The Project Gutenberg eBook, A Little Pilgrimage in Italy, by Olave M. (Olave Muriel) Potter, Illustrated by Yoshio Markino This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: A Little Pilgrimage in Italy Author: Olave M. (Olave Muriel) Potter Release Date: June 24, 2014 [eBook #46092] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK A LITTLE PILGRIMAGE IN ITALY*** E-text prepared by Giovanni Fini and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive (https://archive.org) Note: Images of the original pages are available through Internet Archive. See https://archive.org/details/littlepilgrimage00pottuoft A LITTLE PILGRIMAGE IN ITALY Perugia: looking towards Assisi. A LITTLE PILGRIMAGE IN ITALY BY OLAVE M. POTTER AUTHOR OF 'THE COLOUR OF ROME.' WITH 8 COLOURED PLATES AND ILLUSTRATIONS BY YOSHIO MARKINO [i] [ii] [iii] TORONTO THE MUSSON BOOK COMPANY LIMITED FIRST PUBLISHED NOVEMBER 1911 CHEAP RE-ISSUE 1913 Edinburgh: T. and A. CONSTABLE, Printers to His Majesty [iv] [v] FOREWORD One morning of high summer three pilgrims met together in the City of Genoa to sally forth in search of sunshine and the Middle Ages. At least that was what the Poet said, for sunshine and Ancient Stones were the passions of the Poet's life. The Philosopher insisted that we went in search of Happiness. It is no matter. But in fact we did meet one July day of sweltering sunshine in Genoa, the Western Gate of Italy, which is a city of grateful shadows, whose narrow streets defy the brilliant sun. This is a book of simple delights, a chronicle of little pleasures, so I shall not talk much of Genoa, although to my mind she is the most Italian of all the great cities of Italy. Nor shall I speak of Florence, or Naples, or Venice, or Rome. Doubtless, like me, you have loved them all. A STREET IN GENOA. If you come with me I shall take you away from the great cities where your feet are bruised on the stony streets and never feel the soft warm earth beneath their soles, where mountainous walls of brick limit your vision to smoke-clouded strips of sky, where you never smell the fragrance of the night. If you come with me I shall take you to the hills, the deep-bosomed rolling hills, with their valleys and their plains and with towered cities riding on their crests. You will lie with me under the olives and stone-pines, where the warm earth cushions your limbs in luxury, and the sunlight flickering in the green shadows lights on a wealth of flowers. Then, if you will, come back to your haunted streets. But I am persuaded that if you go there you will find a great content among the little cities of great memories which stand knee-deep in flowers upon the hills of Italy, or in those nobler towns,—Siena, who belongs to the Madonna, and Perugia, whose name is as a torch to light your feet into the Valleys of Romance. In their streets you are seldom shut away from the mountains and the sky; and little gracious weeds and grasses have spread a web among their stones as [vi] [vii] though an elfin world sought to entrap a monster and pull him down to ruin. Our little pilgrimage took us to many shrines, and haunts of peace and beauty. We made our discoveries, saw much, learned not a little philosophy. And, most of all, we caught a glimpse of the heart of Umbria—Umbria of the saints. We watched the gathering of the golden maize in the plain below Assisi while we walked with St. Francis among the vines and olives; we saw the vintage being brought home with song and thanksgiving at Orvieto and Viterbo. We dwelt among beautiful simple-hearted men and women, living in little farms far from the toil of the modern world, who still worship God in the gladness of their hearts and the spirit of the ardent thirteenth century; who toil and spin and bear children and lie down to die, not with the stupidity of animals or the self-satisfaction of the bourgeoisie, but full of a beautiful content, moved by a beautiful faith. We dipped into Tuscany too, into Lombardy, into the March of Ancona, into Lazio, but nowhere else was the world as perfect, as unspoiled as in Umbria. If you are travel-stained with life, if the sweat of a work-a-day world still clings about you, if you have lost your saints and almost forgotten your Gods, you will cure the sickness of your soul in Umbria. Genoa: The Harbour. [viii] [ix] CONTENTS CHAP. PAGE FOREWORD v I. AREZZO 1 II. CORTONA 14 III. PERUGIA 24 IV. TODI 45 V. SIENA AND THE PALIO 58 VI. SAN GIMIGNANO DELLE BELLE TORRI 88 VII. MONTE OLIVETO MAGGIORE 105 VIII. CHIUSI 116 IX. HANNIBAL'S THRASYMENE 129 X. ASSISI 144 XI. GUBBIO 171 XII. ANCONA 188 XIII. LORETO 201 XIV. RAVENNA 216 XV. THE REPUBLIC OF SAN MARINO 