Italian Journeys. William Dean Howells
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not be left to him. Parva sed apta mihi, he has contentedly written upon the front; but I doubt if he finds it large enough for another family, though his modern housekeeper reserves him certain rooms for visitors. To gain these, you go up to the second story—there are but two floors—and cross to the rear of the building, where Ariosto's chamber opens out of an ante-room, and looks down upon a pinched and faded bit of garden. [In this garden the poet spent much of his time—chiefly in plucking up and transplanting the unlucky shrubbery, which was never suffered to grow three months in the same place—such was the poet's rage for revision. It was probably never a very large or splendid garden, for the reason that Ariosto gave when reproached that he who knew so well how to describe magnificent palaces should have built such a poor little house: "It was easier to make verses than houses, and the fine palaces in his poem cost him no money."] In this chamber they say the poet died. It is oblong, and not large. I should think the windows and roof were of the poet's time, and that every thing else had been restored; I am quite sure the chairs and inkstand are kindly-meant inventions; for the poet's burly great arm-chair and graceful inkstand are both preserved in the Library. But the house is otherwise decent and probable; and I do not question but it was in the hall where we encountered the meal-tub that the poet kept a copy of his "Furioso," subject to the corrections and advice of his visitors.
The ancestral house of the Ariosti has been within a few years restored out of all memory and semblance of itself; and my wish to see the place in which the poet was born and spent his childhood resulted, after infinite search, in finding a building faced newly with stucco and newly French-windowed.
Our portier said it was the work of the late English Vice-Consul, who had bought the house. When I complained of the sacrilege, he said: "Yes, it is true. But then, you must know, the Ariosti were not one of the noble families of Ferrara."
VI.
The castle of the Dukes of Ferrara, about which cluster so many sad and splendid memories, stands in the heart of the city. I think that the moonlight which, on the night of our arrival, showed me its massive walls rising from the shadowy moat that surrounds them, and its four great towers, heavily buttressed, and expanding at the top into bulging cornices of cavernous brickwork, could have fallen on nothing else in all Italy so picturesque, and so full of the proper dread charm of feudal times, as this pile of gloomy and majestic strength. The daylight took nothing of this charm from it; for the castle stands isolated in the midst of the city, as its founder meant that it should [The castle of Ferrara was begun in 1385 by Niccolò d'Este to defend himself against the repetition of scenes of tumult, in which his princely rights were invaded. One of his tax-gatherers, Tommaso da Tortona, had, a short time before, made himself so obnoxious to the people by his insolence and severity, that they rose against him and demanded his life. He took refuge in the palace of his master, which was immediately assailed. The prince's own life was threatened, and he was forced to surrender the fugitive to the people, who tore Tortona limb from limb, and then, after parading the city with the mutilated remains, quietly returned to their allegiance. Niccolò, therefore, caused this castle to be built, which he strengthened with massive walls and towers commanding the whole city, and rendered inaccessible by surrounding it with a deep and wide canal from the river Reno.], and modern civilization has not crossed the castle moat, to undignify its exterior with any visible touch of the present. To be sure, when you enter it, the magnificent life is gone out of the old edifice; it is no stately halberdier who stands on guard at the gate of the drawbridge, but a stumpy Italian soldier in baggy trousers. The castle is full of public offices, and one sees in its courts and on its stairways, not brilliant men-at-arms, nor gay squires and pages, but whistling messengers going from one office to another with docketed papers, and slipshod serving-men carrying the clerks their coffee in very dirty little pots. Dreary-looking suitors, slowly grinding through the mills of law, or passing in the routine of the offices, are the guests encountered in the corridors; and all that bright-colored throng of the old days, ladies and lords, is passed from the scene. The melodrama is over, friends, and now we have a play of real life, founded on fact and inculcating a moral.
Of course the custodians were slow to admit any change of this kind. If you could have believed them—and the poor people told as many lies as they could to make you—you would believe that nothing had ever happened of a commonplace nature in this castle. The taking-off of Hugo and Parisina they think the great merit of the castle; and one of them, seeing us, made haste to light his taper and conduct us down to the dungeons where those unhappy lovers were imprisoned. It is the misfortune of memorable dungeons to acquire, when put upon show, just the reverse of those properties which should raise horror and distress in the mind of the beholder. It was impossible to deny that the cells of Parisina and of Hugo were both singularly warm, dry, and comfortable; and we, who had never been imprisoned in them, found it hard to command, for our sensation, the terror and agony of the miserable ones who suffered there. We, happy and secure in these dungeons, could not think of the guilty and wretched pair bowing themselves to the headsman's stroke in the gloomy chamber under the Hall of Aurora; nor of the Marquis, in his night-long walk, breaking at last into frantic remorse and tears to know that his will had been accomplished. Nay, there upon its very scene, the whole tragedy faded from us; and, seeing our wonder so cold, the custodian tried to kindle it by saying that in the time of the event these cells were much dreadfuller than now, which was no doubt true. The floors of the dungeons are both below the level of the moat, and the narrow windows, or rather crevices to admit the light, were cut in the prodigiously thick wall just above the water, and were defended with four successive iron gratings. The dungeons are some distance apart: that of Hugo was separated from the outer wall of the castle by a narrow passage-way, while Parisina's window opened directly upon the moat.
When we ascended again to the court of the castle, the custodian, abetted by his wife, would have interested us in two memorable wells there, between which, he said, Hugo was beheaded; and unabashed by the small success of this fable, he pointed out two windows in converging angles overhead, from one of which the Marquis, looking into the other, discovered the guilt of the lovers. The windows are now walled up, but are neatly represented to the credulous eye by a fresco of lattices.
Valery mentions another claim upon the interest of the tourist which this castle may make, in the fact that it once sheltered John Calvin, who was protected by the Marchioness Renée, wife of Hercules II.; and my Servitore di Piazza (the one who knows how to read and write) gives the following account of the matter, in speaking of the domestic chapel which Renée had built in the castle: "This lady was learned in belles-lettres and in the schismatic doctrines which at that time were insinuating themselves throughout France and Germany, and with which Calvin, Luther, and other proselytes, agitated the people, and threatened war to the Catholic religion. Nationally fond of innovation, and averse to the court of Rome on account of the dissensions between her father and Pope Julius II., Renée began to receive the teachings of Calvin, with whom she maintained correspondence. Indeed, Calvin himself, under the name of Huppeville, visited her in Ferrara, in 1536, and ended by corrupting her mind and seducing her into his own errors, which produced discord between her and her religious husband, and resulted in his placing her in temporary seclusion, in order to attempt her conversion. Hence, the chapel is faced with marble, paneled in relief, and studied to avoid giving place to saints or images, which were disapproved by the almost Anabaptist doctrines of Calvin, then fatally imbibed by the princess."
We would willingly, as Protestants, have visited this wicked chapel; but we were prevented from seeing it, as well as the famous frescoes of Dosso Dossi in the Hall of Aurora, by the fact that the prefect was giving a little dinner (pranzetto) in that part of the castle. We were not so greatly disappointed in reality as we made believe; but our servitore di piazza (the unlettered one) was almost moved to lesa maestà with vexation. He had been full of scorching patriotism the whole morning; but now electing the unhappy and apologetic custodian representative of Piedmontese tyranny, he bitterly assailed the government of the king. In the times of His Holiness the Legates had made it their pleasure and duty to show the whole castle to strangers. But now