Part 9

Press censorship and no English printing-house in Florence forced Cooper to leave his family and go to Marseilles. His letters give some pretty pictures which passed his carriage windows on the way. Of Genoa: "The seaward prospect was glorious." The islands "were borrowed by Leonardo," and a circuit of the city walls was made on horseback. Full of charm and interest was the road "on the margin of the sea"--from Genoa to Nice. In his "Excursions in Italy" appears of Genoa: "I looked back with longing-eyes at _Genoa la Superba_ and thought it well deserved the title." "The whole of this coast," he wrote, "is as picturesque and glorious as the imagination can picture it." He tells of feluccas and other water-craft that claimed a sailor's eye; and the landward views of Mentone, Santa Monica, the heights, arches, and passes, and the wasp-like Villa Franca, perched on its ledge up two hundred feet--for fear of "the bears" said the guide. In Marseilles an English printer was secured and brought back to Florence. Besides being deaf and dumb his name--Richard Heavysides--bore out the burden of an unfortunate temper to the necessity of sending this printer back to Marseilles. Finally, by the kindness of the grand duke's librarian, a small edition of "The Wept of Wish-ton-Wish" was printed, and early sheets sent to publishers in Paris, London, and Philadelphia. In England the book was called "The Borderers," being based on the story of Eunice Williams of Deerfield, Mass., but it was more highly valued in England and France than in America.

[Illustration: LEGHORN.]

The Mediterranean blue on Cooper's journey to Marseilles allured him into conceiving another sea tale. Its writing, however, was delayed by a mild return of the old fever that was induced by the summer sun of Italy. Longing, therefore, for the water breezes, mid-summer found him within "sight and sound" of the sea waves. He writes "July 29 the whole family went to Leghorn, where the salt air was grateful, and I snuffed the odor of this delightful sea with a feeling that was 'redolent of joy and youth.' We feasted our eyes on the picturesque rigs and barks of those poetical waters, and met several men from the Levant,--an Algerian Rais calmly smoking his chibouque on the deck of his poleacre, many Sardinians, Tuscans, Jews, and three Russians. Rowing under the bows of a Yankee, I found one seated on the windlass playing on the flute,--as cool a piece of impudence as can well be imagined for a Massachusetts man to practice in Italy! The delicious odors of the seaport were inhaled with a delight no language can describe."

[Illustration: NAPLES.]

At Leghorn Cooper engaged a Genovese felucca, "_La Bella Genovese_,--a craft of thirty tons, beautiful mould, lateen-rigged, carrying two of that sail and a jib, and ten men for her crew." Aboard this small vessel the author and his family spent six days of pure pleasure, yet "somewhat bitten by fleas." They touched at Elba and other islands, and skirted the coasts of Tuscany, the Roman States, and so on to Naples, of which Cooper wrote: "Oh Napoli! glorious, sunny, balmy Napoli!" This cruising along the western coast of Italy in the _Bella Genovese_ suggested to the author one of his favorite stories, "Wing-and-Wing," which was published twelve years later. In Naples several weeks were passed at a hotel; thence to a short-time home of their own on the cliffs of Sorrento. The very air of Italy was a delight to this sunny-hearted sailor, who so deeply felt the charm of all Italian nature. "The house we have taken," he wrote, "is said to be the one in which Tasso was born. It stands on the brow of the cliffs, within the walls of the town, and in plain sight of every object of interest on the bay. We occupy the principal floor only, though I have taken the entire house. There is a chapel beneath the grand _sala_, and kitchens and offices somewhere in those lower regions. We enter by a porte-cochère into a court which has a well with a handsome marble curb and a flight of broad, marble steps fit for a palace." Seaward several rooms led to the _sala_, fifty feet long, and facing the water. Cooper tells of its tiled floor, gilded couches, chairs, and marble busts. The great charm of the house was its terrace, fifty feet long by twenty-five wide, and protected by a stone balustrade, massive and carved, hanging over the blue Mediterranean, and giving to view Vesuvius, Ischia, and all the coast of glorious sea. Hearing an outcry from his son Paul one day, his father found the boy with his head fast between two of these great spindles--"in a way that frightened me as well as the youngster himself. It was like being imbedded in a rock. Below the terrace runs a narrow beach, where our children delight to play, picking up shells and more than shells,--ancient mosaics. There is a little room off from the terrace I use for writing," and where he could watch the beauty of the sea. Much of "The Water Witch" was rapidly written in this study on the inspiring terrace of _Casa Tasso_, Vesuvius in sight. Daily excursions were made. When four-of-the-clock threw the rock shadows far over the water, they went a-boating. On land they made "donkey" and "non-donkey" jaunts. _Capo di Monti_, overlooking the town landing-place, was also a favorite resting-place, and gave some bright pictures of native life. By an amusing practice of giving their king--a fine old mendicant with a lame leg--and his daily-growing train a _grano_ a day at the gate, Cooper and his family on their excursions were freed from an army of beggars. All were grateful, and wished the American _admiral_ "a thousand years,"--save one poor creature, who blundered into "a hundred," upon which his angered fellows cudgeled him with blows and words into shouting, "A thousand years, and long ones." Donkeys and boats were taken for Amalfi with her convent-crowned cliffs above the sea. Not until the chill _tra montana_ and the snow-powdered mountain-tops reminded them that but one fire could be kindled in their vast Sorrento home did they leave it one morning, with ninety-six of their well-wisher beggars in the court to bid them good-speed on their way to the Eternal City.

