the rose tints of the spindle-wood. These make autumn even lovelier than spring. And then there was a wood of chestnuts carpeted with pale pink ling, a place to dream of in the twilight. But the main motive of this landscape was the indescribable Carrara range, an island of pure form and shooting peaks, solid marble, crystalline in shape and texture, faintly blue against the blue sky, from which they were but scarce divided. These mountains close the valley to south-east, and seem as though they belonged to another and more celestial region.
Soon the sunlight was gone, and moonrise came to close the day, as we rolled onward to Sarzana, through arundo donax and vine-girdled olive trees and villages, where contadini lounged upon the bridges. There was a stream of sound in our ears, and in my brain a rhythmic dance of beauties caught through the long-drawn glorious golden autumn-day.
III.—Fosdinovo.
The hamlet and the castle of Fosdinovo stand upon a mountain-spur above Sarzana, commanding the valley of the Magra and the plains of Luni. This is an ancient fief of the Malaspina House, and still in the possession of the Marquis of that name.
The road to Fosdinovo strikes across the level through an avenue of plane trees, shedding their discoloured leaves. It then takes to the open fields, bordered with tall reeds waving from the foss on either hand, where grapes are hanging to the vines. The country-folk allow their vines to climb into the olives, and these golden festoons are a great ornament to the grey branches. The berries on the trees are still quite green, and it is a good olive season. Leaving the main road, we pass a villa of the Malaspini, shrouded in immense thickets of sweet bay and ilex, forming a grove for the Nymphs or Pan. Here may you see just such clean stems and lucid foliage as Gian Bellini painted, inch by inch, in his Peter Martyr picture. The place is neglected now; the semicircular seats of white Carrara marble are stained with green mosses, the altars chipped, the fountains choked with bay leaves; and the rose trees, escaped from what were once trim garden alleys, have gone wandering a-riot into country hedges. There is no demarcation between the great man's villa and the neighbouring farms. From this point the path rises, and the barren hill-side is a-bloom with late-flowering myrtles. Why did the Greeks consecrate these myrtle-rods to Death as well as Love? Electra complained that her father's tomb had not received the honour of the myrtle branch; and the Athenians wreathed their swords with myrtle in memory of Harmodius. Thinking of these matters, I cannot but remember lines of Greek, which have themselves the rectitude and elasticity of myrtle wands:
καὶ προσπεσὼν ἔκλαυσ᾽ ἐρημίας τυχὼν
σπονδάς τε λύσας ἀσκὸν ὄν φέρω ζένοις
ἔσπεισα τύμβῳ δ᾽ ἀμφέθηκα μυρσίνας.
As we approach Fosdinovo, the hills above us gain sublimity; the prospect over plain and sea—the fields where Luna was, the widening bay of Spezzia—grows ever grander. The castle is a ruin, still capable of partial habitation, and now undergoing repair—the state in which a ruin looks most sordid and forlorn. How strange it is, too, that, to enforce this sense of desolation, sad dishevelled weeds cling ever to such antique masonry! Here are the henbane, the sow-thistle, the wild cucumber. At Avignon, at Orvieto, at Dolce Acqua, at Les Baux, we never missed them. And they have the dusty courtyards, the massive portals, where portcullises still threaten, of Fosdinovo to themselves. Over the gate, and here and there on corbels, are carved the arms of Malaspina—a barren thorn-tree, gnarled with the geometrical precision of heraldic irony.
Leaning from the narrow windows of this castle, with the spacious view to westward, I thought of Dante. For Dante in this castle was the guest of Moroello Malaspina, what time he was yet finishing the "Inferno." There is a little old neglected garden, full to south, enclosed upon a rampart which commands the Borgo, where we found frail canker-roses and yellow amaryllis. Here, perhaps, he may have sat with ladies—for this was the Marchesa's pleasance; or may have watched through a short summer's night, until he saw that tremolar della marina, portending dawn, which afterwards he painted in the "Purgatory."
From Fosdinovo one can trace the Magra work its way out seaward, not into the plain where once the candentia mœnia Lunæ flashed sunrise from their battlements, but close beside the little hills which back the southern arm of the Spezzian gulf. At the extreme end of that promontory, called Del Corvo, stood the Benedictine convent of S. Croce; and it was here in 1309, if we may trust to tradition, that Dante, before his projected journey into France, appeared and left the first part of his poem with the Prior. Fra Ilario, such was the good father's name, received commission to transmit the "Inferno" to Uguccione della Faggiuola; and he subsequently recorded the fact of Dante's visit in a letter which, though its genuineness has been called in question, is far too interesting to be left without allusion. The writer says that on occasion of a journey into lands beyond the Riviera, Dante visited this convent, appearing silent and unknown among the monks. To the Prior's question what he wanted, he gazed upon the brotherhood, and only answered, "Peace!" Afterwards, in private conversation, he communicated his name and spoke about his poem. A portion of the "Divine Comedy" composed in the Italian tongue aroused Ilario's wonder, and led him to inquire why his guest had not followed the usual course of learned poets by committing his thoughts to Latin. Dante replied that he had first intended to write in that language, and that he had gone so far as to begin the poem in Virgilian hexameters. Reflection upon the altered conditions of society in that age led him, however, to reconsider the matter; and he was resolved to tune another lyre, "suited to the sense of modern men." "For," said he, "it is idle to set solid food before the lips of sucklings."
If we can trust Fra Ilario's letter as a genuine record, which is unhappily a matter of some doubt, we have in this narration not only a picturesque, almost a melodramatically picturesque glimpse of the poet's apparition to those quiet monks in their seagirt house of peace, but also an interesting record of the destiny which presided over the first great work of literary art in a distinctly modern language.
IV.—La Spezzia.
While we were at Fosdinovo the sky filmed over, and there came a halo round the sun. This portended change; and by evening, after we had reached La Spezzia, earth, sea, and air were conscious of a coming tempest. At night I went down to the shore, and paced the sea-wall they have lately built along the Rada. The moon was up, but overdriven with dry smoky clouds, now thickening to blackness over the whole bay, now leaving intervals through which the light poured fitfully and fretfully upon the wrinkled waves; and ever and anon they shuddered with electric gleams which were not actual lightning. Heaven seemed to be descending on the sea; one might have fancied that some powerful charms were drawing down the moon with influence malign upon those still resisting billows. For not as yet the gulf was troubled to its depth, and not as yet the breakers dashed in foam against the moonlight-smitten promontories. There was but an uneasy murmuring of wave to wave; a whispering of wind, that stooped its wing and hissed along the surface, and withdrew into the mystery of clouds again; a momentary chafing of churned water round the harbour piers, subsiding into silence petulant and sullen. I leaned against an iron stanchion and longed for the sea's message. But nothing came to me, and the drowned secret of Shelley's death those waves which were his grave revealed not.
"Howler and scooper of storms! capricious and dainty sea!"
Meanwhile the incantation swelled in shrillness, the electric shudders deepened. Alone in this elemental overture to tempest I took no note of time, but felt, through self-abandonment to the symphonic influence, how
