Agnes ran gayly along the beach with her flowers and vines fluttering from her gay striped apron, and her cheeks flushed with exercise and pleasure, — sometimes stopping and turning with animation to her grandmother to point out the various floral treasures that enameled every crevice and rift of the steep wall of rock which rose perpendicularly above their heads in that whole line of the shore which is crowned with the old city of Sorrento: and surely never did rocky wall show to the open sea a face more picturesque and flowery. The deep red cliff was hollowed here and there into fanciful grottoes, draped with every varied hue and form of vegetable beauty. Here a crevice high in air was all abloom with purple gillyflower, and depending in festoons above it the golden blossoms of the broom; here a cleft seemed to be a nestling-place for a colony of gladiolus, with its crimson flowers and blade-like leaves; here the silver-frosted foliage of the miller-geranium, or of the wormwood, toned down the extravagant brightness of other blooms by its cooler tints. In some places it seemed as if a sort of floral cascade were tumbling confusedly over the rocks, mingling all hues and all forms in a tangled mass of beauty.
“Well, well,” said old Elsie, as Agnes pointed to some superb gillyflowers which grew nearly half-way up the precipice, “is the child possessed? You have all the gorge in your apron already. Stop looking, and let us hurry on.”
After a half-hour’s walk, they came to a winding staircase cut in the rock, which led them a zigzag course up through galleries and grottoes looking out through curious windows and loop-holes upon the sea, till finally they emerged at the old sculptured portal of a shady garden which was surrounded by the cloistered arcades of the Convent of Saint Agnes.
The Convent of Saint Agnes was one of those monuments in which the piety of the Middle Ages delighted to commemorate the triumphs of the new Christianity over the old Heathenism.
The balmy climate and paradisiacal charms of Sorrento and the adjacent shores of Naples had made them favorite resorts during the latter period of the Roman Empire, — a period when the whole civilized world seemed to human view about to be dissolved in the corruption of universal sensuality. The shores of Baiæ were witnesses of the orgies and cruelties of Nero and a court made in his likeness, and the palpitating loveliness of Capri became the hotbed of the unnatural vices of Tiberius. The whole of Southern Italy was sunk in a debasement of animalism and ferocity which seemed irrecoverable, and would have been so, had it not been for the handful of salt which a Galilean peasant had about that time cast into the putrid, fermenting mass of human society.
We must not wonder at the zeal which caused the artistic Italian nature to love to celebrate the passing away of an era of unnatural vice and demoniac cruelty by visible images of the purity, the tenderness, the universal benevolence which Jesus had brought into the world.
Sometime about the middle of the thirteenth century, it had been a favorite enterprise of a princess of a royal family in Naples to erect a convent to Saint Agnes, the guardian of female purity, out of the wrecks and remains of an ancient temple of Venus, whose white pillars and graceful acanthus-leaves once crowned a portion of the precipice on which the town was built, and were reflected from the glassy blue of the sea at its feet. It was said that this princess was the first lady abbess. Be that as it may, it proved to be a favorite retreat for many ladies of rank and religious aspiration, whom ill-fortune in some of its varying forms led to seek its quiet shades, and it was well and richly endowed by its royal patrons.
It was built after the manner of conventual buildings generally, — in a hollow square, with a cloistered walk around the inside looking upon a garden.
The portal at which Agnes and her grandmother knocked, after ascending the winding staircase cut in the precipice, opened through an arched passage into this garden.
As the ponderous door swung open, it was pleasant to hear the lulling sound of a fountain, which came forth with a gentle patter, like that of soft summer rain, and to see the waving of rose-bushes and golden jessamines, and smell the perfumes of orange-blossoms mingling with those of a thousand other flowers.
The door was opened by an odd-looking portress. She might be seventy-five or eighty; her cheeks were of the color of very yellow parchment drawn in dry wrinkles; her eyes were those large, dark, lustrous ones so common in her country, but seemed, in the general decay and shrinking of every other part of her face, to have acquired a wild, unnatural appearance; while the falling away of her teeth left nothing to impede the meeting of her hooked nose with her chin. Add to this, she was humpbacked, and twisted in her figure; and one needs all the force of her very good-natured, kindly smile to redeem the image of poor old Jocunda from association with that of some Thracian witch, and cause one to see in her the appropriate portress of a Christian institution.