[Illustration: CASA TASSO AT SORRENTO.]

[Illustration: CASA TASSO TERRACE-STUDY.]

In the autumn of 1830 Cooper and his family entered Rome through the gate of St. John, and drove across the city to the Hotel de Paris, just below the Pincio and near the _Porta del Popolo_. After dinner, with still an hour of daylight, and eager to see what Rome was like, Cooper called a guide, and, holding Paul by the hand, sallied forth through the narrow, crooking streets over the bridge of the angels to St. Peters. "Pushing aside the door, I found myself in the nave of the noblest temple in which any religious rites were ever celebrated. To me there was no disappointment, and as I stood gazing at the glorious pile, the tears forced themselves from my eyes. Even little Paul was oppressed with the vastness of the place, for he clung close to my side and kept murmuring, 'What is this? What is this? Is this a church?' I turned away impressed with the truth that if ever the hand of man had raised a structure to the Deity in the least worthy of His Majesty, it was this!"

[Illustration: ST. PETER'S, EXTERIOR, ROME.]

[Illustration: ST. PETERS, INTERIOR.]

[Illustration: ADAM MICKIEOWICZ.]

The usual roof-tree was soon found in the via Ripetta, where their back windows overlooked the tawny Tiber and gave them views of Castle St. Angelo and St. Peter's dome glorified by each day's setting sun, and here was passed their winter in old Rome. The Eternal City's ruins were most interesting to Cooper; it was his special delight to ride for hours with some friend over the Campagna, lingering among fragments of structures or statues of ancient days. Perhaps none who rode with him gave him more pleasure than the famous Polish poet, Adam Mickieowicz,--a man full of originality, genius, and sadness for the fate of his lost country. All of this won Cooper's sympathy and help in zealous writing and speaking for the suffering Poles; and one, Count Truskalaskie Wuskalaskia, later on found a welcome at Otsego Hall.

[Illustration: PORTA RIPETTA, WHERE COOPER LIVED IN ROME.]

Our author also saw something of social Rome, as is noted: He "was at a grand ball--faultless as to taste and style"--given by a prince to a prince near to the royal family of England. Of compatriots he writes: "_We_ have had a dinner, too, in honor of Washington, at which _I_ had the honor to preside. You will be surprised to hear that we sat down near seventy Yankees in the Eternal City!"

[Illustration: ROMAN FORUM.]

"The Water Witch," now nearly finished, required printing, which some kind Italian friends nearly brought about in Rome; but the book contained this sentence: "Rome itself is only to be traced by fallen temples and buried columns," which gave offense where none was intended and barred the work's issue there. The story was finished and laid aside until spring, when, after five delightful months in Rome and a few days at Tivoli, Cooper and his family reluctantly drove through the _Porto del Popolo_. In their own carriage, with four white horses, and their servitors in another with four brown ones, they passed up the Adriatic coast to Venice.

