by Walter Pater
CHAPTER XXI: TWO CURIOUS HOUSES
II. THE CHURCH IN CECILIA’S HOUSE
“Your old men shall dream dreams, and your young men shall see visions.”
CORNELIUS had certain friends in or near Rome, whose household, to Marius, as he pondered now and again what might be the determining influences of that peculiar character, presented itself as possibly its main secret — the hidden source from which the beauty and strength of a nature, so persistently fresh in the midst of a somewhat jaded world, might be derived. But Marius had never yet seen these friends; and it was almost by accident that the veil of reserve was at last lifted, and, with strange contrast to his visit to the poet’s villa at Tusculum, he entered another curious house.
“The house in which she lives,” says that mystical German writer quoted once before, “is for the orderly soul, which does not live on blindly before her, but is ever, out of her passing experiences, building and adorning the parts of a many-roomed abode for herself, only an expansion of the body; as the body, according to the philosophy of Swedenborg, is but a process, an expansion, of the soul. For such an orderly soul, as life proceeds, all sorts of delicate affinities establish themselves, between herself and the doors and passage-ways, the lights and shadows, of her outward dwelling-place, until she may seem incorporate with it — until at last, in the entire expressiveness of what is outward, there is for her, to speak properly, between outward and inward, no longer any distinction at all; and the light which creeps at a particular hour on a particular picture or space upon the wall, the scent of flowers in the air at a particular window, become to her, not so much apprehended objects, as themselves powers of apprehension and door-ways to things beyond — the germ or rudiment of certain new faculties, by which she, dimly yet surely, apprehends a matter lying beyond her actually attained capacities of spirit and sense.”
So it must needs be in a world which is itself, we may think, together with that bodily “tent” or “tabernacle,” only one of many vestures for the clothing of the pilgrim soul, to be left by her, surely, as if on the wayside, worn-out one by one, as it was from her, indeed, they borrowed what momentary value or significance they had.
The two friends were returning to Rome from a visit to a country-house, where again a mixed company of guests had been assembled; Marius, for his part, a little weary of gossip, and those sparks of ill-tempered rivalry, which would seem sometimes to be the only sort of fire the intercourse of people in general society can strike out of them. A mere reaction upon this, as they started in the clear morning, made their companionship, at least for one of them, hardly less tranquillising than the solitude he so much valued. Something in the south-west wind, combining with their own intention, favoured increasingly, as the hours wore on, a serenity like that Marius had felt once before in journeying over the great plain towards Tibur — a serenity that was to-day brotherly amity also, and seemed to draw into its own charmed circle whatever was then present to eye or ear, while they talked or were silent together, and all petty irritations, and the like, shrank out of existence, or kept certainly beyond its limits. The natural fatigue of the long journey overcame them quite suddenly at last, when they were still about two miles distant from Rome. The seemingly endless line of tombs and cypresses had been visible for hours against the sky towards the west; and it was just where a cross-road from the Latin Way fell into the Appian, that Cornelius halted at a doorway in a long, low wall — the outer wall of some villa courtyard, it might be supposed — as if at liberty to enter, and rest there awhile. He held the door open for his companion to enter also, if he would; with an expression, as he lifted the latch, which seemed to ask Marius, apparently shrinking from a possible intrusion: “Would you like to see it?” Was he willing to look upon that, the seeing of which might define — yes! define the critical turning-point in his days?
The little doorway in this long, low wall admitted them, in fact, into the court or garden of a villa, disposed in one of those abrupt natural hollows, which give its character to the country in this place; the house itself, with all its dependent buildings, the spaciousness of which surprised Marius as he entered, being thus wholly concealed from passengers along the road. All around, in those well-ordered precincts, were the quiet signs of wealth, and of a noble taste — a taste, indeed, chiefly evidenced in the selection and juxtaposition of the material it had to deal with, consisting almost exclusively of the remains of older art, here arranged and harmonised, with effects, both as regards colour and form, so delicate as to seem really derivative from some finer intelligence in these matters than lay within the resources of the ancient world. It was the old way of true Renaissance — being indeed the way of nature with her roses, the divine way with the body of man, perhaps with his soul — conceiving the new organism by no sudden and abrupt creation, but rather by the action of a new principle upon elements, all of which had in truth already lived and died many times. The fragments of older architecture, the mosaics, the spiral columns, the precious corner-stones of immemorial building, had put on, by such juxtaposition, a new and singular expressiveness, an air of grave thought, of an intellectual purpose, in itself, aesthetically, very seductive. Lastly, herb and tree had taken possession, spreading their seed-bells and light branches, just astir in the trembling air, above the ancient garden-wall, against the wide realms of sunset. And from the first they could hear singing, the singing of children mainly, it would seem, and of a new kind; so novel indeed in its effect, as to bring suddenly to the recollection of Marius, Flavian’s early essays towards a new world of poetic sound. It was the expression not altogether of mirth, yet of some wonderful sort of happiness — the blithe self-expansion of a joyful soul in people upon whom some all-subduing experience had wrought heroically, and who still remembered, on this bland afternoon, the hour of a great deliverance.
