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Chapters (26)
  1. Feature
  2. PREFACE
  3. VENICE
  4. THE GRAND CANAL
  5. VENICE: AN EARLY IMPRESSION
  6. TWO OLD HOUSES AND THREE YOUNG WOMEN
  7. CASA ALVISI
  8. FROM CHAMBÉRY TO MILAN
  9. THE OLD SAINT-GOTHARD LEAVES FROM A NOTE-BOOK
  10. ITALY REVISITED
  11. A ROMAN HOLIDAY
  12. ROMAN RIDES
  13. ROMAN NEIGHBOURHOODS
  14. THE AFTER-SEASON IN ROME
  15. FROM A ROMAN NOTE-BOOK
  16. A FEW OTHER ROMAN NEIGHBOURHOODS
  17. A CHAIN OF CITIES
  18. SIENA EARLY AND LATE
  19. THE AUTUMN IN FLORENCE
  20. FLORENTINE NOTES
  21. TUSCAN CITIES
  22. OTHER TUSCAN CITIES
  23. RAVENNA
  24. THE SAINT'S AFTERNOON AND OTHERS
  25. You are reading a Deluxe Edition:
  26. Copyright

But I ought n't to talk of mouldy alleys, or yet of azure distances, as if they formed the main appeal to taste in this accomplished little city. In the Sala del Cambio, where in ancient days the money-changers rattled their embossed coin and figured up their profits, you may enjoy one of the serenest aesthetic pleasures that the golden age of art anywhere offers us. Bank parlours, I believe, are always handsomely appointed, but are even those of Messrs. Rothschild such models of mural bravery as this little counting-house of a bygone fashion? The bravery is Perugino's own; for, invited clearly to do his best, he left it as a lesson to the ages, covering the four low walls and the vault with scriptural and mythological figures of extraordinary beauty. They are ranged in artless attitudes round the upper half of the room - the sibyls, the prophets, the philosophers, the Greek and Roman heroes - looking down with broad serene faces, with small mild eyes and sweet mouths that commit them to nothing in particular unless to being comfortably and charmingly alive, at the incongruous proceedings of a Board of Brokers. Had finance a very high tone in those days, or were genius and faith then simply as frequent as capital and enterprise are among ourselves? The great distinction of the Sala del Cambio is that it has a friendly Yes for both these questions. There was a rigid transactional probity, it seems to say; there was also a high tide of inspiration. About the artist himself many things come up for us - more than I can attempt in their order; for he was not, I think, to an attentive observer, the mere smooth and entire and devout spirit we at first are inclined to take him for. He has that about him which leads us to wonder if he may not, after all, play a proper part enough here as the patron of the money-changers. He is the delight of a million of young ladies; but who knows whether we should n't find in his works, might we "go into" them a little, a trifle more of manner than of conviction, and of system than of deep sincerity?