P U B L I C A T I O N S > F
R A N C E S S T I L L M A N ' S E
U R O P E D I A R Y
CHAPTER
I..........Going from Here to There
CHAPTER
II..........Mishap
in Milan
CHAPTER
III..........Venice
CHAPTER
IV..........Florence
CHAPTER
V..........Siena
CHAPTER
VI..........Rome
CHAPTER
VII..........Assisi
CHAPTER
VIII..........Nice
CHAPTER
IX..........Barcelona
CHAPTER
X..........Solsona
CHAPTER
XI..........Gerona
CHAPTER
XII..........Paris in the Fall
Tuesday, June 24th
This morning when we emerged from the railroad station at Siena,
after checking our baggage, we discovered that the city was perched
high on the hills above us. The station bus had already departed,
so there was nothing to do but to climb in the direction of the
town. The road followed very close to the old walls of the city,
winding and twisting higher and higher, with wonderful vistas
of green countryside.
“Finally Ary said: ‘We
shall have to use our intuition in finding a place to stay.’
Then Ary starts using his intuition it is a signal that adventure
is ahead, and I wondered at what outlandish place we would land
this time. It didn't take long to find out.”
The sun was hot and glaring and we were wilted by
the time we had reached the top of the hill and found ourselves
in the narrow streets of the city. So we stopped at a little out-door
cafe and ordered cold drinks, and tried to get some information
about hotels or pensions. But no one spoke either English or French.
Finally Ary said: "We shall have to use our intuition in
finding a place to stay." Then Ary starts using his intuition
it is a signal that adventure is ahead, and I wondered at what
outlandish place we would land this time. It didn't take long
to find out. We had copied the names of several pensions from
a guide book which we had found in Florence and Ary chose the
first one — Albergo Bernini.
We found the street and the number, but there was no sign of a
pension — just a crumbling old stone building with a pile
of dirt in front of the doorway, where workmen evidently had been
doing some excavating. I was about to turn away; but Ary took
my arm and led me through a dark hallway until we came to a massive
iron door, and there, under the heavy iron knocker was a scrap
of paper with the inscription "Albergo Bernini." I looked
at Ary aghast, but he was already lifting the knocker.
There was a dull clang, and after a minute or two the door was
opened by a stout, middle-aged woman in house dress and apron.
She looked at us in bewilderment. Ary tried to make her understand
what we wanted. When he showed her our United States passport
she opened her eyes wide, and with excited exclamations she led
us into the apartment. The light was dim and I had a confused
impression of things being in a state of disorder — or was
it the chatter which the woman kept up in the tongue so strange
to me. She was hot and perspiring and she looked tired and overworked.
Evidently she had seen better days, however, for the room which
she showed us was fitted with solid, substantial furniture, and
the sheets were embroidered and the bedspread hand-crocheted —
relics of past affluence.
How she and Ary ever understood each other I don't know, but eventually
we found ourselves installed in the room, with the agreement that
we were to pay 3000 lire (five dollars) a day for room and meals
for the two of us.
The room is a large one, with wide windows looking out on a story-book
view — a nearby church with tall tower, a broad expanse
of countryside broken by gentle green hills: in the distance the
old wall of the city, and within the wall a winding road where
any moment one might expect to see an armored knight on a white
horse wending his way up the hill to his lady love who awaits
him in the castle above...
Another window, in the foyer, gives a fine view of the famous
cathedral, the Duomo, and one can climb a narrow stairway to an
outside terrace, gay with plants and flowers, with a magnificent
vista of the massed buildings of the town, and the Duomo towering
over all.
There are about a dozen guests, all Italian, and none of them
able to speak English or French. At meal time they are seated
around a big table, with the landlady, in freshly laundered house-dress
and neatly brushed hair, at the head. We have a small table to
ourselves in the corner of the room. At lunch today the group
at the big table — mostly young men and women in their early
twenties — cast curious glances at us and talked together
in low tones, apparently feeling a sense of restraint in the presence
of foreigners. But by dinner-time they seemed to have forgotten
us entirely. Conversation became louder and more animated, until
they were all in a heated discussion. We couldn't understand a
word, but we were intrigued by the beauty of the language. This
is not the language one hears on the street — it is musical
and rhythmic and full of cadences — it is the language of
Dante and the Italian poets who came after him.