His old native susceptibility to the spirit, the special sympathies, of places, — above all, to any hieratic or religious significance they might have, — was at its liveliest, as Marius, still encompassed by that peculiar singing, and still amid the evidences of a grave discretion all around him, passed into the house. That intelligent seriousness about life, the absence of which had ever seemed to remove those who lacked it into some strange species wholly alien from himself, accumulating all the lessons of his experience since those first days at White-nights, was as it were translated here, as if in designed congruity with his favourite precepts of the power of physical vision, into an actual picture. If the true value of souls is in proportion to what they can admire, Marius was just then an acceptable soul. As he passed through the various chambers, great and small, one dominant thought increased upon him, the thought of chaste women and their children — of all the various affections of family life under its most natural conditions, yet developed, as if in devout imitation of some sublime new type of it, into large controlling passions. There reigned throughout, an order and purity, an orderly disposition, as if by way of making ready for some gracious spousals. The place itself was like a bride adorned for her husband; and its singular cheerfulness, the abundant light everywhere, the sense of peaceful industry, of which he received a deep impression though without precisely reckoning wherein it resided, as he moved on rapidly, were in forcible contrast just at first to the place to which he was next conducted by Cornelius still with a sort of eager, hurried, half-troubled reluctance, and as if he forbore the explanation which might well be looked for by his companion.
An old flower-garden in the rear of the house, set here and there with a venerable olive-tree — a picture in pensive shade and fiery blossom, as transparent, under that afternoon light, as the old miniature-painters’ work on the walls of the chambers within — was bounded towards the west by a low, grass-grown hill. A narrow opening cut in its steep side, like a solid blackness there, admitted Marius and his gleaming leader into a hollow cavern or crypt, neither more nor less in fact than the family burial-place of the Cecilii, to whom this residence belonged, brough
t thus, after an arrangement then becoming not unusual, into immediate connexion with the abode of the living, in bold assertion of that instinct of family life, which the sanction of the Holy Family was, hereafter, more and more to reinforce. Here, in truth, was the centre of the peculiar religious expressiveness, of the sanctity, of the entire scene. That “any person may, at his own election, constitute the place which belongs to him a religious place, by the carrying of his dead into it”: — had been a maxim of old Roman law, which it was reserved for the early Christian societies, like that established here by the piety of a wealthy Roman matron, to realise in all its consequences. Yet this was certainly unlike any cemetery Marius had ever before seen; most obviously in this, that these people had returned to the older fashion of disposing of their dead by burial instead of burning. Originally a family sepulchre, it was growing to a vast necropolis, a whole township of the deceased, by means of some free expansion of the family interest beyond its amplest natural limits. That air of venerable beauty which characterised the house and its precincts above, was maintained also here. It was certainly with a great outlay of labour that these long, apparently endless, yet elaborately designed galleries, were increasing so rapidly, with their layers of beds or berths, one above another, cut, on either side the path-way, in the porous tufa, through which all the moisture filters downwards, leaving the parts above dry and wholesome. All alike were carefully closed, and with all the delicate costliness at command; some with simple tiles of baked clay, many with slabs of marble, enriched by fair inscriptions: marble taken, in some cases, from older pagan tombs — the inscription sometimes a palimpsest, the new epitaph being woven into the faded letters of an earlier one.
As in an ordinary Roman cemetery, an abundance of utensils for the worship or commemoration of the departed was disposed around — incense, lights, flowers, their flame or their freshness being relieved to the utmost by contrast with the coal-like blackness of the soil itself, a volcanic sandstone, cinder of burnt-out fires. Would they ever kindle again? — possess, transform, the place? — Turning to an ashen pallor where, at regular intervals, an air-hole or luminare let in a hard beam of clear but sunless light, with the heavy sleepers, row upon row within, leaving a passage so narrow that only one visitor at a time could move along, cheek to cheek with them, the high walls seemed to shut one in into the great company of the dead. Only the long straight pathway lay before him; opening, however, here and there, into a small chamber, around a broad, table-like coffin or “altar-tomb,” adorned even more profusely than the rest as if for some anniversary observance. Clearly, these people, concurring in this with the special sympathies of Marius himself, had adopted the practice of burial from some peculiar feeling of hope they entertained concerning the body; a feeling which, in no irreverent curiosity, he would fain have penetrated. The complete and irreparable disappearance of the dead in the funeral fire, so crushing to the spirits, as he for one had found it, had long since induced in him a preference for that other mode of settlement to the last sleep, as having something about it more home-like and hopeful, at least in outward seeming. But whence the strange confidence that these “handfuls of white dust” would hereafter recompose themselves once more into exulting human creatures? By what heavenly alchemy, what reviving dew from above, such as was certainly never again to reach the dead violets? — Januarius, Agapetus, Felicitas; Martyrs! refresh, I pray you, the soul of Cecil, of Cornelius! said an inscription, one of many, scratched, like a passing sigh, when it was still fresh in the mortar that had closed up the prison-door. All critical estimate of this bold hope, as sincere apparently as it was audacious in its claim, being set aside, here at least, carried further than ever before, was that pious, systematic commemoration of the dead, which, in its chivalrous refusal to forget or finally desert the helpless, had ever counted with Marius as the central exponent or symbol of all natural duty.
