Old Calabria By Norman Douglas














































































 -  On its gable sits a strange emblem: a large stone dog, gazing
amiably at the landscape. The saint, during his - Page 16
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On Its Gable Sits A Strange Emblem:

A large stone dog, gazing amiably at the landscape.

The saint, during his earthly career, was always accompanied by a dog, and now likes to have him on the roof of his sanctuary.

The Norman church attached to the Trinita lies at a lower level than that building, having been constructed, says Lupoli, on the foundations of a temple to Hymenaeus. It may be so; but one distrusts Lupoli. A remarkable Norman capital, now wrought into a font, is preserved here, and I was interested in watching the behaviour of a procession of female pilgrims in regard to it. Trembling with emotion, they perambulated the sacred stone, kissing every one of its corners; then they dipped their hands into its basin, and kissed them devoutly. An old hag, the mistress of the ceremonies, muttered: "tutti santi - tutti santi!" at each osculation. Next, they prostrated themselves on the floor and licked the cold stones, and after wallowing there awhile, rose up and began to kiss a small fissure in the masonry of the wall, the old woman whispering, "Santissimo!" A familiar spectacle, no doubt; but one which never fails of its effect. This anti-hygienic crack in the wall, with its suggestions of yoni-worship, attracted me so strongly that I begged a priest to explain to me its mystical signification. But he only said, with a touch of mediaeval contempt:

"Sono femine!"

He showed me, later on, a round Roman pillar near the entrance of the church worn smooth by the bodies of females who press themselves between it and the wall, in order to become mothers. The notion caused him some amusement - he evidently thought this practice a speciality of Venosa.

In my country, I said, pillars with a contrary effect would be more popular among the fair sex.

Lear gives another account of this phallic emblem. He says that perambulating it hand in hand with another person, the two are sure to remain friends for life.

This is pre-eminently a "Victorian" version.

VII

THE BANDUSIAN FOUNT

The traveller in these parts is everlastingly half-starved. Here, at Venosa, the wine is good - excellent, in fact; but the food monotonous and insufficient. This improper dieting is responsible for much mischief; it induces a state of chronic exacerbation. Nobody would believe how nobly I struggle, day and night, against its evil suggestions. A man's worst enemy is his own empty stomach. None knew it better than Horace.

And yet he declared that lettuces and such-like stuff sufficed him. No doubt, no doubt. "Olives nourish me." Just so! One does not grow up in the school of Maecenas without learning the subtle delights of the simple life. But I would wager that after a week of such feeding as I have now undergone at his native place, he would quickly have remembered some urgent business to be transacted in the capital - Caesar Augustus, me-thinks, would have desired his company. And even so, I have suddenly woke up to the fact that Taranto, my next resting-place, besides possessing an agreeably warm climate, has some passable restaurants. I will pack without delay. Mount Vulture must wait. The wind alone, the Vulturnus or south-easterly wind, is quite enough to make one despair of climbing hills. It has blown with objectionable persistency ever since my arrival at Venosa.

To escape from its attentions, I have been wandering about the secluded valleys that seam this region. Streamlets meander here amid rustling canes and a luxuriant growth of mares' tails and creepers; their banks are shaded by elms and poplars - Horatian trees; the thickets are loud with songs of nightingale, black-cap and oriole. These humid dells are a different country from the uplands, wind-swept and thriftily cultivated.

It was here, yesterday, that I came upon an unexpected sight - an army of workmen engaged in burrowing furiously into the bowels of Mother Earth. They told me that this tunnel would presently become one of the arteries of that vast system, the Apulian Aqueduct. The discovery accorded with my Roman mood, for the conception and execution alike of this grandiose project are worthy of the Romans. Three provinces where, in years of drought, wine is cheaper than water, are being irrigated - in the teeth of great difficulties of engineering and finance. Among other things, there are 213 kilometres of subterranean tunnellings to be built; eleven thousand workmen are employed; the cost is estimated at 125 million francs. The Italian government is erecting to its glory a monument more durable than brass. This is their heritage from the Romans - this talent for dealing with rocks and waters; for bridling a destructive environment and making it subservient to purposes of human intercourse. It is a part of that practical Roman genius for "pacification." Wild nature, to the Latin, ever remains an obstacle to be overcome - an enemy.

Such was Horace's point of view. The fruitful fields and their hardy brood of tillers appealed to him; [Footnote: See next chapter.] the ocean and snowy Alps were beyond the range of his affections. His love of nature was heartfelt, but his nature was not ours; it was nature as we see it in those Roman landscapes at Pompeii; nature ancillary to human needs, in her benignant and comfortable moods. Virgil's lachrymae rerum hints at mystic and extra-human yearnings; to the troubadours nature was conventionally stereotyped - a scenic decoration to set off sentiments more or less sincere; the roman-ticists wallow in her rugged aspects. Horace never allowed phantasy to outrun intelligence; he kept his feet on earth; man was the measure of his universe, and a sober mind his highest attribute. Nature must be kept "in her place." Her extrava-gances are not to be admired. This anthropocentric spirit has made him what he is - the ideal anti-sentimentalist and anti-vulgarian. For excess of sentiment, like all other intemperance, is the mark of that unsober and unsteady beast - the crowd.

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