Florence at nine o'clock, one night, and staid lost in that labyrinth of narrow streets and long rows of vast buildings that look all alike, until toward three o'clock in the morning. It was a pleasant night and at first there were a good many people abroad, and there were cheerful lights about. Later, I grew accustomed to prowling about mysterious drifts and tunnels and astonishing and interesting myself with coming around corners expecting to find the hotel staring me in the face, and not finding it doing any thing of the kind. Later still, I felt tired. I soon felt remarkably tired. But there was no one abroad, now--not even a policeman. I walked till I was out of all patience, and very hot and thirsty. At last, somewhere after one o'clock, I came unexpectedly to one of the city gates. I knew then that I was very far from the hotel. The soldiers thought I wanted to leave the city, and they sprang up and barred the way with their muskets. I said:

"Hotel d'Europe!"

It was all the Italian I knew, and I was not certain whether that was Italian or French. The soldiers looked stupidly at each other and at me, and shook their heads and took me into custody. I said I wanted to go home. They did not understand me. They took me into the guard-house and searched me, but they found no sedition on me. They found a small piece of soap (we carry soap with us, now,) and I made them a present of it, seeing that they regarded it as a curiosity. I continued to say Hotel d'Europe, and they continued to shake their heads, until at last a young soldier nodding in the corner roused up and said something. He said he knew where the hotel was, I suppose, for the officer of the guard sent him away with me. We walked a hundred or a hundred and fifty miles, it appeared to me, and then he got lost. He turned this way and that, and finally gave it up and signified that he was going to spend the remainder of the morning trying to find the city gate again. At that moment it struck me that there was something familiar about the house over the way. It was the hotel!

It was a happy thing for me that there happened to be a soldier there that knew even as much as he did; for they say that the policy of the government is to change the soldiery from one place to another constantly and from country to city, so that they can not become acquainted with the people and grow lax in their duties and enter into plots and conspiracies with friends. My experiences of Florence were chiefly unpleasant. I will change the subject.

At Pisa we climbed up to the top of the strangest structure the world has any knowledge of--the Leaning Tower. As every one knows, it is in the neighborhood of one hundred and eighty feet high--and I beg to observe that one hundred and eighty feet reach to about the hight of four ordinary three-story buildings piled one on top of the other, and is a very considerable altitude for a tower of uniform thickness to aspire to, even when it stands upright--yet this one leans more than thirteen feet out of the perpendicular. It is seven hundred years old, but neither history or tradition say whether it was built as it is, purposely, or whether one of its sides has settled. There is no record that it ever stood straight up. It is built of marble. It is an airy and a beautiful structure, and each of its eight stories is encircled by fluted columns, some of marble and some of granite, with Corinthian capitals that were handsome when they were new. It is a bell tower, and in its top hangs a chime of ancient bells. The winding staircase within is dark, but one always knows which side of the tower he is on because of his naturally gravitating from one side to the other of the staircase with the rise or dip of the tower. Some of the stone steps are foot-worn only on one end; others only on the other end; others only in the middle. To look down into the tower from the top is like looking down into a tilted well. A rope that hangs from the centre of the top touches the wall before it reaches the bottom. Standing on the summit, one does not feel altogether comfortable when he looks down from the high side; but to crawl on your breast to the verge on the lower side and try to stretch your neck out far enough to see the base of the tower, makes your flesh creep, and convinces you for a single moment in spite of all your philosophy, that the building is falling. You handle yourself very carefully, all the time, under the silly impression that if it is not falling, your trifling weight will start it unless you are particular not to "bear down" on it.

The Duomo, close at hand, is one of the finest cathedrals in Europe. It is eight hundred years old. Its grandeur has outlived the high commercial prosperity and the political importance that made it a necessity, or rather a possibility. Surrounded by poverty, decay and ruin, it conveys to us a more tangible impression of the former greatness of Pisa than books could give us.

The Baptistery, which is a few years older than the Leaning Tower, is a stately rotunda, of huge dimensions, and was a costly structure. In it hangs the lamp whose measured swing suggested to Galileo the pendulum. It looked an insignificant thing to have conferred upon the world of science and mechanics such a mighty extension of their dominions as it has. Pondering, in its suggestive presence, I seemed to see a crazy universe of swinging disks, the toiling children of this sedate parent. He appeared to have an intelligent expression about him of knowing that he was not a lamp at all; that he was a Pendulum; a pendulum disguised, for prodigious and inscrutable purposes of his own deep devising, and not a common pendulum either, but the old original patriarchal Pendulum--the Abraham Pendulum of the world.

This Baptistery is endowed with the most pleasing echo of all the echoes we have read of. The guide sounded two sonorous notes, about half an octave apart; the echo answered with the most enchanting, the most melodious, the richest blending of sweet sounds that one can imagine. It was like a long-drawn chord of a church organ, infinitely softened by distance. I may be extravagant in this matter, but if this be the case my ear is to blame--not my pen. I am describing a memory--and one that will remain long with me.

The peculiar devotional spirit of the olden time, which placed a higher confidence in outward forms of worship than in the watchful guarding of the heart against sinful thoughts and the hands against sinful deeds, and which believed in the protecting virtues of inanimate objects made holy by contact with holy things, is illustrated in a striking manner in one of the cemeteries of Pisa. The tombs are set in soil brought in ships from the Holy Land ages ago. To be buried in such ground was regarded by the ancient Pisans as being more potent for salvation than many masses purchased of the church and the vowing of many candles to the Virgin.

Pisa is believed to be about three thousand years old. It was one of the twelve great cities of ancient Etruria, that commonwealth which has left so many monuments in testimony of its extraordinary advancement, and so little history of itself that is tangible and comprehensible. A Pisan antiquarian gave me an ancient tear-jug which he averred was full four thousand years old. It was found among the ruins of one of the oldest of the Etruscan cities. He said it came from a tomb, and was used by some bereaved family in that remote age when even the Pyramids of Egypt were young, Damascus a village, Abraham a prattling infant and ancient Troy not yet [dreampt] of, to receive the tears wept for some lost idol of a household. It spoke to us in a language of its own; and with a pathos more tender than any words might bring, its mute eloquence swept down the long roll of the centuries with its tale of a vacant chair, a familiar footstep missed from the threshold, a pleasant voice gone from the chorus, a vanished form!--a tale which is always so new to us, so startling, so terrible, so benumbing to the senses, and behold how threadbare and old it is! No shrewdly-worded history could have brought the myths and shadows of that old dreamy age before us clothed with human flesh and warmed with human sympathies so vividly as did this poor little unsentient vessel of pottery.

Pisa was a republic in the middle ages, with a government of her own, armies and navies of her own and a great commerce. She was a warlike power, and inscribed upon her banners many a brilliant fight with Genoese and Turks. It is said that the city once numbered a population of four hundred thousand; but her sceptre has passed from her grasp, now, her ships and her armies are gone, her commerce is dead. Her battle-flags bear the mold and the dust of centuries, her marts are deserted, she has shrunken far within her crumbling walls, and her great population has diminished to twenty thousand souls. She has but one thing left to boast of, and that is not much, viz: she is the second city of Tuscany.

We reached Leghorn in time to see all we wished to see of it long before the city gates were closed for the evening, and then came on board the ship.

We felt as though we had been away from home an age. We never entirely appreciated, before, what a very pleasant den our state-room is; nor how jolly it is to sit at dinner in one's own seat in one's own cabin, and hold familiar conversation with friends in one's own language. Oh, the rare happiness of comprehending every single word that is said, and knowing that every word one says in return will be understood as well! We would talk ourselves to death, now, only there are only about ten passengers out of the sixty-five to talk to. The others are wandering, we hardly know where. We shall not go ashore in Leghorn. We are surfeited with Italian cities for the present, and much prefer to walk the familiar quarterdeck and view this one from a distance.

The stupid magnates of this Leghorn government can not understand that so large a steamer as ours could cross the broad Atlantic with no other purpose than to indulge a party of ladies and gentlemen in a pleasure excursion. It looks too improbable. It is suspicious, they think. Something more important must be hidden behind it all. They can not understand it, and they scorn the evidence of the ship's papers. They have decided at last that we are a battalion of incendiary, blood-thirsty Garibaldians in disguise! And in all seriousness they have set a gun-boat to watch the vessel night and day, with orders to close down on any revolutionary movement in a twinkling! Police boats are on patrol duty about us all the time, and it is as much as a sailor's liberty is worth to show himself in a red shirt. These policemen follow the executive officer's boat from shore to ship and from ship to shore and watch his dark maneuvers with a vigilant eye. They will arrest him yet unless he assumes an expression of countenance that shall have less of carnage, insurrection and sedition in it. A visit paid in a friendly way to General Garibaldi yesterday (by cordial invitation,) by some of our passengers, has gone far to confirm the dread suspicions the government harbors toward us. It is thought the friendly visit was only the cloak of a bloody conspiracy. These people draw near and watch us when we bathe in the sea from the ship's side. Do they think we are communing with a reserve force of rascals at the bottom?

It is said that we shall probably be quarantined at Naples. Two or three of us prefer not to run this risk. Therefore, when we are rested, we propose to go in a French steamer to Civita and from thence to Rome, and by rail to Naples. They do not quarantine the cars, no matter where they got their passengers from.

## CHAPTER XXV.

There are a good many things about this Italy which I do not understand--and more especially I can not understand how a bankrupt Government can have such palatial railroad depots and such marvels of turnpikes. Why, these latter are as hard as adamant, as straight as a line, as smooth as a floor, and as white as snow. When it is too dark to see any other object, one can still see the white turnpikes of France and Italy; and they are clean enough to eat from, without a table-cloth. And yet no tolls are charged.

As for the railways--we have none like them. The cars slide as smoothly along as if they were on runners. The depots are vast palaces of cut marble, with stately colonnades of the same royal stone traversing them from end to end, and with ample walls and ceilings richly decorated with frescoes. The lofty gateways are graced with statues, and the broad floors are all laid in polished flags of marble.

These things win me more than Italy's hundred galleries of priceless art treasures, because I can understand the one and am not competent to appreciate the other. In the turnpikes, the railways, the depots, and the new boulevards of uniform houses in Florence and other cities here, I see the genius of Louis Napoleon, or rather, I see the works of that statesman imitated. But Louis has taken care that in France there shall be a foundation for these improvements--money. He has always the wherewithal to back up his projects; they strengthen France and never weaken her. Her material prosperity is genuine. But here the case is different. This country is bankrupt. There is no real foundation for these great works. The prosperity they would seem to indicate is a pretence. There is no money in the treasury, and so they enfeeble her instead of strengthening. Italy has achieved the dearest wish of her heart and become an independent State--and in so doing she has drawn an elephant in the political lottery. She has nothing to feed it on. Inexperienced in government, she plunged into all manner of useless expenditure, and swamped her treasury almost in a day. She squandered millions of francs on a navy which she did not need, and the first time she took her new toy into action she got it knocked higher than Gilderoy's kite--to use the language of the Pilgrims.

But it is an ill-wind that blows nobody good. A year ago, when Italy saw utter ruin staring her in the face and her greenbacks hardly worth the paper they were printed on, her Parliament ventured upon a 'coup de main' that would have appalled the stoutest of her statesmen under less desperate circumstances. They, in a manner, confiscated the domains of the Church! This in priest-ridden Italy! This in a land which has groped in the midnight of priestly superstition for sixteen hundred years! It was a rare good fortune for Italy, the stress of weather that drove her to break from this prison-house.

They do not call it confiscating the church property. That would sound too harshly yet. But it amounts to that. There are thousands of churches in Italy, each with untold millions of treasures stored away in its closets, and each with its battalion of priests to be supported. And then there are the estates of the Church--league on league of the richest lands and the noblest forests in all Italy--all yielding immense revenues to the Church, and none paying a cent in taxes to the State. In some great districts the Church owns all the property--lands, watercourses, woods, mills and factories. They buy, they sell, they manufacture, and since they pay no taxes, who can hope to compete with them?

Well, the Government has seized all this in effect, and will yet seize it in rigid and unpoetical reality, no doubt. Something must be done to feed a starving treasury, and there is no other resource in all Italy--none but the riches of the Church. So the Government intends to take to itself a great portion of the revenues arising from priestly farms, factories, etc., and also intends to take possession of the churches and carry them on, after its own fashion and upon its own responsibility. In a few instances it will leave the establishments of great pet churches undisturbed, but in all others only a handful of priests will be retained to preach and pray, a few will be pensioned, and the balance turned adrift.

Pray glance at some of these churches and their embellishments, and see whether the Government is doing a righteous thing or not. In Venice, today, a city of a hundred thousand inhabitants, there are twelve hundred priests. Heaven only knows how many there were before the Parliament reduced their numbers. There was the great Jesuit Church. Under the old regime it required sixty priests to engineer it--the Government does it with five, now, and the others are discharged from service. All about that church wretchedness and poverty abound. At its door a dozen hats and bonnets were doffed to us, as many heads were humbly bowed, and as many hands extended, appealing for pennies--appealing with foreign words we could not understand, but appealing mutely, with sad eyes, and sunken cheeks, and ragged raiment, that no words were needed to translate. Then we passed within the great doors, and it seemed that the riches of the world were before us! Huge columns carved out of single masses of marble, and inlaid from top to bottom with a hundred intricate figures wrought in costly verde antique; pulpits of the same rich materials, whose draperies hung down in many a pictured fold, the stony fabric counterfeiting the delicate work of the loom; the grand altar brilliant with polished facings and balustrades of oriental agate, jasper, verde antique, and other precious stones, whose names, even, we seldom hear--and slabs of priceless lapis lazuli lavished every where as recklessly as if the church had owned a quarry of it. In the midst of all this magnificence, the solid gold and silver furniture of the altar seemed cheap and trivial. Even the floors and ceilings cost a princely fortune.

