When you have ascended to the top of the wall of rocks [at Taormina], which rise precipitously at no great distance from the sea, you find two peaks, connected by a semicircle. Whatever shape this may have had originally from Nature has been helped by the hand of man, which has formed out of it an amphitheater for spectators. Walls and other buildings have furnished the necessary pa.s.sages and rooms. Right across, at the foot of the semicircular range of seats, the scene was built, and by this means the two rocks were joined together, and a most enormous work of nature and art combined.
Now, sitting down at the spot where formerly sat the uppermost spectators, you confess at once that never did any audience, in any theater, have before it such a spectacle as you there behold. On the right, and on high rocks at the side, castles tower in the air--farther on the city lies below you; and altho its buildings are all of modern date, still similar ones, no doubt, stood of old on the same site. After this the eye falls on the whole of the long ridge of aetna, then on the left it catches a view of the sea-sh.o.r.e, as far as Catania, and even Syracuse, and then the wide and extensive view is closed by the immense smoking volcano, but not horribly, for the atmosphere, with its softening effect, makes it look more distinct, and milder than it really is.
If now you turn from this view toward the pa.s.sage running at the back of the spectators, you have on the left the whole wall of the rocks between which and the sea runs the road to Messina. And then again you behold vast groups of rocky ridges in the sea itself, with the coast of Calabria in the far distance, which only a fixt and attentive gaze can distinguish from the clouds which rise rapidly from it.
We descended toward the theater, and tarried awhile among its ruins, on which an accomplished architect would do well to employ, at least on paper, his talent of restoration. After this I attempted to make a way for myself through the gardens to the city. But I soon learned by experience what an impenetrable bulwark is formed by a hedge of agaves planted close together. You can see through their interlacing leaves, and you think, therefore, it will be easy to force a way through them; but the p.r.i.c.kles on their leaves are very sensible obstacles. If you step on these colossal leaves, in the hope that they will bear you, they break off suddenly; and so, instead of getting out, you fall into the arms of the next plant. When, however, at last we had wound our way out of the labyrinth, we found but little to enjoy in the city; tho from the neighboring country we felt it impossible to part before sunset.
Infinitely beautiful was it to observe this region, of which every point had its interest, gradually enveloped in darkness.
MOUNT aeTNA[39]
BY WILL S. MONROE
By the ancients aetna was supposed to be the prison of the mighty chained giant Typhon, the flames proceeding from his breath and the noises from his groans; and when he turned over earthquakes shook the island. Many of the myths of the Greek poets were a.s.sociated with the slopes of aetna, such as Demeter, torch in hand, seeking Persephone, Acis and Galatea, Polyphemus and the Cyclops.
aetna was once a volcano in the Mediterranean and in the course of ages it completely filled the surrounding sea with its lava. A remarkable feature of the mountain is the large number of minor cones on its sides--some seven hundred in all. Most of these subsidiary cones are from three to six thousand feet in height and they make themselves most strongly felt during periods of great activity. The summit merely serves as a vent through which the vapors and gases make their escape. The natural boundaries of aetna are the Alcantara and Simeto rivers on the north, west, and south, and the sea on the east.
The most luxurious fertility characterizes the gradual slopes near the base, the decomposed volcanic soil being almost entirely covered with olives, figs, grapes, and p.r.i.c.kly pears. Higher up is the timber zone.
Formerly there was a dense forest belt between the zone of cultivated land and the tore of cinders and snow; but the work of forest extermination was almost completed during the reign of the Spanish Bourbons. One may still find scattered oak, ilex, chestnut, and pine interspersed with ferns and aromatic herbs. Chestnut trees of surprizing growth are found on the lower slopes. "The Chestnut Tree of the Hundred Horses," for which the slopes of aetna are famous, is not a single tree but a group of several distinct trunks together forming a circle, under whose spreading branches a hundred horses might find shelter.