Wednesday, June 25th
I woke up early this morning and sat at the window watching an
unforgettable sunrise. Then to sleep again until the maid knocked
at the door with a pitcher of hot water. There is running water
in the room, but the shiny new hot water faucet seems to be solely
for decorative purposes, and even the cold water comes out in
a thin trickle. However, who cares about plumbing when there are
Sienese paintings to be seen!
We had a thrilling day, going from one cathedral to another, and
to the City Hall, with its frescoes by Lorenzetti and Simone Martini,
and to the Pinocateca and the various church museums. Tonight
I am dizzy with it all and Ary insists that from now on we must
take it in moderation. There is such a thing as being too greedy
in absorbing even things aesthetic, and it leads to its own kind
of auto-intoxication. So tomorrow we shall forego paintings, and
shall get acquainted with the city itself.
Thursday, June 26th
This city is truly mediaeval in character. It is built high on
the hills, like so many of the Italian towns in the Middle Ages,
when each city was an independent unit and had to protect itself
zealously from outside enemies. The buildings are constructed
of massive blocks of stone. Heavy iron doors are impregnable to
spears or battering run or hurled rocks, and there are tall towers
from which the countryside could be watched and secret passage-ways
leading to underground tunnels where anxious rulers could flee
before the coming of the enemy.
Walking is difficult, because the streets are steeply sloping,
and the cobble-stone pavements are treacherous. But the town is
wonderfully picturesque and has a romantic flavor that is appealing
after the severity of Florence. There are lovely squares, especially
the one which is topped by the Duomo with its zebra-like striped
facade of black and white stone, and the even more beautiful Piazza
del Campo. The latter, lying in a pocket formed by ridges of hills,
is huge and shell-shaped, with graceful sloping sides, and it
is encircled with ancient Gothic palaces. An outstanding building
is the famous Palazzo Publico (City Hall.) Today the workers have
started preparations for the palio which will be held on July
2nd — a colorful celebration, featuring horse-races, with
all the riders and other participants dressed in elaborate medieval
costumes and carrying banners of velvet and gold. We spent the
late afternoon hours at an outdoor cafe on the square. There were
few people at the tables, the only movement being afforded by
the flocks of black birds which wheeled down the slope of the
shell in military-like formation and then winged their way up
over the towers and the turrets of the surrounding buildings.
Just like prints I have seen of drawings from the Middle Ages
are the funeral precessions which pass through the streets. Fear
clutches at your heart and for a few terrified minutes you are
back in the period of the dread plagues, whoa the order of "Brothers
of the Misericordia" was first founded — these mysterious
black-hooded, black-robed figures with veiled faces who move silently
in solemn procession through the streets accompanying the black
hearse bearing the dead. How incongruous it is to hear the clanging
of the ambulance as it speeds toward the hospital, and then to
see these same black-hooded "Brothers" in their 13th
century garb emerge from the car and carry the stretcher into
the hospital.
Even the people begin to take on the appearance of 13th century
paintings — or is it that the early Sienese masters captured
so faithfully the characteristics of the Sienese women? They are
different in features and in mien from the Florentines. There
is a young woman at our pension who looks as if she had just stepped
down from a Lorenzetti or Duccio painting. She is tall, deep-bosomed,
serene, with deep set dark eyes under black eyebrows and straight
black hair brushed away from a high forehead. She is the most
eloquent of the group at the dining room table. Who these young
people are remains a mystery to us, but we have decided that they
must be employed in government positions. Yesterday a man with
his wife and child joined the table, and from the eloquence of
his conversation and the way in which the others deferred to him
we felt that he must be a public official of some sort. It is
baffling not to be able to follow what they are saying.
