O, no, Pen is none of mine to outward view, but wholly his mother’s — in some respects, at least. At the same age there was small difference between Pen’s face and that of the brother she lost, — to judge by a drawing I possess....”
To the Marchesa Peruzzi di’ Medici who sent to him a translation she had made of the “Ricordo Autobiografici” of Giovanni Duprè, Browning thus writes:
“It is not so very ‘little’ an affair, and in the fear that when my sister has finished it, I may have to begin my own reading, and end it so late as to lead you to suppose that either book or letter has gone wrong, on this account I write at once to thank you most heartily. My sister says the Autobiography is fascinating; I can well believe it, for I never knew such a work to be without interest, and this of Duprè must abound in precisely the matters that interest me most.... When I have thoroughly gone through the book I will write you again, if you permit me, as I know your old memories will be indulgent in the case. We may be in Italy this autumn, and if you are within reach you will be certain to see the old friend who always rejoices when he hears of your well-being, and trusts it may continue.... Pen is very well; at Dinard just now, painting landscape in the open air. I have told him already of the book which he will take delight in reading. I am occupied this very day in sending his statue of ‘Dryope’ to Brussels, where the Exhibition will give it a chance of being judged by better knowledge than is found here.”
The following letter indicates, in Browning’s own charming way, the warm attachment that both he and his sister had for Mrs. Bronson:
19, Warwick Crescent, W.
Feb. 15, ‘85.
Dearest Mrs. Bronson, — This dull morning grew to near blackness itself, when, at breakfast, my sister said once again, “No news of her from Venice,” — and I once again calculated and found by this time it was a month and a full half since we heard from you. Why should this be? If I had simply and rationally written a line, instead of thinking a thought, I should have known, as your dear goodness will let me know, as soon as you receive this, how you are, how Edith is, now that the winter is over and gone with the incentives to that cough which was still vexatious when we had your last letter.
Do not let us mind high-days and holidays: be sure of this, that every day will be truly festal that brings us a word from you, for other clouds than the material ones make us melancholy just now; and how this turbid element about us contrasts with the golden hours near the beloved friends, — perhaps more vivid, — certainly more realized as valuable, than ever! I do not mean to write much because what I want to impress on your generosity is that just a half sheet, with mere intelligence about you, will be a true comfort and sustainment to me and to my sister, — the barest account of yourself, and what we appreciate with you; and, for our part, you shall hear, at least, that we are well, or ailing, stationary, or about to move.
In the early spring Browning again writes to Mrs. Bronson:
19, Warwick Crescent, W.
April 8, ‘85.
Dearest Friend, — This is not a letter, for I have this minute returned from a funeral, in pitiful weather, and am unable either in body or soul to write one, much as I hope to do, with something of my warm self in it. But I find Burne Jones’s pretty and touching letter, and want this leaf to serve as an envelope to what may please you, who deserve so thoroughly that it should. I will write in a day or two. I heard from Pen this morning, who is at Dinard, being too ill to remain in Paris, but finds himself already better. He told me and re-told me how good you had been to him. How I trust all is going well with you, — certainly you need no assurance of, — enough that I love you with all my heart. Bless you and your Edith. It is an Edith, — Proctor’s (Barry Cornwall’s) daughter, whom I have been following to her grave. Some fifty years ago her father said to me while caressing her, “Ah, Browning, this is the Poetry.” “I know it.” “No, you know nothing about it.” Well, if I was ignorant then, I am instructed now. So, dear Two Poems, long may I have you to read and to enjoy!
Yours affectionately Ever,
Robert Browning.
In the following autumn Mr. Barrett Browning, who had not seen Venice since his infancy, joined his father, and was “simply infatuated” with the dream city. It was for his sake that Browning had wished to purchase the Manzoni Palace, “to secure for him a perfect domicile, every facility for his painting and sculpture.”