Above the wooded zone aetna is covered with miniature cones thrown up by different eruptions and regions of dreary plateau covered with scoriae and ashes and buried under snow a part of the year. While the upper portions of the volcano are covered with snow the greater portion of the year, aetna does not reach the limit of perpetual snow, and the heat which is emitted from its sides prevents the formation of glaciers in the hollows. One might expect that the quant.i.ties of snow and rain which fall on the summit would give rise to numerous streams. But the small stones and cinders absorb the moisture, and springs are found only on the lower slopes. The cinders, however, retain sufficient moisture to support a rich vegetation wherever the surface of the lava is not too compact to be penetrated by roots. The surface of the more recent lava streams is not, as might be supposed, smooth and level, but full of yawning holes and rents.
The regularity of the gradual slopes is broken on the eastern side by the Valle del Bove, a vast amphitheater more than three thousand feet in depth, three miles in width, and covering an area of ten square miles.
The bottom of the valley is dotted with craters which rise in gigantic steps; and, when aetna is in a state of eruption, these craters pour forth fiery cascades of lava. The Monte Centenari rise from the Valle del Bove to an elevation of 6,026 feet. At the head of the valley is the Torre del Filosofo at an alt.i.tude of 9,570 feet. This is the reputed site of the observatory of Empedocles, the poet and philosopher, who is fabled to have thrown himself into the crater of aetna to immortalize his name.
The lower slopes of aetna--after the basin of Palermo--include the most densely populated parts of Sicily. More than half a million people live on the slopes of a mountain that might be expected to inspire terror.
"Towns succeed towns along its base like pearls in a necklace, and when a stream of lava effects a breach in the chain of human habitations, it is closed up again as soon as the lava has had time to cool." As soon as the lava has decomposed, the soil produces an excellent yield and this tempts the farmer and the fruit grower to take chances. Speaking of the dual effect of aetna, Freeman says: "He has been mighty to destroy, but he has also been mighty to create and render fruitful. If his fiery streams have swept away cities and covered fields, they have given the cities a new material for their buildings and the fields a new soil rich above all others."
SYRACUSE[40]
BY RUFUS B. RICHARDSON
The ruins of Syracuse are not to the casual observer very imposing. But even these ruins have great interest for the archeologist. There is, for example, an old temple near the northern end of Ortygia, for the most part embedded in the buildings of the modern city, yet with its east end cleared and showing several entire columns with a part of the architrave upon them. And what a surprize here awaits one who thinks of a Doric temple as built on a stereotyped plan! Instead of the thirteen columns on the long sides which one is apt to look for as going with a six-column front, here are eighteen or nineteen, it is not yet quite certain which. The columns stand less than their diameter apart, and the abaci are so broad that they nearly touch.
So small is the inter-columnar s.p.a.ce that archeologists incline to the belief that in this one Doric temple there were triglyphs only over the columns, and not also between them as in all other known cases.
Everything about this temple stamps it as the oldest in Sicily. An inscription on the top step, in very archaic letters, much worn and difficult to read, contains the name of Apollo in the ancient form....
The inscription may, of course, be later than the temple; but it is in itself old enough to warrant the supposition that the temple was erected soon after the first Corinthian colonists established themselves in the island. While the inscription makes it reasonably certain that the temple belonged to Apollo, the G.o.d under whose guiding hand all these Dorians went out into these western seas, tradition, with strange perversity, has given it the name of "Temple of Diana." But it is all in the family.
Another temple ruin on the edge of the plateau, which begins about two miles south of the city, across the Anapos, one might also easily overlook in a casual survey, because it consists only of two columns without capitals, and a broad extent of the foundations from which the acc.u.mulated earth has been only partially removed. This was the famous temple of Olympian Zeus, built probably in the days of Hiero I., soon after the Persian war, but on the site of a temple still more venerable.