Now, where is the use of allowing all those riches to lie idle, while half of that community hardly know, from day to day, how they are going to keep body and soul together? And, where is the wisdom in permitting hundreds upon hundreds of millions of francs to be locked up in the useless trumpery of churches all over Italy, and the people ground to death with taxation to uphold a perishing Government?

As far as I can see, Italy, for fifteen hundred years, has turned all her energies, all her finances, and all her industry to the building up of a vast array of wonderful church edifices, and starving half her citizens to accomplish it. She is to-day one vast museum of magnificence and misery. All the churches in an ordinary American city put together could hardly buy the jeweled frippery in one of her hundred cathedrals. And for every beggar in America, Italy can show a hundred--and rags and vermin to match. It is the wretchedest, princeliest land on earth.

Look at the grand Duomo of Florence--a vast pile that has been sapping the purses of her citizens for five hundred years, and is not nearly finished yet. Like all other men, I fell down and worshipped it, but when the filthy beggars swarmed around me the contrast was too striking, too suggestive, and I said, "O, sons of classic Italy, is the spirit of enterprise, of self-reliance, of noble endeavor, utterly dead within ye? Curse your indolent worthlessness, why don't you rob your church?"

Three hundred happy, comfortable priests are employed in that Cathedral.

And now that my temper is up, I may as well go on and abuse every body I can think of. They have a grand mausoleum in Florence, which they built to bury our Lord and Saviour and the Medici family in. It sounds blasphemous, but it is true, and here they act blasphemy. The dead and damned Medicis who cruelly tyrannized over Florence and were her curse for over two hundred years, are salted away in a circle of costly vaults, and in their midst the Holy Sepulchre was to have been set up. The expedition sent to Jerusalem to seize it got into trouble and could not accomplish the burglary, and so the centre of the mausoleum is vacant now. They say the entire mausoleum was intended for the Holy Sepulchre, and was only turned into a family burying place after the Jerusalem expedition failed--but you will excuse me. Some of those Medicis would have smuggled themselves in sure.--What they had not the effrontery to do, was not worth doing. Why, they had their trivial, forgotten exploits on land and sea pictured out in grand frescoes (as did also the ancient Doges of Venice) with the Saviour and the Virgin throwing bouquets to them out of the clouds, and the Deity himself applauding from his throne in Heaven! And who painted these things? Why, Titian, Tintoretto, Paul Veronese, Raphael--none other than the world's idols, the "old masters."

Andrea del Sarto glorified his princes in pictures that must save them for ever from the oblivion they merited, and they let him starve. Served him right. Raphael pictured such infernal villains as Catherine and Marie de Medicis seated in heaven and conversing familiarly with the Virgin Mary and the angels, (to say nothing of higher personages,) and yet my friends abuse me because I am a little prejudiced against the old masters--because I fail sometimes to see the beauty that is in their productions. I can not help but see it, now and then, but I keep on protesting against the groveling spirit that could persuade those masters to prostitute their noble talents to the adulation of such monsters as the French, Venetian and Florentine Princes of two and three hundred years ago, all the same.

I am told that the old masters had to do these shameful things for bread, the princes and potentates being the only patrons of art. If a grandly gifted man may drag his pride and his manhood in the dirt for bread rather than starve with the nobility that is in him untainted, the excuse is a valid one. It would excuse theft in Washingtons and Wellingtons, and unchastity in women as well.

But somehow, I can not keep that Medici mausoleum out of my memory. It is as large as a church; its pavement is rich enough for the pavement of a King's palace; its great dome is gorgeous with frescoes; its walls are made of--what? Marble?--plaster?--wood?--paper? No. Red porphyry--verde antique--jasper--oriental agate--alabaster--mother-of-pearl--chalcedony--red coral--lapis lazuli! All the vast walls are made wholly of these precious stones, worked in, and in and in together in elaborate patterns and figures, and polished till they glow like great mirrors with the pictured splendors reflected from the dome overhead. And before a statue of one of those dead Medicis reposes a crown that blazes with diamonds and emeralds enough to buy a ship-of-the-line, almost. These are the things the Government has its evil eye upon, and a happy thing it will be for Italy when they melt away in the public treasury.

And now----. However, another beggar approaches. I will go out and destroy him, and then come back and write another chapter of vituperation.

Having eaten the friendless orphan--having driven away his comrades--having grown calm and reflective at length--I now feel in a kindlier mood. I feel that after talking so freely about the priests and the churches, justice demands that if I know any thing good about either I ought to say it. I have heard of many things that redound to the credit of the priesthood, but the most notable matter that occurs to me now is the devotion one of the mendicant orders showed during the prevalence of the cholera last year. I speak of the Dominican friars--men who wear a coarse, heavy brown robe and a cowl, in this hot climate, and go barefoot. They live on alms altogether, I believe. They must unquestionably love their religion, to suffer so much for it. When the cholera was raging in Naples; when the people were dying by hundreds and hundreds every day; when every concern for the public welfare was swallowed up in selfish private interest, and every citizen made the taking care of himself his sole object, these men banded themselves together and went about nursing the sick and burying the dead. Their noble efforts cost many of them their lives. They laid them down cheerfully, and well they might. Creeds mathematically precise, and hair-splitting niceties of doctrine, are absolutely necessary for the salvation of some kinds of souls, but surely the charity, the purity, the unselfishness that are in the hearts of men like these would save their souls though they were bankrupt in the true religion--which is ours.

One of these fat bare-footed rascals came here to Civita Vecchia with us in the little French steamer. There were only half a dozen of us in the cabin. He belonged in the steerage. He was the life of the ship, the bloody-minded son of the Inquisition! He and the leader of the marine band of a French man-of-war played on the piano and sang opera turn about; they sang duets together; they rigged impromptu theatrical costumes and gave us extravagant farces and pantomimes. We got along first-rate with the friar, and were excessively conversational, albeit he could not understand what we said, and certainly he never uttered a word that we could guess the meaning of.

This Civita Vecchia is the finest nest of dirt, vermin and ignorance we have found yet, except that African perdition they call Tangier, which is just like it. The people here live in alleys two yards wide, which have a smell about them which is peculiar but not entertaining. It is well the alleys are not wider, because they hold as much smell now as a person can stand, and of course, if they were wider they would hold more, and then the people would die. These alleys are paved with stone, and carpeted with deceased cats, and decayed rags, and decomposed vegetable-tops, and remnants of old boots, all soaked with dish-water, and the people sit around on stools and enjoy it. They are indolent, as a general thing, and yet have few pastimes. They work two or three hours at a time, but not hard, and then they knock off and catch flies. This does not require any talent, because they only have to grab--if they do not get the one they are after, they get another. It is all the same to them. They have no partialities. Whichever one they get is the one they want.

They have other kinds of insects, but it does not make them arrogant. They are very quiet, unpretending people. They have more of these kind of things than other communities, but they do not boast.

They are very uncleanly--these people--in face, in person and dress. When they see any body with a clean shirt on, it arouses their scorn. The women wash clothes, half the day, at the public tanks in the streets, but they are probably somebody else's. Or may be they keep one set to wear and another to wash; because they never put on any that have ever been washed. When they get done washing, they sit in the alleys and nurse their cubs. They nurse one ash-cat at a time, and the others scratch their backs against the door-post and are happy.

All this country belongs to the Papal States. They do not appear to have any schools here, and only one billiard table. Their education is at a very low stage. One portion of the men go into the military, another into the priesthood, and the rest into the shoe-making business.

They keep up the passport system here, but so they do in Turkey. This shows that the Papal States are as far advanced as Turkey. This fact will be alone sufficient to silence the tongues of malignant calumniators. I had to get my passport vised for Rome in Florence, and then they would not let me come ashore here until a policeman had examined it on the wharf and sent me a permit. They did not even dare to let me take my passport in my hands for twelve hours, I looked so formidable. They judged it best to let me cool down. They thought I wanted to take the town, likely. Little did they know me. I wouldn't have it. They examined my baggage at the depot. They took one of my ablest jokes and read it over carefully twice and then read it backwards. But it was too deep for them. They passed it around, and every body speculated on it awhile, but it mastered them all.

It was no common joke. At length a veteran officer spelled it over deliberately and shook his head three or four times and said that in his opinion it was seditious. That was the first time I felt alarmed. I immediately said I would explain the document, and they crowded around. And so I explained and explained and explained, and they took notes of all I said, but the more I explained the more they could not understand it, and when they desisted at last, I could not even understand it myself.

They said they believed it was an incendiary document, leveled at the government. I declared solemnly that it was not, but they only shook their heads and would not be satisfied. Then they consulted a good while; and finally they confiscated it. I was very sorry for this, because I had worked a long time on that joke, and took a good deal of pride in it, and now I suppose I shall never see it any more. I suppose it will be sent up and filed away among the criminal archives of Rome, and will always be regarded as a mysterious infernal machine which would have blown up like a mine and scattered the good Pope all around, but for a miraculous providential interference. And I suppose that all the time I am in Rome the police will dog me about from place to place because they think I am a dangerous character.

It is fearfully hot in Civita Vecchia. The streets are made very narrow and the houses built very solid and heavy and high, as a protection against the heat. This is the first Italian town I have seen which does not appear to have a patron saint. I suppose no saint but the one that went up in the chariot of fire could stand the climate.

There is nothing here to see. They have not even a cathedral, with eleven tons of solid silver archbishops in the back room; and they do not show you any moldy buildings that are seven thousand years old; nor any smoke-dried old fire-screens which are chef d'oeuvres of Reubens or Simpson, or Titian or Ferguson, or any of those parties; and they haven't any bottled fragments of saints, and not even a nail from the true cross. We are going to Rome. There is nothing to see here.

## CHAPTER XXVI.

What is it that confers the noblest delight? What is that which swells a man's breast with pride above that which any other experience can bring to him? Discovery! To know that you are walking where none others have walked; that you are beholding what human eye has not seen before; that you are breathing a virgin atmosphere. To give birth to an idea--to discover a great thought--an intellectual nugget, right under the dust of a field that many a brain--plow had gone over before. To find a new planet, to invent a new hinge, to find the way to make the lightnings carry your messages. To be the first--that is the idea. To do something, say something, see something, before any body else--these are the things that confer a pleasure compared with which other pleasures are tame and commonplace, other ecstasies cheap and trivial. Morse, with his first message, brought by his servant, the lightning; Fulton, in that long-drawn century of suspense, when he placed his hand upon the throttle-valve and lo, the steamboat moved; Jenner, when his patient with the cow's virus in his blood, walked through the smallpox hospitals unscathed; Howe, when the idea shot through his brain that for a hundred and twenty generations the eye had been bored through the wrong end of the needle; the nameless lord of art who laid down his chisel in some old age that is forgotten, now, and gloated upon the finished Laocoon; Daguerre, when he commanded the sun, riding in the zenith, to print the landscape upon his insignificant silvered plate, and he obeyed; Columbus, in the Pinta's shrouds, when he swung his hat above a fabled sea and gazed abroad upon an unknown world! These are the men who have really lived--who have actually comprehended what pleasure is--who have crowded long lifetimes of ecstasy into a single moment.

What is there in Rome for me to see that others have not seen before me? What is there for me to touch that others have not touched? What is there for me to feel, to learn, to hear, to know, that shall thrill me before it pass to others? What can I discover?--Nothing. Nothing whatsoever. One charm of travel dies here. But if I were only a Roman!--If, added to my own I could be gifted with modern Roman sloth, modern Roman superstition, and modern Roman boundlessness of ignorance, what bewildering worlds of unsuspected wonders I would discover! Ah, if I were only a habitant of the Campagna five and twenty miles from Rome! Then I would travel.

I would go to America, and see, and learn, and return to the Campagna and stand before my countrymen an illustrious discoverer. I would say:

"I saw there a country which has no overshadowing Mother Church, and yet the people survive. I saw a government which never was protected by foreign soldiers at a cost greater than that required to carry on the government itself. I saw common men and common women who could read; I even saw small children of common country people reading from books; if I dared think you would believe it, I would say they could write, also.

"In the cities I saw people drinking a delicious beverage made of chalk and water, but never once saw goats driven through their Broadway or their Pennsylvania Avenue or their Montgomery street and milked at the doors of the houses. I saw real glass windows in the houses of even the commonest people. Some of the houses are not of stone, nor yet of bricks; I solemnly swear they are made of wood. Houses there will take fire and burn, sometimes--actually burn entirely down, and not leave a single vestige behind. I could state that for a truth, upon my death-bed. And as a proof that the circumstance is not rare, I aver that they have a thing which they call a fire-engine, which vomits forth great streams of water, and is kept always in readiness, by night and by day, to rush to houses that are burning. You would think one engine would be sufficient, but some great cities have a hundred; they keep men hired, and pay them by the month to do nothing but put out fires. For a certain sum of money other men will insure that your house shall not burn down; and if it burns they will pay you for it. There are hundreds and thousands of schools, and any body may go and learn to be wise, like a priest. In that singular country if a rich man dies a sinner, he is damned; he can not buy salvation with money for masses. There is really not much use in being rich, there. Not much use as far as the other world is concerned, but much, very much use, as concerns this; because there, if a man be rich, he is very greatly honored, and can become a legislator, a governor, a general, a senator, no matter how ignorant an ass he is--just as in our beloved Italy the nobles hold all the great places, even though sometimes they are born noble idiots. There, if a man be rich, they give him costly presents, they ask him to feasts, they invite him to drink complicated beverages; but if he be poor and in debt, they require him to do that which they term to "settle." The women put on a different dress almost every day; the dress is usually fine, but absurd in shape; the very shape and fashion of it changes twice in a hundred years; and did I but covet to be called an extravagant falsifier, I would say it changed even oftener. Hair does not grow upon the American women's heads; it is made for them by cunning workmen in the shops, and is curled and frizzled into scandalous and ungodly forms. Some persons wear eyes of glass which they see through with facility perhaps, else they would not use them; and in the mouths of some are teeth made by the sacrilegious hand of man. The dress of the men is laughably grotesque. They carry no musket in ordinary life, nor no long-pointed pole; they wear no wide green-lined cloak; they wear no peaked black felt hat, no leathern gaiters reaching to the knee, no goat-skin breeches with the hair side out, no hob-nailed shoes, no prodigious spurs. They wear a conical hat termed a "nail-kag;" a coat of saddest black; a shirt which shows dirt so easily that it has to be changed every month, and is very troublesome; things called pantaloons, which are held up by shoulder straps, and on their feet they wear boots which are ridiculous in pattern and can stand no wear. Yet dressed in this fantastic garb, these people laughed at my costume. In that country, books are so common that it is really no curiosity to see one. Newspapers also. They have a great machine which prints such things by thousands every hour.