Nevertheless, Agnes fell upon her neck and imprinted a very fervent kiss upon what was left of her withered cheek, and was repaid by a shower of those epithets of endearment which in the language of Italy fly thick and fast as the petals of the orange blossom from her groves.
“Well, well,” said old Elsie, “I’m going to leave her here to-day. You’ve no objections, I suppose?”
“Bless the sweet lamb, no! She belongs here of good right. I believe blessed Saint Agnes has adopted her; for I’ve seen her smile, plain as could be, when the little one brought her flowers.”
“Well, Agnes,” said the old woman, “I shall come for you after the Ave Maria.” Saying which, she lifted her basket and departed.
The garden where the two were left was one of the most peaceful retreats that the imagination of a poet could create.
Around it ran on all sides the Byzantine arches of a cloistered walk, which, according to the quaint, rich fashion of that style, had been painted with vermilion, blue, and gold. The vaulted roof was spangled with gold stars on a blue ground, and along the sides was a series of fresco pictures representing the various scenes in the life of Saint Agnes; and as the foundress of the Convent was royal in her means, there was no lack either of gold or gems or of gorgeous painting.
Full justice was done in the first picture to the princely wealth and estate of the fair Agnes, who was represented as a pure-looking, pensive child, standing in a thoughtful attitude, with long ripples of golden hair flowing down over a simple white tunic, and her small hands clasping a cross on her bosom, while, kneeling at her feet, obsequious slaves and tire-women were offering the richest gems and the most gorgeous robes to her serious and abstracted gaze.
In another, she was represented as walking modestly to school, and winning the admiration of the son of the Roman Prætor, who fell sick — so says the legend — for the love of her.
Then there was the demand of her hand in marriage by the princely father of the young man, and her calm rejection of the gorgeous gifts and splendid gems which he had brought to purchase her consent.
Then followed in order her accusation before the tribunals as a Christian, her trial, and the various scenes of her martyrdom.
Although the drawing of the figures and the treatment of the subjects had the quaint stiffness of the thirteenth century, their general effect, as seen from the shady bowers of the garden, was of a solemn brightness, a strange and fanciful richness, which was poetical and impressive.
In the centre of the garden was a fountain of white marble, which evidently was the wreck of something that had belonged to the old Greek temple. The statue of a nymph sat on a green mossy pedestal in the midst of a sculptured basin, and from a partially reversed urn on which she was leaning, a clear stream of water dashed down from one mossy fragment to another, till it lost itself in the placid pool.
The figure and face of this nymph, in their classic finish of outline, formed a striking contrast to the drawing of the Byzantine paintings within the cloisters, and their juxtaposition in the same enclosure seemed a presentation of the spirit of a past and present era: the past so graceful in line, so perfect and airy in conception, so utterly without spiritual aspiration
or life; the present limited in artistic power, but so earnest, so intense, seeming to struggle and burn, amid its stiff and restricted boundaries, for the expression of some diviner phase of humanity.
Nevertheless, the nymph of the fountain, different in style and execution as it was, was so fair a creature, that it was thought best, after the spirit of those days, to purge her from all heathen and improper histories by baptizing her in the waters of her own fountain, and bestowing on her the name of the saint to whose convent she was devoted. The simple sisterhood, little conversant in nice points of antiquity, regarded her as Saint Agnes dispensing the waters of purity to her convent; and marvelous and sacred properties were ascribed to the water, when taken fasting with a sufficient number of prayers and other religious exercises. All around the neighborhood of this fountain the ground was one bed of blue and white violets, whose fragrance filled the air, and which were deemed by the nuns to have come up there in especial token of the favor with which Saint Agnes regarded the conversion of this heathen relic to pious and Christian uses.