234 XVI. URBINO 245 XVII. FOLIGNO 259 XVIII. CLITUMNUS 276 XIX. SPOLETO 280 XX. THE FALLS OF TERNI 296 XXI. NARNI 303 XXII. ORVIETO: THE CITY OF WOE 316 XXIII. VITERBO 333 XXIV. ROME 353 [x] [xi] ILLUSTRATIONS COLOURED PLATES Perugia: Looking towards Assisi Frontispiece Siena: Torre del Mangia Facing page 62 San Gimignano " 102 Lake Thrasymene " 137 Assisi: The Lower Church of San Francesco " 152 Ancona: The Fishing Fleet " 192 Spoleto: The Aqueduct " 292 The Falls of Terni " 298 HALF-TONES Genoa: The Harbour Facing page viii A Street in Arezzo " 8 Cortona from the Porta S. Margherita " 20 Perugia: Piazza del Municipio " 28 Perugia: The Ring of the Blessed Virgin " 30 Perugia: Porta Eburnea " 40 Perugia: The Tomb of the Volumnii " 42 A Street in Siena " 66 Siena: S. Domenico and the Via Benincasa " 68 Siena from the Convento dell'Osservanza " 72 Siena: The Palio " 84 San Gimignano: The Washing Place " 96 Chiusi: The Palace of the Bishop " 126 A Street in Assisi " 148 The Little Cloister in S. Francesco d'Assisi " 154 Assisi: The Porziuncula " 168 Gubbio: Piazza Vittorio Emanuele " 180 Gubbio: Via Carmignano " 184 Loreto " 202 San Marino " 236 Urbino: San Francesco " 252 Foligno: The Washing Place " 268 The Temple of Clitumnus " 278 A Street in Spoleto " 288 The Cattle Fair at Narni " 306 A Street in Orvieto " 322 Orvieto: Etruscan Tomb " 330 Viterbo: Mediaeval House in the Piazza S. Lorenzo " 336 Viterbo: From a Window in the Palace of the Popes " 340 Viterbo: Via di S. Pellegrino " 346 Rome: St. Peter's seen from the Arco Oscuro " 354 Rome: A Fountain in the Borghese Gardens " 358 LINE DRAWINGS A Street in Genoa See page vi Arezzo: The Prison " 6 Cortona from the Piazza Garibaldi " 16 Perugia: Detail from the Choir of S. Pietro de' Cassinensi " 24 Perugia: Arco di Augusto " 27 The Griffon of Perugia " 32 Fountain in the Cloister of S. Pietro de' Cassinensi " 36 Details from the Apse of the Cathedral of Todi " 51 Todi: S. Maria della Consolazione " 54 Siena: Banner-holder " 61 Siena: Torch-rest " 64 Sienese Youths in Palio Dress " 77 [xii] [xiii] Seen at the Palio " 81 The Towers of San Gimignano " 89 Chiusure from Monte Oliveto Maggiore " 107 Città della Pieve from Chiusi " 118 Etruscan Cinerary Urns " 122 Chimneys at Passignano " 133 Assisi: S. Maria Maddalena at Rivo Torto " 159 Assisi: The Carcere " 163 Gubbio: The Lamplighter " 173 Gubbio: San Francesco " 177 Gubbio: The Mediaeval Aqueduct " 183 Peasants at Loreto " 206 Pilgrims at Loreto " 211 Ravenna: The Pineta " 218 Ravenna: Sant'Agata " 221 Ravenna: The Tomb of Dante " 228 Ravenna: Column of Gaston de Foix " 232 The Palace of the Dukes of Urbino " 247 Foligno: San Domenico " 263 Foligno: Well in the Casa Nocchi " 265 Spello " 273 Spoleto: Porta d'Annibale " 282 Spoleto: San Gregorio " 285 A Fountain of Spoleto " 290 Spoleto: San Pietro " 294 The Lower Fall of Terni " 300 Farmers at the Ox " 304 Fair of Narni " 308 Market People " 310 Narni: The Ponte d'Augusto " 312 Below the Walls of Orvieto " 318 Orvieto: The Clock Tower " 320 Orvieto: Sant'Agostino " 326 Etruscan Necropolis below the Walls of Orvieto " 329 Outside the Walls of Viterbo " 334 Viterbo: The Moat outside the Porta San Pietro " 338 Viterbo: The Stemma of the City " 341 Viterbo: The Palace of the Popes " 343 Viterbo: Fountain in the Palazzo Municipio " 344 Viterbo: The House of the Bella Galiana " 345 One of Viterbo's many Fountains " 348 The Ruined Theatre of Ferento " 351 The Altar of the Unknown God on the Palatine " 356 The Via Appia " 360 [xiv] [xv] AREZZO We came to Arezzo in the cool of the evening. It had been a breathless day. Even at Genoa the air hung heavy with the sirocco. We found Pisa in a mirage, and the white hills of Carrara glistening like the lime rocks of a desert. It was good to be in Tuscany again—Tuscany with her grey farms and lichened roofs, her towered horizons, her blue hills, her vineyards, and her olive-gardens. We could hear the song of the cicalas vibrating in the sunshine above the jar of the train; near at hand the hills swelled up, clothed with the tender mist of olives or linked with vines; stone-pines floated darkly against the sky, and cypress spires climbed the hillsides in a long procession like souls on pilgrimage. Perhaps it is because Arezzo, little Arezzo, with her ancient history and her tale of great men, was the earliest of our hill-cities that we loved her at first sight. Coming from London and Genoa, with the noise and dust and heat of long train journeys still hanging about us, she seemed very cool and sweet among her vineyards and olive-gardens. She has left her hill-top now that she needs no more the walls which