Page images
PDF
EPUB

Let us for a moment apply these principles to numerous pictures found in this and every other gallery at Genoa, as well as in all the churches. In one group, are St. Sebastian with the arrows piercing his naked body; by Guido-St. Thomas thrusting his hand into the bleeding wounds of the Saviour; by Cappucino-Cato running a sword through his own body; by Guercino. As if one copy of this last were not sufficient, a duplicate is found in another part of the collection. Again, you find Judith in an air of triumph presenting to a slave the reeking head of Holofernes, which she has just dissevered, and which she grasps by the clotted hair; from the pencil of Paul Veronese-A man holding serpents in his hands; by Manfredi-Cleopatra with the asp fastened on her naked bosom, and her features distorted with the agonies of death; by Guercino-The scourging of the Saviour, with the blood streaming from his back; by Castello. In short, these images of unnatural crimes and savage cruelties meet you at every turn. Now, to bring these works to the test—would any of the above spectacles be tolerated upon the stage, before a refined audience? How has

Mr. Addison disposed of this same Cato? He makes him perpetrate the bloody deed in the seclusion of his own closet, and when the news of the shocking catastrophe is brought to Lucius, he very properly exclaims:

[blocks in formation]

But to bring the subject still more directly home to the feelings, would any person of ordinary taste willingly be an actual spectator of the scenes portrayed in any one of the above mentioned pictures? and if not, how can he contemplate the delineation of them with complacency? So far as the representation falls short of the reality, the painting is defective and fails in its object; and so far as it approximates to the reality, it becomes shocking.

With regard to my own feelings, the foregoing objections are well grounded; and almost the only pleasure derived from an examination of these splendid collections of pictures consisted in an admiration of the imitative powers and wonderful skill of the artists—a pleasure subordinate and mean in comparison with the ennobling sentiments inspired by the subject. Mr. Eustace in his classical Tour remarks, that

the history of Genoa abounds in poetical incidents, and he expresses his surprise that no native bards have arisen to weave them into song. With how much more propriety may this remark be applied to the kindred department of painting, in which Genoese artists, both in number and reputation, hold a respectable rank? But by a fault too common with men of genius, they have looked any where except at home for subjects, and wasted on Madonnas, saints, and martyrs, talents which ought to have been employed in illustrating the historical events and picturesque scenery of their own country. In the 12th century Genoa fitted out a fleet of forty gallies in the first Crusade, and one of its native citizens, Guillaume Embriaco, was Admiral of the whole naval armaments of Europe destined to the Holy Land. What a field is here open to the artist! Every incident in that expedition is the very essence of poetry and romance. The imagination might revel amidst the splendour and luxury of oriental manners, the battles and feasts of knights, and chivalrous deeds for glory or love. In the scarcely less romantic adventures of Columbus-in his embarkations and debarkations-in his interviews alternately with sovereigns and savages-his successes and reverses of fortune-his triumphs and his chains, the finest scenes are presented to the choice of the artist. To all these may be added the wars of the Genoese with the Goths, the Saracens, and the Venetians, together with the emancipation of the country in the 16th century, through the influence of Andrew Doria. Could subjects better adapted to the pencil be found in any country? and yet not a picture of the kind is to be met with in any of the galleries at Genoa; a dereliction not less from taste than from patriotism, which fills the stranger with surprise and regret.

The Serra Palace in the Strada Nuova, is such a perfect unique, and so remarkable for its sumptuousness, that it would be unpardonable to pass it over in utter silence. Two of the apartments in particular, the dining-room and saloon, are entirely peculiar in construction, and the luxury of the east can scarcely surpass them in splendour. They are the works of rival artists, the former by an Italian, and the latter by a Frenchman, who had the wealth of the Serra family at command, and squandered it without limitation. It is said that only one of these rooms, of the ordinary size, cost a million francs. Both are as rich as they can be rendered by gold and precious stones. In brilliancy the Frenchman has

ture.

far surpassed his Italian competitor, and the celebrated traveller Dupaty has not inappropriately termed this saloon the Palace of the Sun. The supplement to the French Encyclopedia has given drawings of all its sides, and pronounces the work unequalled by any thing of the kind, in the elegance of its proportions, the richness of its ornaments, its gildings, mirrors, chandeliers, tapestry, and other furniBetween the fluted Corinthian pillars of Parian marble, embossed with massive gold, are placed sheets of mirror, forming the entire walls, and multiplying the splendid objects in the room a thousand times. On whichever side the spectator turns, his eye is absolutely dazzled and bewildered by the painful brilliancy of the spectacle. When the whole is lighted up by the numerous chandeliers, sparkling with rainbow bues, the degree of effulgence must be insupportable.