This nymph had been an especial favorite of the childhood of Agnes, and she had always had a pleasure which she could not exactly account for in gazing upon it. It is seldom that one sees in the antique conception of the immortals any trace of human feeling. Passionless perfection and repose seem to be their uniform character. But now and then from the ruins of Southern Italy fragments have been dug, not only pure in outline, but invested with a strange pathetic charm, as if the calm, inviolable circle of divinity had been touched by some sorrowing sense of that unexplained anguish with which the whole lower creation groans. One sees this mystery of expression in the face of that strange and beautiful Psyche which still enchants the Museum of Naples. Something of this charm of mournful pathos lingered on the beautiful features of this nymph, — an expression so delicate and shadowy that it seemed to address itself only to finer natures. It was as if all the silent, patient woe and discouragement of a dumb antiquity had been congealed into this memorial. Agnes was often conscious, when a child, of being saddened by it, and yet drawn towards it with a mysterious attraction.
About this fountain, under the shadow of bending rose trees and yellow jessamines, was a circle of garden seats, adopted also from the ruins of the past. Here a graceful Corinthian capital, with every white acanthus-leaf perfect, stood in a mat of acanthus-leaves of Nature’s own making, glossy green and sharply cut; and there was a long portion of a frieze sculptured with graceful dancing figures; and in another place a fragment of a fluted column, with lycopodium and colosseum vine hanging from its fissures in graceful draping. On these seats Agnes had dreamed away many a tranquil hour, making garlands of violets, and listening to the marvelous legends of old Jocunda.
In order to understand anything of the true idea of conventual life in those days, we must consider that books were as yet unknown, except as literary rarities, and reading and writing were among the rare accomplishments of the higher classes; and that Italy, from the time that the great Roman Empire fell and broke into a thousand shivers, had been subject to a continual series of conflicts and struggles, which took from life all security. Norman, Dane, Sicilian, Spaniard, Frenchman, and German mingled and struggled, now up and now down; and every struggle was attended by the little ceremonies of sacking towns, burning villages, and routing out entire populations to utter misery and wretchedness. During these tumultuous ages, those buildings consecrated by a religion recognized alike by all parties afforded to misfortune the only inviolable asylum, and to feeble and discouraged spirits the only home safe from the prospect of reverses.
If the destiny of woman is a problem that calls for grave attention even in our enlightened times, and if she is too often a sufferer from the inevitable movements of society, what must have been her position and needs in those ruder ages, unless the genius of Christianity had opened refuges for her weakness, made inviolable by the awful sanctions of religion?
What could they do, all these girls and women together, with the twenty-four long hours of every day, without reading or writing, and without the care of children? Enough; with their multiplied diurnal prayer periods, with each its chants and ritual of observances, — with the preparation for meals, and the clearing away thereafter, — with the care of the chapel, shrine, sacred gifts, drapery, and ornaments, — with embroidering altar-cloths and making sacred tapers, — with preparing conserves of rose leaves and curious spiceries, — with mixing drugs for the sick, — with all those mutual offices and services to each other which their relations in one family gave rise to, — and with divers feminine gossipries and harmless chatterings and cooings, one can conceive that these dove-cots of the Church presented often some of the most tranquil scenes of those convulsive and disturbed periods.
Human nature probably had its varieties there as otherwhere. There were there the domineering and the weak, the ignorant and the vulgar, and the patrician and the princess, and though professedly all brought on the footing of sisterly equality, we are not to suppose any Utopian degree of perfection among them. The way of pure spirituality was probably, in the convent as well as out, that strait and narrow one which there be few to find. There, as elsewhere, the devotee who sought to progress faster toward heaven than suited the paces of her fellow-travelers was reckoned a troublesome enthusiast, till she got far enough in advance to be worshiped as a saint.
Sister Theresa, the abbess of this convent, was the youngest daughter in a princely Neapolitan family, who from her cradle had been destined to the cloister, in order that her brother and sister might inherit more splendid fortunes and form more splendid connections. She had been sent to this place too early to have much recollection of any other mode of life; and when the time came to take the irrevocable step, she renounced with composure a world she had never known.