Sangallo built in the fighting days of the Popes, and has trailed down to the railway in the valley, leaving behind her wide piazzas which she has filled with shady trees, and benches, and statues of her great ones. Her paved streets, steep and clean, climb up the hillside between grey palaces, green- shuttered, with wide Tuscan eaves, whose fantastic outlines, seen in échelon against the sky, bring back a score of memories of other clean-swept Tuscan towns. Now that we were threading her byways, Arezzo, though she had looked imposing from the valley, dwindled to a little brown city, full of memories, and frescoed churches, and ancient houses in which the labourer dwells in his poverty to-day where the rich citizens of Arezzo once held great state. Capers and all manner of pensive creepers grew out of the rough walls; fig-trees, roses, wistarias, and oleanders in full blossom poured over them, so that the air was full of fragrance. And there were flowers in the upper windows of thirteenth-century houses, for your Tuscan is fond of flowers, and will have his garofani upon his window-ledge. Through the low-browed gateways we could see women spinning in arcaded courtyards; and the shoemakers and basket-weavers worked at their humble trades as they sat on the steps of weather-beaten Gothic houses. And often as we wandered through her narrow streets we paused to look down upon the calm beauty of the Tuscan plain, which stretched from the vineyards below her walls to the blue mountains of Chianti. Nor did it require any effort of imagination, while we were walking in those mediaeval byways between the Borgunto and the Via di Pellicceria, to people the rich valley with the pageant which Dante witnessed while he was staying in Arezzo with the elder Petrarch, both exiles from Florence. 'It hath been heretofore my chance to see Horsemen with martial order shifting camp, To onset sallying, or in muster rang'd, Or in retreat sometimes outstretch'd for flight; Light-armed squadrons and fleet foragers Scouring thy plains, Arezzo! have I seen, And clashing tournaments, and tilting jousts, Now with the sound of trumpets, now of bells, Tabors, or signals made from castled heights.'[1] A common sight enough, heaven knows, in the Middle Ages, when every little city sought to rule itself, and the populace and the petty lords alike cloaked their ambitions under the old war-cry of Guelph and Ghibelline! There is an air of gaiety in Arezzo, a simple, almost pastoral, joy. The philosopher felt it at once. 'We are like flowers,' he said, as we sat on a bench outside the inn after our first breakfast in Tuscany. 'In London our roots spread in the ground, and they get knotted and twisted in the darkness. Here we shoot right up into the sun.' And, indeed, Arezzo is a happy place, whose charm, it may be, owes its origin to an earlier civilisation, which has left so many broken fragments of its art scattered on the neighbouring hillsides. They are garnered to-day in the museum among the relics of Arezzo's history, of which they are the chief glory now that the bronze Chimera and the magnificent Etruscan statue of Minerva have gone to swell the treasures of Florence. There is not a vase or patera unbroken. The entire collection is composed of fragments, moulds and casts in low relief. But every piece is exquisitely beautiful; each one is like a shell cast by the tides of fantasy upon the shores of a work-a-day world. And though the streets of Arezzo are nearly always empty and silent, I think the flutes and lyres and dancing fauns, with which the artists of Arretium delicately graced their coral-coloured bowls and cups, are not silenced yet upon this Tuscan hill. Perhaps the spirit of the slim-limbed girls and youths, and merry little loves, whose forms are beauty, and whose fragile feet seem scarce to bruise the ground, dance still to their forgotten songs about the vineyards of Arretium. It is as though the dream of some Attic poet, for I cannot think that the heavy-eyed people of Etruria imagined such gods, lingers on in this little Tuscan town, and the echo of its ancient music vibrates in the stillness of the museum like the murmur of waves in a shell. Or perhaps it is a magic in the air, the subtle air of Tuscany, that poets sing of, which has inspired more genius than we can find in all the rest of Italy. For Arezzo, like Florence, has been the mother of great men. Michelangelo, himself born but a few miles from Arezzo, wrote to Vasari, 'Giorgio, of myself I have no power. I happened to be born in the subtle air of your paese.' Poets and artists, sculptors and musicians, have issued from her walls. All the world knows