"I saw common men, there--men who were neither priests nor princes--who yet absolutely owned the land they tilled. It was not rented from the church, nor from the nobles. I am ready to take my oath of this. In that country you might fall from a third story window three several times, and not mash either a soldier or a priest.--The scarcity of such people is astonishing. In the cities you will see a dozen civilians for every soldier, and as many for every priest or preacher. Jews, there, are treated just like human beings, instead of dogs. They can work at any business they please; they can sell brand new goods if they want to; they can keep drug-stores; they can practice medicine among Christians; they can even shake hands with Christians if they choose; they can associate with them, just the same as one human being does with another human being; they don't have to stay shut up in one corner of the towns; they can live in any part of a town they like best; it is said they even have the privilege of buying land and houses, and owning them themselves, though I doubt that, myself; they never have had to run races naked through the public streets, against jackasses, to please the people in carnival time; there they never have been driven by the soldiers into a church every Sunday for hundreds of years to hear themselves and their religion especially and particularly cursed; at this very day, in that curious country, a Jew is allowed to vote, hold office, yea, get up on a rostrum in the public street and express his opinion of the government if the government don't suit him! Ah, it is wonderful. The common people there know a great deal; they even have the effrontery to complain if they are not properly governed, and to take hold and help conduct the government themselves; if they had laws like ours, which give one dollar of every three a crop produces to the government for taxes, they would have that law altered: instead of paying thirty-three dollars in taxes, out of every one hundred they receive, they complain if they have to pay seven. They are curious people. They do not know when they are well off. Mendicant priests do not prowl among them with baskets begging for the church and eating up their substance. One hardly ever sees a minister of the gospel going around there in his bare feet, with a basket, begging for subsistence. In that country the preachers are not like our mendicant orders of friars--they have two or three suits of clothing, and they wash sometimes. In that land are mountains far higher than the Alban mountains; the vast Roman Campagna, a hundred miles long and full forty broad, is really small compared to the United States of America; the Tiber, that celebrated river of ours, which stretches its mighty course almost two hundred miles, and which a lad can scarcely throw a stone across at Rome, is not so long, nor yet so wide, as the American Mississippi--nor yet the Ohio, nor even the Hudson. In America the people are absolutely wiser and know much more than their grandfathers did. They do not plow with a sharpened stick, nor yet with a three-cornered block of wood that merely scratches the top of the ground. We do that because our fathers did, three thousand years ago, I suppose. But those people have no holy reverence for their ancestors. They plow with a plow that is a sharp, curved blade of iron, and it cuts into the earth full five inches. And this is not all. They cut their grain with a horrid machine that mows down whole fields in a day. If I dared, I would say that sometimes they use a blasphemous plow that works by fire and vapor and tears up an acre of ground in a single hour--but--but--I see by your looks that you do not believe the things I am telling you. Alas, my character is ruined, and I am a branded speaker of untruths!"

Of course we have been to the monster Church of St. Peter, frequently. I knew its dimensions. I knew it was a prodigious structure. I knew it was just about the length of the capitol at Washington--say seven hundred and thirty feet. I knew it was three hundred and sixty-four feet wide, and consequently wider than the capitol. I knew that the cross on the top of the dome of the church was four hundred and thirty-eight feet above the ground, and therefore about a hundred or may be a hundred and twenty-five feet higher than the dome of the capitol.--Thus I had one gauge. I wished to come as near forming a correct idea of how it was going to look, as possible; I had a curiosity to see how much I would err. I erred considerably. St. Peter's did not look nearly so large as the capitol, and certainly not a twentieth part as beautiful, from the outside.

When we reached the door, and stood fairly within the church, it was impossible to comprehend that it was a very large building. I had to cipher a comprehension of it. I had to ransack my memory for some more similes. St. Peter's is bulky. Its height and size would represent two of the Washington capitol set one on top of the other--if the capitol were wider; or two blocks or two blocks and a half of ordinary buildings set one on top of the other. St. Peter's was that large, but it could and would not look so. The trouble was that every thing in it and about it was on such a scale of uniform vastness that there were no contrasts to judge by--none but the people, and I had not noticed them. They were insects. The statues of children holding vases of holy water were immense, according to the tables of figures, but so was every thing else around them. The mosaic pictures in the dome were huge, and were made of thousands and thousands of cubes of glass as large as the end of my little finger, but those pictures looked smooth, and gaudy of color, and in good proportion to the dome. Evidently they would not answer to measure by. Away down toward the far end of the church (I thought it was really clear at the far end, but discovered afterward that it was in the centre, under the dome,) stood the thing they call the baldacchino--a great bronze pyramidal frame-work like that which upholds a mosquito bar. It only looked like a considerably magnified bedstead--nothing more. Yet I knew it was a good deal more than half as high as Niagara Falls. It was overshadowed by a dome so mighty that its own height was snubbed. The four great square piers or pillars that stand equidistant from each other in the church, and support the roof, I could not work up to their real dimensions by any method of comparison. I knew that the faces of each were about the width of a very large dwelling-house front, (fifty or sixty feet,) and that they were twice as high as an ordinary three-story dwelling, but still they looked small. I tried all the different ways I could think of to compel myself to understand how large St. Peter's was, but with small success. The mosaic portrait of an Apostle who was writing with a pen six feet long seemed only an ordinary Apostle.

But the people attracted my attention after a while. To stand in the door of St. Peter's and look at men down toward its further extremity, two blocks away, has a diminishing effect on them; surrounded by the prodigious pictures and statues, and lost in the vast spaces, they look very much smaller than they would if they stood two blocks away in the open air. I "averaged" a man as he passed me and watched him as he drifted far down by the baldacchino and beyond--watched him dwindle to an insignificant school-boy, and then, in the midst of the silent throng of human pigmies gliding about him, I lost him. The church had lately been decorated, on the occasion of a great ceremony in honor of St. Peter, and men were engaged, now, in removing the flowers and gilt paper from the walls and pillars. As no ladders could reach the great heights, the men swung themselves down from balustrades and the capitals of pilasters by ropes, to do this work. The upper gallery which encircles the inner sweep of the dome is two hundred and forty feet above the floor of the church--very few steeples in America could reach up to it. Visitors always go up there to look down into the church because one gets the best idea of some of the heights and distances from that point. While we stood on the floor one of the workmen swung loose from that gallery at the end of a long rope. I had not supposed, before, that a man could look so much like a spider. He was insignificant in size, and his rope seemed only a thread. Seeing that he took up so little space, I could believe the story, then, that ten thousand troops went to St. Peter's, once, to hear mass, and their commanding officer came afterward, and not finding them, supposed they had not yet arrived. But they were in the church, nevertheless--they were in one of the transepts. Nearly fifty thousand persons assembled in St. Peter's to hear the publishing of the dogma of the Immaculate Conception. It is estimated that the floor of the church affords standing room for--for a large number of people; I have forgotten the exact figures. But it is no matter--it is near enough.

They have twelve small pillars, in St. Peter's, which came from Solomon's Temple. They have, also--which was far more interesting to me--a piece of the true cross, and some nails, and a part of the crown of thorns.

Of course we ascended to the summit of the dome, and of course we also went up into the gilt copper ball which is above it.--There was room there for a dozen persons, with a little crowding, and it was as close and hot as an oven. Some of those people who are so fond of writing their names in prominent places had been there before us--a million or two, I should think. From the dome of St. Peter's one can see every notable object in Rome, from the Castle of St. Angelo to the Coliseum. He can discern the seven hills upon which Rome is built. He can see the Tiber, and the locality of the bridge which Horatius kept "in the brave days of old" when Lars Porsena attempted to cross it with his invading host. He can see the spot where the Horatii and the Curatii fought their famous battle. He can see the broad green Campagna, stretching away toward the mountains, with its scattered arches and broken aqueducts of the olden time, so picturesque in their gray ruin, and so daintily festooned with vines. He can see the Alban Mountains, the Appenines, the Sabine Hills, and the blue Mediterranean. He can see a panorama that is varied, extensive, beautiful to the eye, and more illustrious in history than any other in Europe.--About his feet is spread the remnant of a city that once had a population of four million souls; and among its massed edifices stand the ruins of temples, columns, and triumphal arches that knew the Caesars, and the noonday of Roman splendor; and close by them, in unimpaired strength, is a drain of arched and heavy masonry that belonged to that older city which stood here before Romulus and Remus were born or Rome thought of. The Appian Way is here yet, and looking much as it did, perhaps, when the triumphal processions of the Emperors moved over it in other days bringing fettered princes from the confines of the earth. We can not see the long array of chariots and mail-clad men laden with the spoils of conquest, but we can imagine the pageant, after a fashion. We look out upon many objects of interest from the dome of St. Peter's; and last of all, almost at our feet, our eyes rest upon the building which was once the Inquisition. How times changed, between the older ages and the new! Some seventeen or eighteen centuries ago, the ignorant men of Rome were wont to put Christians in the arena of the Coliseum yonder, and turn the wild beasts in upon them for a show. It was for a lesson as well. It was to teach the people to abhor and fear the new doctrine the followers of Christ were teaching. The beasts tore the victims limb from limb and made poor mangled corpses of them in the twinkling of an eye. But when the Christians came into power, when the holy Mother Church became mistress of the barbarians, she taught them the error of their ways by no such means. No, she put them in this pleasant Inquisition and pointed to the Blessed Redeemer, who was so gentle and so merciful toward all men, and they urged the barbarians to love him; and they did all they could to persuade them to love and honor him--first by twisting their thumbs out of joint with a screw; then by nipping their flesh with pincers--red-hot ones, because they are the most comfortable in cold weather; then by skinning them alive a little, and finally by roasting them in public. They always convinced those barbarians. The true religion, properly administered, as the good Mother Church used to administer it, is very, very soothing. It is wonderfully persuasive, also. There is a great difference between feeding parties to wild beasts and stirring up their finer feelings in an Inquisition. One is the system of degraded barbarians, the other of enlightened, civilized people. It is a great pity the playful Inquisition is no more.

I prefer not to describe St. Peter's. It has been done before. The ashes of Peter, the disciple of the Saviour, repose in a crypt under the baldacchino. We stood reverently in that place; so did we also in the Mamertine Prison, where he was confined, where he converted the soldiers, and where tradition says he caused a spring of water to flow in order that he might baptize them. But when they showed us the print of Peter's face in the hard stone of the prison wall and said he made that by falling up against it, we doubted. And when, also, the monk at the church of San Sebastian showed us a paving-stone with two great footprints in it and said that Peter's feet made those, we lacked confidence again. Such things do not impress one. The monk said that angels came and liberated Peter from prison by night, and he started away from Rome by the Appian Way. The Saviour met him and told him to go back, which he did. Peter left those footprints in the stone upon which he stood at the time. It was not stated how it was ever discovered whose footprints they were, seeing the interview occurred secretly and at night. The print of the face in the prison was that of a man of common size; the footprints were those of a man ten or twelve feet high. The discrepancy confirmed our unbelief.

We necessarily visited the Forum, where Caesar was assassinated, and also the Tarpeian Rock. We saw the Dying Gladiator at the Capitol, and I think that even we appreciated that wonder of art; as much, perhaps, as we did that fearful story wrought in marble, in the Vatican--the Laocoon. And then the Coliseum.

Every body knows the picture of the Coliseum; every body recognizes at once that "looped and windowed" band-box with a side bitten out. Being rather isolated, it shows to better advantage than any other of the monuments of ancient Rome. Even the beautiful Pantheon, whose pagan altars uphold the cross, now, and whose Venus, tricked out in consecrated gimcracks, does reluctant duty as a Virgin Mary to-day, is built about with shabby houses and its stateliness sadly marred. But the monarch of all European ruins, the Coliseum, maintains that reserve and that royal seclusion which is proper to majesty. Weeds and flowers spring from its massy arches and its circling seats, and vines hang their fringes from its lofty walls. An impressive silence broods over the monstrous structure where such multitudes of men and women were wont to assemble in other days. The butterflies have taken the places of the queens of fashion and beauty of eighteen centuries ago, and the lizards sun themselves in the sacred seat of the Emperor. More vividly than all the written histories, the Coliseum tells the story of Rome's grandeur and Rome's decay. It is the worthiest type of both that exists. Moving about the Rome of to-day, we might find it hard to believe in her old magnificence and her millions of population; but with this stubborn evidence before us that she was obliged to have a theatre with sitting room for eighty thousand persons and standing room for twenty thousand more, to accommodate such of her citizens as required amusement, we find belief less difficult. The Coliseum is over one thousand six hundred feet long, seven hundred and fifty wide, and one hundred and sixty-five high. Its shape is oval.

