Siena: Duomo

  Edward Hutton did not admire the facade of Siena's Duomo but he did find much to admire in the interior. Many thanks to my friend David Orme for the images.

In so many of the cathedrals of Italy, the façade has little or no relation to the church which lies behind it; and here in Siena it might seem we have the most flagrant example of this fault. The façade of the Duomo of Orvieto, it is true, errs in the same way, though not so manifestly, for there at least the noble central door, so much larger than its fellows on either side, emphasizes the importance of the nave over the aisles, while here the three doors are of equal height. But this is by no means the only cause of Siena’s inferiority. As a façade pure and simple, that of Orvieto is noble and lovely in design, in decoration, and in colour. That of Siena is feeble in design, it suffers from too much decoration, and this is of a mean sort, and who but a fanatic can admire its colour? It fails everywhere in comparison with the work of Orvieto—it fails in order and in beauty. And if in its completeness it may not be compared with its sister at Orvieto, it fails, too, in its detail. At Orvieto sculpture has, with very happy effect, been more sparingly used, but what there is, is of a better and nobler kind. … (105)

If one is always disappointed with the façade of the Cathedral, what is one’s final impression of the interior? At first certainly you are bewildered and confused by those bands of black and white marble which so unfortunately diminish the spaciousness of what is, after all, a very spacious building; they halve its height and breadth and rob it of its dignity. But when, if ever, you have become accustomed to this oddity, you recognize that what charms you in a building full of contradictions is that in it which carries out the idea of all Latin building, an effect, yes, in spite of every sort of handicap, an effect of light and space, not so splendid certainly as you will find in such masterpieces as the Cathedrals of Pisa and Lucca or in the church of S. Croce in Florence, but light and space nevertheless, here where the fundamental feeling is rather Romanesque than Gothic, the predominating lines horizontal rather than perpendicular; and the decorations of the church, mainly of the Renaissance as they are, confirm the impression we receive from the building itself. … (111)

 But the finest and most interesting work of art in the Cathedral is the pulpit by Niccolo Pisano.… The plan is the same as that for the pulpit in the Baptistry of Pisa, but the work is richer and more clairvoyant. Octagonal in form, it possesses two more bas-reliefs than the pulpit of the Pisan baptistry, namely, the Massacre of the Innocents and a second scene of the Last Judgment. But in every relief, we find a more dramatic life and an art more naturalistic than in the earlier work. It is a masterpiece a little uncertain of itself, perhaps, but full of a new promise of joy.… (115)

 

 

###

 

Edward Hutton: Siena and Southern Tuscany, New York, 1910

Siena

 

Siena was one of Edward Hutton's favorite cities despite its often tragic history that he spent many pages recounting. But it was the city and its people that most impressed him as well as the spectacular views both within and without. Below find his descriptions of the famous Piazza and Palazzo Pubblico, as well as his impression of the view from the Torre.

What the Piazza Signoria is to Florence, that, and something more, the Piazza del Campo is to Siena: it is at once the most beautiful and the most characteristic thing in the city. However one approaches it—and since it is set at the junction of the three hills on which Siena lies there are many ways to approach—it is always suddenly, with surprise that one looks across that vast and beautiful space shaped like an open fan, enclosed on all sides by palaces, and radiating as it were from what one is often tempted, there at least, to proclaim the most beautiful palace in Tuscany, the Palazzo Pubblico, with its marvellous bell-tower soaring so adventurously, so confidently into the blue sky.

 

This piazza so spacious in form, so strange in its colour and loveliness, is, as it always has been, the heart of Siena. For work or for play, for council or for pleasure, in time of foreign war or civil riot, here the Sienese have always assembled. It was the market-place, the true piazza, the universal meeting-place of the city. But to-day it is almost deserted. One by one it has lost its uses till now but one remains to it; it is still a playground when, in August, on the feast of the Assumption of the Blessed Virgin, the Palio is run there over the smooth bricks round the central space enclosed by its great pavement…. (93)

 

A quietness but seldom broken now fills the Piazza with an exquisite peace. It is the only silent place, I think, in a city full of little noises beyond any other in Tuscany: the clang of metal on metal, the hammers of the coppersmiths that wake you so early, the plaintive cries high up among the old houses of innumerable swallows, the shouts of the hawkers, the shrill voices of children, the songs and laughter and endless loud, free talk of a Latin people not yet dominated by the stupefying thunder of machines…. (95)

