Edward Hutton's description of Rome's Aventine Hill and its churches is typical of his unique mixture of history, art, religion, and folklore. On one of our visits to Rome we stayed at a small hotel in a lovely tree-lined neighborhood right around the block from the churches he described. One of the things he did not mention was the spectacular view of St. Peter's one gets by peering through the large keyhole in the gate of the headquarters of the Knights of Malta.
Of all the hills of Rome the Aventine alone, precipitous and almost uninhabited as it is, still impresses us with its own beauty and serenity. It is as though the ancient curse of the Patricians were still heavy upon it. Something certainly of those far-off days seems to linger even yet about its shadowy, deserted ways, among the gardens there, where in spring the almond trees are so strangely lovely and in summer the cicada wearies us with its song; where many an ancient church still counts the Ave Maria through the centuries, half-forgotten in a world of silence and flowers…. Later there were temples there, too, for the shadowy Aventine had always been, as was supposed, the abode of some deity…. ‘God is there,’ said the noisy Roman world, awed by the silence of the woods, and so the hill was crowned with temples, the most renowned and splendid being that of Diana, which stood on its very summit in the midst of a grove where that pale goddess seems to have been worshipped from the time of Servius Tullius to the time of Alaric the Goth.
As we pass today from S. Maria in Cosmedin, where the shadow of the Aventine mixes with that of the Palatine hill…we come presently between the long poderi walls to the very place sacred once to Diana, but now to a lesser virgin, S. Sabina, whose church stands in the ruins of the ancient temple…. (270-1)
What remains to us of ancient beauty, however, belongs to the doors of Cyprus wood, which are not only the most beautiful things in the church, but among the most precious remains of primitive Christian art. Carved in the fifth century, they are divided into twenty-six panels representing scenes from the Old and New Testaments, and though these are no longer in their proper order…they remain representative work of the fifth century, the time of the foundation of the church. There we see Elijah borne to heaven in the fiery chariot accompanied by an angel, like a Roman Victory. Then Pharoah crosses the Red Sea, which recalls the great horsemen, the treasures of Monte Cavallo; Christ is adored by the wise kings in Phrygian dress; S. Peter denies his Lord to a damsel like a Roman Empress…. (272-3)
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But amid so many diverse memories we are like to forget S. Sabina altogether. And truly we know little about her. Converted, as it is said, by her Greek slave, Seraphia, she was one of Hadrian’s martyrs. She lies now with Seraphia in the Confession before the high altar, the two bodies having been brought hither from the catacombs of Alexandria. (273)
Hutton liked to hear Mass at S. Anselmo, a modern church, for the chant or plainsong of the Benedictine monks.
So on a Sunday morning in the marvelous Roman summer I would often pass from church to church on my way to hear Mass at S. Anselmo close by.
The great Benedictine College of S. Anselmo, great for Italy at any rate, stands in the midst of its gardens and poderi just opposite S. Alessio. Begun in 1892 and finished in 1896, S. Anselmo was built by Leo XIII, as a college for black Benedictines of all nations. And, here, truly better than anywhere else in Rome, one may hear the very song of the early Church, that long drawn-out, sweet melody, that might seem to have been born with the mystery of the Mass, but is really more universal and more ancient, the very tunes, indeed, instinctive with beauty and humility in which man has always spoken with the gods. For the plainsong is by no means an exclusively Christian music, it seems to have been used by all peoples and all religions, it is indeed an universal hymn of praise, of assurance, plaintive, too, and full of the repetitions of love, the expression of an universal joy, an universal weariness in which man seems about to cast himself for the last time on the earth at the feet of the gods among the flowers.
Coming to us from the East, full of the mystery of the desert, the song indeed of a nomad people often alone with God, the plainsong, as we call it, was first caught up and, as it were, confined by rules for Christian use by the Greek Pope Gregory (not as is generally supposed by Gregory the Great) who contrived out of its mysterious beauty the ‘Gregorian tones,’ thus confiding to it the fundamental truths of the new religion, so that if the creeds and the Gospels should be swept away, still from the assurance of that music in which all the sorrow of the world has found utterance, one might reconstruct the dogmas of the Christian faith resolved into an endless melody…. (274-5)
Note 2: What the plainsong was before it was formed for us by Gregory we may hear any day in Cairo or Tangier or in the desert. Much of it, used for another purpose, remains in the Malagueras of Malaga; and there is the root of it in the Scotch and Irish folk-tunes which can never die. This chant became the music of Italy, the only music really worth hearing or preserving in the Rispetti and Stornelli of the peasants. That it was the music of Greece and Rome, I think, might easily be proved; for to what other tunes and with what other intervals would we have sung so late a thing as the Pervigilium? The Greek songs were doubtless written for it, or under its influence in some less rugged and untutored form that we meet with today in Morocco—where I have heard as it were the Wrath of Achilles chanted as I must suppose Homer once sung. (275)
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