CHAPTER LV. DEATH TO THE PRIESTS
"Death to the priests!" shouted the people.
"_Death to no one!_" replied the General to the crowd from the balcony,in answer to their cry.
"_Death to no one!_ Yet none are worthier of death than this villainoussect, which for private ends, disguised as religious, has made Italy'the land of the dead,' a burial-ground of greatness! Beccaria! thydoctrines are true and right. The shedding of blood is impious. ButI know not if Italy will ever be able to free herself from those whotyrannize over her soul and body without annihilating them with thesword for pruning-hook, even to the last branch!"
These reflections passed through the mind of the man of the people,although he rebuked the populace. Meanwhile, those of them who had notwholly heard the words uttered by Garibaldi from the balcony, butonly the cry of "death!" which thousands of excited voices hadre-echoed--those of the people, we repeat, who were farthest off fromthe General and near the palace of the Patriarch, advanced like theflood of a torrent precipitating itself from a mountain, and attackedthe prelate's abode, overturning all obstacles opposed to their fury.In a few minutes every saloon, every room in this fine building wasinvaded, and through the windows all those religious idols with whichthe priests so unblushingly deceive the people were seen flying in alldirections.
Many artists and lovers of the beautiful would have lamented and cried,"Scandal! sacrilege!" at the destruction of such works of art. Andtruly, many very rare and precious master-pieces, under the form ofsaint or Madonna or Bambino, were broken to pieces and utterly ruined inthis work of destruction.
Amongst the cunning acts of the priesthood, wealthy as they have beenmade by the stupidity of the "faithful," has ever been that of employingthe most illustrious artists to portray and dignify their legends.Hence the Michael Angelos and the Raphaels of all periods were lavishlysupported by them, and the people, who might have become persuaded ofthe foolishness of their credulity, and of the impostures of the newsoothsayers of Rome, continued to respect the idols of their tyrants byreason of Italian instincts, because these were master-pieces of noblework.
But is not the first master-piece of a people liberty and nationaldignity?
And all those wonders of art, although wonders, if they perpetuate withan evil charm our servility, our degradation--oh! would it not be betterfor them to be sent to the infernal regions? However, be they preciousor worthless works, the people were overturning them and throwing themout upon the pavement that night.
And the Patriarch? Woe to him if he had fallen into the hands of theenraged multitude!
But their sacred skin is dear to those descendants of the apostles!Champions of the faith they may be, but not martyrs. Of martyrdom thoserosy-faced prelates wish to know nothing themselves if they can avoidit. His Eminence, at the first outbreak of popular indignation, hadvanished, gaining, by a secret door, one of his gondolas, in which heescaped in safety.
In the mean time, the cry of the Recluse,
"_Morte a nessino!_" was taken up by the crowd, and at last reached theears of the sackers of the Patriarch's palace.
That voice, ever trusted and respected by the people, calmed the angerof the passionate multitude, and in a few moments order and tranquillitywere again re-established.
Rule of the Monk; Or, Rome in the Nineteenth Century Page 56