 

There is something in the Torre del Mangia that is peculiarly Sienese. Whereas in looking at Giotto’s tower in Florence, like a tall lily beside the Duomo, we do in fact “consider the lilies of the field,” their candid beauty and humility, here we are reminded of something fearless, daring, and adventurous, as though into this one perfectly expressive thing the very soul of Siena had passed—that soul which, mystical as it was beyond any other Tuscan city, was so often boastful too and unstable, a little hysterical in its strange spiritual loveliness, so that it too easily came to naught. Something of all this we find almost everywhere in the city, and especially perhaps in the great unfulfilled boast of the Duomo, but nowhere so subtilely and completely expressed as in this rose-coloured tower soaring over the roofs of Siena…. (96)

 

Hence we climb to the top floor of the Palace, where after all the best of all awaits us… the very world itself, the vast contado of Siena, hill and valley and desert stretching away to where, in the evening mist, maybe, the pure, serene outline of Mont’ Amiata rises into the sky on the verge of the Patrimony, on the confines of Umbria, on the road to Rome. He who has once seen that majesty will never forget it. It seems to seal every one of the days one spends in Siena, or in the little cities of the south that were once her vassals. From here you may count them all: only you will not. You will look only on that mountain whose crest, shaped like the crescent moon, bears as of right the symbol of Mary, and in silence you will await the sunset. And as the bells once more, as of old, ring the Angelus, you will remind yourself, perhaps after many days of forgetfulness, of those things which alone have any reality—

 ### 

Edward Hutton: Siena and Southern Tuscany, 1910.

Volterra

 Edward Hutton's Siena and Southern Tuscany was published in 1910, over a hundred years ago. Walking from S. Gimignano to Volterra he encountered what he called "traveller's fear" before arriving at the gate of that ancient and storied city. Most of the chapter on Volterra deals with its long history.

 

The road for Volterra—for it was thither I was bound one fine October morning at dawn—descends from S. Gimignano into the valley, and climbing again through that quiet and delicate country that marks all the Val d’Elsa, joins the high road from Colle…Thence the way lies over vast and barren watersheds, across an uplifted wilderness of sterile clay hills, past blue-grey chasms of volcanic tufa, till at evening “lordly Volterra” rears itself up suddenly against the sky, haggard with loneliness and age like the dreadful spirit of this strange country so full of a sinister desolation. No traveler can, I think, approach this outraged stronghold of old time without a certain hesitation, a certain apprehension and anxiety. The way is difficult, precipitous, and threatening, full of dangers that cannot be named or realized; and long ere you climb the last great hill into the city an eerie dread has seized your heart. As far as the eye can reach that battered and tortured world rolls away in billow after billow of grey earth scantily covered with a thin dead herbiage that seems to have even burned with fire. On either side the way vast cliffs rise over immense crevices seamed and tortured into the shapes of raped and ruined cities: yonder a dreadful tower set with broken turrets totters on the edge of sheer nothing; here a tremendous gate leads into darkness, there a breached wall yawns over an abyss. If there is such a thing as traveller’s fear, it is here you will meet it, it is here it will make your heart a prize. As for me, I was horribly afraid, nor would any prayer I know bring my soul back into my keeping.

And if the way is so full of fear, what of that lofty city that stands at the high summit of that narrow road winding between the precipices? It too is a city of dread—a city of bitterness, outraged and very old. Seven hundred years before the fall of Troy it had already suffered siege. Surrounded in those days by walls forty feet high, 12 feet thick, and eight thousand yards in circumference, that have worn out three civilizations, and still in part remain, Volterra was one of the great cities of the Etruscan League. Like vast fortresses her gates were held impregnable. Enemy after enemy, army after army broke against those tremendous bastions; she scattered them, and they were lost in the desolation in which she is still entrenched. From the lower valley of the Arno to the forgotten citadel of “sea-girt Populonia,” which the Maremma has destroyed, she reigned supreme.... (39-40)

 

Encamped within these ruins he will find the debris of more than one later civilization—Roman, Medieval, and Renaissance—cheek by jowl with the fugitive and impermanent work of to-day. Still enthroned and guarded by the wall of the Etruscans, and entered by their gate, the shrunken medieval city of Volterra waits for him among the ruins of four different ages, like some herb hidden in a crevice of the temples of Karnak. (41)

 

 

###

 

Edward Hutton: Siena and Southern Tuscany, New York, 1910. 