One young woman doesn't join in the conversation to any extent
— her sole preoccupation is with the food. She is quite
a handsome girl but terribly stout, and her capacity for piling
in food is amazing. Spaghetti meat, vegetables, great quantities
of Italian bread and decanters of red wine disappear as if by
magic, and then she casts glances at our table to see if perhaps
we are getting some special dishes. Usually she brings a few extra
delicacies to the table with her, which she places by the side
of her plate and guards jealously — grapes, ripe red plums,
or fancy little cakes. The others laugh at her, but she ignores
them, as she ploughs her way through one course after another.
She was still at the table tonight when we returned from a walk
after dinner. It is a heavenly evening and we are sitting at the
window now, watching the myriad of brilliant stars and the mediaeval
towers outlined dramatically against the inky sky
Saturday, June 28th.
I am drunk with the beauty of these Sienese paintings. There is
an indescribable aura about them, a radiance, a rare delicacy
of spirit, a subtlety of coloring and line, that simply ravishes
one's senses and one's soul.
“As Ary says, Duccio ‘retained
the Byzantine style, but where there was no spark in the Byzantine,
Duccio was all aflame.’ There is superb majesty in the
face and form of his Madonnas and his saints, yet such simplicity
and restraint.”
Guido da Siena, adhering closely to the Byzantine
style, produced static, stylized Madonnas, strong and powerful
in design, solemnly rich in color. But Duccio, the true father
of the Sienese school, added a new quality to his paintings. As
Ary says, Duccio "retained the Byzantine style, but where
there was no spark in the Byzantine, Duccio was all aflame."
There is superb majesty in the face and form of his Madonnas and
his saints, yet such simplicity and restraint. I always feel a
close kinship between painting and music, and to me, Duccio is
Bach, in his profundity, the soaring of his spirit and at the
same time the unshakable foundation on which the structure of
his work is built.
How can one describe the Pietro and Ambrogio Lorenzettis, sublime
in conception, quite Oriental in their mystical quality and in
the drawing of the mountains and some of the figures, and in the
delicacy of color, and the Simone Martinis, so naively spiritual,
so exquisite in their pale color and so ethereally graceful.
There is great charm too in the fifteenth century Sasettas and
Giorgios, but they are more sophisticated and lack the air of
simplicity which is such an integral part of the appeal of the
earlier artists. The Sasetta figures and background landscapes
remind one of Persian miniatures, flatly and decoratively painted,
with exquisite clarity and purity of color. Giorgio is even lighter
and more gay than Sasetta and not at all profound, even in the
religious scenes. His blond, bushy-haired angels look like ballet
dancers and his Madonna like lovely young debutantes.
One would expect that reproductions of the old masters would be
shown widely in shop-windows about the city, but there are few
to be seen. This afternoon when we were walking down the hill
to Albergo Bernini we saw a crowd gathered around an artist who
had placed his paintings on the street corner for display. We
were curious and stopped to look, and to our disappointment found
that they were sugary little reproductions of the Siena streets
and landscape. It made me feel very unhappy.
Of course it is true that the masters who gained enduring fame
for Siena all lived during the span of one hundred years, from
the middle of the thirteenth to the middle of the fourteenth centuries.
That was a rare period, when Siena, inflamed with patriotic fervor,
religious devotion and artistic creativeness, erected her magnificent
churches, palaces and public buildings and covered their walls
with paintings of incomparable beauty.
It seemed like a burst of creative genius — a flaming passion
which must quickly burn itself out. But while it lasted the entire
city was saturated with it. Thus when after three years of devoted
and inspired work Duccio completed his masterpiece "Maesta"
for the altar-piece of the Duomo, it was borne to the cathedral
in a great procession of priests and friars, city officials, and
men, women and children of the town, amid lighted candles and
the ringing of bells and blaring or trumpets.
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Sunday, June 29th
“As our bus climbed the
steep roads, Ary entertained me with the story of his adventures
of twenty years ago, when it took him half a day to reach the
town, instead of an hour and a half.”