In America we make convicts useful at the same time that we punish them for their crimes. We farm them out and compel them to earn money for the State by making barrels and building roads. Thus we combine business with retribution, and all things are lovely. But in ancient Rome they combined religious duty with pleasure. Since it was necessary that the new sect called Christians should be exterminated, the people judged it wise to make this work profitable to the State at the same time, and entertaining to the public. In addition to the gladiatorial combats and other shows, they sometimes threw members of the hated sect into the arena of the Coliseum and turned wild beasts in upon them. It is estimated that seventy thousand Christians suffered martyrdom in this place. This has made the Coliseum holy ground, in the eyes of the followers of the Saviour. And well it might; for if the chain that bound a saint, and the footprints a saint has left upon a stone he chanced to stand upon, be holy, surely the spot where a man gave up his life for his faith is holy.

Seventeen or eighteen centuries ago this Coliseum was the theatre of Rome, and Rome was mistress of the world. Splendid pageants were exhibited here, in presence of the Emperor, the great ministers of State, the nobles, and vast audiences of citizens of smaller consequence. Gladiators fought with gladiators and at times with warrior prisoners from many a distant land. It was the theatre of Rome--of the world--and the man of fashion who could not let fall in a casual and unintentional manner something about "my private box at the Coliseum" could not move in the first circles. When the clothing-store merchant wished to consume the corner grocery man with envy, he bought secured seats in the front row and let the thing be known. When the irresistible dry goods clerk wished to blight and destroy, according to his native instinct, he got himself up regardless of expense and took some other fellow's young lady to the Coliseum, and then accented the affront by cramming her with ice cream between the acts, or by approaching the cage and stirring up the martyrs with his whalebone cane for her edification. The Roman swell was in his true element only when he stood up against a pillar and fingered his moustache unconscious of the ladies; when he viewed the bloody combats through an opera-glass two inches long; when he excited the envy of provincials by criticisms which showed that he had been to the Coliseum many and many a time and was long ago over the novelty of it; when he turned away with a yawn at last and said,

"He a star! handles his sword like an apprentice brigand! he'll do for the country, may be, but he don't answer for the metropolis!"

Glad was the contraband that had a seat in the pit at the Saturday matinee, and happy the Roman street-boy who ate his peanuts and guyed the gladiators from the dizzy gallery.

For me was reserved the high honor of discovering among the rubbish of the ruined Coliseum the only playbill of that establishment now extant. There was a suggestive smell of mint-drops about it still, a corner of it had evidently been chewed, and on the margin, in choice Latin, these words were written in a delicate female hand:

"Meet me on the Tarpeian Rock tomorrow evening, dear, at sharp seven. Mother will be absent on a visit to her friends in the Sabine Hills. CLAUDIA."

Ah, where is that lucky youth to-day, and where the little hand that wrote those dainty lines? Dust and ashes these seventeen hundred years!

Thus reads the bill:

> > # ROMAN COLISEUM.

> > ## UNPARALLELED ATTRACTION!

> > ### NEW PROPERTIES! NEW LIONS! NEW GLADIATORS!

> > ### Engagement of the renowned

> > ## MARCUS MARCELLUS VALERIAN!

> > ### FOR SIX NIGHTS ONLY!

> > The management beg leave to offer to the public an entertainment surpassing in magnificence any thing that has heretofore been attempted on any stage. No expense has been spared to make the opening season one which shall be worthy the generous patronage which the management feel sure will crown their efforts. The management beg leave to state that they have succeeded in securing the services of a

> > ### GALAXY OF TALENT!

> > such as has not been beheld in Rome before.
> > The performance will commence this evening with a

> > ## GRAND BROADSWORD COMBAT!

> > between two young and promising amateurs and a celebrated Parthian
> > gladiator who has just arrived a prisoner from the Camp of Verus.
> > This will be followed by a grand moral

> > ## BATTLE-AX ENGAGEMENT!

> > between the renowned Valerian (with one hand tied behind him,) and two gigantic savages from Britain.
> > After which the renowned Valerian (if he survive,) will fight with the broad-sword,

> > ### LEFT HANDED!

> > against six Sophomores and a Freshman from the Gladiatorial College!
> > A long series of brilliant engagements will follow, in which the finest talent of the Empire will take part
> > After which the celebrated Infant Prodigy known as

> > ## "THE YOUNG ACHILLES,"

> > will engage four tiger whelps in combat, armed with no other weapon than his little spear!
> > The whole to conclude with a chaste and elegant

> > ### GENERAL SLAUGHTER!

> > In which thirteen African Lions and twenty-two Barbarian Prisoners will war with each other until all are exterminated.

> > ### BOX OFFICE NOW OPEN.

> > Dress Circle One Dollar; Children and Servants half price.
> > An efficient police force will be on hand to preserve order and keep the wild beasts from leaping the railings and discommoding the audience.
> > Doors open at 7; performance begins at 8.
> > POSITIVELY NO FREE LIST.
> > Diodorus Job Press.

It was as singular as it was gratifying that I was also so fortunate as to find among the rubbish of the arena, a stained and mutilated copy of the Roman Daily Battle-Ax, containing a critique upon this very performance. It comes to hand too late by many centuries to rank as news, and therefore I translate and publish it simply to show how very little the general style and phraseology of dramatic criticism has altered in the ages that have dragged their slow length along since the carriers laid this one damp and fresh before their Roman patrons:

> > > > > > "THE OPENING SEASON.--COLISEUM.--Notwithstanding the inclemency of the weather, quite a respectable number of the rank and fashion of the city assembled last night to witness the debut upon metropolitan boards of the young tragedian who has of late been winning such golden opinions in the amphitheatres of the provinces. Some sixty thousand persons were present, and but for the fact that the streets were almost impassable, it is fair to presume that the house would have been full. His august Majesty, the Emperor Aurelius, occupied the imperial box, and was the cynosure of all eyes. Many illustrious nobles and generals of the Empire graced the occasion with their presence, and not the least among them was the young patrician lieutenant whose laurels, won in the ranks of the "Thundering Legion," are still so green upon his brow. The cheer which greeted his entrance was heard beyond the Tiber!

> > > > > > "The late repairs and decorations add both to the comeliness and the comfort of the Coliseum. The new cushions are a great improvement upon the hard marble seats we have been so long accustomed to. The present management deserve well of the public. They have restored to the Coliseum the gilding, the rich upholstery and the uniform magnificence which old Coliseum frequenters tell us Rome was so proud of fifty years ago.

> > > > > > "The opening scene last night--the broadsword combat between two young amateurs and a famous Parthian gladiator who was sent here a prisoner--was very fine. The elder of the two young gentlemen handled his weapon with a grace that marked the possession of extraordinary talent. His feint of thrusting, followed instantly by a happily delivered blow which unhelmeted the Parthian, was received with hearty applause. He was not thoroughly up in the backhanded stroke, but it was very gratifying to his numerous friends to know that, in time, practice would have overcome this defect. However, he was killed. His sisters, who were present, expressed considerable regret. His mother left the Coliseum. The other youth maintained the contest with such spirit as to call forth enthusiastic bursts of applause. When at last he fell a corpse, his aged mother ran screaming, with hair disheveled and tears streaming from her eyes, and swooned away just as her hands were clutching at the railings of the arena. She was promptly removed by the police. Under the circumstances the woman's conduct was pardonable, perhaps, but we suggest that such exhibitions interfere with the decorum which should be preserved during the performances, and are highly improper in the presence of the Emperor. The Parthian prisoner fought bravely and well; and well he might, for he was fighting for both life and liberty. His wife and children were there to nerve his arm with their love, and to remind him of the old home he should see again if he conquered. When his second assailant fell, the woman clasped her children to her breast and wept for joy. But it was only a transient happiness. The captive staggered toward her and she saw that the liberty he had earned was earned too late. He was wounded unto death. Thus the first act closed in a manner which was entirely satisfactory. The manager was called before the curtain and returned his thanks for the honor done him, in a speech which was replete with wit and humor, and closed by hoping that his humble efforts to afford cheerful and instructive entertainment would continue to meet with the approbation of the Roman public

> > > > > > "The star now appeared, and was received with vociferous applause and the simultaneous waving of sixty thousand handkerchiefs. Marcus Marcellus Valerian (stage name--his real name is Smith,) is a splendid specimen of physical development, and an artist of rare merit. His management of the battle-ax is wonderful. His gayety and his playfulness are irresistible, in his comic parts, and yet they are inferior to his sublime conceptions in the grave realm of tragedy. When his ax was describing fiery circles about the heads of the bewildered barbarians, in exact time with his springing body and his prancing legs, the audience gave way to uncontrollable bursts of laughter; but when the back of his weapon broke the skull of one and almost in the same instant its edge clove the other's body in twain, the howl of enthusiastic applause that shook the building, was the acknowledgment of a critical assemblage that he was a master of the noblest department of his profession. If he has a fault, (and we are sorry to even intimate that he has,) it is that of glancing at the audience, in the midst of the most exciting moments of the performance, as if seeking admiration. The pausing in a fight to bow when bouquets are thrown to him is also in bad taste. In the great left-handed combat he appeared to be looking at the audience half the time, instead of carving his adversaries; and when he had slain all the sophomores and was dallying with the freshman, he stooped and snatched a bouquet as it fell, and offered it to his adversary at a time when a blow was descending which promised favorably to be his death-warrant. Such levity is proper enough in the provinces, we make no doubt, but it ill suits the dignity of the metropolis. We trust our young friend will take these remarks in good part, for we mean them solely for his benefit. All who know us are aware that although we are at times justly severe upon tigers and martyrs, we never intentionally offend gladiators.

> > > > > > "The Infant Prodigy performed wonders. He overcame his four tiger whelps with ease, and with no other hurt than the loss of a portion of his scalp. The General Slaughter was rendered with a faithfulness to details which reflects the highest credit upon the late participants in it.

> > > > > > "Upon the whole, last night's performances shed honor not only upon the management but upon the city that encourages and sustains such wholesome and instructive entertainments. We would simply suggest that the practice of vulgar young boys in the gallery of shying peanuts and paper pellets at the tigers, and saying "Hi-yi!" and manifesting approbation or dissatisfaction by such observations as "Bully for the lion!" "Go it, Gladdy!" "Boots!" "Speech!" "Take a walk round the block!" and so on, are extremely reprehensible, when the Emperor is present, and ought to be stopped by the police. Several times last night, when the supernumeraries entered the arena to drag out the bodies, the young ruffians in the gallery shouted, "Supe! supe!" and also, "Oh, what a coat!" and "Why don't you pad them shanks?" and made use of various other remarks expressive of derision. These things are very annoying to the audience.

> > > > > > "A matinee for the little folks is promised for this afternoon, on which occasion several martyrs will be eaten by the tigers. The regular performance will continue every night till further notice. Material change of programme every evening. Benefit of Valerian, Tuesday, 29th, if he lives."

I have been a dramatic critic myself, in my time, and I was often surprised to notice how much more I knew about Hamlet than Forrest did; and it gratifies me to observe, now, how much better my brethren of ancient times knew how a broad sword battle ought to be fought than the gladiators.

## CHAPTER XXVII.

So far, good. If any man has a right to feel proud of himself, and satisfied, surely it is I. For I have written about the Coliseum, and the gladiators, the martyrs, and the lions, and yet have never once used the phrase "butchered to make a Roman holiday." I am the only free white man of mature age, who has accomplished this since Byron originated the expression.

Butchered to make a Roman holiday sounds well for the first seventeen or eighteen hundred thousand times one sees it in print, but after that it begins to grow tiresome. I find it in all the books concerning Rome--and here latterly it reminds me of Judge Oliver. Oliver was a young lawyer, fresh from the schools, who had gone out to the deserts of Nevada to begin life. He found that country, and our ways of life, there, in those early days, different from life in New England or Paris. But he put on a woollen shirt and strapped a navy revolver to his person, took to the bacon and beans of the country, and determined to do in Nevada as Nevada did. Oliver accepted the situation so completely that although he must have sorrowed over many of his trials, he never complained--that is, he never complained but once. He, two others, and myself, started to the new silver mines in the Humboldt mountains--he to be Probate Judge of Humboldt county, and we to mine. The distance was two hundred miles. It was dead of winter. We bought a two-horse wagon and put eighteen hundred pounds of bacon, flour, beans, blasting-powder, picks and shovels in it; we bought two sorry-looking Mexican "plugs," with the hair turned the wrong way and more corners on their bodies than there are on the mosque of Omar; we hitched up and started. It was a dreadful trip. But Oliver did not complain. The horses dragged the wagon two miles from town and then gave out. Then we three pushed the wagon seven miles, and Oliver moved ahead and pulled the horses after him by the bits.

We complained, but Oliver did not. The ground was frozen, and it froze our backs while we slept; the wind swept across our faces and froze our noses. Oliver did not complain. Five days of pushing the wagon by day and freezing by night brought us to the bad part of the journey--the Forty Mile Desert, or the Great American Desert, if you please. Still, this mildest-mannered man that ever was, had not complained. We started across at eight in the morning, pushing through sand that had no bottom; toiling all day long by the wrecks of a thousand wagons, the skeletons of ten thousand oxen; by wagon-tires enough to hoop the Washington Monument to the top, and ox-chains enough to girdle Long Island; by human graves; with our throats parched always, with thirst; lips bleeding from the alkali dust; hungry, perspiring, and very, very weary--so weary that when we dropped in the sand every fifty yards to rest the horses, we could hardly keep from going to sleep--no complaints from Oliver: none the next morning at three o'clock, when we got across, tired to death.