[Illustration: PORTA DEL POPOLO.]

Miss Cooper's "Pages and Pictures" gives her father's graphic account of this interesting journey,--how, in a wild mountain-road they fell in with pilgrims neither way-worn nor solemn, but most willing to talk. They seemed moving pictures with their staffs, scrip, and scallop-shell capes, returning from Rome. Then came Terni and its famous waterfall--a mile away, they knew, for they walked there. Man-made were those falls, by the turning of a pretty stream many hundred years ago.

[Illustration: FALLS OF MARMORA AT TERNI.]

High bridges and hermit nooks were passed, and then a long aqueduct with _Gothic_ arches, called _Roman_ in the guide-books; an old temple turned into a church, and but a trifle larger than a Yankee corn-crib. Then over the fine road beyond Foligno, and the hill Fiorito, and they rolled easily down into the Ancona country, where they found the shrine of Loreto.

[Illustration: ANCONA.]

[Illustration: LORETO.]

Ancona gave them their first sight of the Adriatic--less beautiful in hue than the Mediterranean blue, it seemed to our travelers. But with a sailor's joy in rope, pitch, and tar, Cooper hurried with his usual boyish eagerness to the port, and with a lively interest examined its several rusty-looking craft. The next day found them again on the way, of which he writes: "Walking ahead of the carriage this morning, we amused ourselves on the beach, the children gathering shells on the shores of the Adriatic." Short stops were made in Bologna and Ferrara, then northward to the coast. Afloat and a pull for an hour brought them to Venice. Through the Grand Canal and under the Rialto they glided to the opening port beyond. They left their craft at the _Leone Bianco_, or white lion. Entering, they found "a large paved hall" a few steps above the water. From their windows they could see the gliding gondolas; beyond the splashing of an oar no sound came from their movement. "Everything was strange," wrote Cooper. "Though a sailor and accustomed to water, I had never seen a city a-float. It was now evening; but a fine moon shedding its light on the scene rendered it fairy-like." That night a friend showed him the other ways than the water-ways of Venice. Through lane-like, shop-lined ways, over bridges, and through the Giant's Clock-tower he passed into the great square of St. Mark, with "much surprise and pleasure." By its glittering lamps, and over it all the moonlight, he felt as if "transported to a scene in the Arabian Nights."

[Illustration: SCALLA MINELLA, VENICE.]

[Illustration: VENICE.]

Later he writes: "I have set up my own gondola and we have been looking at the sights." For weeks their easy gondola--which in form and lightness reminded him so much of the Indian bark-canoe--"went gliding along the noiseless canals," and Cooper studied his Venice for a purpose. He became interested in the details of its singular government and read many books about it. The heartless trifling with sacred personal rights in order to glorify the ruling powers of _San Marco_, as shown by the life of crime in its secret councils, seemed terrible to him. And so came about the thought of writing a book in which both views of the subject, as clear and just as his pen could draw them, should be given. And whoever has read "The Bravo" will know that it faithfully pictures Venetian life. The great Piazza, the splendid church, the towering belfry,--rebuilt,--the small Piazza and its columns; the Palace of the Doge, with its court, well, giant's stairway, lions' mouths, dungeons and roof prisons, and the Bridge-of-Sighs, leading to its neighbor, the Prison Building--all are here, with beautiful _Venetia_ in the pride of her most glorious days near their waning. These and much more make up the fearful picture of Venice's cold cruelty, as revealed to the author of "The Bravo" in authentic historical records. Gelsomina, the jailer's daughter, a sweet and delicately-drawn character, got her name and general character from real life. Miss Cooper writes that when their "family was living on the cliffs of Sorrento a young peasant girl became one of the household,--half nurse, half playfellow to the children. She bore the sweet name of Gelsomina. Simple, innocent, and childlike, yet faithful to duty, Gelsomina was soon in high favor with great and small, and, in charge of the young flock, made one of every family party about the bay." At such times "she was always in gay costume,--light-blue silk jacket with gold lace; a flowing skirt; her dark hair well garnished with long golden pins and bodkins; a gold chain of manifold strands encircled her throat, and drops long and heavy hung from her ears. One afternoon, after playing with her young charges, Gelsomina went for water to that picturesque marble well in the court. While bending over the curbstone and drawing up the bucket, like Zara-of-Moriah fame, she dropped one of her long, heavy ear-rings into the water. Great was the lamentation of the simple creature! Warm was the sympathy of the household." But the old well was far too deep to give up this heirloom and family treasure, which was gone beyond Gelsomina's tears to recover. Gelsomina would have followed her American friends north, but a portly, stately, dignified aunt "would not trust her so far from the orange-groves of Sorrento." When the hour of parting came, pretty Gelsomina received from her mistress a fine pair of new ear-rings, and tears of gratitude fell upon the trinkets as she kissed the hand of the giver. Her name and something of her sweet innocence and fidelity were given to the jailer's daughter of "The Bravo."