The autumn of 1886 brought to Browning a great sadness in the death of Milsand, and Miss Browning being out of health, and unequal to a continental journey, they both passed a part of the autumn at Llangollen, where Sir Theodore and Lady Martin (Helen Faucit) were their near neighbors, with whom they had tea every Sunday, and renewed one of the most delightful friendships.
On the publication of Dr. Corson’s “Introduction to the Poetry of Browning,” he sent a copy to the poet who thus replied:
19. Warwick Crescent.
W.
Dec. 28. ‘86.
My dear Dr Corson,
I waited some days after the arrival of your Book and Letter thinking I might be able to say more of my sense of your goodness: but I can do no more now than a week ago. You “hope I shall not find too much to disapprove of”: what I ought to protest against, is “a load to sink a navy — too much honor”: how can I put aside your generosity, as if cold justice — however befitting myself, — would be in better agreement with your nature? Let it remain as an assurance to younger poets that, after fifty years’ work unattended by any conspicuous recognition, an over-payment may be made, if there be such another munificent appreciator as I have been privileged to find — in which case let them, even if more deserving, be equally grateful.
I have not observed anything in need of correction in the notes. The “little tablet” was a famous “Last Supper,” mentioned by Varwn, (page. 232) and gone astray long ago from the Church of S. Spirito: it turned up, according to report, in some obscure corner, while I was in Florence, and was at once acquired by a stranger. I saw it, — genuine or no, a work of great beauty. (Page 156.) A “canon,” in music, is a piece wherein the subject is repeated — in various keys — and being strictly obeyed in the repetition, becomes the “Canon” — the imperative law — to what follows. Fifty of such parts would be indeed a notable peal: to manage three is enough of an achievement for a good musician.
And now, — here is Christmas: all my best wishes go to you and Mrs. Corson — those of my sister also. She was indeed suffering from grave indisposition in the summer, but is happily recovered. I could not venture, under the circumstances, to expose her convalescence to the accidents of foreign travel — hence our contenting ourselves with Wales rather than Italy. Shall you be again induced to visit us? Present or absent, you will remember me always, I trust, as
Yours most affectionately
Robert Browning.
The year of 1887 was an eventful one in that the “Parleyings” were published in the early spring; that Browning removed from Warwick Crescent to 29 DeVere Gardens; and that the marriage of his son to Miss Coddington of New York was celebrated on October 4 of that year, an event that gave the poet added happiness. To a stranger who had asked permission to call upon him Browning wrote about this time:
“... My son returns the day after to-morrow with his wife, from their honeymoon at Venice, to stay with me till to-morrow week only, when they leave for Liverpool and America — there to pass the winter. During their short stay, I am bound to consult their convenience, and they will be engaged in visiting, or being visited by friends, so as to preclude me from any chance of an hour at my own disposal. If you please — or, rather, if circumstances permit you to give me the pleasure of seeing you at twelve on Saturday morning, the first day when I shall be at liberty, I shall be happy to receive you.”
The stranger did so arrange that his visit should extend itself over the magic date of “November 5th,” and on that day he stood at the portal to DeVere Gardens house.
“I was taken
up to the poet’s study,” he writes. “There had been that day a memorial meeting for Matthew Arnold, to which Browning had been, and he spoke with reminiscent sadness of Arnold’s life.
“‘I have been thinking all the way home of his hardships,’ said Mr. Browning. ‘He once told me, when I asked why he had not recently written any poetry, that he could not afford to, but that when he had saved enough, he intended to give up all other work, and devote himself to poetry. I wonder if he has turned to it now?’ Browning added musingly.”
One interesting incident related by this caller is that, having just been reading and being greatly impressed by Mr. Nettleship’s analysis and interpretation of “Childe Roland,” he asked the author if he accepted it. “Oh, no,” replied Mr. Browning; “not at all. Understand, I don’t repudiate it, either; I only mean that I was conscious of no allegorical intention in writing it. ‘Twas like this; one year in Florence I had been rather lazy; I resolved that I would write something every day. Well, the first day I wrote about some roses, suggested by a magnificent basket that some one had sent my wife. The next day ‘Childe Roland’ came upon me as a kind of dream. I had to write it, then and there, and I finished it the same day, I believe. But it was simply that I had to do it. I did not know then what I meant beyond that, and I’m sure I don’t know now. But I am very fond of it.”