S. Gimignano

Edward Hutton's tour of  southern Tuscany continued with S. Gimignano, the hill town still famous for its many towers. 

If we would know what a Tuscan hill town was like in the fourteenth century, we must go on foot or by carriage to S. Gimignano delle belle Torri, on the hills on the other side of the Elsa. There it is true, we shall find no remembrance of Boccaccio, but we shall be treading in the footsteps of Dante, and we shall find there, too, the memory of one of those little saints who once made sweet our world, but who, alas! come no more down the long valleys at evening, singing of the love of God. Nevertheless, there are few refuges in all of Tuscany more secure from the rampages of our time that S. Gimignano.

 

To reach this wonder, to behold this banner of a lost cause, still valiant upon the hills, that is a good way which leaves Certaldo by crossing the river, and so climbs over the hills till the city “of the beautiful towers” rises before you like a vision, and you come at last, as to a forgotten shrine, into her quiet and shadowy gates….

 

The road from Certaldo, which was the way I took, is as lovely as any in the world. You climb hill after hill between the olives and the vines, where the grain and the grapes grow together. Often you descend into delicious valleys, where the vineyards are still with summer, and the silence is only broken by the faraway voice of some peasant singing stornelli; often, too, you look back on Val d’Elsa, where Certaldo smiles on its steep hill over the river, till suddenly at a turning of the way S. Gimignano rises before you on a lonely hill-top, covered with the silver of the olives, the gold of the corn, the green mantle of the vines, like a city out of a missal, crowned with her trophy of thirteen towers….

 

This little valiant town, so lonely on the hills, was once the centre of a vigorous life, civil and religious, even intellectual and artistic. It produced and employed painters; a poet was born here, little S. Fina stood for it among the blessed in heaven. Now the place is less than nothing, a curiosity for strangers; it has no life of its own, and is incapable of producing anything but a few labourers for the fields. As you pass through its narrow ways and look on the monuments of the Middle Age and the Renaissance, you find everything deserted and a cruel poverty the only tyrant left. Some virtue is gone out of it. Why?... (31)

 

S. Fina
Benozzo Gozzoli

She is poor, and her ways are quiet: how hospitable is her inn! She has the inevitable humility of those who have given up the struggle for pre-eminence, the inevitable grace of all those who have learned how to wait in meditation. Indeed, I have not told one-half of her sweetness, nor numbered the half of her treasures, nor told of her country byways, nor altogether understood why I love her so. Yet this I know: she has nothing to do with machinery or the getting of wealth. Come and see. (38)

 

###

 

Edward Hutton: Siena and Southern Tuscany, New York, 1910.  

Certaldo and Boccaccio

  Edward Hutton's chapter on Certaldo is mainly taken up with an extended account of the life of Giovanni Boccaccio (1313-1375), Certaldo's most famous resident. In 1909, a year before he published Siena and Southern Tuscany, Hutton had written a biography of Boccaccio, a writer famous for his own life as well as for his Decameron, a collection of stories told by men and women trying to escape the ravages of the plague.

 

Long before you come to Certaldo on its great hill over the narrowing valley of the Elsa, which in fact it holds and closes, the Castello shines before you, still very far off, a rugged cluster of houses and towers against the sky. When at last you find yourself on that great and beautiful road beside the river, at the foot of the beautiful hill, it is to discover a town very like Castel-Fiorentino in this at least, that the Castello, the walled and ancient town, is on the hill and the modern borgo in the plain. But as you soon realise, Certaldo is more splendid, more rugged, and more ancient than her sister, though, as you see her from the north, you have the worst view of her, her true splendor looking southward. 

 

Most of us who in the modern hurry stay here, perhaps for a few hours on our way to Siena or to Florence, come not for any ancient loveliness she may have kept for us, but for Boccaccio’s sake, for he died here in the ancient house of his family still to be seen in the Castello….