that she bred Maecenas and Petrarch, but only those who pause to read her chronicles know how many of her sons have walked with History in the corridors of Time—Margheritone, the Spinelli; Leonardo Bruni; Carlo Marsuppini, and a host of other humanists; [xvi] [1] [2] [3] [4] [5] the fighting bishop, Guido Tarlati; Vasari; and Guido Monaco, the Benedictine monk, born in the closing years of the eleventh century, who was the inventor of our modern system of musical notation. Whether Arezzo occupies the site of Arretium, the city of the Etruscan league, which is unlikely, or whether it rose like a phoenix from the ashes of its ancient necropolis, or grew from a Roman colony of that name near the Etruscan settlement, is not for me to say, since antiquaries are undecided. In any case there is little of either Etruscan or Roman antiquity outside the museum to-day. AREZZO: THE PRISON. It is the Middle Ages which have set their crown upon Arezzo. Knowing her courage, and how it outweighed her strength so that she dared to offer battle to her great neighbour Florence through many stormy centuries, it is a marvel that anything of value should be left. And in fact Arezzo boasts few civic buildings—the palace of the Podestà or del Governo, now the prison, whose façade is covered with the stemme of her many rulers, and the Palazzo Comunale or dei Priori, with its picturesque clock tower, are all that remain of the mediaeval city, except some streets of fifteenth- century dwelling-houses. But she has several noble churches—the Gothic Duomo, majestically simple within and without, which crowns her hill-top; the Pieve, Santa Maria di Gradi, with its wonderful Pisan-Romanesque façade, hoary with antiquity; the great bare church of San Francesco, enriched by Piero della Francesca's Story of the True Cross; and Santa Maria delle Grazie in the vineyards outside the walls. It is the same all over Italy. What little town is there, however broken, but has ancient churches and palaces to crown its hill and keep troth through the ages with its vanished greatness? Arezzo is particularly rich. The most expectant pilgrim to Italy's shrines of art, even though he come straight from Florence, will be thrilled by the golden church which soars from the crest of Arezzo's hill between the gracious old Palazzo Comunale and the public gardens, gay in July with the flame-coloured pennons of a flowering tree, which Mr. Markino tells me is called Urushi in Japan. For the Aretines have lavished wealth upon their cathedral, and the Ark of San Donato, which is one of the most beautiful mediaeval shrines in Italy, a rival to Orcagna's masterpiece in Or San Michele, is alone worth the long hot climb. The exquisitely wrought marble is yellowing with age; it is as finely carved as Oriental ivories; the trefoils and the edges of its panels are set with lapis lazuli. And here we have the reverence of the Trecento, with its rude handiwork redeemed by its ardent sincerity. For the sculptors saw nothing strange or irreverent in filling their scenes of the lives of Madonna and San Donato with all the incongruous details of their own day, so that we have at the same time jesters and angels, knights a-horseback and heavy-headed saints, and the queer beasts of mediaeval imaginings. Close at hand is the tomb of the splendid old fighting Bishop of Arezzo, Guido Tarlati, who crowned the Emperor Lewis of Bavaria with the Iron Crown of Lombardy in defiance of the excommunications of John XXII., and who led his people to battle against the Pope as readily as he led their prayers to God. A great man this, who has a worthy tomb, for Agostino and Agnolo of Siena carved the history of his stirring life below his recumbent form when he was laid to rest, and have shown us incidentally the life of the Trecento in all its vigour and humour. Two angels draw back the curtains of his bier, revealing him as he lies asleep, with folded hands and an air of extreme piety and humility, belied by the long recital of his little wars, and the story of his triumphs, from his Consecration as a Bishop to the Coronation of Lewis, and his death in 1327. [6] [7] [8] A Street in Arezzo. There are many other treasures in the Duomo, besides the column upon which San Donato had his head cut off, 'without any regard for the axe,' as the custode explained, pointing out a deep gash in the marble to remove the lingering doubts of any sceptic; there is an exquisite relief by Rossellino in the Chapter House, and many Della Robbias have set their seal of piety and graciousness on altar and tomb in the Chapel of the Madonna. But it was not any of these things which claimed our thoughts