Seeing Europe with Famous Authors, Volume 7 | Page 4

in Rome, while you pass from place to place, in order to visit the most remarkable objects. In other places one has to search for what is important; here one is opprest, and borne down with numberless phenomena. Wherever one goes and casts a look around, the eye is at once struck with some landscape--forms of every kind and style; palaces and ruins, gardens and statuary, distant views of villas, cottages and stables, triumphal arches and columns, often crowding so close together, that they might all be sketched on a single sheet of paper. He ought to have a hundred hands to write, for what can a single pen do here; and, besides, by the evening one is quite weary and exhausted with the day's seeing and admiring.
My strange, and perhaps whimsical, incognito proves useful to me in many ways that I never should have thought of. As every one thinks himself in duty bound to ignore who I am, and consequently never ventures to speak to me of myself and my works,[2] they have no alternative left them but to speak of themselves, or of the matters in which they are most interested, and in this way I become circumstantially informed of the occupations of each, and of everything remarkable that is either taken in hand or produced. Hofrath Reiffenstein good-naturedly humors this whim of mine; as, however, for special reasons, he could not bear the name which I had assumed, he immediately made a Baron of me, and I am now called the "Baron gegen Rondanini ��ber" (the Baron who lives opposite to the Palace Rondanini). This designation is sufficiently precise, especially as the Italians are accustomed to speak of people either by their Christian names, or else by some nickname. Enough; I have gained my object; and I escape the dreadful annoyance of having to give to everybody an account of myself and my works....
In Rome, the Rotunda,[3] both by its exterior and interior, has moved me to offer a willing homage to its magnificence. In St. Peter's I learned to understand how art, no less than nature, annihilates the artificial measures and dimensions of man. And in the same way the Apollo Belvidere also has again drawn me out of reality. For as even the most correct engravings furnish no adequate idea of these buildings, so the case is the same with respect to the marble original of this statue, as compared with the plaster models of it, which, however, I formerly used to look upon as beautiful.
Here I am now living with a calmness and tranquility to which I have for a long while been a stranger. My practise to see and take all things as they are, my fidelity in letting the eye be my light, my perfect renunciation of all pretension, have again come to my aid, and make me calmly, but most intensely, happy. Every day has its fresh remarkable object--every day its new grand unequaled paintings, and a whole which a man may long think of, and dream of, but which with all his power of imagination he can never reach.
Yesterday I was at the Pyramid of Cestius, and in the evening on the Palatine, on the top of which are the ruins of the palace of the C?sars, which stand there like walls of rock. Of all this, however, no idea can be conveyed! In truth, there is nothing little here; altho, indeed, occasionally something to find fault with--something more or less absurd in taste, and yet even this partakes of the universal grandeur of all around....
Yesterday I visited the nymph Egeria, and then the Hippodrome of Caracalla, the ruined tombs along the Via Appia, and the tomb of Metella, which is the first to give one a true idea of what solid masonry really is. These men worked for eternity--all causes of decay were calculated, except the rage of the spoiler, which nothing can resist. The remains of the principal aqueduct are highly venerable. How beautiful and grand a design, to supply a whole people with water by so vast a structure! In the evening we came upon the Coliseum, when it was already twilight. When one looks at it, all else seems little; the edifice is so vast, that one can not hold the image of it in one's soul--in memory we think it smaller, and then return to it again to find it every time greater than before.
We entered the Sistine Chapel, which we found bright and cheerful, and with a good light for the pictures. "The Last Judgment" divided our admiration with the paintings on the roof by Michael Angelo. I could only see and wonder. The mental confidence and boldness of the master, and his grandeur of conception, are beyond all expression. After we had