 

 

That great and heroic man who has entranced the whole world with his stories, who gave Homer back to us, and was the first defender of Dante Alighieri, the devoted friend of Petrarch, the lover of Fiammetta; who remained poor his whole life long for the sake of learning, and who indeed is the most human and the most modest and heroic spirit of the earliest Renaissance…. (13-14)

 

In his fiftieth year he began to regret the irresponsibility of his past life. On the threshold of old age, poor and alone, he thought to love God with the same enthusiasm with which he had loved woman. He was not capable of it; his whole life rose up to deny him that impassioned consolation….

 

Boccaccio’s days of creation were, however, over. He retired to Certaldo to the house of his ancestors, and there read without ceasing the works of antiquity, annotating as he read…

 

In addition to all his other reading Boccaccio had never ceased to study the “Divine Comedy,” nor did he till his death… *

 

In 1373 he was called from his retirement in Certaldo to lecture publicly on the “Divine Comedy” in Florence. He began to read on 23 October, 1373, in the church of S. Stefano alla Badia, and continued on each succeeding day that was not a festival. He had got so far as the sixtieth lezione, when he was taken ill and had to cease. This was no sudden disease; he had never really recovered from his “conversion.” Really ill, he retired to Certaldo, where, utterly miserable and suffering from his disease, but more from the ignorance of doctors, he groped about far from Petrarch, looking for more certainty. He had thought he might find it in the monastic life, and it was in a solitude almost as profound that he came to die at last on this hill in Val d’Elsa in the house of his ancestors—a magician, as was said, like Virgil or Ovid to the folk of Naples and Sulmona, knowing all the secrets of nature. He must often have passed slowly, because of failing health, up and down the picturesque streets of the old town, which holds as many sudden peeps as Assisi; and at sunset, perhaps he lingered by the gates as we do, for they are wonderfully placed for beauty. From his room he looked over a world as fair as any in Tuscany—a land of hills about a quiet valley where the olives are tossed to silver in the wind and the grapes are kissed by the sun into gold and purple, where the corn whispers between the vines; till for him, too, at last the grasshopper became a burden.

 

There, on 21 December, 1375, he died, and was buried, as he had desired above the quiet waters of the Elsa which puts all to sleep. In passing through the old streets of Certaldo to-day, it is part of our heritage to remember him. (24-25).

###

 Edward Hutton: Siena and Southern Tuscany, New York, 1910. 

*Note: Click on this link to watch a seven minute video of Roberto Benigni, Italy's most famous modern comedian, reading the first canto of Dante's Divine Comedy.

Tuscany: Castel Fiorentino

 Edward Hutton devoted at least two books to Tuscany. We will deal with Florence and Northern Tuscany in a future series but today we turn to Siena and Southern Tuscany, published in 1910. He began his tour at Castel-Fiorentino.

 

Happy Castel-Fiorentino! She was able and content to till her fields always as she does today, to tend her vineyards, to sow the corn under the olives, and to gather it in with songs, while the armies of Germany, the companies of adventure, the gay chivalry of France thundered by to destruction. Is not her story, which will never be told, one of those which should console us most in a world so busy about resounding trifles? She has no history; but in her untold story the romance of Europe lies hid—the story of men like ourselves going up and down day by day about their business, laboring in the fields in a hard partnership with Nature, chafering in the market-place, rising at dawn, resting at midday, singing at evening, loving a little and weeping much—if we could but read it!

 

But if Castel-Fiorentino is without a history, if she never produced a great man or a great artist, she is by no means devoid of the consolation of beauty. She herself is as charming and picturesque as can be; her churches are spacious and full of light, and there, too, you may find many a picture of a rare and exquisite country grace that only her lovers have discovered. 

 

Among those churches was the Convent of S. Chiara.

 

To-day, however, the convent is in the occupation of the Osservanti. It was one of them— “a friar of orders grey,” who seemed, indeed, to have stepped out of the song, so jovial and fat was he—who, in answer to my call, came out of his siesta to show me the church. The church is delightful, filled with a country peace and scattered with sun and shade. Over an altar on the left I found one of those things I love best—a splendid Giotto-esque Crucifix into which the love and faith of the thirteenth century seem immediately to have passed….