'The last of the Genoese palaces, with which I shall trouble my readers, is in perfect contrast with the Serra. It belongs to the Marquis di Negro, and is seated on an eminence, near the ancient ramparts, commanding a delightful prospect of the city and harbour. Our principal object in visiting it was the spacious garden, laid out in the English style, filled with evergreens, shrubs, and plants, embellished with fountains, and adorned with busts of distinguished men. Over the entrance is an inscription in Latin, the purport of which is as follows:-" To the ambitious many things are wantingGod has satisfied the moderate wishes of di Negro." The sentiment contained in this motto and the simplicity, neatness, and taste, which this charming retirement displays, prepossessed us very strongly in favour of the proprietor, who is a literary gentleman, and has spent ten years of his life in travelling. He was absent at the time of our visit; but his quiet retreat, his library, and the poetical work on a religious subject, in which he is at present engaged, were shown to us by the gardener. These retired shades, elevated by the Apennines above the noise and bustle of the town, and consecrated to learned ease, present far stronger attractions than the gorgeous piles of the Strada Nuova.

LETTER XLIX.

GENOA CONTINUED--UNIVERSITY-HOSPITALS-CHURCHES-

CATHEDRAL-ST. MATHEW'S-ST. STEPHEN'S-ST. MARIA— ANNUNZIATA--CEREMONIES OF HOLY WEEK-PUBLIC AMUSEMENTS--MANUFACTURES--ALBARO-BIRTH-PLACE OF CO

LUMBUS.

April, 1826.-The University at Genoa occupies one of the most splendid palaces in the Strada Balbi, presenting a noble front to the street. It is three stories high, enriched with a suitable proportion of marble pillars. The portals are of the Tuscan order, guarded by two lions. A terrace on one side of the court, crowned with plants and flowers, gives the entrance a cheerful appearance. The apartments, though sufficiently spacious, by no means correspond with the exterior in grandeur. Their walls are hung with pictures all of a religious cast, and not very celebrated as specimens of the arts. A large library, rich in the various departments of learning, and a botanical garden, are among the appurtenances of the institution. The Janitor conducted us through the room appropriated to Natural Philosophy, and showed us the apparatus, tolerably complete; as also through the Museum of Natural History, which is small and unimportant compared with those of France. In short, the interior of the University contains few objects worthy of notice. The number of Professors is twenty-four-in the faculties of law and theology, four each; in the medical department, seven; and in the sciences and belles-letters, nine. Ample provision appears to be made at Genoa for public instruction. Besides the University, there is a Royal College; an Academy for architecture, painting and sculpture; a school for the deaf and dumb; and three public libraries. A gentleman to whom we took letters of introduction, and from whom we received every attention which hospitality could require, introduced us to a large Reading Room, containing the English and French papers, together with the periodicals and new publications, among which several from our own country were observed.

The charitable institutions of Genoa reflect the highest credit upon the humanity and munificence of its citizens. We visited the two principal Hospitals, the Albergo de' Poveri and the Albergo Grande, which in extent and arrangement call forth the unqualified admiration of the traveller. The former is situated without the old walls, in a sunny vale opening from the Apennines, and approached by a broad avenue, bordered with groves of ilex. It is a grand, but somewhat irregular pile of buildings, sufficiently spacious to accommodate 2200 persons. The vestibule is decorated

with marble columns, and filled with the statues of some of the principal benefactors to the institution. In ascending the noble flight of steps, one would suppose he was entering the palace of a king, instead of a poor-house. Over the entrance are inscribed the words of Solomon, which were never quoted with more propriety-" Nor say there is no Providence." In the interior there is a pretty chapel, containing among other embellishments, the celebrated bas-relief in white marble of the Virgin supporting on her bosom the dead Saviour, by Michael Angelo, and reckoned among his finest productions. Nothing can exceed the affecting simplicity of the design, or the beauty of the execution. The present number of inmates in this Hospital, or rather Work-House, is 1700, of whom 500 are males, and 1200 females, chiefly young persons, who are here clothed, fed, and educated. They are employed in manufactures and the mechanic arts of various kinds. The superintendent conducted us through the long ranges of workshops, presenting a pretty scene of cheerful industry.

The Grand Hospital is upon a still more extended scale. Its dimensions are something like 400 feet square, being the largest building in the city. Its architecture is of the Doric order, simple, grand, and beautiful. These edifices are all the works of the Republic. Seventy-five full length statues of its benefactors, and numerous busts are among its decorations. It is appropriated entirely to the sick of both sexes. Large as the establishment is, the wards were all filled, and exhibited an air of neatness and comfort. Iron bedsteads

contribute greatly to its cleanliness. Its extensive pharmacy is open to the city, and the profits arising from the sale of medicine are appropriated towards defraying the expenses of the institution. Besides these two immense establishments, Genoa contains a hospital for incurables, and two houses of

« PreviousContinue »