We spent this afternoon in San Gimignano, an old
mediaeval town high in the hills. As our bus climbed the steep
roads, Ary entertained me with the story of his adventures of
twenty years ago, when it took him half a day to reach the town,
instead of an hour and a half. It seems that he and the young
French student with whom he was traveling wanted to make the trip
from Siena, and an old Italian with a skinny little horse and
dilapidated old wagon persuaded them to let him drive them. The
horse became more droopy and discouraged by the minute as he pulled
them up the steep hills, and finally they had to get out of the
wagon and push it every time they came to an especially sharp
incline.
We had no such trouble with the bus this afternoon in fact, the
driver went like mad, and we had to hold on to the seat ahead
so as net to lose our balance. The scenery was beautiful —
the Tuscan hills, dotted with vineyards and olive groves and little
farms; the teams of white oxen with strips of red cloth on their
heads as protection from the flies; farmers with their wives and
children in the fields all threshing wheat by hand. Finally the
entrance into the narrow gate and the street with its ancient
buildings and palaces stretching ahead, and we were in this famous
city of towers. There are only thirteen still standing out of
seventy-six. One of them, we were told, has been bought by an
American woman who is also the owner of a tower in the city of
Assisi. A novel but expensive hobby!
We had tea in the famous square Piazza della Cinterna, where Savanarela
once preached, and visited the Cathedral and the museum of the
City Hall. There were frescoes in the Cathedral by Barno di Siena
and others — lovely although faded by time. And in the museum
we found charming frescoes by an unknown artist of the early Sienese
period, very poetic, with colors and texture like Persian tapestry.
These were on secular themes — a very naive representation
of a civil marriage, with the bride and groom taking a bath together
in one tub (our guide told us that in the olden days this was
required as a marriage preliminary); also a very Oriental scene
of the couple, after the marriage ceremony, in a white pavilion,
with attendants and other figures grouped around.
Another wild ride home by bus, and a delicious dinner, with great
quantities of soup, some sort of shell-shaped pasta, fish, vegetables,
fruit and iced red wine.
Monday, June 30th
A young neighbor boy who speaks French came to see us last evening,
and he told us of a palace which we ought to visit before we leave
for Rome tomorrow. It is Palazzo Chigi-Saracini, and its owner
is a Count, who traces his family tree back to the twelfth century.
He is the last of the line, having no wife or child. The family
has a long tradition of interest in art and music, and the present
owner has established a music school in a building adjoining the
palace.
The palace and its art collection are open to the public upon
request, so this morning Ary and I climbed a flight of stairs
and pulled the metal chain attached to the door-bell. A caretaker
appeared and handed us over to another servant, who led us through
the various rooms and gave us explanations of the outstanding
pieces.
Here were many paintings, both of the early and the later Sienese
period, and countless rooms with beautifully carved woodwork,
crystal chandeliers, carved and painted chests, exquisite lace
curtains and embroideries of all kinds. Also a collection of costumes
and of Etruscan figures, and an elaborate bedroom with canopied
bed. Coats-of-arms, beautifully decorated, and a detailed family
tree mapped out on the wall, and the tall tower from which centuries
ago the trumpets sounded far and wide to announce that Siena had
successfully resisted the siege of Florence and had maintained
its independence.
The library houses an extensive collection of music, and there
is a music room all set up with chairs, ready for the concerts
which are held here during the summer months. Each year a famous
orchestra conductor and soloists are invited here to stay in the
palace and to give performances. There are autographed photographs
of artists such as Segovia — a sketch of Paganini autographed
by a few bars of music, and a bust of Lizst standing on the piano
on which he himself had played.
We paid last-minute visits to our favorite spots this afternoon
and then came back to the pension to pack our bags. In the evening,
after dinner, we sat in front of our window and looked out at
the most beautiful night I have ever seen. The moon was intoxicating:
the dark sky streaked with silver and bursting with brilliant
stars, and the whole panorama from the Duomo to St. Catherine's
like magic — the ancient churches silhouetted dramatically
against the black sky, the massed buildings, the romantic winding
road. The beauty of the scene was so intense that it was painful
it was as if one were transported from the world of reality to
a mysterious sphere of ecstasy. It was this ecstasy that must
have inspired the Sienese masters many centuries ago, and which
they transferred to altars and cathedral walls.