Italian Journeys. William Dean Howells
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IV.
I doubt if, after St. Mark's in Venice, the Duomo at Parma, and the Four Fabrics at Pisa, there is a church more worthy to be seen for its quaint, rich architecture, than the Cathedral at Ferrara. It is of that beloved Gothic of which eye or soul cannot weary, and we continually wandered back to it from other more properly interesting objects. It is horribly restored in-doors, and its Renaissance splendors soon drove us forth, after we had looked at the Last Judgment by Bastianino. The style of this painting is muscular and Michelangelic, and the artist's notion of putting his friends in heaven and his foes in hell is by no means novel; but he has achieved fame for his picture by the original thought of making it his revenge for a disappointment in love. The unhappy lady who refused his love is represented in the depths, in the attitude of supplicating the pity and interest of another maiden in Paradise who accepted Bastianino, and who consequently has no mercy on her that snubbed him. But I counted of far more value than this fresco the sincere old sculptures on the façade of the cathedral, in which the same subject is treated, beginning from the moment the archangel's trump has sounded. The people getting suddenly out of their graves at the summons are all admirable; but the best among them is the excellent man with one leg over the side of his coffin, and tugging with both hands to pull himself up, while the coffin-lid tumbles off behind. One sees instantly that the conscience of this early riser is clean, for he makes no miserable attempt to turn over for a nap of a few thousand years more, with the pretense that it was not the trump of doom, but some other and unimportant noise he had heard. The final reward of the blessed is expressed by the repose of one small figure in the lap of a colossal effigy, which I understood to mean rest in Abraham's bosom; but the artist has bestowed far more interest and feeling upon the fate of the damned, who are all boiling in rows of immense pots. It is doubtful (considering the droll aspect of heavenly bliss as figured in the one small saint and the large patriarch) whether the artist intended the condition of his sinners to be so horribly comic as it is; but the effect is just as great, for all that, and the slowest conscience might well take alarm from the spectacle of fate so grotesque and ludicrous; for, wittingly or unwittingly, the artist here punishes, as Dante knew best how to do, the folly of sinners as well as their wickedness. Boiling is bad enough; but to be boiled in an undeniable dinner-pot, like a leg of mutton, is to suffer shame us well as agony.
We turned from these horrors, and walked down by the side of the Duomo toward the Ghetto, which is not so foul as one could wish a Ghetto to be. The Jews were admitted to Ferrara in 1275, and, throughout the government of the Dukes, were free to live where they chose in the city; but the Pope's Legate assigned them afterward a separate quarter, which was closed with gates. Large numbers of Spanish Jews fled hither during the persecutions, and there are four synagogues for the four languages—Spanish, German, French, and Italian. Avventi mentions, among other interesting facts concerning the Ferrarese Jews, that one of their Rabbins, Isaaco degli Abranelli, a man of excellent learning in the Scriptures, claimed to be descended from David. His children still abide in Ferrara; and it may have been one of his kingly line that kept the tempting antiquarian's shop on the corner from which you turn up toward the Library. I should think such a man would find a sort of melancholy solace in such a place: filled with broken and fragmentary glories of every kind, it would serve him for that chamber of desolation, set apart in the houses of the Oriental Hebrews as a place to bewail themselves in; and, indeed, this idea may go far to explain the universal Israelitish fondness for dealing in relics and ruins.
V.
The Ghetto was in itself indifferent to us; it was merely our way to the Library, whither the great memory of Ariosto invited us to see his famous relics treasured there.
We found that the dead literati of Ferrara had the place wholly to themselves; not a living soul disputed the solitude of the halls with the custodians, and the bust of Ariosto looked down from his monument upon rows of empty tables, idle chairs, and dusty inkstands.
The poet, who was painted by Titian, has a tomb of abandoned ugliness, and sleeps under three epitaphs; while cherubs frescoed on the wall behind affect to disclose the mausoleum, by lifting a frescoed curtain, but deceive no one who cares to consider how impossible it would be for them to perform this service, and caper so ignobly as they do at the same time. In fact this tomb of Ariosto shocks with its hideousness and levity. It stood formerly in the Church of San Benedetto, where it was erected shortly after the poet's death, and it was brought to the Library by the French, when they turned the church into a barracks for their troops. The poet's dust, therefore, rests here, where the worm, working silently through the vellum volumes on the shelves, feeds upon the immortality of many other poets. In the adjoining hall are the famed and precious manuscripts of Ariosto and of Tasso. A special application must be made to the librarian, in order to see the fragment of the Furioso in Ariosto's hand, and the manuscript copy of the Gerusalemma, with the corrections by Tasso. There are some pages of Ariosto's Satires, framed and glazed for the satisfaction of the less curious; as well as a letter of Tasso's, written from the Hospital of St. Anna, which the poet sends to a friend, with twelve shirts, and in which he begs that his friend will have the shirts mended, and cautions him "not to let them be mixed with others." But when the slow custodian had at last unlocked that more costly fragment of the Furioso, and placed it in my hands, the other manuscripts had no value for me. It seems to me that the one privilege which travel has reserved to itself, is that of making each traveller, in presence of its treasures, forget whatever other travellers have said or written about them. I had read so much of Ariosto's industry, and of the proof of it in this manuscript, that I doubted if I should at last marvel at it. But the wonder remains with the relic, and I paid it my homage devoutly and humbly, and was disconcerted afterward to read again in my Valery how sensibly all others had felt the preciousness of that famous page, which, filled with half a score of previous failures, contains in a little open space near the margin, the poet's final triumph in a clearly written stanza. Scarcely less touching and interesting than Ariosto's painful work on these yellow leaves, is the grand and simple tribute which another Italian poet was allowed to inscribe on one of them: "Vittorio Alfieri beheld and venerated;" and I think, counting over the many memorable things I saw on the road to Rome and the way home again, this manuscript was the noblest thing and best worthy to be remembered.
When at last I turned from it, however, I saw that the custodian had another relic of Messer Lodovico, which he was not ashamed to match with the manuscript in my interest. This was the bone of one of the poet's fingers, which the pious care of Ferrara had picked up from his dust (when it was removed from the church to the Library), and neatly bottled and labeled. In like manner, they keep a great deal of sanctity in bottles with the bones of saints in Italy; but I found very little savor of poesy hanging about this literary relic.
As if the melancholy fragment of mortality had marshaled us the way, we went from the Library to the house of Ariosto, which stands at the end of a long, long street, not far from the railway station. There was not a Christian soul, not a boy, not a cat nor a dog to be seen in all that long street, at high noon, as we looked down its narrowing perspective, and if the poet and his friends have ever a mind for a posthumous meeting in his little reddish brick house, there is nothing to prevent their assembly, in broad daylight, from any part of the neighborhood. There was no presence, however, more spiritual than a comely country girl to respond to our summons at the door, and nothing but a tub of corn-meal disputed our passage inside. Directly I found the house inhabited by living people, I began to be sorry that it was not as empty as the Library and the street. Indeed, it is much better with Petrarch's house at Arquà, where the grandeur of the past is never molested by the small household joys and troubles of the present. That house is vacant, and no eyes less tender and fond than the poet's visitors may look down from its windows over the slope of vines and olives which it crowns; and it seemed hard, here in Ferrara, where the houses are so many and the people are so few, that