"The well is deep--far down they lie, beneath the cold, blue water! My ear-rings! my ear-rings!"

[Illustration: PIAZZA SAN MARCO.]

[Illustration: PALACE OF THE DOGE.]

[Illustration: TASSO'S WELL.]

This book, one of Cooper's favorite works, was an artist's picture of Venice, and was written to martial music in Paris, in 1830, where Cooper arrived on the eve of a revolution, for a stay of three years. It was published by Lea and Carey, Philadelphia, in 1834, and did not find favor in America, but was much liked in Germany and France. Prof. Brander Matthews writes:--"The scene in which Antonio, the old fisherman, is shrived by the Carmelite monk, in his boat, under the midnight moon upon the lagoon, is one of the finest in the whole range of literature in fiction."

[Illustration: THE BRAVO.]

Concerning the carrying off of the art treasures of Venice by the French, Cooper wrote: "One great picture escaped them; it stood in a dark chapel completely covered with dust and smoke. Within a few years some artist had the curiosity to examine this then unknown altarpiece. The picture was taken down, and being thoroughly cleaned, proved to be 'The Assumption'"--Titian's masterpiece, some think. It is now in the Academy of Fine Arts in Venice. Cooper tells of a monument Canova had "designed for Titian, beautifully chiseled out of spotless marble." The author found it "beneath the gloomy arches of the church," and thought it "singularly dramatic and startling"; but it had been erected to the honor of Canova himself instead of to the painter!

[Illustration: GLORY OF THE ASSUMPTION.]

[Illustration: ABSOLUTION OF ANTONIO.]

[Illustration: ALT MARKET, DRESDEN.]

From Venice Cooper and family went by way of Tyrol to Munich, where he much admired the king of Bavaria's art collections. After this brief visit they moved on to Dresden, passing here some pleasant months in a cheerful apartment overlooking the Alt Market. The quaint and busy show of homely German life, the town, gardens, river, bridge, and fine gallery "worthy of Italy," were enjoyed. _The Water Witch_, "wrecked on the Tiber, was now safely launched on the broader waters of the Elbe." It was issued by Lea and Carey, Philadelphia, in 1830.

Comparing national traits became at times an unfortunate habit with Cooper. He was provoked by a Dresden schoolmaster's surprise that his children were not black; and, again, because he could not convince an English scholar that in Boston "to gouge" did not mean the cruel practice "to squeeze out a man's eyes with the thumb." This English scholar was Sir James Mackintosh.

On the return to Paris from Germany several places were tried before finding a short distance across the Seine, No. 59 rue St. Dominique,--an off-and-on home for three years. Here the salon was thirty feet long and lofty--to a sailor's delight, seventeen feet; above the doors were paintings in gilded frames; and there were four large mirrors, and vast windows reaching to the floor. The dining-room, even larger, opened on the garden. After this manner the doctor of the Duke of Orleans built his home for himself--and this American tenant. The turmoil in this city of light at once attracted him in the near view of the Revolution of July. Having known General Lafayette since 1824, these two fine men were brought in close touch on Cooper's second visit to Paris. In 1831 the Marquis Lafayette was the center of American life here, and consequently he and our author were constantly and intimately thrown together.