The stern soul of the excellent Jonathan Edwards, applying the
faulty theology of John Calvin, afforded him, we know, the vision of infants not a span long, on the floor of hell. Every visitor to the Catacombs must have observed, in a very different theological connexion, the numerous children’s graves there — beds of infants, but a span long indeed, lowly “prisoners of hope,” on these sacred floors. It was with great curiosity, certainly, that Marius considered them, decked in some instances with the favourite toys of their tiny occupants — toy-soldiers, little chariot-wheels, the entire paraphernalia of a baby-house; and when he saw afterwards the living children, who sang and were busy above — sang their psalm Laudate Pueri Dominum! — their very faces caught for him a sort of quaint unreality from the memory of those others, the children of the Catacombs, but a little way below them.
Here and there, mingling with the record of merely natural decease, and sometimes even at these children’s graves, were the signs of violent death or “martyrdom,” — proofs that some “had loved not their lives unto the death” — in the little red phial of blood, the palm-branch, the red flowers for their heavenly “birthday.” About one sepulchre in particular, distinguished in this way, and devoutly arrayed for what, by a bold paradox, was thus treated as, natalitia — a birthday, the peculiar arrangements of the whole place visibly centered. And it was with a singular novelty of feeling, like the dawning of a fresh order of experiences upon him, that, standing beside those mournful relics, snatched in haste from the common place of execution not many years before, Marius became, as by some gleam of foresight, aware of the whole force of evidence for a certain strange, new hope, defining in its turn some new and weighty motive of action, which lay in deaths so tragic for the “Christian superstition.” Something of them he had heard indeed already. They had seemed to him but one savagery the more, savagery self-provoked, in a cruel and stupid world.
And yet these poignant memorials seemed also to draw him onwards to-day, as if towards an image of some still more pathetic suffering, in the remote background. Yes! the interest, the expression, of the entire neighbourhood was instinct with it, as with the savour of some priceless incense. Penetrating the whole atmosphere, touching everything around with its peculiar sentiment, it seemed to make all this visible mortality, death’s very self — Ah! lovelier than any fable of old mythology had ever thought to render it, in the utmost limits of fantasy; and this, in simple candour of feeling about a supposed fact. Peace! Pax tecum! — the word, the thought — was put forth everywhere, with images of hope, snatched sometimes from that jaded pagan world which had really afforded men so little of it from first to last; the various consoling images it had thrown off, of succour, of regeneration, of escape from the grave — Hercules wrestling with Death for possession of Alcestis, Orpheus taming the wild beasts, the Shepherd with his sheep, the Shepherd carrying the sick lamb upon his shoulders. Yet these imageries after all, it must be confessed, formed but a slight contribution to the dominant effect of tranquil hope there — a kind of heroic cheerfulness and grateful expansion of heart, as with the sense, again, of some real deliverance, which seemed to deepen the longer one lingered through these strange and awful passages. A figure, partly pagan in character, yet most frequently repeated of all these visible parables — the figure of one just escaped from the sea, still clinging as for life to the shore in surprised joy, together with the inscription beneath it, seemed best to express the prevailing sentiment of the place. And it was just as he had puzzled out this inscription —
I went down to the bottom of the mountains.
The earth with her bars was about me for ever:
Yet hast Thou brought up my life from corruption!
— that with no feeling of suddenness or change Marius found himself emerging again, like a later mystic traveller through similar dark places “quieted by hope,” into the daylight.
They were still within the precincts of the house, still in possession of that wonderful singing, although almost in the open country, with a great view of the Campagna before them, and the hills beyond. Th
e orchard or meadow, through which their path lay, was already gray with twilight, though the western sky, where the greater stars were visible, was still afloat in crimson splendour. The colour of all earthly things seemed repressed by the contrast, yet with a sense of great richness lingering in their shadows. At that moment the voice of the singers, a “voice of joy and health,” concentrated itself with solemn antistrophic movement, into an evening, or “candle” hymn.
“Hail! Heavenly Light, from his pure glory poured,
Who is the Almighty Father, heavenly, blest: —
Worthiest art Thou, at all times to be sung
With undefiled tongue.” —