the first time that we entered the dim aisles of Margheritone's soaring Gothic church. After the glare and heat of the piazza, where the sunlight reflected from the yellow walls of the cathedral dazzled our eyes, we found the darkness of the nave, illuminated by a solitary altar lamp, and threaded with shafts of jewelled light filtering through painted glass, as grateful as the shade of some primeval forest formed by the interlacing branches of giant trees. For, within, the Cathedral of Arezzo is like the Gothic churches of the north, and it may be that the grim Margheritone, whose agonised crucifixions adorn so many chapels in Tuscany and Umbria, was himself inspired by northern architecture. He returned to his native town from Florence in the train of Gregory X., fresh from the Council of Lyons; and Gregory, who left 30,000 scudi to the Comune for the erection of the new cathedral, may well have made some suggestions as to the style of architecture which was to be employed. He died in the neighbourhood some months later, early in the year 1276, and his beautiful thirteenth-century tomb by Margheritone is one of the chief ornaments of the cathedral which he helped to endow. In Arezzo we were fortunate to find a real country inn; a clean, cool place, with floors and stairs of red brick, and an alfresco dining-room in the garden. I remember how gay we were, how our burdens of care slipped from our shoulders as we sat to eat below the trees on those first nights in Tuscany. Were we not on the road again, knowing nothing of the morrow, forgetful of everything but the joy of yesterday, dining when we were hungry, sleeping when we were tired, with no thought but for the beauty of the ways which opened out before us, no care but that we might pass unwittingly some of the quaint and lovely fragments of art and architecture with which our path was strewn? 'Peregrino, quasi mendicando,' said Dante, bitter in his exile, but we did not want for the luxury which money cannot buy. It is only Italy of the little towns that can make you forget the work-a-day world. Nowhere else can you be so content with what is often meagre fare, so careless of the morrow, so full of the joy of to-day, as you are in Italy. At night we sat at rough trestle tables in the little garden of the Albergo della Stella with the star-strewn canopy of night above us, and an electric light hanging like a fire-fly from the branches of an acacia tree. The level note of night crickets singing in the ilexes made an accompaniment to the distant clatter of dishes and the snatches of talk from other tables behind the tall bamboos. The food was simple—minestre, perfectly grilled steaks, fresh fruit, and generous fiaschi of the good red Tuscan wine, for which the vineyards of Arretium were praised. And here we lingered, talking of the wide-eaved Tuscan house in the Via del Orte, where Petrarch, the first of the great Italian humanists, was born, [9] [10] [11] and Dante came to visit the elder Petrarch, who had been exiled from Florence by the same turn of the political wheel as himself; of Vasari, who filled his niche as a biographer so much better than he ever filled it as an artist; of Piero della Francesca and the vigorous young world he pictured on the bare white walls of San Francesco; and of San Bernardino who, like St. Francis, purged Arezzo of its devils and laid the foundations of Santa Maria delle Grazie, that exquisite church outside the city walls which Benedetto da Maiano, Andrea della Robbia and Parri di Spinello enriched with the sister arts. For it was San Bernardino who, coming to Arezzo, and finding that the citizens were in the habit of practising pagan rites for an oracle, which they imagined dwelt in a wood outside their gates, preached such a fiery sermon from the pulpit of San Francesco that they wept before him like little children. But he, insisting that they should do penance, gave orders that on a certain day a great wooden cross should be brought to him, and that the people should come in solemn procession to exorcise the demon. That week the citizens of Arezzo went about their work with fear and trembling, and some of them cast doubtful looks down to the valley where the oracle was hid. But on the appointed day, though I doubt not that many did absent themselves, a great company followed the saint, carrying the cross, down to the hateful wood. It is not hard to picture to-day—the Mystic chanting as he walked at the head of the procession; the hot and dusty way through the vineyards below the city walls, for San Bernardino was loth to start until all the people were met together; and the fear of the crowd as they drew