# Rambles in Germany and Italy in 1840, 1842, and 1843/Part 1/Letter 10

LETTER X.
Bergamo, 10th Sept.
For the sake of visiting scenes unknown to us, we arranged not to go by the steamer from Como to Milan, but hired one of the large boats of the place to take us to Lecco. We quitted Cadenabbia yesterday at five in the morning. Sadly I bade adieu to its romantic shores and the calm retirement I had there enjoyed. The mountains reared their majestic sides in the clear morning air, and their summits grew bright, visited by the sun’s rays. We doubled the promontory of Bellaggio, and quickly passing the picturesque rocks beneath the gardens of the Villa Serbelloni, we found that the lake soon lost much of its picturesque beauty. Manzoni and Grossi have both chosen this branch of the lake for the scene of their romances; but it is certainly far, very far, inferior to the branch leading to Como, especially as at the end of the lake you approach the flat lands of Lombardy and the bed of the Adda. We ​breakfasted comfortably at Lecco, and hired a calèche for Bergamo. It was a pleasant but warm drive. Oh, how loth will the Austrian ever be to loosen his gripe of this fair province, fertile and abounding in its produce,—its hills adorned with many villages, and sparkling with villas. These numerous country-houses are the peculiarity and beauty of the region: as is the neighbourhood of Florence, so are all these hills, which form steps between the Alps and the Plains of Lombardy, rendered gay by numerous villas, each surrounded by its grounds planted with trees, among which the spires of the cypress rise in dark majesty. The fields were in their best dress; the grapes ripening in the sun; the Indian corn—the second crop of this land of plenty—full-grown, but not quite ripe.
Variety of scene is so congenial, that the first effect of changing the mountain-surrounded, solitary lake for the view of plain and village, and widespread landscape, raised my spirits to a very spring-tide of enjoyment. We were very merry as we drove along.
There is a fair at Bergamo; it has lasted three weeks, and the great bustle is over. We had been told that the inns are bad; I do not know whether we have found admission into the best, but I know we could scarcely anywhere find a worse. The ​look of the whole house is neglected and squalid; the bed-rooms are bare and desolate, and a loathly reptile has been found on their walls. The waiters are unwashed, uncouth animals, reminding one of a sort of human being to be met in the streets of London or Paris—looking as if they never washed nor ever took off their clothes; as if even the knowledge of such blessings were strangers to them. The dinner is uneatable from garlic. Of course, the bill to-morrow morning will be unconscionably high.
We have come to Bergamo chiefly for the sake of the opera, and to hear Marini, a basso—boasted of as next to Lablache—but, though fine, the distance is wide between. Being fatigued, I did not go to the upper town to see the view, which is extensive, and at the setting of the sun peculiarly grand. But to the opera we went. The house is large and handsome; but the draperies and ornaments of the boxes were heavy and cumbersome; they carried, too, the usual Italian custom of having little light in their theatres, except on the stage, to such an excess, that we were nearly in the dark, and could not read our libretto. The opera was the Mosè. That which is pious to a Catholic is blasphemous to a Protestant, and the Mosè is changed, when represented in England, to Pietro l’Eremita. None of the singers ​were good except Marini; but the music is the best of Rossini, and we appreciated this admirable master the more for having been of late confined to Donizetti. The quartetto of Mi manca la voce is perhaps his chef-d’œuvre. The way in which the voices fall in, one after the other, attracts, then fixes the attention. I listen breathlessly; a sort of holy awe thrills through the notes; the soul absorbs the sounds, till the theatre disappears; and the imagination, deeply moved, builds up a fitter scene—the fear, the darkness, the tremor, become real. The whole opera is rich in impressive and even sublime vocal effects. In the ballet we had Cerito—her first appearance at Bergamo—and she was received most warmly. She danced three pas, and after each she was called on seven times. I had not seen her before; and, though not comparable to Taglioni for an inexpressible something which renders her single in the poetry of the art, Cerito is light, graceful, sylphlike, and very pretty.
Milan, 11th.
This day has taken us to Milan, a long and rather dreary drive. We turned our backs on the hills, and proceeded through the low country round the capital of Lombardy, which is indeed the centre of a plain, whose shortest radius is twenty-five miles. ​The road is shut in by deep trenches, which serve as drains, and is lined by vines, trellised to pollard trees. We felt shut in by them, and unable to gain a glimpse of the mountains we had left to the north. Our drive was uninteresting, and grew very tiresome, till at last we arrive, and find rest and comfort, at the Hôtel de la Ville, an extensive hotel, kept by a Swiss, with a pretty English wife, and very comfortable in all its arrangements.