One seeks a reason for the location of this holy place at such a distance from the city. Holm, the German historian of Sicily, argues with some plausibility that this was no mere suburb of Syracuse, but the original Syracuse itself. In the first place, the list of the citizens of Syracuse was kept here down at least to the time of the Athenian invasion. In the second place, tradition, which, when rightly consulted, tells so much, says that Archias, the founder of Syracuse, had two daughters, Ortygia and Syracusa, which may point to two coordinate settlements, Ortygia and Syracuse; the latter, which was on this temple plateau, being subsequently merged in the former, but, as sometimes happens in such cases, giving its name to the combined result.
Besides these temple ruins there are many more foundations that tell a more or less interesting story. Then there are remains of the ancient city that can never be ruined--for instance, the great stone quarries, pits over a hundred feet deep and acres broad, in some of which the Athenian prisoners were penned up to waste away under the gaze of the pitiless captors; the Greek theater cut out of the solid rock; the great altar of Hiero II., six hundred feet long and about half as broad, also of solid rock. Then there is a mighty Hexapylon, which closed the fortifications of Dionysius at the northwest at the point where they challenged attack from the land side. With its sally-ports and rock-hewn pa.s.sages, some capacious enough to quarter regiments of cavalry, showing holes cut in the projecting corners of rock, through which the hitch-reins of the horses were wont to be pa.s.sed, and its great magazines, it stands a lasting memorial to the energy of a tyrant. But while this fortress is practically indestructible, an impregnable fortress is a dream incapable of realization. Marcellus and his stout Romans came in through these fortifications, not entirely, it is true, by their own might, but by the aid of traitors, against whom no walls are proof.
One of the stone quarries, the Latomia del Paradiso, has an added interest from its a.s.sociation with the tyrant who made himself hated as well as feared, while Gelon was only feared without being hated. An inner recess of the quarry is called the "Ear of Dionysius," and tradition says that at the inner end of this recess either he or his creatures sat and listened to the murmurs that the people uttered against him, and that these murmurs were requited with swift and fatal punishment. Certain it is that a whisper in this cave produces a wonderful resonance, and a pistol shot is like the roar of a cannon; but that people who had anything to say about the butcher should come up within ear-shot of him to utter it is not very likely. Historians are not quite sure that the connection of Dionysius with this recess is altogether mythical, but that he shaped it with the fell purpose above mentioned is not to be thought of, as the whole quarry is older than his time, and was probably, with the Latomia dei Cappuccini, a prison for the Athenians.
MALTA[41]
BY THeOPHILE GAUTIER
The city of Valetta, founded in 1566, by the grand master whose name it bears, is the capital of Malta. The city of La Sangle, and the city of Victoria, which occupy two points of land on the other side of the harbor of the Ma.r.s.e, together with the suburbs of Floriana and Burmola, complete the town; encircled by bastions, ramparts, counterscarps, forts, and fortifications, to an extent which renders siege impossible!
If you follow one of the streets which surround the town, at each step that you take, you find yourself face to face with a cannon. Gibraltar itself does not bristle more completely with mouths of fire. The inconvenience of these extended works is, that they enclose a vast radius, and demand to defend them, in case of attack, an enormous garrison; always difficult to maintain at a distance from the mother country.
From the height of the ramparts, one sees in the distance the blue and transparent sea, broken into ripples by the breeze, and dotted with snowy sails. The scarlet sentinels are on guard from point to point, and the heat of the sun is so fierce upon the glacis, that a cloth stretched upon a frame and turning upon a pivot at the top of a pole, forms a shade for the soldiers, who, without this precaution, must inevitably be roasted on their posts....
The city of Valetta, altho built with regularity, and, so to speak, all in one "block," is not, therefore, the less picturesque. The decided slope of the ground neutralizes what the accurate lines of the street might otherwise have of monotony, and the town mounts by degrees and by terraces the hillside, which it forms into an amphitheater. The houses, built very high like those of Cadiz, terminate in flat roofs that their inhabitants may the better enjoy the sea view. They are all of white Maltese stone; a sort of sandstone easy to work, and with which, at small expense, one can indulge various caprices of sculpture and ornamentation. These rectilinear houses stand well, and have an air of grandeur, which they owe to the absence of (visible) roofs, cornices, and attics. They stand out sharply and squarely against the azure of the heavens, which their dazzling whiteness renders only the more intense; but that which chiefly gives them a character of originality is the projecting balcony hung upon each front; like the "moucharabys" of the East, or the "miradores" of Spain.