Her brother had endowed her with a livre des heures, illuminated with all the wealth of blue and gold and divers colors which the art of those times afforded, — a work executed by a pupil of the celebrated Fra Angelico; and the possession of this treasure was regarded by her as a far richer inheritance than that princely state of which she knew nothing. Her neat little cell had a window that looked down on the sea, — on Capri, with its fantastic grottoes, — on Vesuvius, with its weird daily and nightly changes. The light that came in from the joint reflection of sea and sky gave a golden and picturesque coloring to the simple and bare furniture, and in sunny weather she often sat there, just as a lizard lies upon a wall, with the simple, warm, delightful sense of living and being amid scenes of so much beauty. Of the life that people lived in the outer world, the struggle, the hope, the fear, the vivid joy, the bitter sorrow, Sister Theresa knew nothing. She could form no judgment and give no advice founded on any such experience.
The only life she knew was a certain ideal one, drawn from the legends of the saints; and her piety was a calm, pure enthusiasm which had never been disturbed by a temptation or a struggle. Her rule in the Convent was even and serene; but those who came to her flock from the real world, from the trials and temptations of a real experience, were always enigmas to her, and she could scarcely comprehend or aid them.
In fact, since in the cloister, as everywhere else, character will find its level, it was old Jocunda who was the real governess of the Convent. Jocunda was originally a peasant woman, whose husband had been drafted to some of the wars of his betters, and she had followed his fortunes in the camp. In the sack of a fortress, she lost her husband and four sons, all the children she had, and herself received an injury which distorted her form, and so she took refuge in the Convent. Here her energy and savoir-faire rendered her indispensable in every department. She made the bargains, bought the provisions (being allowed to sally forth for these purposes), and formed the medium by which the timid, abstract, defenseless nuns accomplished those material relations with the world with which the utmost saintliness cannot afford to dispense. Besides and above all this, Jocunda’s wide experience and endless capabilities o
f narrative made her an invaluable resource for enlivening any dull hours that might be upon the hands of the sisterhood; and all these recommendations, together with a strong mother-wit and native sense, soon made her so much the leading spirit in the Convent that Mother Theresa herself might be said to be under her dominion.
“So, so,” she said to Agnes, when she had closed the gate after Elsie,—”you never come empty-handed. What lovely oranges! — worth double any that one can buy of anybody else but your grandmother.”
“Yes, and these flowers I brought to dress the altar.”
“Ah, yes! Saint Agnes has given you a particular grace for that,” said Jocunda.
“And I have brought a ring for her treasury,” said Agnes, taking out the gift of the Cavalier.
“Holy Mother! here is something, to be sure!” said Jocunda, catching it eagerly. “Why, Agnes, this is a diamond, — and as pretty a one as ever I saw. How it shines!” she added, holding it up. “That’s a prince’s present. How did you get it?”
“I want to tell our mother about it,” said Agnes.
“You do?” said Jocunda. “You’d better tell me. I know fifty times as much about such things as she.”
“Dear Jocunda, I will tell you, too; but I love Mother Theresa, and I ought to give it to her first.”
“As you please, then,” said Jocunda. “Well, put your flowers here by the fountain, where the spray will keep them cool, and we will go to her.”
CHAPTER VII. THE DAY AT THE CONVENT
The Mother Theresa sat in a sort of withdrawing-room, the roof of which rose in arches, starred with blue and gold like that of the cloister, and the sides were frescoed with scenes from the life of the Virgin. Over every door, and in convenient places between the paintings, texts of Holy Writ were illuminated in blue and scarlet and gold, with a richness and fancifulness of outline, as if every sacred letter had blossomed into a mystical flower. The Abbess herself, with two of her nuns, was busily embroidering a new altar-cloth, with a lavish profusion of adornment; and, from time to time, their voices rose in the musical tones of an ancient Latin hymn. The words were full of that quaint and mystical pietism with which the fashion of the times clothed the expression of devotional feeling: —
Complete Works of Harriet Beecher Stowe Page 169