We expected letters here, on the receipt of which we instantly turn our steps northward. For in vain I have debated and struggled, wishing to visit Florence or Venice. My son must return to England; and, though I shall not myself cross the Channel immediately, I do not like being separated by so great a distance. Our letters, however, have not come, and we shall employ a day or two in sightseeing,
Sept. 14th.
First we visited the fading inimitable fresco of Leonardo da Vinci. How vain are copies! not in one, nor in any print, did I ever see the slightest approach to the expression in our Saviour’s face, such as it is in the original. Majesty and love—these are the words that would describe it—joined to an absence of all guile that expresses the divine nature ​more visibly than I ever saw it in any other picture. But if the art of the copyist cannot convey, how much less can words, that which only Leonardo da Vinci could imagine and pourtray? There is another fragment of his in the gallery—an unfinished Virgin and Child—in the same manner quite inimitable: the attitude is peculiar; with a common artist it had degenerated into affectation: with him it is simplicity and grace,—a gentle harmony of look and gesture, which reveals the nature of the being pourtrayed,—the chaste and fond mother, lovely in youth and innocence, thoughtful from mingled awe and love, with a touch of fear, springing from a presentiment of the tragical destiny of the divine infant, whose days of childhood she watched over and made glad. In the gallery of Raphael's picture of the Marriage of the Virgin, in his first and most chaste style; where beauty of expression and grace of design are more apparent, then when, in later ways, his colouring grew more rich, his grouping more artificial. A catalogue of pictures is stupid enough, except that I naturally put down those that attract my attention, and I try in some degree to convey the impression they made, so as to induce you to sympathise in my feelings with regard to them. The galleries are rich in Luinis—ever a pleasing artist. The Ambrosian library we, of course, visited; but they keep things ​Now rigidly under lock and key: for some one, whose folly ought to have met with severe punishment, had endeavoured to purloin, and so mutilated, some of the relics of Petrarch.
Among other lions we went to a silk manufacture, where many looms were at work on rich silks and velvets. We saw here specimens of cloth of glass, which, hereafter, I should think, will be much used for hangings. It is dear now—as dear as silk, because the supply of the material is slight; but spun glass must, in itself, be much cheaper than silk. The fault of this cloth is, that it is apt to chip as it were, and get injured; it will, therefore, never serve any of the purposes of dress, but it is admirably fitted for curtains and hangings. What I saw was all bright yellow and white, resembling gold and silver tissue; of course, the glass would take other colours: it would not fade as soon as silk, and would clean without losing its gloss or the texture being deteriorated.
At the Opera they were giving the Templario. Unfortunately, as is well known, the theatre of La Scala serves, not only as the universal drawing-room for all the society of Milan, but every sort of trading transaction, from horse-dealing to stock-jobbing, is carried on in the pit; so that brief and far between are the snatches of melody one can catch. Besides ​this, they have the uncomfortable habit of giving the ballet between the two acts of the opera. The only good singer was Salvi—a bad actor, but with a tenor voice of good quality and great sweetness. He had some agreeable airs in the first act: but that over, came a ballet d’action. In this theatre I had seen Othello acted in ballet, with such mastery of pantomime, that words seemed superfluous for the expression of passion or incident; but no such good actors as were celebrated then, exist now. The ballet, founded on the last fortunes of Ali Pasha, was splendidly got up, but full of tumult, noise, and violence, till it ended in a grand blowing-up of Ali, his palace, and treasures. Amidst the din and dust the audience mostly departed, and I went also, thoroughly fatigued; but there was another act of the opera, and on a subsequent night I staid to hear it, though paying for the pleasure by a head-ache. Some of the best airs are in this; and the finale, an air of Salvi, is exquisitely tender and touching, and sung so sweetly by him, that I would rather have heard it than any other part of the opera.
On Sunday I went to the cathedral, and heard mass. There was a sermon—the text, the good Samaritan—the gloss, love your neighbour—an admirable lesson; the preacher, however, had but this one idea: and it was curious, during his sermon ​of half an hour, to hear the various and abundant words in which he contrived to clothe it. To a passing stranger, the Duomo comprises so much of Milan. It is chiefly the outside, with its multitudinous and snow-white pinnacles, that arrests the attention and charms the eye; a moonlight hour passed in the Piazza del Duomo—now beneath the black shadow of the building, then emerging into the clear white light—and looking up to see the marble spires point glittering to the sky, is a pleasure never to be forgotten.