near and heard the music of the oracle-haunted spring. But Bernardino, whose heart was ever with the angels, caused the fountain to be cast down and the trees to be felled, lest by any chance some evil might yet lurk in the wood. And, knowing the heart of the people, that where a man has once worshipped he will worship again, even though it be to other gods, he built a little chapel to the glory of Our Lady of Mercies, and he begged Messer Spinello to paint the Virgin for an altarpiece. But not every one who comes to Arezzo visits this lovely church down in the vineyards, in spite of the marvellous beauty of Andrea della Robbia's 'cornice,' which frames Spinello's Madonna delle Grazie as she stands among the stars, like the Mother of the World, with strange, sad eyes, and shelters in her cloak the little people of Arezzo, humbly kneeling in penitence at her feet. [12] [13] [14] CORTONA Cortona! Not one of us but thrilled as we drew near her. For few cities bear so fair a name or seem as full of promise as Cortona. Although the world has long since passed her by, she loiters on her hill-top between the valley and the sky like a forgotten goddess who is loth to quit her great estate. Her towering walls encompass her about, those mighty walls built for a mighty people which Virgil sings of in the Aeneid; she frowns as though she were still girt for war, and had forgotten how to smile; her lean grey castle, stark upon the crest of the hill, points to the heaven like an avenging sibyl. No wonder that her history is spare since the days when she and her great neighbours, Arretium and Clusium, joined the Etruscan League in 310 b.c.; for even to-day, with excellently engineered roads scaling her hill, she is difficult of approach, and her stout walls and impregnable position offered no inducement to invading armies, who were content with harrying her fertile plain, as they passed by to Umbria and Rome. We know she was a Roman colony in the time of the historian Dionysius, but scant mention is made of her under the Roman Empire; and although she was one of the earliest Episcopal sees, and is still the seat of a bishop, it was not until the thirteenth century that the chronicles of Cortona began to take a place in mediaeval history. She is still withdrawn from the world upon her mountain; her houses are still huddled together in the shelter of her great walls, built by the Unknown People; she still hides her poverty from the eyes of the careless traveller as he rushes past the foot of her hill on his way to Rome or Florence. After the motor-omnibus had deposited us in the Piazza Signorelli, and we had deposited our luggage in a rather dreary-looking inn whose only claims to notice were its exquisite views over the Tuscan plain to the inland sea of Thrasymene, we sallied out full of anticipation to see the legendary birthplace of three such widely different characters as the mythological Dardanus, founder of Troy; Brother Elias, the erring and ambitious follower of St. Francis; and Luca Signorelli, that courtly gentleman and great painter of the fifteenth century. But we were disappointed. Cortona, notwithstanding her lovely name and her ancient and picturesque site, is a dirty little place, with unsavoury streets and a baroque cathedral. She has treasures, of course. What little town in Italy has not? Her tumble-down palaces are built of warm red brick; her churches have some fine pictures; her Palazzo Pretorio is covered with the escutcheons of the princes who were her overlords, but she has no charm unless you catch her unawares before the sleep is shaken from her eyes early on a summer morning. CORTONA FROM THE PIAZZA GARIBALDI. We found so little to detain us in her dingy, unkempt streets that we decided to push on the next day to Perugia. We tried our tempers in the inn, the most lethargic inn that it was our misfortune to visit, endeavouring to get some lunch, and after waiting an hour and a half we found the gnocchi stale and the coarse meat uneatable. So we went out again into the siesta heat, determined at least to see the great Etruscan lamp which is the pride of Cortona's museum, and the pictures which Luca Signorelli painted for her churches. Cortona was asleep. She was as still as a lizard on a sunny wall; even the tiresome children who had followed us all the morning, agape for soldi, had vanished; the air was vibrant with the tremolo of the cicalas; the sunlight stretched like a shimmering veil across the valleys. And in a moment all our vexation vanished. Italy the Beautiful came out to meet us, smoothing away all disagreeable memories as a cool hand laid on the forehead will smooth