Various - The Continental Monthly, Vol. 3, No. 1 January 1863

Gaetano, having a message for a young priest in the seminary there, asked Caper how he would like to see the interior of the building, and the way the prete lived? Caper assenting, they entered a fine large establishment with broad walls and high ceilings, and mounting to the second story and knocking at the door of a chamber, they were admitted by a tall, thin, sallow young man, about eighteen years old, evidently the worse for want of exercise, and none the stronger minded for his narrow course of education and instruction.

Gaetano introduced Caper to the young priest, and the artist, who, a moment before entering the room, was as lively as the Infant Bacchus, at once became melancholy as the Infant Samuel, and a feeling of such pity seized him, that, endeavoring not to show it, he turned it into a sentiment of interest in the young priest and his surroundings, admiring the beautiful view from the window, and, turning inward to a poor wreath of paper flowers hanging over a holy-water fount attached to the wall, praised for their resemblance to natural flowers. (Was that untruth unforgiven?)

'I made them,' said the young priest; 'but they are nothing to the ones I have made for our church in Montelanico. I will show those to you.' Opening a large paper box, he showed Caper wreaths and festoons of paper flowers. 'I have spent weeks on weeks over them,' he continued, 'and they will decorate the church at the next festa . I spend all my leisure hours making artificial flowers.'

In answer to a question from Caper of the dress he then wore was the usual one worn by the seminarists on important occasions, the young priest answered him that it was not, and at once produced the full dress, putting on the upper garment, a species of cassock, in order to show him how it looked. He next called his attention to a curious old work, full of engravings illustrating the different costumes of the different orders of priests, and was in full discourse to describe them all, when Gaetano told him that he was sorry, but that he had to go, as he had some matters to attend to at the fair. So Caper bid the young priest good-by, saying he regretted that he had not time to further study the ecclesiastical costumes. A feeling of relief seized him when he was once more in the open air—thoughts of gunning, fishing, fighting, anything, so long as it was not the making paper flowers by that poor, pale-faced boy: it was terrible!

There are several resident families in Anagni having titles; these are known as the stelle d'Anagni (stars of Anagni), and number among the ladies many beautiful faces, if those pointed out to him were the true stars. But it was, while smoking a cigar over a cup of coffee, that he saw enter the café without exception one of the loveliest and most attractive women he met in Italy. The word simpatica , so often used by Italians, expressing, as it does, so much in so short a space, exactly applied to the charming woman who passed him, as she entered the room where he was seated. She was accompanied by several gentlemen, one of whom, on whose arm she leaned, having the most character of all the others in his face, and the finest-looking man in figure and carriage, Caper selected as her husband—and he was right.

Gaetano, having finished his business, soon entered the café in company with a dashing, handsome-looking man, in half ecclesiastical costume; for though he wore a shovel hat and long-tailed black frock coat, yet his other clothes, though black, had the air of being made by an à la mode tailor. His manner was cordial, frank, hearty. He proposed a walk around the town, to see what was going on among the villani . Caper calling his attention to the lady mentioned above, the ecclesiastic, making his excuses for his sudden leave, at once hurried over to salute her, and was evidently very cordially received. He returned in a few minutes to Caper.

'It is the Principessa – , and she insists on having an introduction to the American. She is making the villegiatura among these mountain towns for a frolic. She will be in Segni, with her husband, the Signor –, and it will be pleasant for you to know them while there.'

'Introduce me by all means. She is the most beautiful woman I have seen in Italy.'

The introduction was made, and our artist surpassed himself in conversing intelligibly, much to the delight of the fair Italian and her friends, who declared they were prepared to converse with him solely by signs. Promising that when they came to Segni he should not fail to call upon them, and give them a long account of the savage life he lived among his Indian brethren in America, he laughingly bid them good day.

The dashing priest now went with Caper and Gaetano through the crowded streets, pointing out objects of interest, architectural and human; past booths where all kinds of merchandise was exposed for sale, out to see the ancient massive walls of travertine, where divers stunning objects were carved, inscriptions, &c. Then they found a wine shop, where it was cool and tolerably quiet, and smoked and drank until sunset, having much sport conversing with the amiable villane , who were as comfortably tipsy as their circumstances would permit. At sunset, the Piazza Grande was brilliant with hangings, crimson and gold, and colored tapestry hung from the windows of the surrounding houses. Here the tombola was held, and here the crowd was excited as usual; the lucky ones bearing off the prizes were in such rapturous state of bliss—'one might have stuck pins into them without their feeling it.'

About sunset, Gaetano and Caper saddled their horses, and left the city, striking over the valley to Segni, passing on the road country people mounted on donkeys, or travelling along on foot, nine tenths of whom were vigorously canvassing—the life of Saint Magno?—no, indeed, but the chances of the lottery!

There was to have been the next day, at Anagni, a curious chase of buffaloes, in accordance with some passage in the life of San Magno, as the people said; but, according to Rocjean, more probably some neglected ceremony of the ancient heathens, which the party in power, finding they could not abolish, gracefully tacked on to the back of the protector of the city. These kind of things are done to an alarming extent around Rome; and the Sieur de Rocjean, when he lost his calendar containing the dates of all the festivals, said it was of no importance—he had and excellent Lempriere!

The fifth festival—if you have patience to read about it—was held at Genazzano, and was decidedly the most celebrated one of the season. It came off on the 8th of September, and for costumes, picturesqueness, and general effect, might have been called, to copy from piano literature, Le Songe d'un Artiste .

The town itself looks as if it had just been kicked out of a theatre. Round towers at entrance gates, streets narrow and all up hill, the tiles on the houses running down to see what is going on in the gutter, quaint old houses, gray with time, with latticed windows, queer old doors, a grand old castle in ruins. It is one of the scenes you long so much to see before you come abroad, and which you so seldom find along the Grande Route. Spend a summer in the mountain towns of Italy! among the Volscian mountains or hills—and have your eyes opened.

As Caper entered the gate, the first objects meeting his sight were: a procession of genuine pilgrims, dressed precisely as you see them in Robert le Diable, or Linda di Chamouni, or on the stage generally—long gray robes down to their feet, cocked hats with cockle shells, long wands; some barefoot, some with sandals: on they passed, singing religious songs. Then came the peasantry, all in perfect theatrical harmony, costumes rigidly correct à la Sonnambula . German artists dressed in Sunday clothes à la Der Freyschutz . A café with festoons of lemon-peel hung from window to window—they are not up to this idea in Fra Diavolo . Pretty girls in latticed windows, with red boddices, white sleeves, flowers in their hair— legitimate Italian drama . Crockery-ware in piles— low comedy . A man with a table, Sambuca and Acqua-vita bottles on it, and wee glasses, one cent a drink: melodrama . Fresh oranges and figs, pumpkin-seed and pine cones; a house with mushrooms strung on thread, hanging from window to window—this was not for festival display, but is the common way of the country. Notices of the festa , containing programme of the day, including amusements, ecclesiastical and secular, hung up alongside the stands where they were selling lottery tickets— tragedy . Fountains, with groups of peasantry drinking, or watering horses and donkeys— pantomime . Priests, in crow-black raiment, and canal-boat or shovel hats— mystery . Strangers from Rome, in the negro-minstrel style of costume, if young men; or in the rotund-paunch and black-raiment dress, if elderly men; or in the chiffonée style, if Roman women attempting the last Parisian fashion— farce .