Awakened two or three nights afterward at midnight, in a narrow canon, by the snow falling on our faces, and appalled at the imminent danger of being "snowed in," we harnessed up and pushed on till eight in the morning, passed the "Divide" and knew we were saved. No complaints. Fifteen days of hardship and fatigue brought us to the end of the two hundred miles, and the Judge had not complained. We wondered if any thing could exasperate him. We built a Humboldt house.

It is done in this way. You dig a square in the steep base of the mountain, and set up two uprights and top them with two joists. Then you stretch a great sheet of "cotton domestic" from the point where the joists join the hill-side down over the joists to the ground; this makes the roof and the front of the mansion; the sides and back are the dirt walls your digging has left. A chimney is easily made by turning up one corner of the roof. Oliver was sitting alone in this dismal den, one night, by a sage-brush fire, writing poetry; he was very fond of digging poetry out of himself--or blasting it out when it came hard. He heard an animal's footsteps close to the roof; a stone or two and some dirt came through and fell by him. He grew uneasy and said "Hi!--clear out from there, can't you!"--from time to time. But by and by he fell asleep where he sat, and pretty soon a mule fell down the chimney! The fire flew in every direction, and Oliver went over backwards. About ten nights after that, he recovered confidence enough to go to writing poetry again. Again he dozed off to sleep, and again a mule fell down the chimney. This time, about half of that side of the house came in with the mule. Struggling to get up, the mule kicked the candle out and smashed most of the kitchen furniture, and raised considerable dust. These violent awakenings must have been annoying to Oliver, but he never complained. He moved to a mansion on the opposite side of the canon, because he had noticed the mules did not go there. One night about eight o'clock he was endeavoring to finish his poem, when a stone rolled in--then a hoof appeared below the canvas--then part of a cow--the after part. He leaned back in dread, and shouted "Hooy! hooy! get out of this!" and the cow struggled manfully--lost ground steadily--dirt and dust streamed down, and before Oliver could get well away, the entire cow crashed through on to the table and made a shapeless wreck of every thing!

Then, for the first time in his life, I think, Oliver complained. He said,

"This thing is growing monotonous!"

Then he resigned his judgeship and left Humboldt county. "Butchered to make a Roman holyday" has grown monotonous to me.

In this connection I wish to say one word about Michael Angelo Buonarotti. I used to worship the mighty genius of Michael Angelo--that man who was great in poetry, painting, sculpture, architecture--great in every thing he undertook. But I do not want Michael Angelo for breakfast--for luncheon--for dinner--for tea--for supper--for between meals. I like a change, occasionally. In Genoa, he designed every thing; in Milan he or his pupils designed every thing; he designed the Lake of Como; in Padua, Verona, Venice, Bologna, who did we ever hear of, from guides, but Michael Angelo? In Florence, he painted every thing, designed every thing, nearly, and what he did not design he used to sit on a favorite stone and look at, and they showed us the stone. In Pisa he designed every thing but the old shot-tower, and they would have attributed that to him if it had not been so awfully out of the perpendicular. He designed the piers of Leghorn and the custom house regulations of Civita Vecchia. But, here--here it is frightful. He designed St. Peter's; he designed the Pope; he designed the Pantheon, the uniform of the Pope's soldiers, the Tiber, the Vatican, the Coliseum, the Capitol, the Tarpeian Rock, the Barberini Palace, St. John Lateran, the Campagna, the Appian Way, the Seven Hills, the Baths of Caracalla, the Claudian Aqueduct, the Cloaca Maxima--the eternal bore designed the Eternal City, and unless all men and books do lie, he painted every thing in it! Dan said the other day to the guide, "Enough, enough, enough! Say no more! Lump the whole thing! say that the Creator made Italy from designs by Michael Angelo!"

I never felt so fervently thankful, so soothed, so tranquil, so filled with a blessed peace, as I did yesterday when I learned that Michael Angelo was dead.

But we have taken it out of this guide. He has marched us through miles of pictures and sculpture in the vast corridors of the Vatican; and through miles of pictures and sculpture in twenty other palaces; he has shown us the great picture in the Sistine Chapel, and frescoes enough to frescoe the heavens--pretty much all done by Michael Angelo. So with him we have played that game which has vanquished so many guides for us--imbecility and idiotic questions. These creatures never suspect--they have no idea of a sarcasm.

He shows us a figure and says: "Statoo brunzo." (Bronze statue.)

We look at it indifferently and the doctor asks: "By Michael Angelo?"

"No--not know who."

Then he shows us the ancient Roman Forum. The doctor asks: "Michael Angelo?"

A stare from the guide. "No--thousan' year before he is born."

Then an Egyptian obelisk. Again: "Michael Angelo?"

"Oh, mon dieu, genteelmen! Zis is two thousan' year before he is born!"

He grows so tired of that unceasing question sometimes, that he dreads to show us any thing at all. The wretch has tried all the ways he can think of to make us comprehend that Michael Angelo is only responsible for the creation of a part of the world, but somehow he has not succeeded yet. Relief for overtasked eyes and brain from study and sightseeing is necessary, or we shall become idiotic sure enough. Therefore this guide must continue to suffer. If he does not enjoy it, so much the worse for him. We do.

In this place I may as well jot down a chapter concerning those necessary nuisances, European guides. Many a man has wished in his heart he could do without his guide; but knowing he could not, has wished he could get some amusement out of him as a remuneration for the affliction of his society. We accomplished this latter matter, and if our experience can be made useful to others they are welcome to it.

Guides know about enough English to tangle every thing up so that a man can make neither head or tail of it. They know their story by heart--the history of every statue, painting, cathedral or other wonder they show you. They know it and tell it as a parrot would--and if you interrupt, and throw them off the track, they have to go back and begin over again. All their lives long, they are employed in showing strange things to foreigners and listening to their bursts of admiration. It is human nature to take delight in exciting admiration. It is what prompts children to say "smart" things, and do absurd ones, and in other ways "show off" when company is present. It is what makes gossips turn out in rain and storm to go and be the first to tell a startling bit of news. Think, then, what a passion it becomes with a guide, whose privilege it is, every day, to show to strangers wonders that throw them into perfect ecstasies of admiration! He gets so that he could not by any possibility live in a soberer atmosphere. After we discovered this, we never went into ecstasies any more--we never admired any thing--we never showed any but impassible faces and stupid indifference in the presence of the sublimest wonders a guide had to display. We had found their weak point. We have made good use of it ever since. We have made some of those people savage, at times, but we have never lost our own serenity.

The doctor asks the questions, generally, because he can keep his countenance, and look more like an inspired idiot, and throw more imbecility into the tone of his voice than any man that lives. It comes natural to him.

The guides in Genoa are delighted to secure an American party, because Americans so much wonder, and deal so much in sentiment and emotion before any relic of Columbus. Our guide there fidgeted about as if he had swallowed a spring mattress. He was full of animation--full of impatience. He said:

"Come wis me, genteelmen!--come! I show you ze letter writing by Christopher Colombo!--write it himself!--write it wis his own hand!--come!"

He took us to the municipal palace. After much impressive fumbling of keys and opening of locks, the stained and aged document was spread before us. The guide's eyes sparkled. He danced about us and tapped the parchment with his finger:

"What I tell you, genteelmen! Is it not so? See! handwriting Christopher Colombo!--write it himself!"

We looked indifferent--unconcerned. The doctor examined the document very deliberately, during a painful pause.--Then he said, without any show of interest:

"Ah--Ferguson--what--what did you say was the name of the party who wrote this?"

"Christopher Colombo! ze great Christopher Colombo!"

Another deliberate examination.

"Ah--did he write it himself; or--or how?"

"He write it himself!--Christopher Colombo! He's own hand-writing, write by himself!"

Then the doctor laid the document down and said:

"Why, I have seen boys in America only fourteen years old that could write better than that."

"But zis is ze great Christo--"

"I don't care who it is! It's the worst writing I ever saw. Now you musn't think you can impose on us because we are strangers. We are not fools, by a good deal. If you have got any specimens of penmanship of real merit, trot them out!--and if you haven't, drive on!"

We drove on. The guide was considerably shaken up, but he made one more venture. He had something which he thought would overcome us. He said:

"Ah, genteelmen, you come wis me! I show you beautiful, O, magnificent bust Christopher Colombo!--splendid, grand, magnificent!"

He brought us before the beautiful bust--for it was beautiful--and sprang back and struck an attitude:

"Ah, look, genteelmen!--beautiful, grand,--bust Christopher Colombo!--beautiful bust, beautiful pedestal!"

The doctor put up his eye-glass--procured for such occasions:

"Ah--what did you say this gentleman's name was?"

"Christopher Colombo!--ze great Christopher Colombo!"

"Christopher Colombo--the great Christopher Colombo. Well, what did he do?"

"Discover America!--discover America, Oh, ze devil!"

"Discover America. No--that statement will hardly wash. We are just from America ourselves. We heard nothing about it. Christopher Colombo--pleasant name--is--is he dead?"

"Oh, corpo di Baccho!--three hundred year!"

"What did he die of?"

"I do not know!--I can not tell."

"Small-pox, think?"

"I do not know, genteelmen!--I do not know what he die of!"

"Measles, likely?"

"May be--may be--I do not know--I think he die of somethings."

"Parents living?"

"Im-poseeeble!"

"Ah--which is the bust and which is the pedestal?"

"Santa Maria!--zis ze bust!--zis ze pedestal!"

"Ah, I see, I see--happy combination--very happy combination, indeed. Is--is this the first time this gentleman was ever on a bust?"

That joke was lost on the foreigner--guides can not master the subtleties of the American joke.

We have made it interesting for this Roman guide. Yesterday we spent three or four hours in the Vatican, again, that wonderful world of curiosities. We came very near expressing interest, sometimes--even admiration--it was very hard to keep from it. We succeeded though. Nobody else ever did, in the Vatican museums. The guide was bewildered--non-plussed. He walked his legs off, nearly, hunting up extraordinary things, and exhausted all his ingenuity on us, but it was a failure; we never showed any interest in any thing. He had reserved what he considered to be his greatest wonder till the last--a royal Egyptian mummy, the best preserved in the world, perhaps. He took us there. He felt so sure, this time, that some of his old enthusiasm came back to him:

"See, genteelmen!--Mummy! Mummy!"

The eye-glass came up as calmly, as deliberately as ever.

"Ah,--Ferguson--what did I understand you to say the gentleman's name was?"

"Name?--he got no name!--Mummy!--'Gyptian mummy!"

"Yes, yes. Born here?"

"No! 'Gyptian mummy!"

"Ah, just so. Frenchman, I presume?"

"No!--not Frenchman, not Roman!--born in Egypta!"

"Born in Egypta. Never heard of Egypta before. Foreign locality, likely. Mummy--mummy. How calm he is--how self-possessed. Is, ah--is he dead?"

"Oh, sacre bleu, been dead three thousan' year!"

The doctor turned on him savagely:

"Here, now, what do you mean by such conduct as this! Playing us for Chinamen because we are strangers and trying to learn! Trying to impose your vile second-hand carcasses on us!--thunder and lightning, I've a notion to--to--if you've got a nice fresh corpse, fetch him out!--or by George we'll brain you!"

We make it exceedingly interesting for this Frenchman. However, he has paid us back, partly, without knowing it. He came to the hotel this morning to ask if we were up, and he endeavored as well as he could to describe us, so that the landlord would know which persons he meant. He finished with the casual remark that we were lunatics. The observation was so innocent and so honest that it amounted to a very good thing for a guide to say.

There is one remark (already mentioned,) which never yet has failed to disgust these guides. We use it always, when we can think of nothing else to say. After they have exhausted their enthusiasm pointing out to us and praising the beauties of some ancient bronze image or broken-legged statue, we look at it stupidly and in silence for five, ten, fifteen minutes--as long as we can hold out, in fact--and then ask:

"Is--is he dead?"

That conquers the serenest of them. It is not what they are looking for--especially a new guide. Our Roman Ferguson is the most patient, unsuspecting, long-suffering subject we have had yet. We shall be sorry to part with him. We have enjoyed his society very much. We trust he has enjoyed ours, but we are harassed with doubts.

We have been in the catacombs. It was like going down into a very deep cellar, only it was a cellar which had no end to it. The narrow passages are roughly hewn in the rock, and on each hand as you pass along, the hollowed shelves are carved out, from three to fourteen deep; each held a corpse once. There are names, and Christian symbols, and prayers, or sentences expressive of Christian hopes, carved upon nearly every sarcophagus. The dates belong away back in the dawn of the Christian era, of course. Here, in these holes in the ground, the first Christians sometimes burrowed to escape persecution. They crawled out at night to get food, but remained under cover in the day time. The priest told us that St. Sebastian lived under ground for some time while he was being hunted; he went out one day, and the soldiery discovered and shot him to death with arrows. Five or six of the early Popes--those who reigned about sixteen hundred years ago--held their papal courts and advised with their clergy in the bowels of the earth. During seventeen years--from A.D. 235 to A.D. 252--the Popes did not appear above ground. Four were raised to the great office during that period. Four years apiece, or thereabouts. It is very suggestive of the unhealthiness of underground graveyards as places of residence. One Pope afterward spent his entire pontificate in the catacombs--eight years. Another was discovered in them and murdered in the episcopal chair. There was no satisfaction in being a Pope in those days. There were too many annoyances. There are one hundred and sixty catacombs under Rome, each with its maze of narrow passages crossing and recrossing each other and each passage walled to the top with scooped graves its entire length. A careful estimate makes the length of the passages of all the catacombs combined foot up nine hundred miles, and their graves number seven millions. We did not go through all the passages of all the catacombs. We were very anxious to do it, and made the necessary arrangements, but our too limited time obliged us to give up the idea. So we only groped through the dismal labyrinth of St. Callixtus, under the Church of St. Sebastian. In the various catacombs are small chapels rudely hewn in the stones, and here the early Christians often held their religious services by dim, ghostly lights. Think of mass and a sermon away down in those tangled caverns under ground!