[Illustration: LAFAYETTE'S PARIS HOME, RUE D'ANJOU.]

Lafayette's neat, simple apartment in a hotel of some pretension was in the rue d'Anjou. There were a large antechamber, two salons, and an inner room, where he wrote, and finally had his bed. His town servants were his German valet, Bastien, who served during the last visit to America, a footman, and a coachman. Cooper wrote: "When I show myself at the door Bastien makes a signal of assent, intimates that the general is at dinner; but I am at once ushered into the bed-room. Here I find Lafayette at table--so small as to be covered with a napkin, his little white dog his only companion." It was understood that the guest had dined, so he takes a seat in the chimney-corner, and as they talk the dinner goes on to its finish of dates, which are shared by the visitor. The last of these pleasant visits grew from the usual half hour to almost two, as they chatted of the great and small and all in their fine way. Lafayette thought Louis Philippe "the falsest man" he ever met. Of Charles X he "spoke kindly," giving him "an exactly opposite character," and Marie Antoinette he believed "an injured woman."

[Illustration: GENERAL LAFAYETTE'S BED-ROOM.]

[Illustration: LOUIS PHILIPPE.]

[Illustration: GENERAL LAFAYETTE.]

When Mr. McLane, our minister to England, made a flight to Paris in 1830, Lafayette strongly urged Cooper to give him the pleasure of presenting him with Mr. McLane to Louis Philippe at a Palais Royal "evening." Concerning the event Cooper noted: "Though such a visit was contrary to my quiet habits, I could do nothing but comply." His book on France relates the event and concludes with: "We all got invitations to dine at the palace in a day or two." But Cooper "never had any faith in the republican king," and thought "General Lafayette had been the dupe of his own good faith and kind feelings." Queen Marie Amélie, who was the daughter of Ferdinand I of the two Sicilies, asked Cooper which he most preferred of all the lands he had visited. His quick and strictly truthful reply was: "That in which your majesty was born for its nature, and that in which your majesty reigns for its society." As the "evening" was for men Cooper noticed that "the queen and her ladies wore bonnets."

[Illustration: QUEEN MARIE AMÉLIE.]

December 8, 1830 the Americans in Paris gave General Lafayette a dinner over which Cooper presided. And, says Professor Lounsbury, "in a speech of marked fervor and ability, he had dwelt upon the debt due from the United States to the gallant Frenchman, who had ventured fortune and life to aid a nation struggling against great odds to be free." As "It was not in his [Cooper's] nature to have his deeds give lie to his words," he was fairly caught in a public controversy that brought upon him the following unpleasant results.

During this period a public dispute arose on the comparative expenses of American and French government, which Lafayette was called upon to settle, and he appealed to Cooper as an American authority. In his spirited defense of the gallant Marquis, our author was caught in a maelstrom of harsh criticism. It ended in his victory abroad, but brought upon him uncalled-for comment from the American press for "attacking the authorities of a friendly country"--as that press unjustly termed it.

At Paris in 1831, by the request of an English friend, Cooper wrote of "The Great Eclipse" which he saw June 16, 1806, at his Cooperstown home. This account was found after his death and appeared in _Putnam's Magazine_ of 1869. It included a thrilling tragedy and closed as follows: "I have passed a varied and eventful life--but never have I beheld any spectacle which so plainly manifested the majesty of the Creator, or so forcibly taught the lesson of humility to man as the total eclipse of the sun."

From Paris, in 1832, Cooper wrote: "I care nothing for criticism, but I am not indifferent to slander. If these attacks on my character should be kept up five years after my return to America, I shall resort to the New York courts for protection." Cooper gave the press the full period, then, said Bryant,--himself an editor,--"he put a hook in the nose of this huge monster of the inky pool, dragged him to land, and made him tractable." After these five years had passed Cooper noted, February, 1843: "I have, beaten every man I have sued who has not retracted his libels."

[Illustration: N.P. WILLIS.]

In Paris, in 1832, our author was meeting many foreigners of note, and among the Americans was N.P. Willis, then sketching his "Pencillings by the Way," and breakfasting with Cooper, and strolling with him through the Tuileries gardens.

[Illustration: S.F.B. MORSE.]