This interesting confession emboldened the visitor to ask if the poet considered ‘James Lee’s wife’ quite guiltless in her husband’s estrangement. “Well, I’m not sure,” replied Mr. Browning; “I was always very fond of her, but I fancy she had not much tact, and did not quite know how to treat her husband. I think she worried him a little. But if you want to know any more,” he continued, with a twinkle in his eye, “you had better ask the Browning Society, — you have heard of it, perhaps?”
When Robert Barrett Browning purchased the Palazzo Rezzonico, the acquirement was a delight to his father, not unmixed with a trace of consternation, for it is one of the grandest and most imposing palaces in Italy. Up to 1758 it was occupied by Cardinal Rezzonico himself, when, at that date, he became Pope under the title of Clement XIII. This palace, built in the seventeenth and eighteenth centuries, commands an unparalleled situation on the Grand Canal, and the majestic structure of white marble, with its rich carvings, the baroque ornaments of its key-stones, its classic cornices and tripartite loggias, its columns and grand architectural lines, is remarked, even in Venice, the city of palaces, for its sumptuous magnificence. As Mr. Browning had before remarked to Mrs. Bronson, “Pen” was infatuated with Venice. It is equally true that much of the infatuation of the ethereal city for subsequent visitors was due in no small measure to the beautiful and reverent manner in which Robert Barrett Browning made this palace a very Valhalla of the wedded poets, Robert and Elizabeth Barrett Browning. Here the son gathered every exquisite treasure associated with his mother, and when, three years later, his father breathed his last within this noble palace, the younger Browning added to the associations of his mother those, also, of his father’s books, art, and intimate possessions. With his characteristic courtesy and generous consideration Mr. Barrett Browning permitted visitors, for many years, through his entire ownership of the palace, to visit and enjoy the significant collections, treasures which his taste and his love had there gathered.
Portrait of Robert Barrett Browning
(“Penini”), as a Child.
Painted at Siena, by Hamilton Wild, 1859.
On the façade of the palace two stately entrances open upon the broad flight of marble steps that lead down to the water, and on the architraves are carved river-gods. In the spacious court was placed his own statue of “Dryope.” Ascending one marble flight of the grand escalier, one entered a lofty apartment whose noble proportions and richness of effect were most impressive. The floor, of red marble, in its rich, Byzantine hue, harmonized with a richly painted ceiling, which was one celebrated in Venetian art. From this vast salon opened, through richly carved doors, a series of rooms, each made vital with the portraits, sketches, busts, and other memorials of the poets. There were Story’s busts of Browning and of his wife; there was Robert Barrett Browning’s bust of his father, — one of the most remarkable among portrait busts in contemporary art; the portraits of Robert and Elizabeth Browning painted by Gordigiani of Rome, about 1855; a lovely pastel of Mrs. Browning when she was a child, representing her as standing in a garden, holding up her apron filled with flowers; there was her little writing-desk, and other intimate personal mementoes about. The immense array of presentation copies from other authors to the poets made an interesting library of themselves, as did the various translations of their own poems into many languages. There was a portrait of Browning painted when a young man, with a troubadour cloak falling over his shoulders; and a most interesting portrait of Milsand, painted by Barrett Browning, as a gift to his father.
There was also a picture of himself as a lad, the “Penini” of Siena days, mounted on his pony, and painted by Hamilton Wild (a Boston artist), in that most picturesque of hill-towns, during one of those summers that the Brownings and the Storys had passed in the haunts of Santa Caterina.
