Don Orsino | Page 2

upon the dead features, the silken robe and the stone floor. A single servant in a shabby livery stood in a corner, smiling foolishly, while the tears stood in his eyes and wet his unshaven cheeks. Perhaps he cared, as servants will, when no one else cares. The door opened almost directly upon a staircase and the noise of the feet of those passing up and down upon the stone steps disturbed the silence in the death chamber. At night the poor body was thrust unhonoured into a common coach and driven out to its resting-place.
In a vast hall, upon an enormous catafalque, full thirty feet above the floor, lay all that was left of the honest king. Thousands of wax candles cast their light up to the dark, shapeless face, and upon the military accoutrements of the uniform in which the huge body was clothed. A great crowd pressed to the railing to gaze their fill and go away. Behind the division tall troopers in cuirasses mounted guard and moved carelessly about. It was all tawdry, but tawdry on a magnificent scale--all unlike the man in whose honour it was done. For he had been simple and brave.
When he was at last borne to his tomb in the Pantheon, a file of imperial and royal princes marched shoulder to shoulder down the street before him, and the black charger he had loved was led after him.
In a dim chapel of St. Peter's lay the Pope, robed in white, the jewelled tiara upon his head, his white face calm and peaceful. Six torches burned beside him; six nobles of the guard stood like statues with drawn swords, three on his right hand and three on his left. That was all. The crowd passed in single file before the great closed gates of the Julian Chapel.
At night he was borne reverently by loving hands to the deep crypt below. But at another time, at night also, the dead man was taken up and driven towards the gate to be buried without the walls. Then a great crowd assembled in the darkness and fell upon the little band and stoned the coffin of him who never harmed any man, and screamed out curses and blasphemies till all the city was astir with riot. That was the last funeral hymn.
Old Rome is gone. The narrow streets are broad thoroughfares, the Jews' quarter is a flat and dusty building lot, the fountain of Ponte Sisto is swept away, one by one the mighty pines of Villa Ludovisi have fallen under axe and saw, and a cheap, thinly inhabited quarter is built upon the site of the enchanted garden. The network of by-ways from the Jesuits' church to the Sant' Angelo bridge is ploughed up and opened by the huge Corso Vittorio Emmanuele. Buildings which strangers used to search for in the shade, guide-book and map in hand, are suddenly brought into the blaze of light that fills broad streets and sweeps across great squares. The vast Cancelleria stands out nobly to the sun, the curved front of the Massimo palace exposes its black colonnade to sight upon the greatest thoroughfare of the new city, the ancient Arco de' Cenci exhibits its squalor in unshadowed sunshine, the Portico of Octavia once more looks upon the river.
He who was born and bred in the Rome of twenty years ago comes back after a long absence to wander as a stranger in streets he never knew, among houses unfamiliar to him, amidst a population whose speech sounds strange in his ears. He roams the city from the Lateran to the Tiber, from the Tiber to the Vatican, finding himself now and then before some building once familiar in another aspect, losing himself perpetually in unprofitable wastes made more monotonous than the sandy desert by the modern builder's art. Where once he lingered in old days to glance at the river, or to dream of days yet older and long gone, scarce conscious of the beggar at his elbow and hardly seeing the half dozen workmen who laboured at their trades almost in the middle of the public way--where all was once aged and silent and melancholy and full of the elder memories--there, at that very corner, he is hustled and jostled by an eager crowd, thrust to the wall by huge, grinding, creaking carts, threatened with the modern death by the wheel of the modern omnibus, deafened by the yells of the modern newsvendors, robbed, very likely, by the light fingers of the modern inhabitant.
And yet he feels that Rome must be Rome still. He stands aloof and gazes at the sight as upon a play in which Rome herself is the great heroine and actress. He knows the woman and he sees the artist for the