The palace of the grand masters--to-day the palace of the government--has nothing remarkable in the way of architecture. Its date is recent, and it responds but imperfectly to the idea one would form of the residence of Villiers de I"lle Adam, of Lavalette, and of their warlike ancestors. Nevertheless, it has a certain monumental air, and produces a fine effect upon the great Place, of which it forms one entire side. Two doorways, with rustic columns, break the uniformity of the long facade; while an immense balcony, supported by gigantic sculptured brackets, encircles the building at the level of the first floor, and gives to the edifice the stamp of Malta. This detail, so strictly local in its character, relieves what might be heavy and flat in this architecture; and this palace, otherwise vulgar, becomes thus original. The interior, which I visited, presents a range of vast halls and galleries, decorated with pictures representing battles by sea and land, sieges, and combats between Turkish galleys and the galleys of the "Religion." ...
To finish with the knights, I turned my steps toward the Church of St.
John--the Pantheon of the Order. Its facade, with a triangular porch flanked by two towers terminating in stone belfries, having for ornament only four pillars, and pierced by a window and door, without sculpture or decoration, by no means prepares the traveler for the splendor within.
The first thing which arrests the sight is an immense arch, painted in fresco, which runs the whole length of the nave. This fresco, unhappily much deteriorated by time, is the work of Matteo Preti, called the Calabrese; one of those great second-rate masters, who, if they have less genius, have often more talent than the princes of the art. What there is of science, facility, spirit, expression, and abundant resource, in this colossal picture, is beyond description.
Each section of the arch contains a scene from the life of St. John, to whom the church is dedicated, and who was the patron of the Order.
These sections are supported, at their descent, by groups of captives--Saracens, Turks, Christians, and others--half naked, or clad in the remains of shattered armor, and placed in positions of humiliation or constraint, who form a species of barbaric caryatides strikingly suited to the subject. All this part of the fresco is full of character, and has a force of coloring very rare in this species of picture. These solid and ma.s.sive effects give additional strength to the lighter tone of the arch, and throw the skies into a relief and distance singularly profound. I know no similar work of equal grandeur except the ceiling by Fumiana in the Church of St. Pantaleone at Venice, representing the life, martyrdom, and apotheosis of that saint. But the style of the decadence makes itself less felt in the work of the Calabrese than in that of the Venetian. In recompense of this gigantic work, the artist had the honor, like Carravaggio, to be made a Knight of the Order.
The pavement of the church is composed of four hundred tombs of knights, incrusted with jasper, porphyry, verd-antique, and precious stones of various kinds, which should form the most splendid sepulchral mosaics conceivable. I say should form, because at the moment of my visit, the whole floor was covered with those immense mats, so constantly used for carpeting the southern churches--a usage which is explained by the absence of pews or chairs, and the habit of kneeling upon the floor to perform one"s devotions. I regretted this exceedingly; but the crypt and the chapel contain enough sepulchral wealth to offer some atonement.
VIII
THE MAINLAND OF GREECE
ON ARRIVING IN ATHENS--THE ACROPOLIS[42]
BY J. P. MAHAFFY
There is probably no more exciting voyage, to any educated man, than the approach to Athens from the sea. Every promontory, every island, every bay, has its history. If he knows the map of Greece, he needs no guide-book or guide to distract him; if he does not, he needs little Greek to ask of any one near him the name of this or that object; and the mere names are sufficient to stir up all his cla.s.sical recollections. But he must make up his mind not to be shocked at "aegina"
or "Phalrum," and even to be told that he is utterly wrong in his way of p.r.o.nouncing them.