By Mrs. Browning’s little writing tablet was placed the last manuscript she had ever written; and on a table lay a German translation of “Aurora Leigh,” with an inscription of presentation to Browning.
From one of these salons, looking out on the Grand Canal, is an alcove, formerly used as the private chapel of the Rezzonico. It was all white and gold, with a Venetian window draped in the palest green plush, while on either side were placed tall vases encrusted with green. In this alcove Mr. Barrett Browning had caused to be inscribed, in golden letters, surrounded with traceries and arabesques in gold, a copy of the inscription that was composed by the poet, Tommaseo, and placed by the city of Florence on the wall of Casa Guidi, near the grand portal:
qui scrisse e mori
ELISABETTA BARRETT BROWNING
che in cuore di donna conciliava
scienza di dotto e spirito di poeta
e fece del suo verso aureo anello
fra italia e inghilterra
pone questo memoria
firenze grata
1861.
On the first floor was the room in which the poet wrote when the guest of his son in the palace; a sala empaneled with the most exquisite decorated alabaster, panels of which also formed the doors, and opening from this was his sleeping-room, also beautifully decorated.
In one splendid sala, with rich mural decorations, and floor of black Italian marble, were many choice works of art, rare souvenirs, pictures of special claim to interest, wonderful tapestries, and almost, indeed, an embarras de richesse of beauty.
In 1906 Robert Barrett Browning sold the Rezzonico; and now, beside his casa and studios in Asolo, he has one of the old Medici villas, near Florence,— “La Torre all’ Antella,” with a lofty tower, from which the view is one of the most commanding and fascinating in all Tuscany. The panorama includes all Florence, with her domes and campanile and towers; and the Fiesolean hills, with the old town picturesquely revealed among the trees and against the background of sky, and with numerous other villages and hamlets, and a mountain panorama of changing color always before the eye. Mr. Browning is one of the choicest of spirits, with all that culture and beauty of spiritual life that characterized his parents. He is a great linguist, and is one of the most interesting of men. No one knew his father, in that wonderful inner way, as did his son. He was twelve years old at the time of his mother’s death, and from that period he was the almost constant companion of his father, until Browning’s death, twenty-eight years later. Robert Barrett Browning has also purchased the massive Casa Guidi, thus fitly becoming the owner of the palace in which he was born, and that is forever enshrined in literary history and poetic romance. It is, also, one of those poetic sequences of life, that Casa Guidi and Palazzo Peruzzi, near each other, in the Via Maggiore in Florence, are respectively owned by Mr. Browni
ng and the Marchesa Peruzzi di’ Medici, under which stately title Mr. Story’s daughter Edith, the childhood friend and companion of “Penini,” is now known.
After the return to London of Browning and his sister Sarianna, from St. Moritz, his constant letters to Mrs. Bronson again take up the story of a poet’s days.
In the early winter he thus writes to his cherished friend — the date being December 4, 1887:
“Now let us shut the gondola glasses (I forget the technical word) and Talk, dear Friend! Here are your dear labors of love, — the letters and enclosures, and here is my first day of leisure this long fortnight, for, would you believe it? I have been silly enough to sit every morning for three hours to one painter, who took an additional two hours yesterday, in order to get done; before which exercise of patience I had to sit to another gentleman, who will summon me again in due time, — all this since my return from Venice and the youthful five! However, when, two days ago, there was yet another application to sit, the bear within the ‘lion’ came out, and I declined, as little gruffly as I was able. And so the end is I can talk and enjoy myself — even at a distance — with a friend as suddenly dear as all hands from the clouds must needs be. I will not try and thank you for what you know I so gratefully have accepted, — and shall keep forever, I trust.
“Well, here is the Duke’s letter; he is a man of few words, and less protestation; but feels, as he should, your kindness, and will gladly acknowledge it, should you come to England, and it seems that you may. But what will Venice be without you next year, if we return there as we hope to do?
Complete Works of Elizabeth Barrett Browning Page 256