In the catacombs were buried St. Cecilia, St. Agnes, and several other of the most celebrated of the saints. In the catacomb of St. Callixtus, St. Bridget used to remain long hours in holy contemplation, and St. Charles Borromeo was wont to spend whole nights in prayer there. It was also the scene of a very marvelous thing.

> > > > "Here the heart of St. Philip Neri was so inflamed with divine love as to burst his ribs."

I find that grave statement in a book published in New York in 1808, and written by "Rev. William H. Neligan, LL.D., M. A., Trinity College, Dublin; Member of the Archaeological Society of Great Britain." Therefore, I believe it. Otherwise, I could not. Under other circumstances I should have felt a curiosity to know what Philip had for dinner.

This author puts my credulity on its mettle every now and then. He tells of one St. Joseph Calasanctius whose house in Rome he visited; he visited only the house--the priest has been dead two hundred years. He says the Virgin Mary appeared to this saint. Then he continues:

> > > > "His tongue and his heart, which were found after nearly a century to be whole, when the body was disinterred before his canonization, are still preserved in a glass case, and after two centuries the heart is still whole. When the French troops came to Rome, and when Pius VII. was carried away prisoner, blood dropped from it."

To read that in a book written by a monk far back in the Middle Ages, would surprise no one; it would sound natural and proper; but when it is seriously stated in the middle of the nineteenth century, by a man of finished education, an LL.D., M. A., and an Archaeological magnate, it sounds strangely enough. Still, I would gladly change my unbelief for Neligan's faith, and let him make the conditions as hard as he pleased.

The old gentleman's undoubting, unquestioning simplicity has a rare freshness about it in these matter-of-fact railroading and telegraphing days. Hear him, concerning the church of Ara Coeli:

> > > > "In the roof of the church, directly above the high altar, is engraved, 'Regina Coeli laetare Alleluia." In the sixth century Rome was visited by a fearful pestilence. Gregory the Great urged the people to do penance, and a general procession was formed. It was to proceed from Ara Coeli to St. Peter's. As it passed before the mole of Adrian, now the Castle of St. Angelo, the sound of heavenly voices was heard singing (it was Easter morn,) Regina Coeli, laetare! alleluia! quia quem meruisti portare, alleluia! resurrexit sicut dixit; alleluia!" The Pontiff, carrying in his hands the portrait of the Virgin, (which is over the high altar and is said to have been painted by St. Luke,) answered, with the astonished people, 'Ora pro nobis Deum, alleluia!' At the same time an angel was seen to put up a sword in a scabbard, and the pestilence ceased on the same day. There are four circumstances which 'CONFIRM'--[The italics are mine--M. T.]--this miracle: the annual procession which takes place in the western church on the feast of St Mark; the statue of St. Michael, placed on the mole of Adrian, which has since that time been called the Castle of St. Angelo; the antiphon Regina Coeli which the Catholic church sings during paschal time; and the inscription in the church."

## CHAPTER XXVIII.

From the sanguinary sports of the Holy Inquisition; the slaughter of the Coliseum; and the dismal tombs of the Catacombs, I naturally pass to the picturesque horrors of the Capuchin Convent. We stopped a moment in a small chapel in the church to admire a picture of St. Michael vanquishing Satan--a picture which is so beautiful that I can not but think it belongs to the reviled "Renaissance," notwithstanding I believe they told us one of the ancient old masters painted it--and then we descended into the vast vault underneath.

Here was a spectacle for sensitive nerves! Evidently the old masters had been at work in this place. There were six divisions in the apartment, and each division was ornamented with a style of decoration peculiar to itself--and these decorations were in every instance formed of human bones! There were shapely arches, built wholly of thigh bones; there were startling pyramids, built wholly of grinning skulls; there were quaint architectural structures of various kinds, built of shin bones and the bones of the arm; on the wall were elaborate frescoes, whose curving vines were made of knotted human vertebrae; whose delicate tendrils were made of sinews and tendons; whose flowers were formed of knee-caps and toe-nails. Every lasting portion of the human frame was represented in these intricate designs (they were by Michael Angelo, I think,) and there was a careful finish about the work, and an attention to details that betrayed the artist's love of his labors as well as his schooled ability. I asked the good-natured monk who accompanied us, who did this? And he said, "We did it"--meaning himself and his brethren up stairs. I could see that the old friar took a high pride in his curious show. We made him talkative by exhibiting an interest we never betrayed to guides.

"Who were these people?"

"We--up stairs--Monks of the Capuchin order--my brethren."

"How many departed monks were required to upholster these six parlors?"

"These are the bones of four thousand."

"It took a long time to get enough?"

"Many, many centuries."

"Their different parts are well separated--skulls in one room, legs in another, ribs in another--there would be stirring times here for a while if the last trump should blow. Some of the brethren might get hold of the wrong leg, in the confusion, and the wrong skull, and find themselves limping, and looking through eyes that were wider apart or closer together than they were used to. You can not tell any of these parties apart, I suppose?"

"Oh, yes, I know many of them."

He put his finger on a skull. "This was Brother Anselmo--dead three hundred years--a good man."

He touched another. "This was Brother Alexander--dead two hundred and eighty years. This was Brother Carlo--dead about as long."

Then he took a skull and held it in his hand, and looked reflectively upon it, after the manner of the grave-digger when he discourses of Yorick.

"This," he said, "was Brother Thomas. He was a young prince, the scion of a proud house that traced its lineage back to the grand old days of Rome well nigh two thousand years ago. He loved beneath his estate. His family persecuted him; persecuted the girl, as well. They drove her from Rome; he followed; he sought her far and wide; he found no trace of her. He came back and offered his broken heart at our altar and his weary life to the service of God. But look you. Shortly his father died, and likewise his mother. The girl returned, rejoicing. She sought every where for him whose eyes had used to look tenderly into hers out of this poor skull, but she could not find him. At last, in this coarse garb we wear, she recognized him in the street. He knew her. It was too late. He fell where he stood. They took him up and brought him here. He never spoke afterward. Within the week he died. You can see the color of his hair--faded, somewhat--by this thin shred that clings still to the temple. This, [taking up a thigh bone,] was his. The veins of this leaf in the decorations over your head, were his finger-joints, a hundred and fifty years ago."

This business-like way of illustrating a touching story of the heart by laying the several fragments of the lover before us and naming them, was as grotesque a performance, and as ghastly, as any I ever witnessed. I hardly knew whether to smile or shudder. There are nerves and muscles in our frames whose functions and whose methods of working it seems a sort of sacrilege to describe by cold physiological names and surgical technicalities, and the monk's talk suggested to me something of this kind. Fancy a surgeon, with his nippers lifting tendons, muscles and such things into view, out of the complex machinery of a corpse, and observing, "Now this little nerve quivers--the vibration is imparted to this muscle--from here it is passed to this fibrous substance; here its ingredients are separated by the chemical action of the blood--one part goes to the heart and thrills it with what is popularly termed emotion, another part follows this nerve to the brain and communicates intelligence of a startling character--the third part glides along this passage and touches the spring connected with the fluid receptacles that lie in the rear of the eye. Thus, by this simple and beautiful process, the party is informed that his mother is dead, and he weeps." Horrible!

I asked the monk if all the brethren up stairs expected to be put in this place when they died. He answered quietly:

"We must all lie here at last."

See what one can accustom himself to.--The reflection that he must some day be taken apart like an engine or a clock, or like a house whose owner is gone, and worked up into arches and pyramids and hideous frescoes, did not distress this monk in the least. I thought he even looked as if he were thinking, with complacent vanity, that his own skull would look well on top of the heap and his own ribs add a charm to the frescoes which possibly they lacked at present.

Here and there, in ornamental alcoves, stretched upon beds of bones, lay dead and dried-up monks, with lank frames dressed in the black robes one sees ordinarily upon priests. We examined one closely. The skinny hands were clasped upon the breast; two lustreless tufts of hair stuck to the skull; the skin was brown and sunken; it stretched tightly over the cheek bones and made them stand out sharply; the crisp dead eyes were deep in the sockets; the nostrils were painfully prominent, the end of the nose being gone; the lips had shriveled away from the yellow teeth: and brought down to us through the circling years, and petrified there, was a weird laugh a full century old!

It was the jolliest laugh, but yet the most dreadful, that one can imagine. Surely, I thought, it must have been a most extraordinary joke this veteran produced with his latest breath, that he has not got done laughing at it yet. At this moment I saw that the old instinct was strong upon the boys, and I said we had better hurry to St. Peter's. They were trying to keep from asking, "Is--is he dead?"

It makes me dizzy, to think of the Vatican--of its wilderness of statues, paintings, and curiosities of every description and every age. The "old masters" (especially in sculpture,) fairly swarm, there. I can not write about the Vatican. I think I shall never remember any thing I saw there distinctly but the mummies, and the Transfiguration, by Raphael, and some other things it is not necessary to mention now. I shall remember the Transfiguration partly because it was placed in a room almost by itself; partly because it is acknowledged by all to be the first oil painting in the world; and partly because it was wonderfully beautiful. The colors are fresh and rich, the "expression," I am told, is fine, the "feeling" is lively, the "tone" is good, the "depth" is profound, and the width is about four and a half feet, I should judge. It is a picture that really holds one's attention; its beauty is fascinating. It is fine enough to be a Renaissance. A remark I made a while ago suggests a thought--and a hope. Is it not possible that the reason I find such charms in this picture is because it is out of the crazy chaos of the galleries? If some of the others were set apart, might not they be beautiful? If this were set in the midst of the tempest of pictures one finds in the vast galleries of the Roman palaces, would I think it so handsome? If, up to this time, I had seen only one "old master" in each palace, instead of acres and acres of walls and ceilings fairly papered with them, might I not have a more civilized opinion of the old masters than I have now? I think so. When I was a school-boy and was to have a new knife, I could not make up my mind as to which was the prettiest in the show-case, and I did not think any of them were particularly pretty; and so I chose with a heavy heart.

But when I looked at my purchase, at home, where no glittering blades came into competition with it, I was astonished to see how handsome it was. To this day my new hats look better out of the shop than they did in it with other new hats.

It begins to dawn upon me, now, that possibly, what I have been taking for uniform ugliness in the galleries may be uniform beauty after all. I honestly hope it is, to others, but certainly it is not to me. Perhaps the reason I used to enjoy going to the Academy of Fine Arts in New York was because there were but a few hundred paintings in it, and it did not surfeit me to go through the list. I suppose the Academy was bacon and beans in the Forty-Mile Desert, and a European gallery is a state dinner of thirteen courses. One leaves no sign after him of the one dish, but the thirteen frighten away his appetite and give him no satisfaction.

There is one thing I am certain of, though. With all the Michael Angelos, the Raphaels, the Guidos and the other old masters, the sublime history of Rome remains unpainted! They painted Virgins enough, and popes enough and saintly scarecrows enough, to people Paradise, almost, and these things are all they did paint. "Nero fiddling o'er burning Rome," the assassination of Caesar, the stirring spectacle of a hundred thousand people bending forward with rapt interest, in the coliseum, to see two skillful gladiators hacking away each others' lives, a tiger springing upon a kneeling martyr--these and a thousand other matters which we read of with a living interest, must be sought for only in books--not among the rubbish left by the old masters--who are no more, I have the satisfaction of informing the public.

They did paint, and they did carve in marble, one historical scene, and one only, (of any great historical consequence.) And what was it and why did they choose it, particularly? It was the Rape of the Sabines, and they chose it for the legs and busts.

I like to look at statues, however, and I like to look at pictures, also--even of monks looking up in sacred ecstacy, and monks looking down in meditation, and monks skirmishing for something to eat--and therefore I drop ill nature to thank the papal government for so jealously guarding and so industriously gathering up these things; and for permitting me, a stranger and not an entirely friendly one, to roam at will and unmolested among them, charging me nothing, and only requiring that I shall behave myself simply as well as I ought to behave in any other man's house. I thank the Holy Father right heartily, and I wish him long life and plenty of happiness.

The Popes have long been the patrons and preservers of art, just as our new, practical Republic is the encourager and upholder of mechanics. In their Vatican is stored up all that is curious and beautiful in art; in our Patent Office is hoarded all that is curious or useful in mechanics. When a man invents a new style of horse-collar or discovers a new and superior method of telegraphing, our government issues a patent to him that is worth a fortune; when a man digs up an ancient statue in the Campagna, the Pope gives him a fortune in gold coin. We can make something of a guess at a man's character by the style of nose he carries on his face. The Vatican and the Patent Office are governmental noses, and they bear a deal of character about them.