out pain; we forgot the hatefulness which had been piling itself up all day—the dust, the smells, the too-glaring sun, the stupid inn with its bad- tempered maid-servant, the screaming children, the baroque cathedral! In the cool grey church of San Domenico, which stands in the flowery public gardens of Cortona, we found not only one of Luca's great pictures but a pageant of Quattrocento saints and Madonnas in richly gilt Gothic frames over the three altars which fill its eastern wall. In the Gesù, a little ancient church which clings to the hillside close to the cathedral, [15] [16] [17] [18] we discovered an Annunciation by Fra Angelico, almost as beautiful as that exquisite picture which he painted on the wall of his monastery-home in Florence. It is very like the fresco in the corridor of San Marco. The Madonna is sitting in the same light and airy loggia reading in some little book, as the Angel Gabriel, with his iridescent wings still poised for flight, alights at her feet, filling the air with glory. Outside, the grass is starred with the flowers which Angelico loved to paint; and far away, silhouetted against the sky, we see the Angel with a flaming sword driving Man and Woman from their Garden of Paradise, whose gates not even the coming of Christ could reopen on earth. And then, remembering the story of Filippo Brunelleschi, we went into the Duomo to see the famous sarcophagus which legend claims to be the tomb of the Consul Flaminius, and which the great architect of the dome of Florence Cathedral walked sixty miles to see. For one morning when he was discussing antique sculpture in the Piazza of Santa Maria del Fiore with Donatello and some other artists, Brunelleschi heard of a Roman sarcophagus in Cortona. Straightway he left his companions, and fired by his passion for the works of antiquity, 'just as he was, in his mantle, hood and sabots, without saying a word of where he was going,' came to Cortona and made a drawing of it, returning at last to Florence where he showed it to the astonished Donatello, who had not been able to guess where his friend had disappeared. But it was in the early morning, as I have said, that we discovered the nameless charm of Cortona—that same charm which we found in a different guise in all the little towns of Umbria and Tuscany. Our inn, though it towered more than a thousand feet above the valley, was at the bottom of the city, for Cortona in the immemorial Etruscan fashion hangs from the crest of her hill. Even the ambitious motor-bus could not climb higher than the Piazza Signorelli, because nearly all the streets above it are so steep that they are built in shallow steps. And they are so deserted that in one of them we found rabbits contentedly nibbling the grass which grew between its paving-stones. So the next morning, very early, while the day was cool, we climbed up to the great church of Santa Margherita, which stands with the ruined Fortezza on the crest of Cortona's mountain. To me it is always rather strange that this harsh Tuscan citadel should ignore the name of Brother Elias, that great and restless spirit who sought to wed Love not to Poverty, as Francis did, but to Ambition. His name is hardly spoken in Cortona, but the body of Santa Margherita, whom some call the Magdalen of the Franciscans, because they love to draw comparisons between the life of Christ and His humble follower, is enshrined upon the hill-top like the light that cannot be hid. Her church has been restored, and there is little of the ancient building left except her beautiful fourteenth-century tomb, the silver shrine which was the gift of Piero da Cortona, and the lovely rose-window which is preserved in the modern façade. In the aisle are the flags and ship-lantern of some knight of Malta, who prayed to Margherita in the hour of peril, and was saved by her intercession. Yet it was not for Santa Margherita that we climbed Cortona's hill at dawn, but to see the rich plain of Tuscany in its amphitheatre of blue hills, each with a towered city for its crown—Chiusi, Città della Pieve, Montepulciano, and a host of others to which we had not learned to give their names. It was a panorama of surpassing beauty which opened out before us. Fold on fold the mountains lifted their heads above the mists of the valley, rising always towards the mighty crest of Monte Amiata, which was to loom upon so many of our horizons while we were journeying through the heart of Italy. And far away the sunshine lightened the opal waters of Lake Thrasymene, lying like a forgotten sea in the bosom of the Umbrian hills, with the towers of Castiglione del Lago rosy in the dawn. [18] [19] [20]