 

The quiet beauty of the church, the eager chatter of Fra Lorenzo, caused me to linger here, and that was my good fortune. For just as I was about to leave, as I said farewell to Fra Lorenzo at the church door, a woman came towards us, and greeting the friar, at once knelt down on the threshold, just under the lintel of the door, and prepared herself to be churched. With her came two ragged urchins and a little black dog. In the great shady nave the children played with the dog, quite at home in the house of their Father, while Fra Lorenzo, excusing himself, went into the sacristy and brought forth a great taper, which he placed in the good woman’s hand, and a large book, all in Latin, out of which he proceeded to read some prayers. I cannot tell you what a charming and old world picture this made, recalling happier days. The children in the shadow playing with the little black dog; the good woman who had just brought forth a child kneeling in the sunshine holding her taper carefully, on the threshold of the church; Fra Lorenzo in his surplice, unctuous and sleek, reciting the Office—it was as though by some good fortune certain centuries had never happened and we were back in those scarcely remembered days when everything could be accounted for, when there was still a unity in Europe, and we accepted the love of God and the offices of the Church as matters of course. Only I seemed to be out of the picture. And so quietly I slipped away without so much as “thank you” to Fra Lorenzo, to whom I owed this consoling glimpse of life in Tuscany.

 

###

 

Edward Hutton: Siena and Southern Tuscany, New York, 1910. Pp. 4-8. 

Rome: The Campagna

Edward Hutton ended his book on Rome with a chapter on the Campagna, the desolate countryside outside the hills of Rome. Here is his paean to the Campagna. I suspect that he would be shocked today by the belt-ways and urban sprawl that have overtaken what he called "the soul of Rome." I add some images from nineteenth century painters who saw the Campagna as Hutton saw it.

George Inness: View of the Campagna

Rome possesses nothing half so lovely, half so precious, half so venerable, as the Campagna, in which she lies like a ship in the midst of the sea, now just visible over the billows, now lost altogether in that vast solitude of which, for the most part, she is oblivious. My happiest hours during all my sojourn in Rome have been spent in the Campagna, at all hours of the day, at every season of the year.

 

The immense and universal thing which lies unregarded at the gates of the Eternal City is the one Roman thing that I have been able to love absolutely without reserve or any after thought. I loved it at first sight, and to leave it still brings tears to my eyes. And yet, I have felt no intimacy with it, as I have with the Umbrian valleys, and the moorlands, the hills and the sea of the west Country whence I am sprung. It is too vast and too silent for intimacy but it has my fear and love as God has them, because it is greater than I, and in some sort has produced me. It has, too, the indefinite beauty of all supernatural things. One may find there always all that is in one’s heart, and each will find what he brings and the reward of which he is worthy. It is too beautiful to praise and too mysterious, too holy, to explain or to describe…. For, as the sea is the secret of England, so the Campagna is the secret of Rome; it haunts the City, and the majesty and largeness of its silence are the springs of its immortality. Nor may you long escape it, for all the great ways lead to it at last, and it surges against every gate….

 

Corot: View of the Campagna

From wherever you first see it, it calls you instantly in its solemn immensity, its vast indwelling strength, its ruined splendor, across which the broken arches of the aqueducts stagger still, and the vague white roads, lined with empty and rifled tombs, wander aimlessly, losing themselves in the silence and vastness that only the mountains may contain. And it is the mountains which hem in the Campagna, the most beautiful mountains in the world.

 

Wherever you may go in Rome, after that first revelation, whatever you may see, before whatever shrines you may kneel, it is the Campagna which is in your heart, for you have discovered Rome, the soul of Rome…. 

 

It is this one comes to realise at last, as day after day, week after week, one passes along that ancient Appian Way, between the crumbling tombs. Here and there we may find them still, the likeness of our brother carved in relief, some thought of his about it all, a few Latin words, part of an inscription, half hidden with the grass and the flowers. And as night overtakes one on that marvelous road, when the splendor of sunset is faded, and the stars one by one have scattered the heavens with hope, our thoughts turn almost in self defence, in that solemn loneliness, from death to resurrection. In the immense silence that nothing may break our imagination sinks beneath the lonely majesty of that desert, littered with the monsters of old forgotten religions, full of the dead things of Paganism and Christianity, the bones of Saints, the mighty trunks of forgotten gods.

 

What more is there to come out of that vast grave, that marvelous solitude?

 

###