The guide showed us a colossal statue of Jupiter, in the Vatican, which he said looked so damaged and rusty--so like the God of the Vagabonds--because it had but recently been dug up in the Campagna. He asked how much we supposed this Jupiter was worth? I replied, with intelligent promptness, that he was probably worth about four dollars--may be four and a half. "A hundred thousand dollars!" Ferguson said. Ferguson said, further, that the Pope permits no ancient work of this kind to leave his dominions. He appoints a commission to examine discoveries like this and report upon the value; then the Pope pays the discoverer one-half of that assessed value and takes the statue. He said this Jupiter was dug from a field which had just been bought for thirty-six thousand dollars, so the first crop was a good one for the new farmer. I do not know whether Ferguson always tells the truth or not, but I suppose he does. I know that an exorbitant export duty is exacted upon all pictures painted by the old masters, in order to discourage the sale of those in the private collections. I am satisfied, also, that genuine old masters hardly exist at all, in America, because the cheapest and most insignificant of them are valued at the price of a fine farm. I proposed to buy a small trifle of a Raphael, myself, but the price of it was eighty thousand dollars, the export duty would have made it considerably over a hundred, and so I studied on it awhile and concluded not to take it.

I wish here to mention an inscription I have seen, before I forget it:

"Glory to God in the highest, peace on earth TO MEN OF GOOD WILL!" It is not good scripture, but it is sound Catholic and human nature.

This is in letters of gold around the apsis of a mosaic group at the side of the 'scala santa', church of St. John Lateran, the Mother and Mistress of all the Catholic churches of the world. The group represents the Saviour, St. Peter, Pope Leo, St. Silvester, Constantine and Charlemagne. Peter is giving the pallium to the Pope, and a standard to Charlemagne. The Saviour is giving the keys to St. Silvester, and a standard to Constantine. No prayer is offered to the Saviour, who seems to be of little importance any where in Rome; but an inscription below says, "Blessed Peter, give life to Pope Leo and victory to king Charles." It does not say, "Intercede for us, through the Saviour, with the Father, for this boon," but "Blessed Peter, give it us."

In all seriousness--without meaning to be frivolous--without meaning to be irreverent, and more than all, without meaning to be blasphemous,--I state as my simple deduction from the things I have seen and the things I have heard, that the Holy Personages rank thus in Rome:

First--"The Mother of God"--otherwise the Virgin Mary.

Second--The Deity.

Third--Peter.

Fourth--Some twelve or fifteen canonized Popes and martyrs.

Fifth--Jesus Christ the Saviour--(but always as an infant in arms.)

I may be wrong in this--my judgment errs often, just as is the case with other men's--but it is my judgment, be it good or bad.

Just here I will mention something that seems curious to me. There are no "Christ's Churches" in Rome, and no "Churches of the Holy Ghost," that I can discover. There are some four hundred churches, but about a fourth of them seem to be named for the Madonna and St. Peter. There are so many named for Mary that they have to be distinguished by all sorts of affixes, if I understand the matter rightly. Then we have churches of St. Louis; St. Augustine; St. Agnes; St. Calixtus; St. Lorenzo in Lucina; St. Lorenzo in Damaso; St. Cecilia; St. Athanasius; St. Philip Neri; St. Catherine, St. Dominico, and a multitude of lesser saints whose names are not familiar in the world--and away down, clear out of the list of the churches, comes a couple of hospitals: one of them is named for the Saviour and the other for the Holy Ghost!

Day after day and night after night we have wandered among the crumbling wonders of Rome; day after day and night after night we have fed upon the dust and decay of five-and-twenty centuries--have brooded over them by day and dreampt of them by night till sometimes we seemed moldering away ourselves, and growing defaced and cornerless, and liable at any moment to fall a prey to some antiquary and be patched in the legs, and "restored" with an unseemly nose, and labeled wrong and dated wrong, and set up in the Vatican for poets to drivel about and vandals to scribble their names on forever and forevermore.

But the surest way to stop writing about Rome is to stop. I wished to write a real "guide-book" chapter on this fascinating city, but I could not do it, because I have felt all the time like a boy in a candy-shop--there was every thing to choose from, and yet no choice. I have drifted along hopelessly for a hundred pages of manuscript without knowing where to commence. I will not commence at all. Our passports have been examined. We will go to Naples.

## CHAPTER XXIX.

The ship is lying here in the harbor of Naples--quarantined. She has been here several days and will remain several more. We that came by rail from Rome have escaped this misfortune. Of course no one is allowed to go on board the ship, or come ashore from her. She is a prison, now. The passengers probably spend the long, blazing days looking out from under the awnings at Vesuvius and the beautiful city--and in swearing. Think of ten days of this sort of pastime!--We go out every day in a boat and request them to come ashore. It soothes them. We lie ten steps from the ship and tell them how splendid the city is; and how much better the hotel fare is here than any where else in Europe; and how cool it is; and what frozen continents of ice cream there are; and what a time we are having cavorting about the country and sailing to the islands in the Bay. This tranquilizes them.

### ASCENT OF VESUVIUS.

I shall remember our trip to Vesuvius for many a day--partly because of its sight-seeing experiences, but chiefly on account of the fatigue of the journey. Two or three of us had been resting ourselves among the tranquil and beautiful scenery of the island of Ischia, eighteen miles out in the harbor, for two days; we called it "resting," but I do not remember now what the resting consisted of, for when we got back to Naples we had not slept for forty-eight hours. We were just about to go to bed early in the evening, and catch up on some of the sleep we had lost, when we heard of this Vesuvius expedition. There was to be eight of us in the party, and we were to leave Naples at midnight. We laid in some provisions for the trip, engaged carriages to take us to Annunciation, and then moved about the city, to keep awake, till twelve. We got away punctually, and in the course of an hour and a half arrived at the town of Annunciation. Annunciation is the very last place under the sun. In other towns in Italy the people lie around quietly and wait for you to ask them a question or do some overt act that can be charged for--but in Annunciation they have lost even that fragment of delicacy; they seize a lady's shawl from a chair and hand it to her and charge a penny; they open a carriage door, and charge for it--shut it when you get out, and charge for it; they help you to take off a duster--two cents; brush your clothes and make them worse than they were before--two cents; smile upon you--two cents; bow, with a lick-spittle smirk, hat in hand--two cents; they volunteer all information, such as that the mules will arrive presently--two cents--warm day, sir--two cents--take you four hours to make the ascent--two cents. And so they go. They crowd you--infest you--swarm about you, and sweat and smell offensively, and look sneaking and mean, and obsequious. There is no office too degrading for them to perform, for money. I have had no opportunity to find out any thing about the upper classes by my own observation, but from what I hear said about them I judge that what they lack in one or two of the bad traits the canaille have, they make up in one or two others that are worse. How the people beg!--many of them very well dressed, too.

I said I knew nothing against the upper classes by personal observation. I must recall it! I had forgotten. What I saw their bravest and their fairest do last night, the lowest multitude that could be scraped up out of the purlieus of Christendom would blush to do, I think. They assembled by hundreds, and even thousands, in the great Theatre of San Carlo, to do--what? Why, simply, to make fun of an old woman--to deride, to hiss, to jeer at an actress they once worshipped, but whose beauty is faded now and whose voice has lost its former richness. Every body spoke of the rare sport there was to be. They said the theatre would be crammed, because Frezzolini was going to sing. It was said she could not sing well, now, but then the people liked to see her, anyhow. And so we went. And every time the woman sang they hissed and laughed--the whole magnificent house--and as soon as she left the stage they called her on again with applause. Once or twice she was encored five and six times in succession, and received with hisses when she appeared, and discharged with hisses and laughter when she had finished--then instantly encored and insulted again! And how the high-born knaves enjoyed it! White-kidded gentlemen and ladies laughed till the tears came, and clapped their hands in very ecstacy when that unhappy old woman would come meekly out for the sixth time, with uncomplaining patience, to meet a storm of hisses! It was the cruelest exhibition--the most wanton, the most unfeeling. The singer would have conquered an audience of American rowdies by her brave, unflinching tranquillity (for she answered encore after encore, and smiled and bowed pleasantly, and sang the best she possibly could, and went bowing off, through all the jeers and hisses, without ever losing countenance or temper:) and surely in any other land than Italy her sex and her helplessness must have been an ample protection to her--she could have needed no other. Think what a multitude of small souls were crowded into that theatre last night. If the manager could have filled his theatre with Neapolitan souls alone, without the bodies, he could not have cleared less than ninety millions of dollars. What traits of character must a man have to enable him to help three thousand miscreants to hiss, and jeer, and laugh at one friendless old woman, and shamefully humiliate her? He must have all the vile, mean traits there are. My observation persuades me (I do not like to venture beyond my own personal observation,) that the upper classes of Naples possess those traits of character. Otherwise they may be very good people; I can not say.

### ASCENT OF VESUVIUS--CONTINUED.

In this city of Naples, they believe in and support one of the wretchedest of all the religious impostures one can find in Italy--the miraculous liquefaction of the blood of St. Januarius. Twice a year the priests assemble all the people at the Cathedral, and get out this vial of clotted blood and let them see it slowly dissolve and become liquid--and every day for eight days, this dismal farce is repeated, while the priests go among the crowd and collect money for the exhibition. The first day, the blood liquefies in forty-seven minutes--the church is crammed, then, and time must be allowed the collectors to get around: after that it liquefies a little quicker and a little quicker, every day, as the houses grow smaller, till on the eighth day, with only a few dozens present to see the miracle, it liquefies in four minutes.

And here, also, they used to have a grand procession, of priests, citizens, soldiers, sailors, and the high dignitaries of the City Government, once a year, to shave the head of a made-up Madonna--a stuffed and painted image, like a milliner's dummy--whose hair miraculously grew and restored itself every twelve months. They still kept up this shaving procession as late as four or five years ago. It was a source of great profit to the church that possessed the remarkable effigy, and the ceremony of the public barbering of her was always carried out with the greatest possible eclat and display--the more the better, because the more excitement there was about it the larger the crowds it drew and the heavier the revenues it produced--but at last a day came when the Pope and his servants were unpopular in Naples, and the City Government stopped the Madonna's annual show.

There we have two specimens of these Neapolitans--two of the silliest possible frauds, which half the population religiously and faithfully believed, and the other half either believed also or else said nothing about, and thus lent themselves to the support of the imposture. I am very well satisfied to think the whole population believed in those poor, cheap miracles--a people who want two cents every time they bow to you, and who abuse a woman, are capable of it, I think.

### ASCENT OF VESUVIUS--CONTINUED.

These Neapolitans always ask four times as much money as they intend to take, but if you give them what they first demand, they feel ashamed of themselves for aiming so low, and immediately ask more. When money is to be paid and received, there is always some vehement jawing and gesticulating about it. One can not buy and pay for two cents' worth of clams without trouble and a quarrel. One "course," in a two-horse carriage, costs a franc--that is law--but the hackman always demands more, on some pretence or other, and if he gets it he makes a new demand. It is said that a stranger took a one-horse carriage for a course--tariff, half a franc. He gave the man five francs, by way of experiment. He demanded more, and received another franc. Again he demanded more, and got a franc--demanded more, and it was refused. He grew vehement--was again refused, and became noisy. The stranger said, "Well, give me the seven francs again, and I will see what I can do"--and when he got them, he handed the hackman half a franc, and he immediately asked for two cents to buy a drink with. It may be thought that I am prejudiced.

Perhaps I am. I would be ashamed of myself if I were not.

### ASCENT OF VESUVIUS--CONTINUED.

Well, as I was saying, we got our mules and horses, after an hour and a half of bargaining with the population of Annunciation, and started sleepily up the mountain, with a vagrant at each mule's tail who pretended to be driving the brute along, but was really holding on and getting himself dragged up instead.

I made slow headway at first, but I began to get dissatisfied at the idea of paying my minion five francs to hold my mule back by the tail and keep him from going up the hill, and so I discharged him. I got along faster then.

We had one magnificent picture of Naples from a high point on the mountain side. We saw nothing but the gas lamps, of course--two-thirds of a circle, skirting the great Bay--a necklace of diamonds glinting up through the darkness from the remote distance--less brilliant than the stars overhead, but more softly, richly beautiful--and over all the great city the lights crossed and recrossed each other in many and many a sparkling line and curve. And back of the town, far around and abroad over the miles of level campagna, were scattered rows, and circles, and clusters of lights, all glowing like so many gems, and marking where a score of villages were sleeping. About this time, the fellow who was hanging on to the tail of the horse in front of me and practicing all sorts of unnecessary cruelty upon the animal, got kicked some fourteen rods, and this incident, together with the fairy spectacle of the lights far in the distance, made me serenely happy, and I was glad I started to Vesuvius.

### ASCENT OF MOUNT VESUVIUS--CONTINUED.

This subject will be excellent matter for a chapter, and tomorrow or next day I will write it.

## CHAPTER XXX.

### ASCENT OF VESUVIUS--CONTINUED.

"See Naples and die." Well, I do not know that one would necessarily die after merely seeing it, but to attempt to live there might turn out a little differently. To see Naples as we saw it in the early dawn from far up on the side of Vesuvius, is to see a picture of wonderful beauty. At that distance its dingy buildings looked white--and so, rank on rank of balconies, windows and roofs, they piled themselves up from the blue ocean till the colossal castle of St. Elmo topped the grand white pyramid and gave the picture symmetry, emphasis and completeness. And when its lilies turned to roses--when it blushed under the sun's first kiss--it was beautiful beyond all description. One might well say, then, "See Naples and die." The frame of the picture was charming, itself. In front, the smooth sea--a vast mosaic of many colors; the lofty islands swimming in a dreamy haze in the distance; at our end of the city the stately double peak of Vesuvius, and its strong black ribs and seams of lava stretching down to the limitless level campagna--a green carpet that enchants the eye and leads it on and on, past clusters of trees, and isolated houses, and snowy villages, until it shreds out in a fringe of mist and general vagueness far away. It is from the Hermitage, there on the side of Vesuvius, that one should "see Naples and die."

But do not go within the walls and look at it in detail. That takes away some of the romance of the thing. The people are filthy in their habits, and this makes filthy streets and breeds disagreeable sights and smells. There never was a community so prejudiced against the cholera as these Neapolitans are. But they have good reason to be. The cholera generally vanquishes a Neapolitan when it seizes him, because, you understand, before the doctor can dig through the dirt and get at the disease the man dies. The upper classes take a sea-bath every day, and are pretty decent.

The streets are generally about wide enough for one wagon, and how they do swarm with people! It is Broadway repeated in every street, in every court, in every alley! Such masses, such throngs, such multitudes of hurrying, bustling, struggling humanity! We never saw the like of it, hardly even in New York, I think. There are seldom any sidewalks, and when there are, they are not often wide enough to pass a man on without caroming on him. So everybody walks in the street--and where the street is wide enough, carriages are forever dashing along. Why a thousand people are not run over and crippled every day is a mystery that no man can solve. But if there is an eighth wonder in the world, it must be the dwelling-houses of Naples. I honestly believe a good majority of them are a hundred feet high! And the solid brick walls are seven feet through. You go up nine flights of stairs before you get to the "first" floor. No, not nine, but there or thereabouts. There is a little bird-cage of an iron railing in front of every window clear away up, up, up, among the eternal clouds, where the roof is, and there is always somebody looking out of every window--people of ordinary size looking out from the first floor, people a shade smaller from the second, people that look a little smaller yet from the third--and from thence upward they grow smaller and smaller by a regularly graduated diminution, till the folks in the topmost windows seem more like birds in an uncommonly tall martin-box than any thing else. The perspective of one of these narrow cracks of streets, with its rows of tall houses stretching away till they come together in the distance like railway tracks; its clothes-lines crossing over at all altitudes and waving their bannered raggedness over the swarms of people below; and the white-dressed women perched in balcony railings all the way from the pavement up to the heavens--a perspective like that is really worth going into Neapolitan details to see.

### ASCENT OF VESUVIUS--CONTINUED.

Naples, with its immediate suburbs, contains six hundred and twenty-five thousand inhabitants, but I am satisfied it covers no more ground than an American city of one hundred and fifty thousand. It reaches up into the air infinitely higher than three American cities, though, and there is where the secret of it lies. I will observe here, in passing, that the contrasts between opulence and poverty, and magnificence and misery, are more frequent and more striking in Naples than in Paris even. One must go to the Bois de Boulogne to see fashionable dressing, splendid equipages and stunning liveries, and to the Faubourg St. Antoine to see vice, misery, hunger, rags, dirt--but in the thoroughfares of Naples these things are all mixed together. Naked boys of nine years and the fancy-dressed children of luxury; shreds and tatters, and brilliant uniforms; jackass-carts and state-carriages; beggars, Princes and Bishops, jostle each other in every street. At six o'clock every evening, all Naples turns out to drive on the 'Riviere di Chiaja', (whatever that may mean;) and for two hours one may stand there and see the motliest and the worst mixed procession go by that ever eyes beheld. Princes (there are more Princes than policemen in Naples--the city is infested with them)--Princes who live up seven flights of stairs and don't own any principalities, will keep a carriage and go hungry; and clerks, mechanics, milliners and strumpets will go without their dinners and squander the money on a hack-ride in the Chiaja; the rag-tag and rubbish of the city stack themselves up, to the number of twenty or thirty, on a rickety little go-cart hauled by a donkey not much bigger than a cat, and they drive in the Chiaja; Dukes and bankers, in sumptuous carriages and with gorgeous drivers and footmen, turn out, also, and so the furious procession goes. For two hours rank and wealth, and obscurity and poverty clatter along side by side in the wild procession, and then go home serene, happy, covered with glory!

I was looking at a magnificent marble staircase in the King's palace, the other day, which, it was said, cost five million francs, and I suppose it did cost half a million, may be. I felt as if it must be a fine thing to live in a country where there was such comfort and such luxury as this. And then I stepped out musing, and almost walked over a vagabond who was eating his dinner on the curbstone--a piece of bread and a bunch of grapes. When I found that this mustang was clerking in a fruit establishment (he had the establishment along with him in a basket,) at two cents a day, and that he had no palace at home where he lived, I lost some of my enthusiasm concerning the happiness of living in Italy.

This naturally suggests to me a thought about wages here. Lieutenants in the army get about a dollar a day, and common soldiers a couple of cents. I only know one clerk--he gets four dollars a month. Printers get six dollars and a half a month, but I have heard of a foreman who gets thirteen.

To be growing suddenly and violently rich, as this man is, naturally makes him a bloated aristocrat. The airs he puts on are insufferable.

And, speaking of wages, reminds me of prices of merchandise. In Paris you pay twelve dollars a dozen for Jouvin's best kid gloves; gloves of about as good quality sell here at three or four dollars a dozen. You pay five and six dollars apiece for fine linen shirts in Paris; here and in Leghorn you pay two and a half. In Marseilles you pay forty dollars for a first-class dress coat made by a good tailor, but in Leghorn you can get a full dress suit for the same money. Here you get handsome business suits at from ten to twenty dollars, and in Leghorn you can get an overcoat for fifteen dollars that would cost you seventy in New York. Fine kid boots are worth eight dollars in Marseilles and four dollars here. Lyons velvets rank higher in America than those of Genoa. Yet the bulk of Lyons velvets you buy in the States are made in Genoa and imported into Lyons, where they receive the Lyons stamp and are then exported to America. You can buy enough velvet in Genoa for twenty-five dollars to make a five hundred dollar cloak in New York--so the ladies tell me. Of course these things bring me back, by a natural and easy transition, to the

### ASCENT OF VESUVIUS--CONTINUED.

And thus the wonderful Blue Grotto is suggested to me. It is situated on the Island of Capri, twenty-two miles from Naples.

We chartered a little steamer and went out there. Of course, the police boarded us and put us through a health examination, and inquired into our politics, before they would let us land. The airs these little insect Governments put on are in the last degree ridiculous. They even put a policeman on board of our boat to keep an eye on us as long as we were in the Capri dominions. They thought we wanted to steal the grotto, I suppose. It was worth stealing. The entrance to the cave is four feet high and four feet wide, and is in the face of a lofty perpendicular cliff--the sea-wall. You enter in small boats--and a tight squeeze it is, too. You can not go in at all when the tide is up. Once within, you find yourself in an arched cavern about one hundred and sixty feet long, one hundred and twenty wide, and about seventy high. How deep it is no man knows. It goes down to the bottom of the ocean.

The waters of this placid subterranean lake are the brightest, loveliest blue that can be imagined. They are as transparent as plate glass, and their coloring would shame the richest sky that ever bent over Italy. No tint could be more ravishing, no lustre more superb. Throw a stone into the water, and the myriad of tiny bubbles that are created flash out a brilliant glare like blue theatrical fires. Dip an oar, and its blade turns to splendid frosted silver, tinted with blue. Let a man jump in, and instantly he is cased in an armor more gorgeous than ever kingly Crusader wore.

Then we went to Ischia, but I had already been to that island and tired myself to death "resting" a couple of days and studying human villainy, with the landlord of the Grande Sentinelle for a model. So we went to Procida, and from thence to Pozzuoli, where St. Paul landed after he sailed from Samos. I landed at precisely the same spot where St. Paul landed, and so did Dan and the others. It was a remarkable coincidence. St. Paul preached to these people seven days before he started to Rome.

Nero's Baths, the ruins of Baiae, the Temple of Serapis; Cumae, where the Cumaen Sybil interpreted the oracles, the Lake Agnano, with its ancient submerged city still visible far down in its depths--these and a hundred other points of interest we examined with critical imbecility, but the Grotto of the Dog claimed our chief attention, because we had heard and read so much about it. Every body has written about the Grotto del Cane and its poisonous vapors, from Pliny down to Smith, and every tourist has held a dog over its floor by the legs to test the capabilities of the place. The dog dies in a minute and a half--a chicken instantly. As a general thing, strangers who crawl in there to sleep do not get up until they are called. And then they don't either. The stranger that ventures to sleep there takes a permanent contract. I longed to see this grotto. I resolved to take a dog and hold him myself; suffocate him a little, and time him; suffocate him some more and then finish him. We reached the grotto at about three in the afternoon, and proceeded at once to make the experiments. But now, an important difficulty presented itself. We had no dog.

### ASCENT OF VESUVIUS--CONTINUED.

At the Hermitage we were about fifteen or eighteen hundred feet above the sea, and thus far a portion of the ascent had been pretty abrupt. For the next two miles the road was a mixture--sometimes the ascent was abrupt and sometimes it was not: but one characteristic it possessed all the time, without failure--without modification--it was all uncompromisingly and unspeakably infamous. It was a rough, narrow trail, and led over an old lava flow--a black ocean which was tumbled into a thousand fantastic shapes--a wild chaos of ruin, desolation, and barrenness--a wilderness of billowy upheavals, of furious whirlpools, of miniature mountains rent asunder--of gnarled and knotted, wrinkled and twisted masses of blackness that mimicked branching roots, great vines, trunks of trees, all interlaced and mingled together: and all these weird shapes, all this turbulent panorama, all this stormy, far-stretching waste of blackness, with its thrilling suggestiveness of life, of action, of boiling, surging, furious motion, was petrified!--all stricken dead and cold in the instant of its maddest rioting!--fettered, paralyzed, and left to glower at heaven in impotent rage for evermore!

Finally we stood in a level, narrow valley (a valley that had been created by the terrific march of some old time irruption) and on either hand towered the two steep peaks of Vesuvius. The one we had to climb--the one that contains the active volcano--seemed about eight hundred or one thousand feet high, and looked almost too straight-up-and-down for any man to climb, and certainly no mule could climb it with a man on his back. Four of these native pirates will carry you to the top in a sedan chair, if you wish it, but suppose they were to slip and let you fall,--is it likely that you would ever stop rolling? Not this side of eternity, perhaps. We left the mules, sharpened our finger-nails, and began the ascent I have been writing about so long, at twenty minutes to six in the morning. The path led straight up a rugged sweep of loose chunks of pumice-stone, and for about every two steps forward we took, we slid back one. It was so excessively steep that we had to stop, every fifty or sixty steps, and rest a moment. To see our comrades, we had to look very nearly straight up at those above us, and very nearly straight down at those below. We stood on the summit at last--it had taken an hour and fifteen minutes to make the trip.

What we saw there was simply a circular crater--a circular ditch, if you please--about two hundred feet deep, and four or five hundred feet wide, whose inner wall was about half a mile in circumference. In the centre of the great circus ring thus formed, was a torn and ragged upheaval a hundred feet high, all snowed over with a sulphur crust of many and many a brilliant and beautiful color, and the ditch inclosed this like the moat of a castle, or surrounded it as a little river does a little island, if the simile is better. The sulphur coating of that island was gaudy in the extreme--all mingled together in the richest confusion were red, blue, brown, black, yellow, white--I do not know that there was a color, or shade of a color, or combination of colors, unrepresented--and when the sun burst through the morning mists and fired this tinted magnificence, it topped imperial Vesuvius like a jeweled crown!

The crater itself--the ditch--was not so variegated in coloring, but yet, in its softness, richness, and unpretentious elegance, it was more charming, more fascinating to the eye. There was nothing "loud" about its well-bred and well-creased look. Beautiful? One could stand and look down upon it for a week without getting tired of it. It had the semblance of a pleasant meadow, whose slender grasses and whose velvety mosses were frosted with a shining dust, and tinted with palest green that deepened gradually to the darkest hue of the orange leaf, and deepened yet again into gravest brown, then faded into orange, then into brightest gold, and culminated in the delicate pink of a new-blown rose. Where portions of the meadow had sunk, and where other portions had been broken up like an ice-floe, the cavernous openings of the one, and the ragged upturned edges exposed by the other, were hung with a lace-work of soft-tinted crystals of sulphur that changed their deformities into quaint shapes and figures that were full of grace and beauty.

The walls of the ditch were brilliant with yellow banks of sulphur and with lava and pumice-stone of many colors. No fire was visible any where, but gusts of sulphurous steam issued silently and invisibly from a thousand little cracks and fissures in the crater, and were wafted to our noses with every breeze. But so long as we kept our nostrils buried in our handkerchiefs, there was small danger of suffocation.

Some of the boys thrust long slips of paper down into holes and set them on fire, and so achieved the glory of lighting their cigars by the flames of Vesuvius, and others cooked eggs over fissures in the rocks and were happy.

The view from the summit would have been superb but for the fact that the sun could only pierce the mists at long intervals. Thus the glimpses we had of the grand panorama below were only fitful and unsatisfactory.

### THE DESCENT.

The descent of the mountain was a labor of only four minutes. Instead of stalking down the rugged path we ascended, we chose one which was bedded knee-deep in loose ashes, and ploughed our way with prodigious strides that would almost have shamed the performance of him of the seven-league boots.

The Vesuvius of today is a very poor affair compared to the mighty volcano of Kilauea, in the Sandwich Islands, but I am glad I visited it. It was well worth it.

It is said that during one of the grand eruptions of Vesuvius it discharged massy rocks weighing many tons a thousand feet into the air, its vast jets of smoke and steam ascended thirty miles toward the firmament, and clouds of its ashes were wafted abroad and fell upon the decks of ships seven hundred and fifty miles at sea! I will take the ashes at a moderate discount, if any one will take the thirty miles of smoke, but I do not feel able to take a commanding interest in the whole story by myself.

*** END OF THE PROJECT GUTENBERG EBOOK THE INNOCENTS ABROAD — VOLUME 03 ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE

## THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works
1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

> This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg
Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.
Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.